ArtSlant - Recently added en-us 40 Nalini Malani - ICA (The Institute of Contemporary Art - Boston) - June 29th - October 16th <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p>A work of spellbinding beauty,<em>In Search of Vanished Blood</em>&nbsp;is a seminal installation by one of India&rsquo;s leading&nbsp;artists.</p> <p class="small">#NaliniMalani</p> <p style="text-align: justify;">Nalini Malani (b. 1946, Karachi) is India&rsquo;s foremost video and installation artist and a committed activist for women&rsquo;s rights. Currently living and working in Mumbai, Malani came to India as a refugee during the 1947 partition of India and Pakistan, an experience that deeply informs her work. This exhibition centers on Malani&rsquo;s signature multimedia installation,&nbsp;<em>In Search of Vanished Blood&nbsp;</em>(2012), the title of which comes from a poem by the revolutionary Pakistani poet Faiz Ahmed Faiz. The installation&nbsp;is inspired by&nbsp;East German writer and critic Christa Wolf&rsquo;s 1984 novel&nbsp;<em>Cassandra</em>, about a struggling female artist and visionary. Combining imagery from Eastern and Western cultures, with sound, projected image, and light,&nbsp;<em>In Search of Vanished Blood</em>&nbsp;is an enthralling, immersive experience. The work comprises six 11-minute video projections streamed around the room through five clear Mylar cylinders, hand-painted with a variety of cultural and historical iconography, which hang in the center of the room. As the Mylar cylinders rotate, the colorful and layered imagery is projected onto the walls, creating a magical environment reminiscent of lantern slide presentations and other proto-cinema experiments in the 18th and 19th centuries. The presentation of Malani&rsquo;s immersive video installation will be accompanied by a selection of related works on paper.</p> </div> </div> </div> <div class="field field-name-field-notes field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="small" style="text-align: justify;">Organized by Eva Respini, Barbara Lee Chief Curator, with Jessica Hong, Curatorial Assistant.</p> <p class="small" style="text-align: justify;">Support for<em>&nbsp;Nalini Malani: In Search of Vanished Blood&nbsp;</em>is generously provided by Vivien and Alan Hassenfeld, Jodi and Hal Hess, and Barbara Lee.</p> <p class="small" style="text-align: justify;">Produced by&nbsp;dOCUMENTA&nbsp;(13) in collaboration with the Burger Collection.</p> </div> </div> </div> Fri, 24 Jun 2016 08:14:57 +0000 Chris Larson - Walker Art Center - June 9th - January 8th, 2017 <p style="text-align: justify;"><span style="font-size: small;">For the past two decades, Minnesota-based artist Chris Larson has developed a multimedia practice rooted in sculpture. His work incorporates film, video, photography, and performance as well as drawing and painting. Often he integrates these elements into sculptural installations that reference architecture&mdash;from iconic buildings by architects such as Marcel Breuer to ordinary rural cabins to imaginary, sometimes illogical structures&mdash;while building a unique narrative structure. With&nbsp;<em>Land Speed Record</em>, his latest video installation, Larson focuses instead on the objects (and memories) left behind when their context and architectural enclosure has&nbsp;disappeared.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Titled after a live album by punk band H&uuml;sker D&uuml;, who rose to cult status in the 1980s, Larson&rsquo;s project explores a group of objects that occupied his studio (a repurposed industrial warehouse space) for two years. These items originated from the childhood home of Grant Hart, H&uuml;sker D&uuml;&rsquo;s drummer and co-songwriter, which caught fire and partially burned down in 2011. The smoke-blackened contents&mdash;furniture, appliances, antiques and collectibles, auto parts, rock-and-roll ephemera, art supplies, clothing, master tapes, musical instruments&mdash;had to be quickly cleared from the house to avoid repossession. Larson, a friend and collaborator of Hart&rsquo;s, volunteered for them to be stored in his studio&nbsp;space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hart periodically visited the artist&rsquo;s studio to go through and arrange the objects. Larson writes: &ldquo;At first glance, the charred pile is overwhelming in its massive aggregation, but upon closer inspection, certain rules for organization begin to emerge&hellip;. I started to think about what these objects became when removed from their domestic function and relocated to the limbo of my studio, a space dedicated to my own formal and artistic experimentations. I began to look at the grotesque wreckage of several of Grant&rsquo;s kits of percussive instruments, drums, cymbals, and sticks which once moved at ferocious speed, now reduced to stasis. There are also Studebaker parts (a fascination of Grant&rsquo;s), speedometers, hoods, doors, engines, axels, tires, and wheels designed to quickly propel these automobiles over the landscape, now dismembered, covered in blackened dust, silent and still. It is the juxtaposition of this potential speed and current stasis that interested me, and made me think about how these objects would look through the lens of a camera moving slowly over the&nbsp;pile.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">To attain this perspective, Larson devised a motorized track onto which he attached a camera that could capture a slow, methodical pan across the 85-foot-long accumulation of salvaged materials. The film is projected in the gallery space alongside Larson&rsquo;s black-and-white 16mm film footage of close-up vignettes of the objects, forming an installation at once reverential and haunting, an elegy for a moment in musical time and a celebration of a creative force that has formed an important part of the Twin Cities&rsquo; cultural&nbsp;history.</span></p> <p style="text-align: justify;">&nbsp;</p> <h1 style="text-align: justify;"><span style="font-size: small;">Limited-Edition Vinyl&nbsp;LP</span></h1> <p style="text-align: justify;"><span style="font-size: small;">Accompanying the exhibition is&nbsp;<em>Chris Larson: Land Speed Record</em>, a limited-edition, clear vinyl LP containing the drum track played by Yousif Del Valle and recorded in Minneapolis at 7th St Entry on April 14, 2016. The album, published by the Walker, serves as the catalogue for the exhibition and includes liner notes by Walker exhibition curator Siri Engberg, Walker artistic director Fionn Meade, independent curator (and part of the curatorial team for Documenta 14) Dieter Roelstraete, and Rev. Russell Rathbun, a writer and founding preacher at the St. Paul&ndash;based church House of&nbsp;Mercy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A separate, deluxe edition of the LP additionally features a color photograph, signed and numbered by the artist, of the accumulation of salvaged objects that are the subject of his&nbsp;film.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Available later this summer in the Walker Shop, the LP will be released after August 15, the 35th anniversary of H&uuml;sker D&uuml;&rsquo;s album&nbsp;<em>Land Speed Record</em>.</span></p> Fri, 24 Jun 2016 08:05:37 +0000 Jumana Emil Abboud - BALTIC Centre For Contemporary Art - May 6th - October 2nd <h3 style="text-align: justify;"><span style="font-size: small;">Jumana Emil Abboud (born Shefa-'Amr, Galilee, 1971) works with drawing, installation, video and performance, exploring personal and collective memory, loss, longing and belonging. Inspired by the cultural landscape of her home, Abboud draws on the traditions of Palestinian folklore and myth-making by collecting stories and fairy tales. Investigating these story telling practices and oral histories, the artist provides new interpretations for the tales she has discovered.</span></h3> <p style="text-align: justify;"><span style="font-size: small;">This exhibition brings together a body of recent work, including the series of drawings&nbsp;<em>The Ballad of the Lady Who Lives Behind Trees</em>&nbsp;2005-14 and the film&nbsp;<em>I Feel Nothing</em>&nbsp;2013, alongside a new video installation. Abboud's delicate drawings depict monsters and magical beings with the landscapes and sites they inhabit including grottos, wells and trees. Presented as a constellation, we are encouraged to weave these elements together and create our own narratives.&nbsp;<em>I Feel Nothing</em>&nbsp;is a video-poem inspired by a Palestinian folktale&nbsp;<em>The Handless Maiden</em>&nbsp;and Titian&rsquo;s painting&nbsp;<em>Noli me Tangere</em>&nbsp;c. 1514. Filmed at the Museum of Classical Archaeology, Cambridge, the Freud Museum, London and locations throughout Palestine, the work explores notions of touch and territories of the body.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Abboud&rsquo;s three-channel video installation&nbsp;<em>Hide Your Water from the Sun</em>&nbsp;2016, traces a 1920 study by physician and researcher Dr. Tawfiq Canaan into Palestinian customs and folklore. Canaan analyses &lsquo;haunted locations&rsquo; that are primarily attributed to water sources and inhabited by various demons. Abboud, with cinematographer Issa Freij, has visited these locations, documenting the sites where the original wells and springs have long since disappeared. The exhibition is accompanied by an audio guide with Abboud reading passages from Canaan&rsquo;s study.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist wishes to acknowledge the support of the British Council, Delfina Foundation, Rana Sadik and Samer Younis</span></p> <p style="text-align: justify;"><span style="font-size: small;">A second chapter of the video installation&nbsp;<em>Hide Your Water from the Sun</em>&nbsp;will be presented in the exhibition&nbsp;<a href="" target="_blank">Jumana Emil Abboud:&nbsp;<em>Haunted Springs and Water Demons in Palestine</em></a>&nbsp;at Kunstraum, London, 14 May &ndash; 23 July 2016.</span></p> Fri, 24 Jun 2016 08:00:08 +0000 Group Show - Fondazione Prada - Ca' Corner Della Regina - March 28th - August 21st <p style="text-align: justify;">&ldquo;L&rsquo;image vol&eacute;e&rdquo; (The stolen image) is a group show curated by artist Thomas Demand, open to the public from 18 March to 21 August 2016. Within an exhibition architecture designed by sculptor Manfred Pernice, the show occupies both levels of the Nord gallery at Fondazione Prada in Milan.</p> <p style="text-align: justify;">&ldquo;L&rsquo;image vol&eacute;e,&rdquo; includes more than 90 works produced by over 60 artists from 1820 through the present day. Demand&rsquo;s idea for the exhibition is to explore the way we all rely on pre-existing models, and how artists have always referred to existing imagery to make their own. Questioning the boundaries between originality, conceptual inventiveness and the culture of the copy, the project focuses on theft, authorship, annexation and the creative potential of such pursuits.</p> <p style="text-align: justify;">The exhibition presents three possible investigations: the physical appropriation of the object or its absence; theft as related to the image per se rather than the concrete object itself; and the act of stealing through the making of an image. The exhibition has been conceived as an eccentric, unconventional exploration of such topics through empirical inquiry. Rather than an encyclopedic analysis, it offers visitors an unorthodox insight into a voyage of artistic discovery and research.</p> <p style="text-align: justify;">The first section of the exhibition displays photographs, paintings and films in which the stolen or missing object becomes the scene or evidence of a crime. Included in this section are works that directly echo criminal ideas, such as Maurizio Cattelan&rsquo;s framed theft report for an immaterial artwork he claimed as robbed &ndash; Senza titolo (1991) -, or<em>Stolen Rug</em>&nbsp;(1969), a Persian carpet that Richard Artschwager commissioned to be stolen for the exhibition &ldquo;Art by Telephone&rdquo; in Chicago. Other works evoke the absence resulting from an act of theft, like the canvas by Adolph von Menzel,&nbsp;<em>Friedrich der Grosse auf Reisen</em>(1854), which had the portrayed faces incised from it.</p> <p style="text-align: justify;">Other pieces are based on the alteration of preexisting artworks, for example,&nbsp;<em>Richter-Modell (interconti)</em>&nbsp;(1987), a painting by Gerhard Richter that was transformed into a coffee table by Martin Kippenberger and Pierre Bismuth&rsquo;s&nbsp;<em>Unfolded Origami&nbsp;</em>(2016), who made new work out of original posters by Daniel Buren. All these works explore the notion of authors&rsquo; control over their own creations.</p> <p style="text-align: justify;">The second part of the exhibition analyzes the logic behind appropriation within the creative process. This section begins with the concept of counterfeiting and falsification, exemplified by the hand-reproduced banknote by forger G&uuml;nter Hopfinger. The exhibition moves on to explore practices that are close to Appropriation Art, such as Sturtevant&rsquo;s&nbsp;<em>Duchamp Man Ray Portrait</em>&nbsp;(1966), who reclaims a photographic portrait of Marcel Duchamp realized by Man Ray, substituting both the author and the subject of the photograph with herself. Other artists drive the logic of counterfeiting to its limit, including taking possession of another artist&rsquo;s identity. Other artworks are &lsquo;improvements&rsquo; or modifications of preexisting images, for example the d&eacute;figurations by Asger Jorn, or collages such as those by Wangechi Mutu, realized from medical illustrations and anatomical drawings. Artists such as Haris Epaminonda, Alice Lex-Nerlinger and John Stezaker, meanwhile, encompass postcards, photograms or archival images into their works. Along with these, Erin Shirreff and Rudolf Stingel create their paintings or videos using a photographic reproduction of an artwork from the past as their starting point.</p> <p style="text-align: justify;">This section continues with a group of works in which the artists borrow elements from another medium or language, or decontextualize the images themselves. Thomas Ruff, in&nbsp;<em>jpeg ib01</em>&nbsp;(2006) alters an image sourced from the web; Anri Sala explores the potential of film to reveal hidden temporal dynamics in&nbsp;<em>Agassi</em>&nbsp;(2006); Guillaume Paris, in the video&nbsp;<em>Fountain</em>&nbsp;(1994), presents a loop of brief sequences from the animated film&nbsp;<em>Pinocchio&nbsp;</em>(1940). The ground floor of the Nord gallery also includes sculptural work by Henrik Olesen, and new works by Sara Cwynar, Mathew Hale, Oliver Laric and Elad Lassry.</p> <p style="text-align: justify;">The third part of the show is installed in the lower level of the Nord gallery, marking the first time this area has been used as an exhibition space. This final, subversive part of &ldquo;L&rsquo;image vol&eacute;e&rdquo; deals with the production of images which, by their very nature, reveal hidden aspects on a private or public level. John Baldessari, in his installation<em>Blue Line (Holbein)</em>&nbsp;(1988), inserts a hidden camera that produces stolen images of visitors inside an adjoining space, calling into question the role of the spectator.</p> <p style="text-align: justify;">Sophie Calle, in the series&nbsp;<em>The Hotel</em>&nbsp;(1981), aims to combine the artistic and private realms in her research, revealing intimate details of strangers&rsquo; lives. Another cluster of works develop considerations on public or openly political issues. Christopher Williams in&nbsp;<em>SOURCE&hellip;</em>(1981) reveals unofficial perspectives on institutional communication, by selecting four archive photographs of John Fitzgerald Kennedy that portray the American President from behind, and therefore considered inappropriate for public circulation at the time.</p> <p style="text-align: justify;">In the photographs&nbsp;<em>Americas II, Bahamas Internet Cable System (BICS-1)</em>&nbsp;and&nbsp;<em>Globenet</em>&nbsp;(2015), Trevor Paglen exposes the material infrastructure of mass surveillance, documenting the transoceanic system of undersea cables transmitting sensitive data.</p> <p style="text-align: justify;">The final part of the exhibition presents a show within the show curated by a prominent contemporary industrial designer, featuring spy tools used by the GDR and the Soviet Union on their citizens: technological instruments capable of breaking down the barriers of the private sphere, selected for the prophetic beauty of their rational design as related to contemporary computers and smartphones.</p> <p style="text-align: justify;">&ldquo;L&rsquo;image vol&eacute;e&rdquo; is accompanied by an illustrated book published by Fondazione Prada with newly commissioned short stories by Ian McEwan and Ali Smith, essays by Russell Ferguson, Christy Lange and Jonathan Griffin, and contributions by Rainer Erlinger and Daniel McClean.</p> Fri, 24 Jun 2016 07:54:48 +0000 Louise Bourgeois - Guggenheim Museum Bilbao - March 18th - September 4th <div class="slider__track"> <div class="text-block"> <div class="text-block__content"> <p style="text-align: justify;">&ldquo;Space does not exist; it is just a metaphor for the structure of our existence.&rdquo; Louise Bourgeois</p> <p style="text-align: justify;">Louise Bourgeois (1911&ndash;2010) is one of the most influential artists of the twentieth century. Working with a wide range of materials and forms, she created a body of work that extended over seven decades.</p> <p style="text-align: justify;">Over her long career as an artist, Louise Bourgeois developed concepts and formal inventions that later became key positions in contemporary art; these included the use of environmental installation and theatrical formats, and the engagement with psychoanalytic and feminist themes. Both her distinctive sculptural forms and her outstanding drawings and graphic works are second to none. Among the most innovative and sophisticated sculptural works in her extensive oeuvre are the&nbsp;<em>Cells</em>, a series of architectural spaces that deal with a range of emotions. Created over a span of two decades, the&nbsp;<em>Cells</em>&nbsp;present individual microcosms; each is an enclosure that separates the internal from the external world. In these unique spaces, the artist arranged found objects, clothes, furniture, and sculptures to create emotionally charged, theatrical sets.</p> <p style="text-align: justify;">Including the five precursor works to the Cells that first emerged in 1986 with&nbsp;<em>Articulated Lair</em>, Louise Bourgeois created approximately 60&nbsp;<em>Cells</em>&nbsp;over the course of her career. This exhibition is the largest overview of this body of work to date.&nbsp;</p> </div> </div> </div> Fri, 24 Jun 2016 07:27:18 +0000 Tom Mueske, Laura Shipp, Kirk Stoller, Ryan Thayer - The Contemporary Austin - Jones Center - June 21st, 2007 - June 21st, 2008 Wed, 22 Jun 2016 15:35:23 +0000 Dorit Margreiter - Charim Galerie - June 1st - July 31st <p style="text-align: justify;">High on a rocky promontory, set against the background of the ruddy mesas of Monument Valley, a rider turns his horse. He marks a legendary spot. The site has a special place in the canon of Hollywood&rsquo;s repertoire of images. It is from here that John Wayne looked out over the magnificent panorama of the Colorado Plateau in &lsquo;The Searchers&rsquo;; it was here that John Ford&mdash;the most Brechtian of filmmakers (Straub/Huillet)&mdash;set his camera and panned over the Mittens and Merrick Butte. He shot nine films in Monument Valley and the spectacular lookout point bears his name: John Ford&rsquo;s Point.</p> <p style="text-align: justify;">The borderlands between Utah and Arizona belong to the Navajo Nation Reservation and members of this, the second largest Indian community in the USA, were actors and extras in Ford&rsquo;s westerns in the 1950s and still work as photo models for tourists.</p> <p style="text-align: justify;">Dorit Margreiter opens her show with the wide open spaces of the prairie and the shot that has become a myth. The film, in a 16mm format, shows the rider and horse in movement, in a long shot and close up against the background landscape. The clatter of the analogue projector brings an avant-garde film feeling to the Cinemascope Western genre.</p> <p style="text-align: justify;">Magreiter has called her show &lsquo;Neue R&auml;ume&rsquo;. Taken literally, the title might apply to the newly-renovated gallery but might just as easily be taken as a daring metaphor for a new start or a scenographic code.</p> <p style="text-align: justify;">With her all-new works (2015/16)&mdash;film (installation), photographs, sculptures and exposures on paper&mdash;Margreiter has blazed an exciting trail through the gallery. She stages, orders, layers and stretches her subjects all across its spaces. The concern here is with the transfer zones between everyday life and exhibition space, the production of images and the consequences that the various forms of production and reproduction have on our perception.</p> <p style="text-align: justify;">There has not been a solo show by the artist in Vienna for a long time. For her first appearance at the Charim Galerie, Dorit Margreiter works with the linkages, connections and referential webs of content of the individual works between and to each other &ndash; over and above her usual confident handling of architecture, installation and display.</p> <p style="text-align: justify;">The lead piece is &lsquo;Transfer (Monument Valley)&rsquo;, the film at the beginning of the exhibition. At its side is a purely digital work from the &lsquo;Experimental Noise&rsquo; series. The pigment prints show &lsquo;interference&rsquo; filters used to impart credible age to the polished world of digital imaging using imperfections such as scratches, dust or chemical smears. These are commentaries on modern image processing that appeal to our yearning for materiality, handcrafted objects and analogue techniques.</p> <p style="text-align: justify;">&lsquo;Experimental Noise&rsquo; returns in the last room, this time in a dialogue with a freefloating mobile suspended from the ceiling. Dorit Margreiter has been working with kinetic sculptures since 2011. However, they have little to do with Alexander Calder&rsquo;s playful arabesques. Letters that call to mind the functionality and simple clarity of auhaus typography form words. The semantic content of the aluminium templates, painted in various shades of grey, (each letter in a different colour) disappears behind the reduction of an abstract sign. Hung low so that it is somehow &lsquo;in the way&rsquo;, the object becomes a surface for projections of various spatial categories which go beyond pure determiners of location. The kind that Belgian word/image virtuoso Broodthaers for whom the space only comes into being when it is named and the kind that is most interesting for Dorit Margreiter: the permeable, flexible and mobile pictorial space in which the viewer plays a critical role as part of the image.</p> <p style="text-align: justify;">Margreiter makes her space&ndash;time procedures clear with a series of wall works, exposures with titles such as &lsquo;cin&eacute;ma (Light Drawing)&rsquo;. The cut-outs of the &lsquo;cin&eacute;ma&rsquo; alphabet are arranged on light-sensitive blue paper and exposed to the sun for a few months. The images are &lsquo;finished&rsquo; when the artist stops the yellowing of this quasi photographic process by removing it from the light source. Abstractions reminiscent of L&aacute;szl&oacute; Moholy Nagy&rsquo;s have been created.</p> <p style="text-align: justify;"><br />Along with cross-references to constructivist photo objects, Margreiter occasionally dips into the movie prop box with relish, laying out Western film requisites such as snaffles, reins and spurs. In this way she points out how the time and place of an event or process mutually influence each other.</p> <p style="text-align: justify;"><br />In the main room of the gallery Dorit Margreiter tells a story of production and destruction, of original and reproduction, using the Ennis Brown house in Los Angeles which was built by Frank Lloyd Wright in 1923/24 from prefabricated concrete blocks. The relief ornaments of the &lsquo;textile block system&rsquo; replicate motifs that are to be found in the ruins of the Maya city of Uxmal, Mexico. The house, a legendary film location&mdash;Ridley Scott shot material for &lsquo;Blade Runner&rsquo; there in 1982&mdash;was destroyed by an earthquake and became a ruin. Restoration was not completed on one of the &lsquo;100<br />most endangered sites&rsquo; in the world until 2007.</p> <p style="text-align: justify;">Margreiter&rsquo;s black and white photograph show parts of the ornamental frieze on the facade as they lain there for years, in the rubble. In a stage-like setting she confronts the photograph with a life-size bronze cast of a wall fragment. If one is reminded of Joseph Kosuth&rsquo;s &lsquo;One and Three Chairs&rsquo; from 1965, one of the canonical works of conceptual art that interrogates the various manifestations of a single object, this is because Dorit Margreiter is also concerned with &lsquo;using an area of discourse in order to describe another&rsquo; &ndash; two alternative reproductions, the shift from two to three dimensions using different mediums.</p> <p style="text-align: justify;">Finally, Dorit Margreiter completes her multi-layered exhibition in which various narratives interweave and link spatially with a minimalist room installation that carries the element of process within it &ndash; in front of the widows that open onto Dorotheergasse, tins, cylinders (or rollers) are arranged on a sheet of Yves Klein blue paper. By the end of the presentation the summer sun will have produced a wonderful in situ exposure. (Brigitte Huck)</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Auf dem Felsenvorsprung wendet ein Reiter sein Pferd. Vor den rotgl&uuml;henden Tafelbergen des Monument Valley markiert er einen legend&auml;ren Ort. Die Stelle nimmt einen kanonischen Platz im Bildrepertoire Hollywoods ein. Von hier aus &uuml;berblickt John Wayne in &sbquo;The Searchers&rsquo; (1956) das gro&szlig;artige Panorama auf dem Colorado Plateau, hier platziert John Ford, der &sbquo;brechtischten aller Filmemacher&rsquo; (Straub/Huillet) seine Kamera, und schwenkt &uuml;ber die Mittens und Merrick Butt. Neun Filme hat er im Monument Valley gedreht, der spektakul&auml;re Aussichtspunkt tr&auml;gt seinen Namen, John Ford&rsquo;s Point.</p> <p style="text-align: justify;">Das Grenzgebiet zwischen Utah und Arizona geh&ouml;rt zur Navajo Nation Reservation und Stammesangeh&ouml;rige der zweitgr&ouml;&szlig;ten indianischen Gemeinschaft der USA - in den 1950ern Schauspieler und Komparsen in Fords Western &ndash; jobben heute als Fotomotiv f&uuml;r Touristen.</p> <p style="text-align: justify;">Mit dem weiten, leeren Raum der Pr&auml;rie und einer zum Mythos erhobenen Einstellung er&ouml;ffnet Dorit Margreiter ihre Ausstellung.</p> <p style="text-align: justify;">Der Film im 16 mm Format zeigt Reiter und Pferd in Bewegung, in einer Totale, und im Close Up vor der Landschaft. Das Rattern des analogen Projektors bringt Avantgardefilm Feeling ins Cinemascope des Western Genres.</p> <p style="text-align: justify;">Neue R&auml;ume&rsquo; nennt Margreiter ihre Show. Der Titel mag, nimmt man ihn buchst&auml;blich, die neu renovierte Galerie meinen, k&ouml;nnte dar&uuml;berhinaus jedoch ebenso als k&uuml;hne Aufbruchsmetapher oder szenographischer Code dienen. Mit ihren &ndash; durchgehend - neuen Arbeiten (2015/16) &ndash; Film(Installation), Fotografie, Skulptur und Belichtungen auf Papier - legt Margreiter einen aufregenden Parcours durch die Galerie. Sie inszeniert, reiht, schichtet und verspannt ihr Thema quer &uuml;ber die R&auml;ume. Um die Transferzonen zwischen Alltagswelt und Ausstellungsraum geht es, um die Produktion von Bildern, und um die Folgen, die verschiedene Formate von Produktion und Reproduktion f&uuml;r unsere Wahrnehmung haben.</p> <p style="text-align: justify;">Schon lange hat es keine Einzelausstellung der K&uuml;nstlerin in Wien gegeben. F&uuml;r ihre ersten Auftritt in der Charim Galerie arbeitet Dorit Margreiter &ndash; &uuml;ber den gewohnt souver&auml;nen Umgang mit Architektur, Installation und Display hinaus - mit Verkn&uuml;pfungen, Zusammenh&auml;ngen und den inhaltlichen Bezugsgeflechten einzelner Werke unter- und zueinander.</p> <p style="text-align: justify;">Aufmacher ist &sbquo;Transfer(Monument Valley)&rsquo;, der Film am Beginn der Ausstellung. Ihm steht ein rein digitales Werk aus der Serie 'Experimental Noise' zur Seite. Die Pigmentprints zeigen St&ouml;rfilter, die verwendet werden, um die glatte Welt des digital imaging glaubw&uuml;rdig mit Alter zu versehen, mit Imperfektionen wie Kratzer, Staub oder Chemieschlieren. Es sind Kommentare zur modernen Bildbearbeitung, die unser Fernweh nach Materialit&auml;t, Handwerk und das Analoge ansprechen.</p> <p style="text-align: justify;">Im letzten Ausstellungsraum kehrt &sbquo;Experimental Noise&rsquo; wieder, diesmal im Dialog mit einem frei schwebenden Mobile, das von der Decke h&auml;ngt. Seit 2011 arbeitet Dorit Margreiter an dem Genre der kinetischen Plastik, das allerdings wenig mit den spielerischen Arabesken Alexander Calders zu tun hat. Buchstaben, die an die funktionale und schlichte Klarheit der Bauhaus-Typographen erinnern, ergeben W&ouml;rter.</p> <p style="text-align: justify;">Zun&auml;chst Vornamen von Frauen, als private und berufliche Referenzen, dann, wie im vorliegenden Fall, das Wort &sbquo;cin&eacute;ma&rsquo;. Der semantische Gehalt der in Graut&ouml;nen lackierten Aluminium Schablonen (jeder Buchstabe hat eine Farbe) verschwindet hinter ihrer Reduktion auf ein abstraktes Zeichen. Tief geh&auml;ngt, soda&szlig; es irgendwie &sbquo;im Weg&rsquo; ist, wird das Objekt zur Projektionsfl&auml;che verschiedener r&auml;umlicher Kategorien, die &uuml;ber eine reine Ortsangabe hinausgehen. Die Sorte des belgischen Wort/Bild Virtuosen Marcel Broodthaers&rsquo;, f&uuml;r den der Raum erst entsteht, wenn man ihn benennt, und die Sorte, die Dorit Margreiter vor allem interessiert: der durchl&auml;ssige, bewegliche und mobile Bildraum, in dem der Betrachter als Teil des Bildes eine wichtige Rolle spielt. </p> <p style="text-align: justify;">Mit einer Serie von Wandarbeiten, Belichtungen, die Titel wie &sbquo;cin&eacute;ma (Light Drawing)&rsquo; tragen, macht Margreiter ihr Raum-Zeit Verfahren deutlich. Auf lichtempfindlichem, blauen Buntpapier werden die Schablonen des &sbquo;cin&eacute;ma&rsquo; Alphabets arrangiert und &uuml;ber mehrere Monate hinweg der Sonne ausgesetzt. Die Bilder sind &sbquo;fertig&rsquo;, wenn die K&uuml;nstlerin den quasi fotografischen Vergilbungsprozess durch Lichtentzug stoppt. Abstraktionen sind entstanden, die an Kompositionen von L&aacute;szl&oacute; Moholy Nagy erinnern. Neben den Querverweisen auf konstruktivistische Fotoplastiken greift Margreiter gelegentlich auch einmal vergn&uuml;gt in die Kiste der Movie Props, und legt Western-Filmrequisiten wie Trense, Z&uuml;gel und Sporen aus. So zeigt sie auf, wie sich Zeit und Ort eines Ereignisses bzw. Vorgangs gegenseitig bedingen. Im Hauptraum der Galerie erz&auml;hlt Dorit Margreiter die Geschichte von Produktion und Destruktion, von Original und Reproduktion : sie erz&auml;hlt sie anhand der Geschichte des Ennis Brown Hauses in Los Angeles, das Frank Lloyd Wright 1923/24 aus vorgegossenen Betonbl&ouml;cken errichtet. Die Reliefornamente des &sbquo;textile block system&rsquo; zitieren Motive, wie sie in der Ruinenstadt Uxmal der Maya zu finden sind. Die legend&auml;re Filmlocation (1982 etwa dreht Ridley Scott dort &sbquo;Blade Runner&rsquo;) wurde von einem Erdbeben zerst&ouml;rt und verfiel zur Ruine, erst 2007 war die Restaurierung eines der &sbquo;100 Most Endangered Sites&rsquo; der Welt abgeschlossen.</p> <p style="text-align: justify;">Margreiters Schwarz Wei&szlig; Fotografie zeigt St&uuml;cke von den Ornamentleisten der Fassade, wie sie jahrelang im Schutt lagen. In einem b&uuml;hnenhaften Setting stellt sie der Fotografie den 1:1 Bronzeabgu&szlig; des Mauerfragments gegen&uuml;ber. Denkt man an Joseph Kosuths &sbquo;One and Three Chairs&rsquo;, 1965, einem kanonischen Werk der Konzeptkunst, das die verschiedenen Erscheinungsformen eines Gegenstands hinterfragt, so geht es auch Dorit Margreiter darum, &sbquo;einen Diskursbereich zu verwenden, um einen anderen zu beschreiben&rsquo;. Zwei Varianten des Reproduzierens, die Verschiebung vom Zwei- zum Dreidimensionalen, das Verwenden verschiedener Medien.</p> <p style="text-align: justify;">Schlie&szlig;lich beendet Dorit Margreiter ihre vielschichtige Ausstellung, in der sich unterschiedliche Erz&auml;hlungen verflechten und r&auml;umlich verbinden, mit einer minimalistischen Rauminstallation, die das Element des Prozessualen in sich tr&auml;gt : vor den Fenstern zur Dorotheergasse sind Dosen, Zylinder bzw. Walzen auf einem Blatt des Yves-Klein-blauen Buntpapiers angeordnet. Bis zum Ende der Pr&auml;sentation im Juli wird die Sommersonne eine wunderbare In Situ Belichtung erzeugt haben. (Brigitte Huck) &nbsp;</p> Tue, 21 Jun 2016 17:21:14 +0000 Pilar Albarracin - Centro de Arte Contemporáneo de Málaga - June 18th - September 18th <p style="text-align: justify;"><strong>The Centro de Arte Contempor&aacute;neo of M&aacute;laga is pleased to present this exhibition by Pilar Albarrac&iacute;n. Curated by Fernando Franc&eacute;s, <em>Ritos de fiesta y sangre</em> features a representative selection of the artist&rsquo;s work produced over the last decade and a half. The 10 pieces on display include sculptures, installations, embroideries, photographs and videos. The artist invites spectators to explore different stereotypes of Spanish culture, but from a different perspective. Using irony and references to festivals and folklore, Albarrac&iacute;n examines these typical images that are known all over the world to critique the way in which certain clich&eacute;s persist in the collective imaginary. With its powerful underlying image of decontextualised, highly symbolic elements, her work leaves no spectator indifferent. The artist lives and works in Seville and Madrid.</strong></p> <p style="text-align: justify;">&nbsp;<strong> <br /></strong></p> <p style="text-align: justify;">&ldquo;I reflect my ideas in my work; there&rsquo;s a belief that as an artist you can&rsquo;t get things wrong, but I feel free. A lot of spontaneity has been lost,&rdquo; explains Pilar Albarrac&iacute;n (Seville, 1968) when she describes her work. In <em>Ritos de fiesta y sangre</em>, the artist takes a look back at some of the works she has produced in the last 15 years. Andalusian stereotypes and clich&eacute;s are examined from a different perspective that fluctuates between criticism and irony. Pilar Albarrac&iacute;n&rsquo;s work addresses themes such as social inequalities, female identity and violence. Using elements that are conceptually simple yet have a strong emotional undercurrent, she provokes different sensations in spectators, none of whom can remain indifferent to the situations that confront them in the gallery.</p> <p style="text-align: justify;">As Fernando Franc&eacute;s, director of CAC M&aacute;laga, points out, &ldquo;Pilar Albarrac&iacute;n borrows these stereotypes from the past and reinvents them in the present, but with a warning: a cultural legacy taken to its extreme can have unexpected results. Festivals also contain an element of tragedy, tradition also bears traces of modern existence. Neither one action nor the other is exclusive. It is in the age-old rites that live on today that the capacity to create exists, like acts that are inherited, that are constantly repeated, that form part of the cultural legacy that endures in contemporary societies.&nbsp; [...] In this axiom there is a tension that is resolved conceptually through the image and that plays a predominant role. Meanwhile, the impact of what is projected through it transcends what it represents. The artist selects symbols of popular culture and adopts a specific stance towards them, questioning the authenticity bestowed on them by the passage of time. Suddenly, what was originally the excuse or pretext for defining certain identifying traits crumbles before the spectator&rsquo;s eyes, having been manipulated by the artist. And it does so violently, as if the stage curtain had fallen abruptly.&rdquo;</p> <p style="text-align: justify;">As a multidisciplinary artist, she uses video, photography, installation, performance, sculpture, drawing and embroidery to present her vision of the issues that concern her. Meanwhile, she captures the spectator&rsquo;s attention and provokes different emotions through her use of colour, especially shades of red. In the Sevillian artist&rsquo;s hands, the stereotypes and image of the Andalusian vernacular adopt a different position. Stripped of their festive aesthetic, they become a vehicle for denouncing the unequal distribution of roles in society, on the grounds of gender or for other reasons, as in the case of ethnic minorities. The artist offers a social and cultural critique in which both humour and tragedy in equal parts serve to underscore her denunciation. Throughout her career, she has skilfully reinterpreted the codes that form the basis of her work, invariably tinged by her ironic vision of reality. Pilar Albarrac&iacute;n exploits the power of traditional images, transforming their elements to turn them into contemporary symbols, as we see in the installation<em> El Toro</em> (2015).</p> <p style="text-align: justify;">In <em>Asner&iacute;a</em> (2010), it is the animal&rsquo;s underlying symbolism that provides the context for the installation. Various attributes are associated with donkeys, but they have always been identified as clumsy and lacking in intelligence. The artist recreates a scene in which a donkey, perched on a heap of books, is engrossed in the act of reading. Thus, Pilar Albarrac&iacute;n ridicules the excessive vanity found in certain art circles by likening the donkey to the art expert. Animals are present in another of her installations (<em>Pavos Reales</em>, 2010) where their purpose is to emphasise changing roles in contemporary society. Using birds&mdash;in this case, peafowl&mdash;the artist visualises the reversal of the male and female genders by stripping the peacock of his colourful feathers, his most identifying trait, and placing them on the peahen. Lastly, the animal world and the relationship that is established between humankind and nature, but from the subjugation of the beast to human action, is exposed in the documentary <em>Padre Padrone</em> (2010).</p> <p style="text-align: justify;">Embroidery as an almost exclusively female artistic practice is present in several of Pilar Albarrac&iacute;n&rsquo;s works. In the series <em>Para&iacute;sos Artificiales</em> (2001) and <em>Guapa</em> (2015), this technique is used deliberately to bestow greater importance on an artistic skill traditionally associated with the female universe but which is denied&mdash;unfairly, in the artist&rsquo;s opinion&mdash;the status of a fine art.</p> <p style="text-align: justify;">The irony she employs in her works is occasionally combined with anger, another of the emotions that is portrayed in her work through allusions to elements of times past that live on today. In juxtaposing these contradictory feelings, the artist levels criticism at popular culture and the censorship that still persists in certain circles (<em>Prohibido el cante</em>, 2001-2013).</p> <p style="text-align: justify;">Pilar Albarrac&iacute;n (Seville, 1968) graduated with a degree in Fine Arts from the University of Seville in 1993. One of the most controversial contemporary artists on the national scene, she has attracted great international acclaim. She first exhibited her art in 1997, in Madrid and Seville, the cities where she still lives and works today. Since then, her work has been featured in major group and individual exhibitions at galleries and museums around the world, including the Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris, the Hamburger Bahnhof in Berlin, PSI at the MoMA in New York, the Modern Sanat M&uuml;zesi in Istanbul, the National Centre for Contemporary Arts in Moscow, and the contemporary art museum Kiasma in Helsinki. She has also participated in several biennials, such as those of Venice, Busan (Korea), Moscow and Seville.</p> <hr /> <p style="text-align: justify;"><strong>El Centro de Arte Contempor&aacute;neo de M&aacute;laga </strong><strong>presenta la exposici&oacute;n de Pilar Albarrac&iacute;n. <em>Ritos de fiesta y sangre</em>, comisariada por Fernando Franc&eacute;s, consiste en una selecci&oacute;n representativa de su trabajo realizado durante los &uacute;ltimos 15 a&ntilde;os. En la decena de obras que forman parte de la exposici&oacute;n se podr&aacute;n ver esculturas, instalaciones, bordados, fotograf&iacute;as y v&iacute;deos. La artista invita al espectador a que se adentre en los estereotipos de la cultura espa&ntilde;ola, pero desde una perspectiva diferente. Con iron&iacute;a y haciendo referencia a la fiesta y el folclore, Albarrac&iacute;n interpreta t&oacute;picos mundialmente conocidos para hacer una cr&iacute;tica sobre c&oacute;mo ciertos clich&eacute;s perviven en el imaginario colectivo. Su trabajo no deja indiferente al espectador, ya que se encuentra ante situaciones con un poder de la imagen latente y en el que subyacen elementos descontextualizados con una fuerte carga simb&oacute;lica. Actualmente, vive y trabaja entre Sevilla y Madrid.</strong></p> <p>&nbsp;</p> <p style="text-align: justify;">&ldquo;Mis ideas las reflejo en mi obra; existe la creencia de que como artista no te puedes equivocar, pero yo me siento libre. La espontaneidad se ha perdido mucho&rdquo;, aclara Pilar Albarrac&iacute;n (Sevilla, 1968) cuando explica su trabajo. En <em>Ritos de fiesta y sangre</em>, la artista lleva a cabo un recorrido por sus trabajos realizados en los &uacute;ltimos 15 a&ntilde;os. Los estereotipos y clich&eacute;s andaluces son interpretados desde una perspectiva distinta, que se mueve entre la cr&iacute;tica y la iron&iacute;a. Pilar Albarrac&iacute;n aborda en su obra temas como las desigualdades sociales, la identidad femenina o la violencia. Recurre a elementos conceptualmente sencillos, pero con una fuerte carga emocional, provocando diferentes sensaciones en el espectador, que no permanece indiferente ante lo que contempla en la sala expositiva.</p> <p style="text-align: justify;">Para Fernando Franc&eacute;s, director del CAC M&aacute;laga: &ldquo;Pilar Albarrac&iacute;n recoge estos estereotipos del pasado y los reinterpreta en el presente, pero con una advertencia: una herencia cultural llevada al l&iacute;mite encuentra desenlaces inesperados. En la fiesta tambi&eacute;n hay drama, en lo tradicional tambi&eacute;n se encuentra vestigios modernos de existencia. Ni una acci&oacute;n ni la otra son excluyentes. En los ritos mantenidos durante siglos de existencia reside la capacidad de crear, como actos que se heredan, que se repiten continuamente, que forman parte de la herencia cultural que perviven en las sociedades actuales. &nbsp;[...] En este axioma existe una tensi&oacute;n que se resuelve de forma conceptual, a trav&eacute;s de la imagen, que tiene un papel preponderante y lo que se proyecta a trav&eacute;s de ella tiene un alcance&nbsp; m&aacute;s all&aacute; de lo que representa. La artista escoge entre los s&iacute;mbolos de la cultura popular y se posiciona ante ellos, cuestionando la autenticidad que le otorga el paso del tiempo. De repente, aquello que ha sido excusa o pretexto para definir unas se&ntilde;as de identidad se desmorona ante los ojos del espectador, una vez que ha sido manipulado por la artista. Y, adem&aacute;s, lo hace de una manera violenta, como si bajara el tel&oacute;n del teatro de golpe&rdquo;.</p> <p style="text-align: justify;">La artista multidisciplinar trabaja con los v&iacute;deos, fotograf&iacute;as, instalaciones, <em>performances</em>, esculturas, dibujos y bordados para exponer su visi&oacute;n sobre asuntos que le preocupan. El uso del color, sobre todo la gama de los rojos, persigue captar la atenci&oacute;n del espectador de la sala y provocar diferentes emociones. En la artista sevillana, los estereotipos y la imagen del vern&aacute;culo andaluz adoptan una posici&oacute;n diferente a la festiva, para convertirse en una forma de denunciar el reparto desigual de roles en la sociedad, bien sea por motivos de g&eacute;nero o por otras razones, como las minor&iacute;as &eacute;tnicas. La artista ejerce una cr&iacute;tica social y cultural en las que se sirve del humor y la tragedia a partes iguales para hacer efectiva su denuncia. A lo largo de su trayectoria ha sabido reinterpretar los diferentes c&oacute;digos a partir de los cuales realiza su trabajo, siempre con una visi&oacute;n sarc&aacute;stica de la realidad. Pilar Albarrac&iacute;n recurre al poder de las im&aacute;genes tradicionales, transformando elementos que la convierten en s&iacute;mbolos actuales, como en la instalaci&oacute;n <em>El Toro</em> (2015).</p> <p style="text-align: justify;">En <em>Asner&iacute;as</em> (2010) la artista emplea la carga simb&oacute;lica del animal para esta instalaci&oacute;n. Al asno se le atribuyen diferentes caracter&iacute;sticas, aunque siempre se le ha identificado con un animal torpe y de escasas cualidades intelectuales. La artista recrea una escena en la que un asno, sobre una monta&ntilde;a de libros, lee atentamente un ejemplar. De esta manera, Pilar Albarrac&iacute;n ridiculiza el exceso de vanidad que son caracter&iacute;sticos de ciertos ambientes art&iacute;sticos, equiparando al burro con el experto en arte. En otra de sus instalaciones, el animal tambi&eacute;n es empleado para enfatizar en el cambio de roles de la sociedad actual (<em>Pavos Reales</em>, 2010). A trav&eacute;s de un ave, en este caso, el pavo real, la artista visualiza la inversi&oacute;n de los g&eacute;neros masculinos y femeninos, despojando al macho de las vistosas plumas, el elemento que m&aacute;s lo identifica, y vistiendo con ellas a la hembra. Por &uacute;ltimo, el mundo animal y la relaci&oacute;n que se establece entre el hombre y la naturaleza, pero desde la sumisi&oacute;n de la bestia a la acci&oacute;n humana, se visualiza en el documental <em>Padre Padrone</em> (2010).</p> <p style="text-align: justify;">El bordado como pr&aacute;ctica art&iacute;stica casi en exclusiva femenina est&aacute; presente en varios trabajos de Pilar Albarrac&iacute;n. En la serie <em>Para&iacute;sos Artificiales</em> (2001) o en <em>Guapa</em> (2015) recurre a esta t&eacute;cnica con la intenci&oacute;n de otorgarle una mayor importancia a una t&eacute;cnica art&iacute;stica ancestral ligada al universo femenino, pero, a juicio de la artista, excluida injustamente de las Bellas Artes.</p> <p style="text-align: justify;">La iron&iacute;a que emplea en sus trabajos a veces se contrapone a la rabia, otras de las emociones que queda retratada en su obra aludiendo a tiempos pasados, pero con continuidad en el presente. Al recurrir a estos sentimientos encontrados, la artista hace una cr&iacute;tica de la cultura popular y la censura, que a&uacute;n pervive en ciertos ambientes (<em>Prohibido el cante</em>, 2001-2013).</p> <p style="text-align: justify;">Pilar Albarrac&iacute;n (Sevilla, 1968) obtuvo en 1993 la Licenciatura en Bellas Artes por la Universidad de Sevilla. Es una de las artistas contempor&aacute;neas m&aacute;s controvertidas del panorama nacional y con un gran reconocimiento internacional. En 1997 expuso por primera vez en Madrid y Sevilla, ciudades en las que actualmente vive y trabaja. A partir de entonces, su trabajo se ha podido ver en importantes exposiciones, tanto colectivas como individuales, en galer&iacute;as y museos de todo el mundo, como el Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris; el Hamburger Bahnhof de Berl&iacute;n; el PS1 del MoMA en Nueva York; el Istambul Modern Sanat M&uuml;zesi de Estambul; el National Center for Contemporary Arts de Mosc&uacute; o el Museo Kiasma de Helsinki. Tambi&eacute;n ha participado en las bienales de Venecia, Busan (Corea), Mosc&uacute;, Sevilla, entre otras. </p> Tue, 21 Jun 2016 17:13:21 +0000 Miss Van - Centro de Arte Contemporáneo de Málaga - June 21st - September 18th <p style="text-align: justify;"><strong>The Centro de Arte Contempor&aacute;neo of M&aacute;laga is pleased to host Miss Van&rsquo;s first show at a museum. For <em>The Wind in My Hair</em>, the title of the exhibition curated by Fernando Franc&eacute;s, the Barcelona-based French artist has selected 39 paintings made in the last three years, some of which are now being shown for the first time. Recently, Miss Van has alternated between outdoor mural interventions in her hometown of Toulouse, a practice she began two decades ago, and canvases painted in the studio, but she has always maintained a highly characteristic style: her paintings depict women whose faces are covered by masks that represent different things, often wild animals. In some cases her characters pose with suggestive sensuality, but in others their gestures are quite innocent and even childish. Miss Van currently lives and works in Barcelona. <br /></strong></p> <p style="text-align: justify;">Speaking of her working process in the studio, Miss Van (b. Toulouse, 1973) explains, &ldquo;I find inspiration in everything around me and life in general: things I see on the internet, in books or other documents; I print off the images I like and go over them time after time, even though ultimately I don&rsquo;t rely on them to make everything more original.&rdquo; At her first museum exhibition, this French artist based on Barcelona will present a selection of paintings produced over the last three years. <em>The Wind in My Hair</em> comprises works in which we find the characteristic female figures that populate Miss Van&rsquo;s artistic universe, marked by deliberate ambiguity (sensual and sophisticated yet simultaneously wild and innocent). Two decades ago, the artist began painting the walls and facades of her hometown. Today she combines her work on canvas with mural interventions across the globe.</p> <p style="text-align: justify;">For Fernando Franc&eacute;s, director of the CAC M&aacute;laga, &ldquo;Miss Van&rsquo;s women are energetically sensual and feminine, apparently docile but with a wild, defiant gaze. Riddled with ambiguity and confusion, her characters straddle the fence between reality and fantasy. Her art is based on emotion, on sentiment. In fact, Miss Van feels that her &lsquo;personality is the only thing I can contribute to my work; the rest, the technique, is something that can be learned or copied&rsquo;. In this respect, her iconographic universe is littered with beings that are half woman and half animal: female cats that manifest an innate desire bordering on the subconscious, sensuality and eroticism rolled into one. The cat as a symbolic animal also represents the mysterious side of woman, her malice and independence, her feline facet. The choice of an animal with claws, a beast that scratches, is far from trivial and anything but coincidental. There is a desire to represent stereotypical and real aspects of the feminine role. But at the same time the cat is an animal which, though kept as a household pet, has freedom and independence; a cat is autonomous and can never be fully domesticated. The cat represents the untameable domestic animal.&rdquo;</p> <p style="text-align: justify;">Her women have evolved over time, concealing more of their faces and physiognomies. Almond-shaped eyes, long lashes, feline gazes and tiny mouths <a>[p1]</a> are their most prominent identifying features. Some of her figures are overtly sensual, wearing masks that conceal their faces yet provocatively reveal the rest of their bodies (<em>I Feel Safer Here</em>, 2016); others, however, have faces and torsos covered with a variety of ornamental elements (<em>Sepia</em>, 2015) that heighten the sense of mystery. She uses feathers, hats, masks and sequins&mdash;staples of feminine imagery&mdash;to emphasise the principal attributes of women. Miss Van takes these elements and reinterprets them with an aesthetic reminiscent of the classic ideal of beauty in the early 20th century, when women changed the way they dressed as a symbol of freedom and began revealing more of their bodies.</p> <p style="text-align: justify;">In her works, the artist depicts a world close to the land of dreams and desires. The pastel palette she uses creates an atmosphere verging on the oneiric, but the dark mask is an incongruous element that disturbs the peace of Miss Van&rsquo;s idyllic scenes (<em>Mujeres P&aacute;jaros</em><a>[p2]</a> , 2016). Over time, she has gradually covered up the faces of her figures, and in some poses she stresses their sensuality, but in other works their attitudes are quite the contrary, reflecting a more childish and naive behaviour. She strives to emphasise the sophistication of her characters while also underscoring their raw wildness, drawing spectators into a double game when they observe her work in the gallery.</p> <p style="text-align: justify;">Miss Van accentuates the most typical feminine features and, as a woman, she feels she must preserve the more emotional, authentic side, although she also likes to show several facets of the same figure, giving each a different look and feel. &ldquo;I try to surprise myself in each of my works and start something without knowing how it&rsquo;s going to end&rdquo;, she clarifies.</p> <p style="text-align: justify;">Vanessa Alice Bensimon, known to the world as Miss Van (b. Toulouse, France, 1973), currently lives and works in Barcelona, although her art interventions have taken her to cities across the globe. Her most important solo shows of recent years include <em>Glamorous Darkness</em> at StolenSpace<a>[p3]</a> , London (2014); <em>Room For Cream</em> at Soze Gallery, Los Angeles (2013); <em>Wild At Heart at </em>Dorothy Circus Gallery, Rome (2012); <em>Wild At Heart</em> at Copro Gallery, Santa Monica (2012); <em>Muses</em> at Inoperable, Vienna; <em>Bailarinas</em> at Jonathan LeVine Gallery, New York; <em>Twinkles</em> at Galerie Magda Danysz, Paris; <em>Twinkles</em> at 18 Gallery, Shanghai; <em>Cachetes Colorados</em> at Upper Playground, Mexico City; <em>She-Wolves</em> at Merry Karnowsky Gallery, Los Angeles (2010); <em>Still a Little Magic at</em> Upper Playground, San Francisco; and <em>Canto Negro y Brujer&iacute;as</em> <a>[p4]</a> at Merry Karnowsky Gallery, Berlin (2008). In recent years, Miss Van has participated in a number of group exhibitions, most notably <em>Winter Group Show</em> at Vertical Gallery, Chicago; <em>XX: A Moment in Time</em> at Saatchi Gallery, London (2016); <em>Cultivate</em> at Soze Gallery, Los Angeles; <em>Coney Art Walls</em> on Coney Island, New York; <em>Freedom</em> in Berlin (2015); <em>Egr&eacute;gore</em> at Yves Laroche Gallery, Montreal; <em>Le M.U.R</em> in Paris (2014); and <em>Love &amp; Hate at</em> StolenSpace, London.</p> <hr /> <p style="text-align: justify;"><strong>El Centro de Arte Contempor&aacute;neo de M&aacute;laga </strong><strong>presenta la primera exposici&oacute;n en un museo de Miss Van. En<em> El viento en mi pelo</em>, nombre de la exposici&oacute;n comisariada por Fernando Franc&eacute;s, la artista francesa afincada en Barcelona selecciona 39 pinturas realizadas durante los &uacute;ltimos tres a&ntilde;os, algunos de estos trabajos son in&eacute;ditos. Las intervenciones en los muros y paredes de Toulouse, ciudad natal de Miss Van, hace dos d&eacute;cadas, las ha simultaneado en los &uacute;ltimos a&ntilde;os con el trabajo en el estudio y sobre un lienzo, pero siempre ha mantenido un estilo muy caracter&iacute;stico: sus pinturas muestran mujeres con el rostro cubierto por una m&aacute;scara con representaciones diferentes, como pueden ser animales salvajes. Sus personajes posan con actitudes en algunos casos sugerentes, sensuales, y en otras ocasiones con gestos contrarios, incluso infantiles. &nbsp;En la actualidad, Miss Van reside y trabaja en Barcelona.</strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Me inspira todo lo que me rodea y la vida en general: lo que veo en internet, en libros u otros documentos; las im&aacute;genes que me gustan las imprimo y las repaso una y otra vez, aunque luego no me apoye en ellas para que todo sea m&aacute;s original&rdquo;, explica Miss Van (Toulouse, 1973) sobre el proceso de trabajo que lleva a cabo en el estudio. La artista francesa afincada en Barcelona expondr&aacute; por primera vez en un museo una selecci&oacute;n de pinturas realizadas en los &uacute;ltimos tres a&ntilde;os. <em>El viento en mi pelo</em> se compone de &nbsp;obras en las que se pueden ver a las caracter&iacute;sticas figuras femeninas que forman parte del universo art&iacute;stico de Miss Van, en el que mantiene la ambig&uuml;edad en sus personajes (sensuales y sofisticados, a la vez que salvajes e inocentes). Hace dos d&eacute;cadas, la artista comenz&oacute; a pintar los muros y paredes en su ciudad natal. En la actualidad, combina el trabajo en el lienzo con las intervenciones en muros y paredes de todo el mundo.</p> <p style="text-align: justify;">Para Fernando Franc&eacute;s, director del CAC M&aacute;laga: &ldquo;Miss Van concibe a la mujer en&eacute;rgicamente sensual y femenina, con una docilidad aparente, pero con mirada desafiante y fiera. Repleta de ambig&uuml;edades y confusiones, sus personajes pertenecen al mundo real y a la fantas&iacute;a. Su trabajo art&iacute;stico se basa en la emoci&oacute;n, en el sentimiento. De hecho Miss Van entiende que su &ldquo;personalidad es lo &uacute;nico que puedo aportar a mi trabajo, lo dem&aacute;s, la t&eacute;cnica, es algo que se aprende o se puede copiar&rdquo;. En ese sentido, sus iconograf&iacute;as representan seres mitad mujer mitad animal. Gatas que evidencian un deseo innato pr&oacute;ximo al inconsciente. Sensualidad y erotismo a un mismo tiempo. La gata como animal simb&oacute;lico representa tambi&eacute;n el lado misterioso de la mujer, su maldad, su independencia, su lado felino. Elegir un animal con u&ntilde;as, que ara&ntilde;a, no es un asunto balad&iacute;, no es por casualidad. Hay un deseo de representar aspectos t&oacute;picos y reales del rol femenino. Pero al tiempo la gata es un animal que, aunque dom&eacute;stico, tiene su propia libertad e independencia, es aut&oacute;nomo y nunca se llega a domesticar del todo. La gata representa al animal dom&eacute;stico indomable&rdquo;.</p> <p style="text-align: justify;">Las representaciones de sus mujeres han evolucionado con el paso del tiempo, ocultando m&aacute;s partes de su cara y fisionom&iacute;a. Los ojos almendrados, largas pesta&ntilde;as, miradas felinas y pocas diminutas son sus se&ntilde;as de identidad. Algunas de sus figuras tienen un aire sensual, al &nbsp;cubrir el rostro con las mascaras, pero al mostrar de forma sugerente el resto del cuerpo (<em>I Feel Safer Here</em>, 2016); otras, sin embargo, est&aacute;n cubiertas por una serie de elementos ornamentales, desde el rostro hasta el torso (<em>Sepia</em>, 2015), potenciando el lado misterioso. Las plumas, sombreros, m&aacute;scaras o lentejuelas forman parte del ideario femenino para resaltar precisamente los principales atributos de la mujer. Miss Van recoge estos elementos y los reinterpreta con una est&eacute;tica cercana a la belleza cl&aacute;sica de principios del siglo pasado, cuando la mujer cambi&oacute; su indumentaria como s&iacute;mbolo de libertad y empez&oacute; a mostrar m&aacute;s partes del cuerpo.</p> <p style="text-align: justify;">La artista expresa en sus trabajos un mundo cercano al de los sue&ntilde;os y los deseos. La gama de colores pasteles que utiliza representa una atm&oacute;sfera cercana al mundo on&iacute;rico, pero a la que se contrapone la m&aacute;scara oscura, como un elemento perturbador dentro de la escena id&iacute;lica representada por Miss Van (<em>Mujeres P&aacute;jaros</em>, 2016). A lo largo del tiempo, ha ido cubriendo los rostros de sus figuras y en algunas poses juega con la sensualidad, pero tambi&eacute;n hay otras obras con actitudes contrarias, reflejando un comportamiento m&aacute;s infantil e inocente. En sus personajes busca potenciar el lado m&aacute;s sofisticado, pero tambi&eacute;n el m&aacute;s salvaje, proponiendo un doble juego al espectador que ve su trabajo en sala.</p> <p style="text-align: justify;">Miss Van potencia las caracter&iacute;sticas femeninas, y como mujer, siente que tiene que mantener intacto el lado m&aacute;s emotivo y aut&eacute;ntico, aunque tambi&eacute;n le gusta ense&ntilde;ar varias caras de las mismas figuras, conformando en cada una de ellas una est&eacute;tica diferente.&nbsp; &ldquo;Intento sorprenderme en cada uno de mis trabajos y empezar algo sin saber c&oacute;mo va a acabar&rdquo;, aclara.</p> <p style="text-align: justify;">Vanessa Alice Bensimon es conocida mundialmente como Miss Van (Toulouse, Francia, 1973) reside y trabaja actualmente en Barcelona, aunque sus intervenciones art&iacute;sticas la han llevado por ciudades de todo el mundo. &nbsp;Entre sus exposiciones individuales realizadas en los &uacute;ltimos a&ntilde;os destacan <em>Glamorous Darkness</em> en StolenSpace Gallery de Londres (2014); <em>Room For Cream</em> en Soze Gallery de Los &Aacute;ngeles (2013); &nbsp;<em>Wild At Heart en </em>Dorothy Circus Gallery de Roma (2012); <em>Wild At Heart</em> en Copro Gallery de Santa M&oacute;nica (2012); <em>Muses</em> en la galer&iacute;a Inoperable de Vienna; <em>Bailarinas</em> en Jonathan LeVine Gallery de Nueva York; <em>Twinkles</em> en Galerie Magda Danysz de Paris; <em>Twinkles</em> en 18 Gallery, Shanghai; <em>Cachetes Colorados</em> en&nbsp; UpperPlayground de M&eacute;xico DF; <em>She-Wolves</em> en Merry Karnowsky Gallery de Los &Aacute;ngeles (2010); &nbsp;<em>Still a little Magic en</em> Upper Playground de San Francisco y <em>Brujer&iacute;as</em> en Merry Karnowsky Gallery de Berl&iacute;n (2008), entre otras. Recientemente y en los &uacute;ltimos a&ntilde;os, Miss Van ha participado en las colectivas &nbsp;<em>Winter Group Show</em> en la Vertical Gallery de Chicago; <em>XX : A Moment In Time</em> en Saatchi Gallery de Londres (2016); <em>Cultivate</em> en Soze Gallery de Los &Aacute;ngeles; <em>Coney Art Walls</em> en Coney Island en Nueva York; <em>Freedom</em> en Berl&iacute;n (2015); <em>Egr&eacute;gore</em> en Yves Laroche Gallery de Montreal; <em>Le M.U.R</em> en Paris (2014) y <em>Love &amp; Hate en </em> StolenSpace de Londres, entre otras.</p> Tue, 21 Jun 2016 17:12:50 +0000 Group Show - Baton Rouge Gallery - July 3rd - July 28th <p style="text-align: justify;">"50/50" to celebrate the first five decades of art at Baton Rouge Gallery</p> <p style="text-align: justify;">This year, Baton Rouge Gallery &ndash; center for contemporary art (&ldquo;BRG&rdquo;) is proudly celebrating 50 years of art exhibitions and cultural programming in service of the residents and visitors of Louisiana&rsquo;s capital region. In recognition of the artists who have added so much to the area by sharing their works with visitors at BRG, the gallery will host a special retrospective exhibition titled &ldquo;50/50&rdquo; from July 3 &ndash; 28, 2016. &ldquo;50/50&rdquo; features fifty works from the gallery&rsquo;s founding artist members, artists of note over the past 50 years and current artist members.&nbsp;</p> <p class="paragraph" style="text-align: justify;">An anniversary celebration and opening reception will be held on Wednesday, July 6 from 7 &ndash; 10 p.m. This evening will be a chance for local art fans to relive memories, celebrate the artists who have left a lasting impression on our community and BRG&rsquo;s evolution from a small 12-artist cooperative gallery to a dynamic contemporary arts center with over 55 artist members. The event will include live music from The Michael Foster Project, special guests, a video presentation and more.&nbsp;</p> <p class="paragraph" style="text-align: justify;">Edward Pramuk, one of the gallery&rsquo;s founding artist members explains, &ldquo;When we first got this thing started, we had no better than a 50/50 shot at it working.&rdquo; Back in the mid-1960s, the landscape of art in Baton Rouge was dramatically different than it is today. Over the past five decades, the city has progressed and embraced the arts more than might have been imagined by the artists who opened the gallery.&nbsp;</p> <p class="paragraph" style="text-align: justify;">Over the past 50 years, the gallery has called a number of venues home, including locations on Convention Street, Fourth Street, and for a brief time, even Kornmeyer&rsquo;s Furniture Store on Florida Boulevard. However in 1984, the gallery found a lasting home within the community, when it reached a cooperative endeavor agreement with BREC (the recreation and parks commission for East Baton Rouge Parish), resulting in a 32-year public-private partnership and a prime location in BREC&rsquo;s City Park.&nbsp;</p> <p class="paragraph" style="text-align: justify;">BRG is free and open to the public Tuesday &ndash; Sunday, 12 &ndash; 6 p.m.&nbsp;</p> <p class="paragraph" style="text-align: justify;">&ldquo;50/50&rdquo; will represent a diverse and multimedia look at local art over the past 50 years with paintings, prints, photography, sculpture, stained glass, ceramics, fiber art and more.&nbsp;</p> <p class="paragraph" style="text-align: justify;">The artists slated to be represented in this exhibition include (listed in alphabetical order): Jamie Baldridge, Charles Barbier, Judi Betts, Anne Boudreau, Adalie Brent, James Burke, Mary Ann Caffery, Samuel J. Corso, Michael Crespo, Timothy Cundiff, Edgar Dayries, Paul Dean, Paul A. Dufour, Caroline Durieux, Mary Lee Eggart, Malaika Favorite, Rosemary Goodell, John Goodheart, Frankie Gould, Russell Guirl, Frank Hayden, Randell Henry, Timothy Hewes, David Horton, Margaret Humphris, Kathryn Hunter, Ross Jahnke, Amy James, Jim Jeansonne, Libby Johnson, Henrietta Joseph, Kelli Scott Kelley, Al Lavergne, Haejung Lee, Kathleen Lemoine, William Lewis, A.J. Meek, Matt Morris, Fred Packard, Jacqueline Dee Parker, Edward Pramuk, Kevin Rhodes, Janice Sachse, Steve Schmidt, Don Thornton, Van Wade-Day, Michaelene Walsh, Robert Warrens, Robert Wiggs and Joseph Yoder.</p> Tue, 21 Jun 2016 17:03:38 +0000 April Hammock - Baton Rouge Gallery - June 1st - June 29th <p style="text-align: justify;">With her latest exhibition, Mystic Shift, April Hammock looks at the impact one&rsquo;s environment can have on the mind, as well as the impact one&rsquo;s mind might have on their environment. Using fragmented, cloaked, mutated figures &ndash; along with anthropomorphic imagery &ndash; she plays with interlocking spaces and forms, hinting at the interchangeability of time and space. In the past, Hammock was greatly influenced by prominent abstract artists (De Kooning, Kandinsky, etc.), but more recently she has turned a more critical eye towards their psychological connections to color and space.&nbsp;</p> <p style="text-align: justify;">An artist member at BRG since 2001, Hammock received her Masters of Fine Arts in Painting and Drawing from Louisiana State University. Her work is often influenced by both metaphysics and a perceived ambiguity between exterior and interior spaces. She has exhibited work in national and local galleries from New York to California, as well as throughout her home state of Louisiana. Hammock has taught art at Louisiana State University, University of Louisiana at Lafayette and Southeastern Louisiana University. She currently is an instructor for Talented Visual Arts in the East Baton Rouge Gifted and Talented Program at Baton Rouge Magnet High School.</p> Tue, 21 Jun 2016 17:01:15 +0000 Michael w. Howes - Baton Rouge Gallery - June 1st - June 29th <p style="text-align: justify;">With this exhibition, BRG artist member Michael w. Howes continues to explore the mythical world he has created in response to the beauty he finds in the Louisiana landscape. Beings known as &ldquo;rugas,&rdquo; irds&rdquo; and more represent the frogs, birds and alligators found in an area of Louisiana special to Howes: Lake Boeuf (roughly 50 miles west of New Orleans). His sculptures consist of both fabricated metals, hand-carved wood, string and various other materials.&nbsp;</p> <p style="text-align: justify;">A BRG Artist Member since 1995, Howes taught sculpture at Nicholls State University in Thibodaux, Louisiana before retiring in 2008. Howes&rsquo; work has participated in juried and invitational shows throughout the U.S., in addition to international exhibitions in New York and New Jersey, London and Florence, Italy. Howes has completed more than eighteen commissions for private residences and public settings. In collaboration with other sculptors and designers, he has also created public art works in the cities of Covington, Franklin, and Monroe, Louisiana.</p> Tue, 21 Jun 2016 17:00:59 +0000 Malaika Favorite - Baton Rouge Gallery - June 1st - June 29th <p style="text-align: justify;">A popular artist during her time as a BRG artist member in the 1980s, Malaika Favorite makes her return with Seven Ways of Seeing, her first exhibition since rejoining BRG last Fall. Within the works featured, Favorite offers viewers an alternative way of appreciating everyday possessions. For her, every object, subject and action offers multiple symbolic connotations. By asking herself what the conceivable reinterpretations of a specific thing might be, the resulting invention might offer multiple visual stories that inspire deeper insight into what possessions say about our culture and values.&nbsp;</p> <p style="text-align: justify;">Favorite received her MFA in painting and drawing from Lousiana State University. After working for several years as a university-level instructor, she left academics in 1995 to focus on her art making. Today, she works in combining canvas, wood, metal and other media with an aim of creating an unexpected surprise within her work. In recent years, Favorite&rsquo;s work has been exhibited at the Alexandria Museum of Art (Alexandria, LA), The Museum of Contemporary Art of Georgia and The McKenna Museum of Art (New Orleans, LA).</p> Tue, 21 Jun 2016 17:00:43 +0000 Judi Betts - Baton Rouge Gallery - June 1st - June 29th <p style="text-align: justify;">With her latest exhibition<em>, Passionate about Palms</em>, Judi Betts takes gallery visitors to some of her favorite paradises by recreating tropical landscapes with her signature &ldquo;creative realism&rdquo; watercolor style. A sought after workshop instructor, she has travelled to all corners of the globe to share her expertise with others and has gained an appreciation for the shapes and sizes of tropical foliage in the process.&nbsp;</p> <p style="text-align: justify;">&ldquo;For me, [palm trees] are like fireworks,&rdquo; said Betts. &ldquo;I like the symemetry and irregularity in shapes. Also, I&rsquo;m fascinated by the spaces in between.&rdquo;</p> <p style="text-align: justify;">A BRG artist member since 1969, Betts is one of America&rsquo;s most decorated watercolor artists. In 2012 she was recognized by the Watercolor USA Honor Society with their Lifetime Achievement Award, she&rsquo;s received the Louisiana Governor&rsquo;s Award and has presented more than 425 workshops across the world including in Norway, Puerto Rico, Bali and Canada. Her work can also be found in the permanent collections of the New Orleans Museum of Art and the Springfield (MO) Art Museum.</p> Tue, 21 Jun 2016 16:59:00 +0000 Group Show - AZKM Muenster - June 11th - September 25th <p style="text-align: justify;"><strong><strong>Mit David Altmejd (US), Johanna K. Becker (D), Steven Claydon (GB), Bj&ouml;rn Dahlem (D), Koenraad Dedobbeleer (B), Laurent Fi&eacute;vet (F), Hedwig Houben (NL/B), Val&eacute;rie Mannaerts (B), Matthew Monahan (USA), Tobias Rehberger (D)</strong></strong></p> <p style="text-align: justify;"><strong>Er&ouml;ffnung: Freitag, 10. Juni, 19.30 Uhr <br /> Einf&uuml;hrung: Prof. Stefan Heidenreich, Kunstakademie D&uuml;sseldorf<br /> Anschlie&szlig;end Imbiss auf Einladung der Kunsthalle M&uuml;nster</strong></p> <p style="text-align: justify;">Internationalen Tendenzen der Skulptur in der Gegenwartskunst thematisiert die Ausstellung "Solid Liquids", die vom 11. Juni bis 25. September in der Kunsthalle M&uuml;nster gezeigt wird. Die Ausstellung wurde von Dr. Gail B. Kirkpatrick, Leiterin der Kunsthalle M&uuml;nster und Marcus L&uuml;tkemeyer als Ko-Kurator konzipiert und wird von Kunststiftung NRW und vom Ministerium f&uuml;r Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen gef&ouml;rdert. Gezeigt werden Skulpturen und Installationen internationaler K&uuml;nstlerInnen, darunter David Altmejd (US), Johanna K. Becker (D), Steven Claydon (GB), Bj&ouml;rn Dahlem (D), Koenraad Dedobbeleer (B), Laurent Fi&eacute;vet (F), Hedwig Houben (NL/B), Val&eacute;rie Mannaerts (B), Matthew Monahan (USA), Tobias Rehberger (D).</p> <p style="text-align: justify;"><strong>Solid Liquids &ndash; Das Ausstellungskonzept:</strong></p> <p style="text-align: justify;">Fest und doch fl&uuml;ssig, dieses Gegensatzpaar bildet die Klammer einer Ausstellung zur Skulptur in der Gegenwartskunst, die aktuelle Tendenzen und j&uuml;ngste Beobachtung zum k&uuml;nstlerischen Umgang mit dem Material pr&auml;zisiert und in Zusammenschau bringt: <em>Einerseits</em>, so f&uuml;hrt das Ausstellungskonzept aus, ist innerhalb skulpturaler Produktionen der Gegenwart zu auff&auml;llig, dass vertraute k&uuml;nstlerische Praktiken der 1960er bis 1990er Jahre neu angeeignet und vermengt werden: Readymade, Appropriation, Konzept, Performance und Partizipation sind mit unterschiedlichsten Erz&auml;hlungen angef&uuml;llt und dienen der Inszenierung subjektiver Deutungsmodelle zu spezifischen Ph&auml;nomenen unserer Zeit. (Oft sind solche Arbeiten materialarm, kaum k&ouml;rperhaft und erscheinen daher fl&uuml;chtig, wodurch sie aber umso suggestiver wirken.) <em>Andererseits</em> ist eine neue Faszination f&uuml;r die &auml;sthetischen Potenziale von Material, f&uuml;r dessen Form- und Ausdrucksm&ouml;glichkeiten bis hin zu Freistellungen auf Sockeln beobachtbar: im Atelier (eigenh&auml;ndig) angefertigte, skulpturale Arbeiten ohne Scheu vor Figuration, vor Zuf&auml;llen, vor rein formalen Entscheidungen oder vor Mythologisierungen.</p> <p style="text-align: justify;">Aus kuratorischer Sicht stellen sich ausgehend von den zehn ausgew&auml;hlten internationalen Positionen vielf&auml;ltige Fragen zur Neuverortung der Skulptur: Definieren diese Arbeiten die Grenzen der Bildenden Kunst an den &Uuml;berg&auml;ngen zu Design, zur Technik, zur Dokumentation oder auch zur Wissenschaft nicht mittlerweile neu? Oder greifen gar die k&uuml;nstlerischen Grenzg&auml;nge auf Erkenntnisebenen zu, die sich uns bisher verstellt haben?</p> <p style="text-align: justify;">In einer digitalisierten Gegenwart, die in der Verwirbelung von Zeit- und Raumebenen zwar unendliche M&ouml;glichkeiten, aber kaum lebensweltliche Orientierung bietet, riskieren die &bdquo;Solid Liquids&ldquo;, neuartige Verschr&auml;nkungen von Zeit und Raum. Von einem intensivierten Interesse am Material geleitet, bewegen sich die Objekte um einen Kern, der einerseits f&uuml;r sie selbst unzug&auml;nglich scheint, andererseits den Betrachter zu Rate zieht und zu fragen scheint: "Sag du mir, wer oder was ich bin."</p> <p style="text-align: justify;">Auch die in der Kunsthalle M&uuml;nster gezeigten Arbeiten laden ihre Betrachter ein, konzentriert zu tieferen Schichten vorzudringen. Aber dort, wo das Material Ein- und Durchsichten gew&auml;hrt, finden sich wom&ouml;glich nur weitere Oberfl&auml;chen. In ihren &uuml;berraschend komplexen, nicht linearen Anordnungen ziehen diese den Blick in ein atemberaubend sinnliches Labyrinth und lassen darin den Verstand taumeln &ndash; nicht zuletzt um das menschliche Begehren sich selbst zu erkennen, unabh&auml;ngig davon, wie andere einen sehen.</p> <p style="text-align: justify;"><strong>Vermittlungsprogramme<br /> </strong>Im Hinblick auf die 2017 in M&uuml;nster stattfindenden Skulptur Projekte ergeben sich aus der Zusammenstellung der internationalen Positionen weiterf&uuml;hrende Fragestellungen nach den ver&auml;nderten k&uuml;nstlerischen Praktiken im Umgang mit dem Material innerhalb der Entwicklung der Gegenwartskunst. <br /> Eine wissenschaftliche Kooperation mit dem Kunsthistorischen Institut der WWU M&uuml;nster im Rahmen eines Seminars mit Prof. Dr. Ursula Frohne verleiht dem Projekt wissenschaftliche Nachhaltigkeit. Ein aus dem Ausstellungskonzept abgeleitetes materialbezogenes Vermittlungsprogramm vertieft&nbsp; unterschiedliche Aspekte der Diskussion um die Entwicklung der Skulptur in der Gegenwartskunst.</p> <p style="text-align: justify;">Rahmenprogramm und F&uuml;hrungen</p> <p style="text-align: justify;"><strong> 17. Juni, 17 Uh</strong><strong><strong>r</strong>: <br /></strong>K&uuml;nstlergespr&auml;ch mit Johanna K. Becker. Das Gespr&auml;ch f&uuml;hrt Benedikt Fahrnschon.</p> <p style="text-align: justify;"><strong>8. Juli, 17 Uhr:</strong> <br />Material-Gespr&auml;ch mit Verena P&uuml;schel, Bildhauerin, und Christoph Kr&uuml;mpel, Kunstakademie M&uuml;nster, Werkstatt Bildhauerische Techniken. Das Gespr&auml;ch f&uuml;hrt Benedikt Fahrnschon</p> <p style="text-align: justify;"><strong>Kuratorenf&uuml;hrungen jeweils um 17 Uhr: <br /> 21. Juli</strong> (Dr. Gail B. Kirkpatrick) und <strong>7. September</strong> (Marcus L&uuml;tkemeyer) <br /> <strong>18. September, 16 Uhr:</strong> F&uuml;hrung mit Stephanie Kanne.&nbsp; Weitere F&uuml;hrungen auf Anfrage.</p> <p style="text-align: justify;">Die Ausstellung wird von der Kunststiftung NRW und vom Ministerium f&uuml;r Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen unterst&uuml;tzt. Die Kunsthalle M&uuml;nster ist eine Institution der Stadt M&uuml;nster. Sie wird gef&ouml;rdert von den Stadtwerken M&uuml;nster GmbH und vom Freundeskreis der Kunsthalle M&uuml;nster.</p> Tue, 21 Jun 2016 16:53:21 +0000 Jumaadi, Maria Kontis, Richard Lewer, Noel McKenna, Catherine O’Donnell, Nyapanyapa Yunupingu - Art Gallery of New South Wales - July 30th - December 11th <p style="text-align: justify;">This is the second in a series of curated exhibitions on contemporary Australian drawing at the Art Gallery of NSW.</p> <p style="text-align: justify;">It will feature the works of six artists for whom drawing is a central part of their practice and whose work engages with narrative, memory and experience.</p> <p style="text-align: justify;">The artists are Jumaadi, Maria Kontis, Richard Lewer, Noel McKenna, Catherine O&rsquo;Donnell and Nyapanyapa Yunupingu.</p> Tue, 21 Jun 2016 16:47:07 +0000