ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 - Katz Contemporary - September 21st 7:00 PM - 8:00 PM <p style="text-align: justify;">KATZ CONTEMPORARY Gallery is delighted to present the group exhibition <em>CONSTRUCTED EPIPHANY </em>with new works by artists Dionisio Gonz&aacute;lez (*1965 in Gij&oacute;n, Spain, lives and works in Sevilla, Spain), Sebastian Stadler (*1988 in Wil, Switzerland, lives and works in Zurich, Switzerland) and Jason Klimatsas (*1980 in Aarau, Switzerland, lives and works in Zurich, Switzerland).</p> <p style="text-align: justify;">The exhibition entitled <em>CONSTRUCTED EPIPHANY </em>features three different artistic positions: Architectural utopias are presented through the medium of photography, appearances are constructed contrary to their actual meaning, while construction ruins are being diverted from their original purpose. Being reduced to their geometric shapes, they get more of a sculptural character.</p> <p style="text-align: justify;">Through a photomontage, <strong>Dionisio Gonz</strong><strong>&aacute;</strong><strong>lez </strong>realizes twenty projects by architect Le Corbusier that were planned but never actually executed in the series <em>Le Corbusier (Somewhere Nowhere). </em>Architectural utopias materialize in Gonz&aacute;lez&rsquo;s pieces while at the same time they appear to be extremely real in their existence. Architect and urban planner Le Corbusier worked on the plans for these never-realized projects during the last few years of his life. He experimented with new architectural shapes which he based on theories of physics and with whose help he planned an extensive intervention in the city. At the same time, Gonz&aacute;lez&rsquo;s works also reflect on the processes of forgetting and continuing to live. The <em>Le Corbusier </em>series, however, is not intended to be merely documentary since every piece actually represents a fragment of a myth. All fragments in combination then suggest new myths in return. Gonz&aacute;lez&rsquo;s work series is presented opposite <strong>original sketches by Le Corbusier</strong>, which contextualize the pieces on display and finally blur the border between utopia and reality for good.</p> <p style="text-align: justify;"><strong>Sebastian Stadler </strong>places questions about photography&rsquo;s claims of reality, the value of an image in the age of the digital <em>Bilderflut </em>(flood of images) and the change of our perception that is tied to it at the center of his artistic expression. The observations of his immediate surroundings usually serve as starting points for his works. He then transfers these into photographic or filmic pieces, which negotiate the intersection between digital space and the analogue world of objects while undermining the observer&rsquo;s traditional way of seeing. Virtual light phenomena and images of real landscape overlap in the series <em>L&rsquo;apparition. </em>Stadler uses double exposure in some of the series&rsquo; images: First he captures pictures of his immediate surroundings on an analogue film strip, then he uses the same film for a second time, photographing fragments of screens as close-ups. The seemingly perfect surface dissolves into its individual pieces while the double exposure turn these pixel structures into digital traces within a real landscape.</p> <p style="text-align: justify;">For years <strong>Jason Klimatsas </strong>has been following the traces of building ruins as they are often found along the Greek coast. From his findings he creates photographic works as well as three-dimensional replicas of different dimensions and materials &ndash; from the model of a table to large-scale sculptures made of wood or concrete. The artist is particularly interested in the sculptural aspect, which is especially apparent in free-standing buildings. Here, not only the outer shell of the ruins catches his attention but geometrical shapes also reveal themselves on the inside when the view is framed geometrically by the existing architecture. Klimatsas himself calls his work &bdquo;formalistic&ldquo;, while his focus is always placed on the geometrical perspective. Even though it is not the artist&rsquo;s main motivation, the underlying political aspect still comes through. Klimatsas usually works with found structures and he chooses buildings based on how prominent their geometric shapes feature. Both in his photographic and in his three-dimensional pieces, the artist reduces the building ruins down to their geometric shapes and thereby alienating them from their original purpose. The ruin-like building, however, thus appears in a completely different light and is elevated to the status of a sculpture.</p> <p style="text-align: justify;">Serge Ziegler curated the exhibition <strong><em>CABINET </em></strong><strong>- </strong><em>constructed Epiphany</em>, which is on display on the basement floor. It features utopian cities and social studies by Giovanni Battista Piranesi, Andr&eacute; Thomkins, David Claerbout and others.</p> <p style="text-align: justify;">Stefanie Bissig</p> <hr /> <p style="text-align: justify;">Die Galerie KATZ CONTEMPORARY freut sich, die Gruppenausstellung <em>CONSTRUCTED EPIPHANY </em>mit neuen Werken der drei K&uuml;nstler Dionisio Gonz&aacute;lez (*1965 in Gij&oacute;n, Spanien, lebt und arbeitet in Sevilla, Spanien), Sebastian Stadler (*1988 in Wil, Schweiz, lebt und arbeitet in Z&uuml;rich, Schweiz) und Jason Klimatsas (*1980 Aarau, Schweiz, lebt und arbeitet in Z&uuml;rich, Schweiz) zu pr&auml;sentieren. Die Ausstellung verhandelt unter dem Titel <em>CONSTRUCTED EPIPHANY </em>drei verschiedene k&uuml;nstlerische Positionen. Im Medium der Fotografie nehmen architektonische Utopien Gestalt an, Erscheinungen werden ganz ihrem eigentlichen Sinngehalt entgegen konstruiert, w&auml;hrend Bauruinen zweckentfremdet und auf ihre geometrischen Formen reduziert einen skulpturalen Charakter erhalten. </p> <p style="text-align: justify;">In der Serie <em>Le Corbusier (Somewhere Nowhere) </em>verwirklicht <strong>Dionisio Gonz</strong><strong>&aacute;</strong><strong>lez </strong>mit Hilfe von Fotomontage zwanzig geplante, aber nie verwirklichte Projekte des Architekten Le Corbusier. In seinen Arbeiten nehmen architektonische Utopien Gestalt an und erscheinen gleichzeitig &auml;usserst real in ihrer Existenz. Die Pl&auml;ne f&uuml;r diese nie ausgef&uuml;hrten Projekte Le Courbusiers sind in den letzten Lebensjahren des Architekten und St&auml;dteplaners entstanden.</p> <p style="text-align: justify;">Er dachte &uuml;ber neue architektonische Formen nach, die er den Theorien der Physik entnahm und mit Hilfe derer er den totalen Eingriff in die Stadt plante. Gleichzeitig findet in Gonz&aacute;lez&rsquo; Arbeiten auch eine Reflexion &uuml;ber das Vergessen und Weitererleben statt. Die <em>Le Corbusier </em>Serie ist allerdings nicht rein dokumentatorisch zu verstehen, sondern vielmehr stellt jedes Werk ein Fragment eines Mythos dar, die alle zusammen genommen, wiederum neue Mythen suggerieren. Gonz&aacute;lez&rsquo; Werkserie werden <strong>originale Skizzen von Le Corbusier </strong>gegen&uuml;bergestellt, welche die gezeigten Arbeiten in einen Kontext setzen und die Grenzen von Utopie und Wirklichkeit nun g&auml;nzlich verschwimmen lassen. </p> <p style="text-align: justify;">Im Zentrum seiner k&uuml;nstlerischen Arbeit stehen f&uuml;r <strong>Sebastian Stadler </strong>die Fragen nach dem Realit&auml;tsanspruch der Fotografie, dem Wert des Bildes im Zeitalter der digitalen Bilderflut und der damit zusammenh&auml;ngenden Ver&auml;nderung unserer Wahrnehmung. Der Ausgangspunkt seiner Arbeit stellen dabei meist Beobachtungen seiner unmittelbaren Umgebung dar. Die Auseinandersetzung damit &uuml;berf&uuml;hrt der K&uuml;nstler in fotografische oder filmische Arbeiten, welche die Schnittstellen zwischen digitalem Raum und analoger Dingwelt ausloten und die Sehgewohnheiten des Betrachters unterlaufen. In der Serie <em>L&rsquo;apparition </em>&uuml;berlagern virtuelle Lichtph&auml;nomene Bilder realer Landschaften. Bei einigen Bildern der Serie arbeitet Stadler mit Doppelbelichtung: Auf einem analogen Filmstreifen h&auml;lt er zun&auml;chst Bilder seiner unmittelbaren Umgebung fest, den gleichen Film belichtet er ein zweites Mal, indem er Fragmente von Bildschirmen in Nahaufnahmen abfotografiert. Die scheinbar perfekte Oberfl&auml;che l&ouml;st sich beim genaueren Hinsehen in ihre einzelnen Bestandteile auf &ndash; diese Pixelstrukturen werden durch die Doppelbelichtung zu digitalen Spuren in der realen Landschaft.</p> <p style="text-align: justify;"><strong>Jason Klimatsas </strong>verfolgt bereits &uuml;ber Jahre die Spur der Bauruinen, wie man sie oft an der griechischen K&uuml;ste findet. Dabei entstehen einerseits fotografische Arbeiten wie auch dreidimensionale Nachbauten in verschiedenen Dimensionen und Materialien &ndash; vom Tischmodell aus Graukarton bis zu grossformatigen Plastiken aus Holz oder in Beton gegossen. Den K&uuml;nstler interessiert dabei besonders der skulpturale Aspekt, der insbesondere bei freistehenden Geb&auml;uden zutage tritt. Dabei findet nicht nur die &auml;ussere H&uuml;lle der Ruinen Beachtung. Geometrische Formen offenbaren sich auch im Innern, wenn der Ausblick durch die bestehende Architektur geometrisch gerahmt wird. Klimatsas selbst bezeichnet seine Arbeit als &bdquo;formalistisch&ldquo;, der geometrische Blick steht dabei stets im Vordergrund. Der politische Aspekt ist nicht die Hauptmotivation des K&uuml;nstlers, schwingt aber unterschwellig auch in seiner Arbeit mit. Klimatsas arbeitet stets mit vorgefunden Strukturen und Geb&auml;ude werden nach dem Kriterium ausgew&auml;hlt, wie pr&auml;gnant die geometrischen Formen darin zum Vorschein kommen. Der K&uuml;nstler reduziert die Bauruinen in seinen fotografischen wie auch dreidimensionalen Arbeiten auf ihre geometrischen Formen und entfremdet sie damit ihrem urspr&uuml;nglichen Zweck. Das ruinenhafte Geb&auml;ude erscheint dadurch jedoch in einem ganz anderen Licht und wird zur Skulptur erhoben.</p> <p style="text-align: justify;">Im Untergeschoss wird die von Serge Ziegler kuratierte Ausstellung <strong><em>CABINET </em></strong><strong>- </strong><em>Constructed Epiphany, </em>seen by Serge Ziegler, zu sehen sein. Gezeigt werden utopische St&auml;dte und Sozialstudien von Giovanni Battista Piranesi, Andr&eacute; Thomkins, David Claerbout u.a.</p> <p style="text-align: justify;">Stefanie Bissig</p> Wed, 24 Aug 2016 12:25:15 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Dionisio Gonzalez, Sebastian Stadler, Jason Klimatsas - Katz Contemporary - August 26th - October 15th <p style="text-align: justify;">KATZ CONTEMPORARY Gallery is delighted to present the group exhibition <em>CONSTRUCTED EPIPHANY </em>with new works by artists Dionisio Gonz&aacute;lez (*1965 in Gij&oacute;n, Spain, lives and works in Sevilla, Spain), Sebastian Stadler (*1988 in Wil, Switzerland, lives and works in Zurich, Switzerland) and Jason Klimatsas (*1980 in Aarau, Switzerland, lives and works in Zurich, Switzerland).</p> <p style="text-align: justify;">The exhibition entitled <em>CONSTRUCTED EPIPHANY </em>features three different artistic positions: Architectural utopias are presented through the medium of photography, appearances are constructed contrary to their actual meaning, while construction ruins are being diverted from their original purpose. Being reduced to their geometric shapes, they get more of a sculptural character.</p> <p style="text-align: justify;">Through a photomontage, <strong>Dionisio Gonz</strong><strong>&aacute;</strong><strong>lez </strong>realizes twenty projects by architect Le Corbusier that were planned but never actually executed in the series <em>Le Corbusier (Somewhere Nowhere). </em>Architectural utopias materialize in Gonz&aacute;lez&rsquo;s pieces while at the same time they appear to be extremely real in their existence. Architect and urban planner Le Corbusier worked on the plans for these never-realized projects during the last few years of his life. He experimented with new architectural shapes which he based on theories of physics and with whose help he planned an extensive intervention in the city. At the same time, Gonz&aacute;lez&rsquo;s works also reflect on the processes of forgetting and continuing to live. The <em>Le Corbusier </em>series, however, is not intended to be merely documentary since every piece actually represents a fragment of a myth. All fragments in combination then suggest new myths in return. Gonz&aacute;lez&rsquo;s work series is presented opposite <strong>original sketches by Le Corbusier</strong>, which contextualize the pieces on display and finally blur the border between utopia and reality for good.</p> <p style="text-align: justify;"><strong>Sebastian Stadler </strong>places questions about photography&rsquo;s claims of reality, the value of an image in the age of the digital <em>Bilderflut </em>(flood of images) and the change of our perception that is tied to it at the center of his artistic expression. The observations of his immediate surroundings usually serve as starting points for his works. He then transfers these into photographic or filmic pieces, which negotiate the intersection between digital space and the analogue world of objects while undermining the observer&rsquo;s traditional way of seeing. Virtual light phenomena and images of real landscape overlap in the series <em>L&rsquo;apparition. </em>Stadler uses double exposure in some of the series&rsquo; images: First he captures pictures of his immediate surroundings on an analogue film strip, then he uses the same film for a second time, photographing fragments of screens as close-ups. The seemingly perfect surface dissolves into its individual pieces while the double exposure turn these pixel structures into digital traces within a real landscape.</p> <p style="text-align: justify;">For years <strong>Jason Klimatsas </strong>has been following the traces of building ruins as they are often found along the Greek coast. From his findings he creates photographic works as well as three-dimensional replicas of different dimensions and materials &ndash; from the model of a table to large-scale sculptures made of wood or concrete. The artist is particularly interested in the sculptural aspect, which is especially apparent in free-standing buildings. Here, not only the outer shell of the ruins catches his attention but geometrical shapes also reveal themselves on the inside when the view is framed geometrically by the existing architecture. Klimatsas himself calls his work &bdquo;formalistic&ldquo;, while his focus is always placed on the geometrical perspective. Even though it is not the artist&rsquo;s main motivation, the underlying political aspect still comes through. Klimatsas usually works with found structures and he chooses buildings based on how prominent their geometric shapes feature. Both in his photographic and in his three-dimensional pieces, the artist reduces the building ruins down to their geometric shapes and thereby alienating them from their original purpose. The ruin-like building, however, thus appears in a completely different light and is elevated to the status of a sculpture.</p> <p style="text-align: justify;">Serge Ziegler curated the exhibition <strong><em>CABINET </em></strong><strong>- </strong><em>constructed Epiphany</em>, which is on display on the basement floor. It features utopian cities and social studies by Giovanni Battista Piranesi, Andr&eacute; Thomkins, David Claerbout and others.</p> <p style="text-align: justify;">Stefanie Bissig</p> <hr /> <p style="text-align: justify;">Die Galerie KATZ CONTEMPORARY freut sich, die Gruppenausstellung <em>CONSTRUCTED EPIPHANY </em>mit neuen Werken der drei K&uuml;nstler Dionisio Gonz&aacute;lez (*1965 in Gij&oacute;n, Spanien, lebt und arbeitet in Sevilla, Spanien), Sebastian Stadler (*1988 in Wil, Schweiz, lebt und arbeitet in Z&uuml;rich, Schweiz) und Jason Klimatsas (*1980 Aarau, Schweiz, lebt und arbeitet in Z&uuml;rich, Schweiz) zu pr&auml;sentieren. Die Ausstellung verhandelt unter dem Titel <em>CONSTRUCTED EPIPHANY </em>drei verschiedene k&uuml;nstlerische Positionen. Im Medium der Fotografie nehmen architektonische Utopien Gestalt an, Erscheinungen werden ganz ihrem eigentlichen Sinngehalt entgegen konstruiert, w&auml;hrend Bauruinen zweckentfremdet und auf ihre geometrischen Formen reduziert einen skulpturalen Charakter erhalten. </p> <p style="text-align: justify;">In der Serie <em>Le Corbusier (Somewhere Nowhere) </em>verwirklicht <strong>Dionisio Gonz</strong><strong>&aacute;</strong><strong>lez </strong>mit Hilfe von Fotomontage zwanzig geplante, aber nie verwirklichte Projekte des Architekten Le Corbusier. In seinen Arbeiten nehmen architektonische Utopien Gestalt an und erscheinen gleichzeitig &auml;usserst real in ihrer Existenz. Die Pl&auml;ne f&uuml;r diese nie ausgef&uuml;hrten Projekte Le Courbusiers sind in den letzten Lebensjahren des Architekten und St&auml;dteplaners entstanden.</p> <p style="text-align: justify;">Er dachte &uuml;ber neue architektonische Formen nach, die er den Theorien der Physik entnahm und mit Hilfe derer er den totalen Eingriff in die Stadt plante. Gleichzeitig findet in Gonz&aacute;lez&rsquo; Arbeiten auch eine Reflexion &uuml;ber das Vergessen und Weitererleben statt. Die <em>Le Corbusier </em>Serie ist allerdings nicht rein dokumentatorisch zu verstehen, sondern vielmehr stellt jedes Werk ein Fragment eines Mythos dar, die alle zusammen genommen, wiederum neue Mythen suggerieren. Gonz&aacute;lez&rsquo; Werkserie werden <strong>originale Skizzen von Le Corbusier </strong>gegen&uuml;bergestellt, welche die gezeigten Arbeiten in einen Kontext setzen und die Grenzen von Utopie und Wirklichkeit nun g&auml;nzlich verschwimmen lassen. </p> <p style="text-align: justify;">Im Zentrum seiner k&uuml;nstlerischen Arbeit stehen f&uuml;r <strong>Sebastian Stadler </strong>die Fragen nach dem Realit&auml;tsanspruch der Fotografie, dem Wert des Bildes im Zeitalter der digitalen Bilderflut und der damit zusammenh&auml;ngenden Ver&auml;nderung unserer Wahrnehmung. Der Ausgangspunkt seiner Arbeit stellen dabei meist Beobachtungen seiner unmittelbaren Umgebung dar. Die Auseinandersetzung damit &uuml;berf&uuml;hrt der K&uuml;nstler in fotografische oder filmische Arbeiten, welche die Schnittstellen zwischen digitalem Raum und analoger Dingwelt ausloten und die Sehgewohnheiten des Betrachters unterlaufen. In der Serie <em>L&rsquo;apparition </em>&uuml;berlagern virtuelle Lichtph&auml;nomene Bilder realer Landschaften. Bei einigen Bildern der Serie arbeitet Stadler mit Doppelbelichtung: Auf einem analogen Filmstreifen h&auml;lt er zun&auml;chst Bilder seiner unmittelbaren Umgebung fest, den gleichen Film belichtet er ein zweites Mal, indem er Fragmente von Bildschirmen in Nahaufnahmen abfotografiert. Die scheinbar perfekte Oberfl&auml;che l&ouml;st sich beim genaueren Hinsehen in ihre einzelnen Bestandteile auf &ndash; diese Pixelstrukturen werden durch die Doppelbelichtung zu digitalen Spuren in der realen Landschaft.</p> <p style="text-align: justify;"><strong>Jason Klimatsas </strong>verfolgt bereits &uuml;ber Jahre die Spur der Bauruinen, wie man sie oft an der griechischen K&uuml;ste findet. Dabei entstehen einerseits fotografische Arbeiten wie auch dreidimensionale Nachbauten in verschiedenen Dimensionen und Materialien &ndash; vom Tischmodell aus Graukarton bis zu grossformatigen Plastiken aus Holz oder in Beton gegossen. Den K&uuml;nstler interessiert dabei besonders der skulpturale Aspekt, der insbesondere bei freistehenden Geb&auml;uden zutage tritt. Dabei findet nicht nur die &auml;ussere H&uuml;lle der Ruinen Beachtung. Geometrische Formen offenbaren sich auch im Innern, wenn der Ausblick durch die bestehende Architektur geometrisch gerahmt wird. Klimatsas selbst bezeichnet seine Arbeit als &bdquo;formalistisch&ldquo;, der geometrische Blick steht dabei stets im Vordergrund. Der politische Aspekt ist nicht die Hauptmotivation des K&uuml;nstlers, schwingt aber unterschwellig auch in seiner Arbeit mit. Klimatsas arbeitet stets mit vorgefunden Strukturen und Geb&auml;ude werden nach dem Kriterium ausgew&auml;hlt, wie pr&auml;gnant die geometrischen Formen darin zum Vorschein kommen. Der K&uuml;nstler reduziert die Bauruinen in seinen fotografischen wie auch dreidimensionalen Arbeiten auf ihre geometrischen Formen und entfremdet sie damit ihrem urspr&uuml;nglichen Zweck. Das ruinenhafte Geb&auml;ude erscheint dadurch jedoch in einem ganz anderen Licht und wird zur Skulptur erhoben.</p> <p style="text-align: justify;">Im Untergeschoss wird die von Serge Ziegler kuratierte Ausstellung <strong><em>CABINET </em></strong><strong>- </strong><em>Constructed Epiphany, </em>seen by Serge Ziegler, zu sehen sein. Gezeigt werden utopische St&auml;dte und Sozialstudien von Giovanni Battista Piranesi, Andr&eacute; Thomkins, David Claerbout u.a.</p> <p style="text-align: justify;">Stefanie Bissig</p> Wed, 24 Aug 2016 12:23:30 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - K20 Grabbeplatz - September 24th - January 8th, 2017 <p style="text-align: justify;">With the exhibition <em>"Cloud &amp; Crystal". The Dorothee and Konrad Fischer Collection</em>, the Kunstsammlung Nordrhein-Westfalen celebrates the acquisition of the art collection formerly owned by the celebrated D&uuml;sseldorf gallerist couple Dorothee and Konrad Fischer.</p> <p style="text-align: justify;">These works of Conceptual Art and Minimalism represent a decisive complement to the collection of US postwar painting already owned by the Kunstsammlung. In 1967, Konrad Fischer &ndash; who had initially been active as an artist &ndash; opened a gallery in D&uuml;sseldorf&lsquo;s historic center together with his wife&nbsp; Dorothee. He was one of the first European art dealers to take a consistent interest in the latest art of his own time. Regarded with justice as a pioneer of Conceptual Art, he converted his exhibition space into a meeting point for artists and collectors from around the world, catapulting D&uuml;sseldorf to the forefront of the contemporary avant-garde scene. The Dorothee and Konrad Fischer Collection testifies to the manifold activities of these gallerists up to the present. Many of the works in the ensemble were produced as a result of friendly relations with the contributing artists.</p> <p style="text-align: justify;">In this exhibition (and, in the future, in the permanent collection of the Kunstsammlung Nordrhein-Westfalen), the paintings of artists like Jackson Pollock and Robert Rauschenberg &ndash; which primarily target the senses and emotions &ndash; will be shown together with conspicuously "aloof" works of&nbsp; Conceptual Art. Through this juxtaposition, it becomes clear that a radical upheaval in the forms of creative expression occurred in tandem with the societal transformations around 1968. Emerging alongside innovative approaches to painting was an art that opposed the conceptual aspect, the idea &ndash; now regarded as a valid work of art in and of itself, and without being materialized in an object &ndash; to the subjectivity of painterly gesture.</p> <p style="text-align: justify;">Carl Andre, Daniel Buren, Dan Flavin, On Kawara, Sol LeWitt, Bruce Nauman, and many others represented in the Fischer Collection renounced personal artistic handwriting and worked with drawings, texts, photographs, documents, and industrially manufactured materials. Works by Hanne Darboven, Jan Dibbets, Gilbert &amp; George, and Lawrence Weiner demonstrate that a work may consist exclusively of ideas and concepts. Lothar Baumgarten, Bernd and Hilla Becher, and Italian Arte Povera artists such as Jannis Kounellis, Mario Merz, and Giuseppe Penone have made extraordinary&nbsp; contributions to the art of our time. In the present, Gregor Schneider, Thomas Sch&uuml;tte or Paloma Varga Weisz, continue to develop installation art.</p> <p style="text-align: justify;">The acquisition of the Fischer Collection is an exceptional event for the art scene in the West, and is celebrated now through this exhibition.</p> <p style="text-align: justify;">For the generous financial assistance that made the acquisition of the Dorothee and Konrad Fischer collection possible, the Kunstsammlung would like to thank the Fischer family, Jann Beyen, all private sponsors, and the following institutions: Landesregierung Nordrhein-Westfalen, Kulturstiftung der L&auml;nder, Kunststiftung NRW, Ernst von Siemens Kunststiftung sowie der Gesellschaft der Freunde der Kunstsammlung Nordrhein-Westfalen.</p> <p style="text-align: justify;">Die Ausstellung wird unterst&uuml;tzt von der Terra Foundation for American Art.</p> <p style="text-align: justify;">Das Bildungsprogramm zur Ausstellung wird gef&ouml;rdert durch die Provinzial Rheinland Versicherungen.</p> <p style="text-align: justify;">Unternehmenspartner: Breuninger, Medienpartner: Handelsblatt<br />Gef&ouml;rdert von Ministerium f&uuml;r Familie, Kinder, Jugend, Kultur und Sport.</p> <hr /> <p>&nbsp;</p> <p style="text-align: justify;">Mit der Ausstellung <em>"Wolke &amp; Kristall". Die Sammlung Dorothee und Konrad Fischer</em> feiert die Kunstsammlung Nordrhein-Westfalen den Erwerb der Sammlung des ber&uuml;hmten D&uuml;sseldorfer Galeristenpaares Dorothee und Konrad Fischer. Ganz entscheidend erg&auml;nzt die Kunstsammlung damit ihren bisherigen Bestand an Gem&auml;lden der US-Nachkriegskunst um epochale Werke der Concept Art und der Minimal Art.</p> <p style="text-align: justify;">Konrad Fischer, zun&auml;chst als K&uuml;nstler t&auml;tig, er&ouml;ffnete 1967 gemeinsam mit seiner Frau Dorothee eine Galerie in der D&uuml;sseldorfer Altstadt. Als einer der ersten Galeristen in Europa interessierte er sich&nbsp; konsequent f&uuml;r die aktuelle Kunst seiner Zeit. Zu Recht gilt er somit als Wegbereiter der Konzeptkunst, machte er doch seinen Ausstellungsraum zum Treffpunkt von K&uuml;nstlern und Sammlern aus aller Welt.&nbsp; Damit katapultierte er D&uuml;sseldorf an die Spitze der Avantgarde jener Jahre. Die Sammlung Dorothee und&nbsp; Konrad Fischer zeugt von den vielf&auml;ltigen Aktivit&auml;ten der beiden Galeristen bis in die Gegenwart. Viele Werke im Konvolut sind aufgrund ihres freundschaftlichen Verh&auml;ltnisses zu den K&uuml;nstlerinnen und K&uuml;nstlern entstanden.</p> <p style="text-align: justify;">Die auf die Sinne und Emotionen zielende Malerei eines Jackson Pollock oder Robert Rauschenberg trifft in dieser Ausstellung &ndash; und k&uuml;nftig in der Kunstsammlung Nordrhein-Westfalen &ndash; auf die "spr&ouml;den" Werke konzeptueller Kunst. Damit wird deutlich, dass parallel zu den gesellschaftlichen Ver&auml;nderungen der Zeit um 1968 auch in den sch&ouml;pferischen Formen ein radikaler Umbruch stattfand. Neben die avancierten&nbsp; Positionen der Malerei trat eine Kunst, die der subjektiven malerischen Geste das Konzeptuelle, die Idee entgegensetzte &ndash; als g&uuml;ltiges Kunstwerk, ohne in einem Objekt materialisiert zu sein.</p> <p style="text-align: justify;">Carl Andre, Daniel Buren, Dan Flavin, On Kawara, Sol LeWitt, Bruce Nauman und viele andere in der&nbsp; Sammlung Fischer verzichten auf die eigene k&uuml;nstlerische Handschrift und arbeiten mit Zeichnung, Schrift,&nbsp; Fotografie, Dokumenten oder industriell gefertigten Materialien. Arbeiten von Hanne Darboven, Jan&nbsp; Dibbets, Gilbert &amp; George oder Lawrence Weiner f&uuml;hren vor Augen, wie ausschlie&szlig;lich Idee und Konzept ein Werk ausmachen k&ouml;nnen. Lothar Baumgarten sowie Bernd und Hilla Becher oder die italienischen Arte&nbsp; Povera-K&uuml;nstler wie Jannis Kounellis, Mario Merz und Giuseppe Penone leisten au&szlig;ergew&ouml;hnliche Beitr&auml;ge zur Kunst ihrer Zeit. Gregor Schneider, Thomas Sch&uuml;tte oder Paloma Varga Weisz schreiben die Entwicklung der Installationskunst bis in die Gegenwart fort. </p> <p style="text-align: justify;">Die Erwerbung der Sammlung Fischer ist ein au&szlig;ergew&ouml;hnliches Ereignis f&uuml;r die Kunstszene im Westen, das mit dieser Ausstellung gew&uuml;rdigt wird.</p> <p style="text-align: justify;">F&uuml;r die gro&szlig;z&uuml;gige finanzielle Hilfe beim Erwerb der Sammlung Dorothee und Konrad Fischer dankt die Kunstsammlung NRW der Familie Fischer, Jann Beyen sowie weiteren privaten F&ouml;rderern und folgenden Institutionen: Landesregierung Nordrhein-Westfalen, Kulturstiftung der L&auml;nder, Kunststiftung NRW, Ernst von Siemens Kunststiftung sowie der Gesellschaft der Freunde der Kunstsammlung Nordrhein-Westfalen.</p> <p style="text-align: justify;">Die Ausstellung wird unterst&uuml;tzt von der Terra Foundation for American Art.</p> <p style="text-align: justify;">Das Bildungsprogramm zur Ausstellung wird gef&ouml;rdert durch die Provinzial Rheinland Versicherungen.</p> <p style="text-align: justify;">Unternehmenspartner: Breuninger, Medienpartner: Handelsblatt<br />Gef&ouml;rdert von Ministerium f&uuml;r Familie, Kinder, Jugend, Kultur und Sport.</p> Wed, 24 Aug 2016 10:11:23 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Istanbul Museum of Modern Art - July 2nd - October 6th <p style="text-align: justify;"><strong>"Artists' Film International" on Technology <br /></strong></p> <p style="text-align: justify;">Istanbul Modern presents&nbsp;<strong>Artists&rsquo; Film International</strong>, an exhibition and program featuring videos, animations, and short films by artists from around the world. Focusing on the theme of &ldquo;technology&rdquo;, this year&rsquo;s program explores the psychological and social effects of different technologies as well as the sociopolitical codes of new technologies, and the way they transform production processes of the moving image. Conversations on video art and artists&rsquo; films are also programmed parallel to the exhibition.</p> <p style="text-align: justify;">Initiated by the Whitechapel Gallery in 2008, this year Artists&rsquo; Film International continues in partnership with 13 art organizations from different parts of the world. Every year, each partner organization nominates the current work by an artist from its country. The selection of the films are made around a common theme each year and programmed as screenings or exhibitions according to the curatorial decision of each organization. Having participated in the program with works by Ali Kazma, İnci Eviner, Ergin &Ccedil;avuşoğlu, Sefer Memişoğlu, Beng&uuml; Karaduman, Burak Delier, and Vahap Avşar in the previous years, Istanbul Modern invited&nbsp;<strong>Zeyno Pek&uuml;nl&uuml;</strong>&nbsp;to Artists&rsquo; Film International 2016. Thus, Pek&uuml;nl&uuml;&rsquo;s work will not only be on view at Istanbul Modern, but at the international partner organizations throughout different periods of the year 2016.</p> <hr /> <p style="text-align: justify;">İstanbul Modern, hareketli g&ouml;r&uuml;nt&uuml;ye odaklanan ve d&uuml;nyanın d&ouml;rt bir yanından sanat&ccedil;ıların video, animasyon ve kısa filmlerini İstanbul&rsquo;a taşıyan&nbsp;<strong>Artists&rsquo; Film International&nbsp;</strong>programına bir sergiyle yer veriyor. Sergi kapsamında video sanatı ve sanat&ccedil;ı filmleri hakkında s&ouml;yleşi ve sunumlar da d&uuml;zenleniyor. Program bu yıl &ldquo;teknoloji&rdquo; konusuna odaklanırken, farklı teknolojilerin psikolojik ve sosyolojik etkilerinin yanı sıra yeni teknolojilerin sosyo-politik kodlarını ve sanatsal &uuml;retim s&uuml;re&ccedil;lerini d&ouml;n&uuml;şt&uuml;rmesini ele alıyor.</p> <p style="text-align: justify;">Londra&rsquo;nın k&ouml;kl&uuml; sanat kurumu Whitechapel Gallery &ouml;nc&uuml;l&uuml;ğ&uuml;nde 2008 yılında başlayan&nbsp;<strong>Artists&rsquo; Film International&nbsp;</strong>farklı coğrafyalardan 13 sanat kurumunun ortaklığıyla devam ediyor. Ortaklar video sanatıyla ilgili bilgi ve araştırmalarını birbirleriyle paylaşıyor ve her yıl belli bir tema &ccedil;er&ccedil;evesinde &uuml;lkelerinden bir sanat&ccedil;ı ve &ccedil;alışmasını se&ccedil;erek programa katılıyor. B&ouml;ylece oluşan ortak se&ccedil;ki her bir kurum tarafından y&uuml;r&uuml;t&uuml;len k&uuml;rat&ouml;ryel &ccedil;alışma sonucu g&ouml;sterimler ya da sergilerle izleyiciye sunuluyor. İstanbul Modern, ge&ccedil;miş yıllarda programa Ali Kazma, İnci Eviner, Ergin &Ccedil;avuşoğlu, Sefer Memişoğlu, Beng&uuml; Karaduman, Burak Delier ve Vahap Avşar&rsquo;ın videolarıyla katılmıştı. 2016 yılında ise Artists&rsquo; Film International&rsquo;a T&uuml;rkiye&rsquo;den&nbsp;<strong>Zeyno Pek&uuml;nl&uuml;</strong>&rsquo;y&uuml; davet etti. Pek&uuml;nl&uuml;&rsquo;n&uuml;n &ccedil;alışması 2016&rsquo;da sadece İstanbul Modern&rsquo;de değil, programın uluslararası ortaklarında da g&ouml;steriliyor.</p> Wed, 24 Aug 2016 09:51:00 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Istanbul Museum of Modern Art - May 18th - December 31st <p style="text-align: justify;">Istanbul Modern Cinema has initiated a new project titled &ldquo;Masters of Cinema in Turkey&rdquo;. The first guest for this series, which is devoted to founding directors of cinema in Turkey, is L&uuml;tfi Akad, who has come to be known as the &ldquo;masterless master&rdquo; and is a pioneer of the period referred to as the &ldquo;Filmmakers&rsquo; Era&rdquo; in the history of&nbsp;cinema in&nbsp;Turkey.</p> <p style="text-align: justify;">An archive exhibition will be presented within the scope of the project commemorating the director&rsquo;s 100<sup>th</sup>&nbsp;birthday. Taking a look at the cinema of L&uuml;tfi Akad, whose filmography and 95-year life reflect the story of Turkish cinema, the exhibition which will be held in the cinema foyer brings together 100 pieces of archive material such as production stills, film stills, original scripts, and posters from Akad&rsquo;s filmography that had not seen the light of day until now. This material is accompanied by the director&rsquo;s words to describe his films. Akad&rsquo;s aptitude for observation can be seen not just in his films but in his memoirs as well. Shedding light on the birth of Yeşil&ccedil;am and its conditions, his writings and interviews serve as the narrator of this exhibition.</p> <p style="text-align: justify;">A film program will be presented in conjunction with the exhibition. The selection consists of 10 films including Vurun Kahpeye (Strike the Whore, 1949), Akad&rsquo;s first film, and D&ouml;rt Mevsim İstanbul (Four Seasons of Istanbul, 1990), the documentary, for which he stepped behind the camera for the last time in 1990 and which was lost for many years.</p> <p style="text-align: justify;"><strong>Curator:</strong> M&uuml;ge Turan</p> <p style="text-align: justify;"><strong>Advisor:</strong> Bur&ccedil;ak Evren</p> <hr /> <p style="text-align: justify;">İstanbul Modern Sinema, K&uuml;lt&uuml;r ve Turizm Bakanlığı Sinema Genel M&uuml;d&uuml;rl&uuml;ğ&uuml;&rsquo;n&uuml;n katkılarıyla &ldquo;T&uuml;rkiye Sinemasında Ustalar&rdquo; adlı yeni bir projeye başladı. T&uuml;rkiye sinemasının kurucu y&ouml;netmenlerine adanmış bu serinin ilk konuğu, adını sinema tarihimize &ldquo;ustasız usta&rdquo; olarak yazdırmış, &ldquo;Sinemacılar D&ouml;nemi&rdquo; olarak anılan d&ouml;nemin &ouml;nc&uuml;s&uuml;, L&uuml;tfi Akad.<br /> <br /> 95 yıllık yaşamı ve filmografisiyle T&uuml;rkiye sinemasının hikayesini yansıtan, 100. yaşını andığımız Akad'ın sinemasını inceleyen arşiv sergisi, filmografisinden bug&uuml;ne kadar g&uuml;n y&uuml;z&uuml;ne &ccedil;ıkmamış set fotoğrafları, film kareleri, orijinal senaryolar ve afişler gibi 100 par&ccedil;alık arşiv malzemesini bir araya getiriyor. Bu g&ouml;rsel malzeme yine y&ouml;netmenin s&ouml;zleriyle anlatılıyor. G&ouml;zlemciliğini sadece filmlerinde değil, anılarında da g&ouml;rmenin m&uuml;mk&uuml;n olduğu Akad&rsquo;ın, Yeşil&ccedil;am&rsquo;ın doğuşuna, koşullarına ışık tutan yazıları ve s&ouml;yleşileri bu serginin anlatıcısı oluyor.<br /> &nbsp;&nbsp;<br /> Sergiye paralel, 19-29 Mayıs tarihleri arasında sunulacak 10 filmlik programda Akad&rsquo;ın 1949&rsquo;da &ccedil;ektiği ilk filmi <em>Vurun Kahpeye</em>&rsquo;den 1990 yılında son kez kamera arkasına ge&ccedil;tiği ve uzun zamandır kayıp olan belgeseli&nbsp;<em>D&ouml;rt Mevsim İstanbul</em>&rsquo;a filmografisinde &ouml;ne &ccedil;ıkan filmler yer alıyor.</p> <p style="text-align: justify;"><strong>K&uuml;rat&ouml;r:</strong> M&uuml;ge Turan<br /> <strong>Danışman:</strong> Bur&ccedil;ak Evren</p> Wed, 24 Aug 2016 09:40:45 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Istanbul Museum of Modern Art - June 2nd - December 18th <p style="margin: 0cm 0cm 6pt; line-height: 15.4pt; background: white none repeat scroll 0% 0%; text-align: justify;"><em><strong>The Adventure of Humanity in Photography of Turkey from Othmar&nbsp;</strong></em><strong style="line-height: 20.5333px;">Pferschy&nbsp;</strong><em style="line-height: 15.4pt;"><strong>to Today</strong></em></p> <p style="text-align: justify;">The exhibition "People Attract People", selected from Istanbul Modern&rsquo;s photography collection, displays the work of eighty photographers from Turkey, the photographs of Turkey shot over a period of eighty years.</p> <p style="text-align: justify;">The history of photography in Turkey from the Ottoman to the Republican era was shaped first by European travelers who were mainly interested in the landscape and the daily life of the country, and then, under the influence of the photography studios opening in the Pera district, by portrait photography.&nbsp;First utilized by the head of the Ministry of Information and Publications Vedat Nedim T&ouml;r to publicize Turkey, reproductions of the finely detailed photography of Othmar Pferschy on the covers of books and magazines, banknotes and postage stamps, began a tradition that has continued virtually unbroken until today. Later generations at the Ministry were strongly influenced by the deep precision of Othmar&rsquo;s work.</p> <p style="text-align: justify;">Some photographers were drawn to the nature and historical texture of Turkey, and others investigated daily life in the developing big cities, primarily Istanbul. Throughout, underlying the story of Turkish photography is an abiding interest in people and their lives. Photography fulfills a sociological function, recording new developments and situations related to human life.</p> <p style="text-align: justify;">"People Attract People" presents a variety of photographic modes and approaches, from impressionism to expressionism, from documentary to the fine art context, from rural Anatolian settings to the technically advanced spaces of the photography studio, from highly charged views of simple side streets to conceptually driven works of portraiture.</p> <hr /> <p style="margin: 0cm 0cm 6pt; line-height: 115%; background: white none repeat scroll 0% 0%; text-align: justify;"><em><strong>Othmar&nbsp;</strong></em><strong>Pferschy&rsquo;den</strong><em><strong>&nbsp;G&uuml;n&uuml;m&uuml;ze T&uuml;rkiye Fotoğrafında İnsanın Ser&uuml;veni</strong></em></p> <p style="margin: 0cm 0cm 6pt; line-height: 115%; background: white none repeat scroll 0% 0%; text-align: justify;">İstanbul Modern Fotoğraf Koleksiyonu&rsquo;ndan derlenen&nbsp;<strong>"İnsan İnsanı &Ccedil;ekermiş"</strong><strong>,</strong>&nbsp;T&uuml;rkiyeli 80 fotoğraf&ccedil;ının, 80 yıllık bir s&uuml;re&ccedil;te &ccedil;ektiği T&uuml;rkiye fotoğraflarından oluşuyor.</p> <p style="margin: 0cm 0cm 6pt; line-height: 115%; background: white none repeat scroll 0% 0%; text-align: justify;">T&uuml;rkiye&rsquo;de fotoğraf, Osmanlı&rsquo;dan Cumhuriyet&rsquo;e uzanan s&uuml;re&ccedil;te &ouml;nce Avrupa&rsquo;dan gelen seyyahların varlığıyla manzara ve g&uuml;nl&uuml;k yaşamın anlatıldığı sosyal konularla, ardından da Pera&rsquo;da a&ccedil;ılan fotoğraf st&uuml;dyolarının etkisiyle portre fotoğrafları &uuml;zerinden yaygınlık kazanmıştır. T&uuml;rkiye&rsquo;nin tanıtımı i&ccedil;in Matbuat Umum M&uuml;d&uuml;rl&uuml;ğ&uuml;&rsquo;n&uuml;n başında bulunan Vedat Nedim T&ouml;r tarafından se&ccedil;ilen Othmar&rsquo;ın &ouml;zenli fotoğraflarının kitap, dergi, para ve pullarda kullanılmasıyla neredeyse g&uuml;n&uuml;m&uuml;ze kadar ulaşan bir geleneğin temelleri o g&uuml;nlerden atılmıştır. &Ouml;zellikle daha sonra gelen kadrolar bu fotoğraflardaki titizlik ve &ouml;zeni kendilerine &ouml;rnek almışlardır.</p> <p style="margin: 0cm 0cm 6pt; line-height: 115%; background: white none repeat scroll 0% 0%; text-align: justify;">Fotoğraf&ccedil;ılar, &ouml;nce manzara fotoğrafı izleğinde T&uuml;rkiye&rsquo;nin doğası ve tarihi dokusu, ardından başta İstanbul olmak &uuml;zere bayındırlaşan b&uuml;y&uuml;k şehirlerin g&uuml;nl&uuml;k yaşamlarına eğilmiştir. Sonrasında da, ağırlıklı olarak kırsal kesimdeki insanlar ve yaşamlarına anlar &uuml;zerinden eğilerek, T&uuml;rkiye&rsquo;de fotoğrafın hikayesini s&uuml;rd&uuml;rm&uuml;şt&uuml;r. B&ouml;ylece fotoğraf sosyolojik işlevini de yerine getirerek her durum ve değişimi başarıyla kaydetmiş, ağırlıklı olarak portreler &uuml;zerinden insan yaşamını ana konusu yapmıştır.</p> <p style="text-align: justify;">"İnsan İnsanı &Ccedil;ekermiş", fotoğraf&ccedil;ıların kendilerine &ouml;zg&uuml; bakış a&ccedil;ılarıyla, izlenimcilikten anlatımcılığa, belgeselden sanata, Anadolu fonundan st&uuml;dyonun gelişmiş olanaklarıyla &uuml;retilen &ccedil;ağdaş portrelere kadar geniş bir yelpazeyi kapsıyor. &nbsp;"İnsan İnsanı &Ccedil;ekermiş", i&ccedil;inde insanın yer aldığı fotoğrafların yarattığı genel hissiyatın bir &ouml;zetini izleyicilerine sunuyor.</p> Wed, 24 Aug 2016 09:38:38 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Inci Eviner - Istanbul Museum of Modern Art - June 22nd - October 23rd <p style="text-align: justify;">This retrospective of İnci Eviner, put together by Istanbul Modern, showcases the artist&rsquo;s creative process from the 1980s to the present. It allows us to see the development and transformation of her rich search for expression, which extends from drawing, painting, and video to installation, photography, and sculpture. The presentation of Eviner&rsquo;s artistic output is not strictly chronological, but rather interweaves past and present, and even incorporates the exhibition space itself.</p> <p style="text-align: justify;">Drawing is central to Eviner&rsquo;s works; she defines the point of departure of her practice as expressions made through lines on paper. She builds and constantly enriches her artistic approach, strolling through a boundless visual language ranging from art historical allegories, iconographies, illustrations, and mythologies to contemporary ideograms and pictograms. Weaving together the violence at the heart of the beautiful, the potential of the repressed, and the unmatched creativity of the unconscious, her works appear simultaneously contemporary and timeless.</p> <p style="text-align: justify;">A pioneering artist who has been influential in the transformation of Turkish contemporary art, Eviner has developed a unique mode of expression regarding the different states of womanhood, gender, and the politics of identity in their collective, political, and sociocultural aspects. Investigating the historical, discursive, and unconscious processes that influence our views of female identity starting in childhood, the artist defines womanhood as a field of limitless possibility that does not fit any single image or concept. Exploring the quotidian gestures of women, Eviner not only questions but challenges the modes of representation judged appropriate for women and the prohibitions that engender these representations.</p> <p style="text-align: justify;">In terms of the diversity of her areas of interest and research, İnci Eviner is undoubtedly one of the most creative and contemporary artists of her generation. The exhibition brings together an inventory that spans close to forty years and reveals the rich and profound connections she establishes both with herself and with the unity of art, culture, history, nature, and the unconscious that makes us human.</p> <p style="text-align: justify;">The works in the exhibition may lend themselves to many sub-readings emerging from interdisciplinary intersections, but the main axes of Eviner&rsquo;s art can be enumerated under the following headings: art historical references deriving from her academic training and contemporary questions regarding the symbolic meanings of these references; expressions triggered by existence and the unconscious; the complex nature of humans; our memorized behavioral models and the thin civilizational line that separates us from animals; all the constructed grand narratives and all the fields of power into which these seep; Cartesian knowledge formed within the body-identity-geography triangle and the visual and oral publications, resources, and historical documents in which this knowledge is reflected and which monopolize thought; and the present effects of modernist politics conceived along the East-West axis and the transgressions, migrations, and refugeeism that breach these effects.</p> <p style="text-align: justify;">Eviner was born in Ankara in 1956 and lives and works in Istanbul.</p> <hr /> <p style="text-align: justify;">İstanbul Modern&rsquo;in d&uuml;zenlediği İnci Eviner Retrospektifi, sanat&ccedil;ının 1980&rsquo;li yıllardan g&uuml;n&uuml;m&uuml;ze uzanan yaratım s&uuml;recini bir araya getiriyor. Sergi, Eviner&rsquo;in desenden resme, videodan yerleştirmeye, fotoğraftan heykele uzanan zengin ifade arayışının gelişim ve d&ouml;n&uuml;ş&uuml;m&uuml;n&uuml; g&ouml;r&uuml;n&uuml;r kılıyor. Eviner&rsquo;in sanatsal birikimini kronolojik bir akış yerine, ge&ccedil;miş ile şimdiyi birbiri i&ccedil;erisine konumlandıran ve sergi mek&acirc;nını da sergilemenin i&ccedil;erisine dahil eden, farklı bir kurgu ile izleyiciye sunuyor.</p> <p style="text-align: justify;">Eviner&rsquo;in &ccedil;alışmalarının merkezini desen oluşturuyor. &Ccedil;alışma pratiğinin başlangı&ccedil; noktasını kağıt &uuml;zerine &ccedil;izgi ile oluşturduğu dışavurumlar olarak tanımlayan sanat&ccedil;ı, sanat tarihine ait alegori, ikonografi, ill&uuml;strasyon ve mitolojilerden g&uuml;ncel ideogram ve piktogramlara uzanan, sınırsız bir g&ouml;rsel dilin i&ccedil;erisinde gezinerek kendi sanat anlayışını her defasında daha da zenginleştirerek oluşturuyor. G&uuml;zel olanın i&ccedil;indeki şiddeti, bastırılmış olanın potansiyelini ve bilin&ccedil;altının eşsiz yaratıcılığını i&ccedil; i&ccedil;e &ouml;rerek g&uuml;ncel, g&uuml;ncel olduğu kadar da zamansız olduğu izlenimi veren yapıtlar kurguluyor.</p> <p style="text-align: justify;">T&uuml;rkiye &ccedil;ağdaş sanatının g&uuml;ncel d&ouml;n&uuml;ş&uuml;m&uuml;nde etkin rol &uuml;stlenen &ouml;nc&uuml; sanat&ccedil;ı; toplumsal, politik ve sosyo-k&uuml;lt&uuml;rel koşullar i&ccedil;erisinde kadın, toplumsal cinsiyet ve kimlik politikalarına dair farklı haller &uuml;zerine kendine &ouml;zg&uuml; bir ifade alanı aralıyor. &Ccedil;ocukluktan itibaren etkisi altında kaldığımız tarihsel, s&ouml;ylemsel ve bilin&ccedil;dışından s&uuml;re&ccedil;lerin kadın kimliği &uuml;zerindeki yansımalarını araştıran sanat&ccedil;ı, kadın olma halini tek bir imgeye sığmayan, sınırsız bir hayal g&uuml;c&uuml;n&uuml;n alanı olarak tanımlıyor. G&uuml;ndelik hayat i&ccedil;erisindeki jestlerinden hareket eden Eviner, onlar i&ccedil;in uygun g&ouml;r&uuml;len temsil bi&ccedil;imlerini ve bu temsilleri var eden yasakları sorgularken meydan okumayı ihmal etmiyor.</p> <p style="text-align: justify;">İlgi ve araştırma alanlarının &ccedil;eşitliliği a&ccedil;ısından ş&uuml;phesiz kuşağının en yaratıcı ve g&uuml;ncel sanat&ccedil;ılarından biri İnci Eviner. Serginin bir araya getirdiği yaklaşık kırk yıllık d&ouml;k&uuml;m, onun hem kendisi ile hem de insanı var eden bilin&ccedil;altı, k&uuml;lt&uuml;r, tarih, doğa ve sanat b&uuml;t&uuml;nl&uuml;ğ&uuml; ile kurduğu derin bağın zenginliğini ortaya koyuyor.</p> <p style="text-align: justify;">Sergideki yapıtlar, disiplinlerarası kesişmeden doğan pek &ccedil;ok alt okuma barındırabilir ama Eviner&rsquo;in sanatındaki ana aksları şu başlıklar altında sıralayabiliriz: Akademik eğitiminin getirdiği sanat tarihsel referanslar ve bu referansların sembolik anlamlarına dair g&uuml;ncel sorgulamalar, bilin&ccedil;altı ve varoluşun tetiklediği dışavurumlar, insan doğasının karmaşık yapısı, ezberlediğimiz davranış modelleri ve bizi hayvanlardan ayıran ince medeniyet &ccedil;izgisi, inşa edilmiş b&uuml;y&uuml;k anlatılar ve bu anlatıların n&uuml;fuz ettiği t&uuml;m iktidar alanları, beden-kimlik-coğrafya &uuml;&ccedil;geninde oluşturulmuş Kartezyen bilgiler ve bu bilgilerin yansıdığı, d&uuml;ş&uuml;nceyi tekelleştiren g&ouml;rsel ve s&ouml;zl&uuml; yayınlar, kaynaklar ve tarihi belgeler, doğu-batı ekseninde kurgulanmış modernist politikaların şimdiki zamandaki etkileri ve bu etkileri delen sınır aşımları, g&ouml;&ccedil;ler ve m&uuml;lteci olma halleri.</p> <p style="text-align: justify;">1956 Ankara doğumlu Eviner, İstanbul&rsquo;da yaşıyor ve &ccedil;alışıyor.</p> Wed, 24 Aug 2016 09:34:12 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Ippodo Gallery, Tokyo - July 27th - August 6th Wed, 24 Aug 2016 09:28:03 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Karin Sander - i8 Gallery - August 11th - September 24th <div class="intro-text"> <p style="text-align: justify;">Karin Sander&rsquo;s body of work seems extremely disparate at first glance, bringing together works that seem very distant from one another, such as vegetables nailed to a wall or enlarged photographs from a mobile phone, taken at a random angle, but following a strict program. But upon a closer look, it always revolves around how a minor change in a state can create something quite different and new.</p> <p style="text-align: justify;">Often, Karin Sander&rsquo;s work are characterized quite accurately with the term &ldquo;intervention,&rdquo; for in an overwhelming number of cases they are centred not in themselves or in a productive activity that can typically be termed artistic, but are conceived as an intervention in an exterior situation that is subject to certain spatial and specific attributions and laws.</p> <p style="text-align: justify;">Such is the case with a series of photographs taken on her mobile phone whenever someone calls the artist. The phone is programmed so that the camera switches on automatically when she takes a call. Thereby she has created a working method, following a set of &ldquo;playing rules&rdquo; that dictate how the works are created, while on the other hand, the result is beyond the reach of her influence to a certain degree. The result is a set of pictures of details that tell you both very little and a lot about a brief moment, about a defined place and its coordinates. When she takes a call, her phone immediately shoots a fragment of the chair in front of her, or it will take a picture of the floor, the feet, or her desk.</p> <p style="text-align: justify;">The pictures are like the phone calls themselves. They happen unexpectedly, according to the principle of chance. But the photographs do not look random. They seem meticulously composed. When her phone rings, her first reaction is to look who is calling. And because she is distracted, she forgets that a picture is being taken at that moment. This means that while the pictures are generated by chance, this is still happening within a clearly defined framework.</p> <p style="text-align: justify;">Karin Sander&rsquo;s genius consists in coming up with ideas that might look simple, but lead to wonderful results. At least the ideas appear simple, though their realisation is sometimes a technically highly complex process that may take years to complete. But every time, the result is always a kind of magical mechanism that incessantly commands the observer&rsquo;s attention. One could label Karin Sander&rsquo;s art &ldquo;so what art&rdquo;. Most of it can be described in half a sentence, but as soon as it is realised and subject to our, literally, marvelling gaze, we cannot find words enough to describe it.</p> <p style="text-align: justify;">Karin Sander has nailed fresh vegetables to a wall. So what? Yes, dammit, you might well ask what ideas she&rsquo;s trying to trigger off in our heads this time. In addition, the vegetables seem to be completely intact. Somewhere at the back they must have a nail stuck into them, but you can&rsquo;t see any trace of it and the spectator may wonder if this is this all made of plastic, produced in the same factories that turn out garishly coloured artificial sushi for display? Or is it instead all hyper-real, doused in atomic radiation, creating bilious greens, brilliant reds and lemony yellows that exist nowhere in nature?</p> <p style="text-align: justify;">The artist has disingenuously labelled these real vegetables Kitchen Pieces. Exhibited like this, they immediately pose like pieces of pop art, looking as if they were sprouting out of the wall and might any minute burst into song. Karin Sander is truly a friendly witch, with minimal effort making everyday objects appear so artificial that our mental processes and perceptive powers have no choice but to spring into action.<br /> Karin Sander lives and works in Berlin and Zurich. She has been Professor of Architecture and Art at ETH Zurich since 2007. Her works are in numerous collections including the Museum of Modern Art and the Metropolitan Museum of Art, New York; the National Museum of Art in Osaka; the Israel Museum in Jerusalem, as well as Staatsgalerie and Kunstmuseum Stuttgart. This is her third show at i8 Gallery.</p> <p style="text-align: justify;">Source Material:<br /> Karin Sander: Ausstellungskatalog / Exhibition Catalog. n.b.k., Berlin, 2011.<br /> Eva Menasse on Karin Sander&rsquo;s Kitchen Pieces.<br /> Conversation between Karin Sander and Barbara Steiner, May 17 to June 18, 2014</p> </div> Wed, 24 Aug 2016 09:25:12 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Caroline von Grone - Holger * Priess Galerie - September 9th - October 15th Wed, 24 Aug 2016 09:20:23 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Thierry Feuz - Galleri Christoffer Egelund - August 26th - September 17th Wed, 24 Aug 2016 09:16:15 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Estela Sokol - Anita Schwartz Galeria de Arte - July 27th - August 27th Wed, 24 Aug 2016 08:25:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Louise Tate - 69 Smith Street Gallery - August 17th - September 4th <p style="text-align: justify;">Seeking the boundaries between durational and momentary time, Louise's work is an investigation into the delimited spaces of time and memory. The paintings hover between fixity and flux, loosely referencing imagery sourced from old family photographs. Fragments of sourced photographs are fluidly rendered in paint in order to move beyond categorical representation. The works act, rather, as abstracted representation. Empty spaces (or absences) within the paintings speak of absences within memory and of the fractured nature of remembered time. Rather than being bound to a photographic record of the past, nostalgic memory is experienced in the presence of the paint itself. In painting that lingers now, then and later.</p> Wed, 24 Aug 2016 08:19:25 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - 69 Smith Street Gallery - August 17th - September 4th <p style="text-align: justify;">This Volunteers&rsquo; Exhibition showcases a fraction of the diverse talent and creative output from this artist-run gallery.</p> <p style="text-align: justify;">A few of the many volunteers, who over the past eighteen years have made 69 Smith Street Gallery a success, present personal works and memories:</p> <p style="text-align: justify;">Aneta Bozic, Betty Nicholson, Birgit Kreuzkamp, Carol Rowlands, Di Cunningham, Erin Round, Felicity Gordon, Helen McPherson, Irene Amorosi, Justine Cromb, Julie Harmsworth, Liza Posar, Marianne Little, Marija Newbold, Merle Parker, Michael Cuthbert and Trish Round.</p> Wed, 24 Aug 2016 08:18:34 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Bill Lane - 69 Smith Street Gallery - August 17th - September 4th <p style="text-align: justify;">An extended dialogue with the late Lewis Baltz&rsquo;s seminal 1974 work "The New Industrial Parks Near Irvine, California" that inverts Baltz&rsquo;s stark Californian minimalism into an ethereal antipodean nocturne. <br /> <br /> Baltz&rsquo;s spartan boxes manifest a common American theme : the promised land defiled. The response to Australian landscape is quite different. While Baltz documents the short term impact of money Lane&rsquo;s project explores the impact of people after the event. Lane and Baltz&rsquo;s aims may seem different and yet they are very much connected. Both projects are deeply rooted in an exploration of place and time, there and here, then and now.</p> Wed, 24 Aug 2016 08:17:38 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Karen Price - 69 Smith Street Gallery - August 17th - September 4th <p style="text-align: justify;">This is part of a series called &lsquo;The Eye of the Beholder&rsquo;. Painting has allowed me to see beauty&nbsp;in things that I previously considered ugly, ranging from a rusty piece of machinery to a cluster of&nbsp;dead gum leaves.</p> <p style="text-align: justify;">These acrylic paintings were inspired by a burnt out rusty car found in scrub on the banks of the&nbsp;Maribyrnong. I&rsquo;m sure that the person who dumped the car had no thought that it would provide&nbsp;artistic inspiration. The shapes and textures and the contrasting colours caught my eye. Several&nbsp;years later I decided to create a series of paintings from my source material. When curiosity led&nbsp;me to search for the car again I found that it had been cleared away by those who viewed it as an&nbsp;eyesore rather than a thing of beauty.</p> Wed, 24 Aug 2016 08:16:30 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list