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MASS MoCA curator Denise Markonish remarks\, &ldquo\;a true state of wonder agitates \, mesmerizes\, and is almost forcible and shocking. It is a sudden intake of breath\, a gaping mouth\, a relinquishing of understanding.&rdquo\; As c ommonly used\, &ldquo\;wonder&rdquo\; is sometimes mistaken for curiosity\, which centers on the practice of fact-finding and explanation. In \;Explode Every Day: An Inquiry into the Phenomena of Wonder\, viewers experience a purer state of wonder\, a state of being poised between knowi ng and not knowing\, and defined by an experience of something truly new.\n

Harnessing the \;idea \;of wo nder as a thematic metaphor\, the exhibition features both existing and new works by twenty-three international artists\, each touching on certain fac ets of wonder\, including: the perceptual/ visionary\, the technological/sc ientific\, the philosophical/meditative\, time/cosmos\, and illusion/fear.< /p>\n

Co-organized by Markonish and Columbu s\, Ohio-based artist Sean Foley\, \;Explode Every Day \;w as inspired by a course that Foley taught at Ohio State University and a lo ng-running conversation \;between the co-curators. The title for the ex hibition was inspired by the writer Ray Bradbury\, who often spoke of the n eed to retain a sense of wonder: \;&ldquo\;You remain invested in your inner child by exploding every day. You don&rsquo\;t worry about the future \, you don&rsquo\;t worry about the past&mdash\;you just explode.&rdquo\;\n

Jonathan Allen \;(London\, England ) is an artist and writer whose work addresses the magic at play within lat e modernity. His work has been \;featured in many exhibitions\, live pr ojects\, and publications\, most recently at Tate Britain\, Frankfurter Kun stverein\, and David Risley Gallery. He is an associate curator at The Magi c Circle Museum\, London. \;jonathanallen.info

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Jen Bervin \;(Brooklyn\, NY) is a visual artist and writer whose works combine text and textiles with conceptual elements and a minimalist&rsquo\; s eye for the poetic and essential. Her work has been exhibited at the Walk er Art Center\, The Power Plant\, The Eli and Edythe Broad Art Museum\, and others. Bervin is the recipient of a Creative Capital grant\, a Robert Rau schenberg Residency\, and is currently an artist-in-residence at the SETI I nstitute. \;jenberv in.com

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Lucien Castaing-Taylor&nbs p\;and \;Vé\;ré\;na \;Paravel \;(Cambridge\, MA) ar e filmmakers\, artists\, and anthropologists working at the Sensory Ethnogr aphy Lab at Harvard University. Their work has been screened at the \;A FI\, CPH:DOX\, Locarno\, New York\, Toronto\, and Viennale Film Festivals\, and exhibited at London&rsquo\;s Institute of Contemporary Arts\, the Cent re Pompidou\, and the Berlin Kunsthalle. Their 2012 film \;Leviatha n \;was lauded by critics and won numerous film awards.

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Jason de Haan \;(Calgary\, Alberta) creates sculptures\, drawings\, and videos \;that recognize potential in vario us unconventional systems\, objects\, and sets of conditions. Often incorpo rating non-human forces\, temporal shifts\, and unforeseen outcomes\, de Ha an seeks spaces where the invisible\, serendipitous\, and residual reveal t heir contingencies. He is represented by Clint Roenisch Gallery\, Toronto\, ON. \;jasondehaa n.net

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Tristan Duke \;(Los Ang eles\, CA) has a background in photography and has long been interested in optics\, visual perception\, and optical illusion. Through his work with th e Museum of Jurassic Technology\, Duke became involved in stereoscopic (3D) photography. Most recently he has been exploring laser holography\, and ha nd-etched holograms. \;dadabiti.org/tristan-duke

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Sharon Ellis \;(Los Angeles\, CA) is a painter of \;timeles s landscapes that highlight the interplay between a visible world and an eq ually present\, invisible one. Ellis juxtaposes light and dark values\, cre ating new sculptural forms coupled with deep spaces. Her subjects&mdash\;ta ken from nature&mdash\;are painstakingly rendered with multiple layers of t ransparent glazes\, resulting in surfaces that are spacious and immaterial. Ellis is represented by Christopher Grimes Gallery\, Los Angeles\, CA.

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Tom Friedman \;(Easthampton\, MA) ma kes extraordinary works that explore perception\, logic\, and possibility. His painstakingly rendered sculptures and works on paper inhabit the grey a rea between the ordinary and the monstrous\, the infinitesimal and the infi nite\, the rational and the uncanny. His work is often deceptive\, its hand made intricacy masked by a seemingly mass-produced or prefabricated appeara nce. Friedman is represented by Luhring Augustine\, New York\, NY.

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Christopher Gausby \;(New York\, NY) is a n artist\, calligrapher\, and writer who has reinvented the illuminated man uscript form to create book works meditating on philosophy and aesthetics. These works are in the collection of the New York Public Library and the Ne wberry Library\, Chicago.

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Hope Ginsbu rg \;(Richmond\, VA) creates multidisciplinary works that take the form of live events that explore the images\, objects\, and spaces that they ge nerate. Her pedagogical project\, \;Sponge\, is headquartered at the Virginia Commonwealth University School of the Arts\, where she is a n associate professor. Her recent \;Breathing on Land \;pr oject began at the Robert Rauschenberg Residency in Captiva\, FL. \;hopeginsburg.com

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Laurent Grasso \;(Paris\, France) h as long been fascinated with the visual possibilities related to the scienc e of electromagnetic energy\, radio waves\, and naturally occurring phenome na. He uses imagery culled from cinema and art history to create works in v ideo\, sculpture\, painting\, and drawing\, which set up ambiguous juxtapos itions of time and space. Grasso is represented by Sean Kelly\, NY\, and Ga lerie Perrotin\, Paris. \;laurentgrasso.com

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Pier re Huyghe \;(Paris\, France) creates films\, installations\, and public events that blur the traditional distinction between fiction and reality\, revealing the experience of fiction to be as palpable as anything in daily life. His playful work addresses complex social topics\, such as the yearn ing for utopia\, the lure of spectacle in mass media\, and the impact of Mo dernism on contemporary values and belief systems. \;Huyghe is represen ted by Marian Goodman Gallery\, NY.

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T he \;Institute For Figuring \;(Los Angeles\, CA) engages in science and making\, steeped in the belief that ideas presented in abstract terms can often be embodied in physical activities. Founded in 2003 by twin siste rs Margaret and Christine Wertheim\, the IFF develops exhibits and programs for museums\, galleries\, colleges\, and community groups internationally. The IFF&rsquo\;s \;Crochet Coral Reef \;is one of the lar gest science+art projects in the world. \;theiff.org

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Nina K atchadourian \;(Brooklyn\, New York) creates works in a wide variety of media including photography\, sculpture\, video\, and sound\, playing with notions of the everyday\, humor\, language\, and nature. \;Most recent ly\, she was part of the 2015 Venice Biennial\, and Chronicle Books publish ed \;Sorted Books\, \;a celebration of a 20-year long proj ect. Katchadourian is represented by Catharine Clark Gallery in San Francis co\, CA. \; ninakatchadourian.com

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Michael Lig ht \;(San Francisco\, CA) is a photographer focused on the environment and its relationship to contemporary American culture. \;He has publish ed the archival works\, \;Full Moon \;(1999)\, which used lunar geological survey imagery made by the Apollo astronauts to show the m oon as a sublime desert\, and \;100 Suns \;(2003)\, milita ry photographs of \;U.S. atmospheric nuclear detonations from 1945 to 1 962. \;michaelli ght.net

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Charles Lindsay \;(Ne w York\, NY) is a multidisciplinary artist interested in technology\, ecosy stems\, semiotics\, and esoteric forms of humor. He creates immersive envir onments\, sound installations\, sculptures built from salvaged aerospace an d biotech equipment\, videos\, and photographs. Lindsay was the first artis t-in-residence at the SETI Institute. \;charleslindsay.com

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Megan and Murray McMillan \;(Providence\, RI) have been col laborating since 2002. They \;make interdisciplinary projects that inco rporate video\, installation\, performance\, and photography. They often st art their process by building large sets in their studio or on location. Th at set then becomes the stage for video and photographs with choreographed actors who activate the set in a filmed performance. \;meganandmurraymcmillan.com

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Ryan and Trevor Oakes \;(New York\, NY) are twin brothers who have been engaged in a conversation about the nuances of vision since they were children. They explored their mutual fascination with vision throughout grade school and during college at Coop er Union&rsquo\;s School of Art in New York City. Since graduating in 2004\ , they&rsquo\;ve continued their dialogue with their jointly built artworks addressing human vision\, light\, perception\, and the experience of space and depth.

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Demetrius Oliver \;(N ew York\, NY) uses prosaic objects such as teakettles\, light bulbs\, and u mbrellas to evoke poetic associations between physical materials and abstra ct ideas. Both introspective and transformative\, Oliver&rsquo\;s practice investigates the cosmos from the vantage point of the studio and the galler y. \;demetriu soliver.com

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Dario Robleto \;( Houston\, TX) is an artist whose multifaceted practice links careful resear ch with romantic earnestness and conceptual precision with unorthodox fabri cation. His sculptures\, prints\, and wall works combine esoteric materials and processes to explore forgotten\, little-known\, or as-yet unfamiliar c orners of history\, art\, and science. Robleto has had over 30 solo exhibit ions since 1997\, most recently \;The Boundary of Life Is Quietly C rossed \;at The Menil Collection in Houston\, TX. He is currently an artist-in-residence at the SETI Institute. \;dariorobleto.com

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Rachel Sussman \;(Brooklyn\, NY) spent nearly a decade developing the critically acclaimed projectThe Oldest Living Things in the World\, researching\, working with biologists\, and traveling all over the world to photograph continuously living organisms that are over 2\ ,000 years old. University of Chicago Press published the accompanying book in 2014. Sussman has exhibited her work internationally and received numer ous awards including a 2014 Guggenheim Fellowship\, and has spoken at TED\, The Long Now Foundation\, and UCLA\, among others. She is currently an art ist-in-residence at the SETI Institute. \;rachelsussman.com

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Julianne Swartz \;(Kingston\, NY) works with sound\, kineti cs\, and a range of lo-tech materials to make sculpture\, installations\, a nd photographs. Often using optics\, magnetism\, and the concepts of space and time in her body of work\, her installations invite attentive visitors to slow down and sharpen their senses. She is represented by José\;e Bienvenu Gallery\, NY\, and Lisa Sette Gallery\, Phoenix\, AZ. \;julianneswartz.com\n

Chris Taylor \;(Providence\, RI) e xploits the friction generated within a material and process that is a prod uction of convention\, tradition\, and history. Particularly examining glas s\, Taylor has learned to blow it upside down and also reproduced a 16th-ce ntury Venetian goblet\, whose technique was lost for over 500 \;years\, which he planted next to the original in The Metropolitan Museum of Art.\n

Fred Tomaselli \;(New York\, NY) d raws upon art historical sources and Eastern and Western decorative traditi ons to create works that explode with mesmerizing patterns through the laye ring of resin\, pharmaceuticals\, and organic materials. More recently he h as been transforming the front page of \;The New York Times&nb sp\;with gouache and collage. For \;Explode Every Day\, \; Tomaselli shows an historic sculptural work from the late 1980s. He is repr esented by James Cohan Gallery\, NY.

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About the Catalog
Accompanying the exhibition will be a comprehensive catalog that will\, for the first time\, gather contributors from diverse f ields to investigate this elusive topic and unite them through contemporary art.

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The book will consist of essays on the history of wonder\; wonder and psychology\; and literature\, scienc e\, and unusual natural and paranormal phenomena\; as well as in-depth arti st interviews and special artist projects. Contributors to the catalogue in clude: Lawrence Weschler (author of creative nonfiction)\, Kay Redfield Jam ison (clinical psychologist and author)\, Maria Popova (writer and blogger at \;brainpick ings.org)\, Barbara Maria Stafford (art historian)\, Jill Tarter (astro nomer and former director of the Center for SETI Research)\, Robin Ince (co median and co-host of BBC radio&rsquo\;s The Infinite Monkey Cage)\, Stefan Sagmeister (graphic designer)\, Mary Ruefle (poet)\, Sam Green (filmmaker of \;The Meas ure of All Things)\, Steve Holmes (curator)\, and the exhibition c urators. The catalog will be edited by Markonish and co-published by Preste l.

\n DTEND:20170403 DTSTAMP:20160501T035921 DTSTART:20160528 GEO:42.7018121;-73.1146277 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SEQUENCE:0 SUMMARY:Explode Every Day: An Inquiry into the Phenomena of Wonder\, Ryan & Trevor Oakes\, DEMETRIUS OLIVER\, Dario Robleto\, Rachel Sussman\, Juliann e Swartz\, Chris Taylor\, Fred Tomaselli\, Véréna Paravel\, Jason de Haan\, Tristan Duke\, Tom Friedman\, Christopher Gausby\, Hope Ginsburg\, Laurent Grasso\, Pierre Huyghe\, The Institute For Figuring\, Nina Katchadourian\, Michael Light\, Charles Lindsay\, Megan and Murray McMillan\, Jonathan All en\, Jan Bervin\, Lucien Castaing-Taylor\, Sharon Ellis UID:417209 END:VEVENT BEGIN:VEVENT DTEND:20160528T170000 DTSTAMP:20160501T035921 DTSTART:20160528T110000 GEO:42.7018121;-73.1146277 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts 01247 SEQUENCE:0 SUMMARY:Explode Every Day: An Inquiry into the Phenomena of Wonder\, Jonath an Allen\, Jan Bervin\, Lucien Castaing-Taylor\, Jason de Haan\, Tristan Du ke\, Sharon Ellis\, The Institute For Figuring\, Tom Friedman\, Christopher Gausby\, Hope Ginsburg\, Laurent Grasso\, Pierre Huyghe\, Nina Katchadouri an\, Michael Light\, Charles Lindsay\, Megan and Murray McMillan\, Ryan & T revor Oakes\, DEMETRIUS OLIVER\, Véréna Paravel\, Dario Robleto\, Rachel Su ssman\, Julianne Swartz\, Chris Taylor\, Fred Tomaselli UID:417210 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At The National Museum of Art\ , Osaka\, Yasumasa Morimura\, one of Japan's preeminent contemporary artist s\, presents his first large-scale solo exhibition ever to be held in his h ometown of Osaka. The exhibition will consist of 132 works. There will be 5 0 new works\, including Morimura's first full-length video piece\, with a r unning time of approximately 70 minutes\, never-before-shown works\, and im portant works from the past.

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Born in Osaka in 1951\, the internationally active artist Yasumasa Morimura is stil l based in his hometown. Since his work \;Portrait (Van Gogh)& nbsp\;was widely acclaimed at a group show titled \;Smile with Radi cal Will\, which held at a Kyoto's Galerie 16 in 1985\, Morimura has d evoted himself to creating self-portraits in which he dresses up as protago nists from famous masterpieces\, film actresses\, and notable historical fi gures from the 20th century.

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This exh ibition might be described as a comprehensive survey of art history based o n the self-portraits Morimura has created. The first part contains highly a cclaimed works from the past such as the artist's early effort \;Po rtrait (Van Gogh)\, the \;Rembrandt Room \;series (19 94)\, an exploration of the mind of the 17th century Dutch master Rembrandt van Rijn\, and \;An Inner Dialogue with Frida Kahlo (Flower Tondo)  \;(2001)\, a festive series displaying Morimura's unique artistic perspective that deals with the loves and death of Frida Kahlo\, one of th e leading Mexican painters of the 20th century. It also includes new works in which Morimura transforms himself into Leonardo da Vinci\, Dü\;rer\, Caravaggio\, Le Brun\, Magritte\, Dali\, and for the first time in 30 year s\, van Gogh. This group of works provides insight into the artists who rev ealed themselves in self-portraits\, Morimura's interpretation of these wor ks\, and his critical view of self-portraits in Western art history since t he age of Leonardo. Morimura also resurrects the humanity and rich creativi ty of Shunsuke Masumoto\, Shigeru Aoki\, Tetsugoro Yorozu\, and Kaita Muray ama\, who were pioneers in Japanese modern art\, and recreating contemporar y self-portraits of figures such as Andy Warhol and Cindy Sherman.

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The second part of the exhibition features a video work specially produced for this exhibition. In collaboration with th e budding video artist Hikaru Fujii\, Morimura has created his first full-l ength video work\, with a total running time of approximately 70 minutes. H ere\, the artists depicted in the self-portraits in the first part of the e xhibition appear alongside Morimura himself\, encouraging a variety of uniq ue interpretations of the self.

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In ad dition to approximately 110 self-portraits\, the exhibition includes portra its of the artist as a child. Morimura's personal history\, leading up to h is first encounter with art history\, overlaps with art history\, captured from a critical perspective through his own appearances in the works\, to c reate an exhibition that serves as a wide-ranging retrospective of the arti st's career.

DTEND:20160619 DTSTAMP:20160501T035921 DTSTART:20160405 GEO:34.6918516;135.492041 LOCATION:National Museum of Art\, Osaka\,4-2-55 Nakanoshima\, kita-ku \nOsa ka\, 530-0005 SEQUENCE:0 SUMMARY:The Self-Portraits of Yasumasa Morimura: My Art\, My Story\, My Art History\, Yasumasa Morimura UID:417191 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160708 DTSTAMP:20160501T035921 DTSTART:20160528 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:how hard can it be\, Stephanie Lüning\, Moe Matsuhashi\, Lisa Pahlk e\, Johanna Rüggen\, Daniel Rode\, Sabine Schober\, Benjamin Stölzel UID:417083 END:VEVENT BEGIN:VEVENT DTEND:20160527T210000 DTSTAMP:20160501T035921 DTSTART:20160527T180000 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:how hard can it be\, Stephanie Lüning\, Moe Matsuhashi\, Lisa Pahlk e\, Daniel Rode\, Johanna Rüggen\, Sabine Schober\, Benjamin Stölzel UID:417084 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160423 DTSTAMP:20160501T035921 DTSTART:20160325 GEO:45.482877;-73.5843654 LOCATION:Parisian Laundry\,3550 St-Antoine Ouest \nMontréal\, QC H4C 1A9 SEQUENCE:0 SUMMARY:Opaque Architectures\, Jaime Angelopoulos UID:416692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To celebrate the centenary of the Dada movement in the city of its birth\, Hauser &\; Wirth Zürich is pleased to present the first-ever comprehensive exhibition of the renowned Dadaists Kurt Schwitters (1887 &ndash\; 1948) and Hans Arp (1886 &ndash\; 1966)\, in the context of works by the Spanish painter\, graphic artist and sculptor Joan Miró\; (1893 &ndash\; 1983). &lsquo\;Schwitters Mir&oa cute\; Arp&rsquo\; runs concurrently with the 11th iteration of Manifesta\, which is taking place in Zurich.

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Fro m the turn of the century\, these three artists were united by the impulse to renew and transform art. Building on the achievements of Cubism\, they p ursued this goal through experimentation with collage and assemblage\, gene rating radical new ideas to confront a Europe characterised by the catastro phe of war.

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In 1918\, Schwitters and Arp developed a close friendship founded on a lively exchange of artistic i deas. In 1926\, Miró\; and Arp shared a home in the Les Fusains artis ts&rsquo\; colony at Rue de Tourlaque 22 in Paris\, where Schwitters also t ravelled each year\, and most frequently between 1929 and 1932. Arp had fir st become acquainted with collage in 1914 in the studio of Picasso\; he con veyed the new technique to Schwitters during their time together in Paris a nd it went on to become an essential facet of Schwitters&rsquo\; oeuvre. In turn\, Miró\;&rsquo\;s experiments with the assemblage of everyday o bjects in the late 1920s were strongly influenced by Schwitters\, Arp and t he Dada movement.

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Each of these artis ts shared an interest in the fusion of painting and sculpture through the a rt of assemblage. While Schwitters dramatically expanded the artistic frame of reference with his Merzbilder\, particularly through the use of materia ls found on the street\, and Arp continued to develop his abstract organic reliefs\, Miró\; found his own raw yet poetic way of engaging with th e material. Miró\;&rsquo\;s play with geometric and organic forms can be interpreted as a link between the artistic expression of Schwitters\, w ho had already begun to distance himself from the reproduction of natural f orms in 1918\, and the biomorphic compositions created by Arp. Their mutual influence upon one another resonated throughout their careers and into the ir late works.

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This extensive exhibit ion is dedicated to the re-evaluation and rediscovery of three fascinating personalities from art history who instigated a material language that cont inues to inform contemporary art today. Comprising over 100 key works from American and European museums as well as international private collections\ , the show offers new perspectives on Schwitters\, Miró\; and Arp\, a s well as a deeper insight into Dada and Surrealism.

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Highlights include Arp&rsquo\;s painting &lsquo\;Teller\, G abeln and Nabel&rsquo\; (1923)\; a 1933 drawing-collage by Miró\;&rsq uo\; and an early example of Schwitter&rsquo\;s Merzbilder &ndash\; &lsquo\ ;Merzbild 1B Bild mit rotem Kreuz&rsquo\; (1919).

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&lsquo\;Teller\, Gabeln and Nabel&rsquo\; has its source in Da da&rsquo\;s idealistic concept of redemption through primitive\, abstract f orms\, yet its biomorphic shapes are characteristic of the new formal langu age Arp developed by abstracting elements from the natural landscape. It be longs to the remarkable series of painted reliefs that signalled his return to figuration in the 1920s &ndash\; he turned to a simplified figurative s tyle and a new iconography of faces and objects to create critical and humo rous images. Arp often focused obsessively on one body part such as a nose or moustache &ndash\; or in this case\, a navel &ndash\; to the extent of o verwhelming the perception of the entire figure. In attacking human folly d irectly\, through parody or objectification of the body\, Arp adopted Dada& rsquo\;s embrace of the irrational and absurd.

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&lsquo\;Untitled. Drawing-Collage&rsquo\; (1933) is from a series of outlandish and poetic collages that mark a period of fervent experiment ation in Miró\;&rsquo\;s career. Interlaced lyrical and biomorphic fi gures drawn in fine pencil are punctuated with outmoded and eclectic imager y in the form of old postcards\, newspapers scraps\, anatomy albums or art nouveau motifs. The meeting of instinctive\, delicate line and crude imager y lend the works a distinct sense of humour in accord with the Dada sensibi lity.

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Belonging to Schwitters&rsquo\; series of constructed-relief-paintings created between 1919 and 1921\, &ls quo\;Untitled&rsquo\; (1919) is a kaleidoscopic accretion of humble\, found material that speaks to the flux of contemporary society. The scraps and d etritus are subjected to an organising principle resembling the strong diag onals and logic of Analytic Cubism\, thus transforming the diverse componen ts into formal elements and giving a sense of order to the chaotic fragment s of modern industrial life.

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The exhi bition is curated by art historian Dr Dieter Buchhart\, who has organised s eminal exhibitions on major figures such as Jean-Michel Basquiat\, Georges Braque\, Otto Dix\, Keith Haring\, Edvard Munch and Andy Warhol in renowned museums such as Albertina\, Vienna\, Austria\; Fondation Beyeler\, Basel\, Switzerland\; Guggenheim Museum\, Bilbao\, Spain\; Musé\;e d&rsquo\; Art Moderne\, Paris\, France and De Young Museum\, San Francisco CA.

DTEND:20160918 DTSTAMP:20160501T035921 DTSTART:20160612 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Schwitters Miró Arp\, Kurt Schwitters\, Joan Miro\, Hans Arp UID:416671 END:VEVENT BEGIN:VEVENT DTEND:20160611T200000 DTSTAMP:20160501T035921 DTSTART:20160611T180000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Schwitters Miró Arp\, Hans Arp\, Joan Miro\, Kurt Schwitters UID:416672 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth Zürich is delighted to present a solo exhibition of works by the late American sculp tor\, painter and draughtsman\, David Smith (1906 &ndash\; 1965). A titan o f 20th-century art\, Smith transformed the innovations of European modernis m into a richly diverse new artistic language. Over a 33-year career he gre atly expanded the notion of what sculpture could be\, its relationship to s pace and importantly moved the site of its production\, and ultimately our experience of it\, from the artist&rsquo\;s atelier and art foundry into th e realms of industry and nature. Spanning pure abstraction and poetic figur ation\, Smith&rsquo\;s deeply humanist vision has inspired generations of s culptors for over 50 years since his death.

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This exhibition marks the gallery&rsquo\;s first presentation of the artist since beginning work with the estate in 2015\, and focuses on Smith &rsquo\;s practice between 1958 and 1964\, the important final years of his life. The late 1950s marked a dramatic expansion of his ambition and produ ctivity and by the 1960s Smith was at the height of his creative powers\, g arnering international attention as the leading sculptor of his generation. Exploring the dialogue between Smith&rsquo\;s use of form and colour\, geo metry and gesture\, the show brings together a selection of painted steel s culptures and spray-paint works\, highlighting Smith&rsquo\;s objective to merge the concerns of two- and three-dimensional media.

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Painting and drawing remained integral to Smith&rsquo\;s creative output throughout his career. &lsquo\;Drawings&rsquo\;\, he claim ed\, &lsquo\;are studies for sculpture\, sometimes what sculpture is\, some times what sculpture never can be&rsquo\;. Around 1958\, almost immediately after the invention of the aerosol spray can\, Smith began his Sprays. Mad e simultaneously to some of his most rigorously geometric sculpture\, the S prays are often loosely gestural. Though the Sprays freed Smith&rsquo\;s fo rm from the constraints of gravity\, and his sculpture\, for Smith the two mediums were conceptually continuous. The exhibition&rsquo\;s inclusion of both sculpture and painting enriches the viewer&rsquo\;s understanding of S mith&rsquo\;s oeuvre\, emphasising his conviction that every facet of his v isual output represents an essential element of his total artistic vision.< /p>\n

With the Sprays\, Smith adopted a med ium that was developed from\, and was perfectly aligned with\, his sculptur al process. When creating a sculpture\, Smith would often place components of the work in progress on his white painted floor before joining them toge ther. The welding often scorched the paint surface leaving negative images of the sculpture. Inspired by these incidental patterns\, Smith began work on the Sprays\, employing any material at hand\, from nuts and bolts to tre e branches\, and even leftovers from his table\, which he arranged on paper or canvas before spraying over the composition with industrial enamel pain t. When the objects were removed\, ghostly silhouettes remained\, their out lines hazy from the diffused paint that seeped beneath the objects&rsquo\; edges. The Sprays encapsulate the overlap between two- and three-dimensiona l activities in Smith&rsquo\;s practice. As in the artist&rsquo\;s sculptur es\, the Sprays present an interplay of simple\, bold forms to produce comp lex rhythms in space. They examine the ambiguity between positive and negat ive space\, contrasting layers of effervescent colour with a vacuum of pure white. Exercising spontaneity absent from sculpture\, the Sprays represent a direct and unmediated form of expression that\, for Smith\, provided mor e than simple studies for his sculptural work.

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Appearing contemporary and ever-relevant today\, Smith&rsquo\;s s culptures were seen as an extremely radical challenge to modernist taste at the time they were made. The sculptures featured in the exhibition illustr ate Smith&rsquo\;s increasing focus on the visual nature of three-dimension al work\, and its potential as a painterly medium. In &lsquo\;Dida&rsquo\;s Circle on a Fungus&rsquo\; (1961) and &lsquo\;Ninety Father&rsquo\; (1961) \, the contrast between loosely painted surface &ndash\; textural marks mad e by Smith with industrial enamels and small brushes which are often compar ed to the spontaneous brushwork of Abstract Expressionists &ndash\; and ass ertive geometric forms\, creates a lyrical balance. Far beyond cosmetic app lication\, Smith&rsquo\;s use of colour controls the form\, the dappled fin ish working to soften the strict\, geometric lines.

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&lsquo\;Circles Intercepted&rsquo\; (1961) is in many respec ts a three-dimensional painting. Smith&rsquo\;s dramatically different trea tment of colour and form on the two &lsquo\;sides&rsquo\; of the sculpture exemplifies his most radical contribution to the language of sculpture &nda sh\; that is the virtual impossibility for the viewer to &lsquo\;possess&rs quo\; the totality of the object as he / she experiences it from different views. When seen from the front\, other views of the sculpture can never be predicted. The viewer is forced to experience the sculpture as a series of unique images in real time\, rather than viewing it\, and then &lsquo\;pro ducing&rsquo\; its wholeness in one&rsquo\;s own imagination. The work has a muscular authority\, and is a tour-de-force in which very heavy plates of steel are suspended in mid-air before our eyes. In addition\, the handmade quality and irregularities of the circular forms assert the physical reali ty of the layered concentric discs as they are pushed and pulled in space & ndash\; intercepted &ndash\; by the bars radiating through them. It is all the more noteworthy in this context how Smith used the application of paint to alter the specific weights and forms of the sculpture\, and to ultimate ly prioritise the visual over the physical.

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Painted sculpture\, in and of itself\, was not new &ndash\; although it was unorthodox at a time when &lsquo\;truth to materials&rsquo\; was th e standard\, accepted practice for sculpture. As Smith noted\, sculpture ha d been painted from its earliest history. Smith however\, introduced a dist inctly modern conceptual intention\, one that\, like his Sprays\, takes on vision itself as a subject\; Smith was not making painted sculpture\, he wa s making sculpture about painting.

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Th e exhibition will be accompanied by a fully&ndash\;illustrated catalogue fe aturing historic archival images and an essay by curator and art historian Michelle White.

DTEND:20160918 DTSTAMP:20160501T035921 DTSTART:20160612 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Form in Color\, David Smith UID:416669 END:VEVENT BEGIN:VEVENT DTEND:20160611T200000 DTSTAMP:20160501T035921 DTSTART:20160611T180000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Form in Color\, David Smith UID:416670 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beginning 19 March 2016\, Haus er &\; Wirth will present the gallery&rsquo\;s first Zurich exhibition d evoted to internationally-admired Osaka-born\, Paris-based artist Takesada Matsutani. Over a five-decade career that began with his participation in t he Gutai Art Association and evolved to express the tangled complexities of a life lived between France and Japan\, Matsutani has developed a unique v isual language of form and materials. His work plays with notions of time a nd the movement of our bodies through it. Engaging themes of the eternal an d the infinite\, and echoing the endless cycles of life and death\, Matsuta ni merges material\, hue\, and movement to arrive at an art about the prese nt moment and the reverberating forces and unceasing currents from which li fe itself flows.

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Highlighting the art ist&rsquo\;s practice in Paris at the beginning of the 1970s\, &lsquo\;Take sada Matsutani&rsquo\; at Hauser &\; Wirth will present never before see n paintings from the artist&rsquo\;s early career. Organised with Olivier R enaud-Clé\;ment\, the exhibition will remain on view at the gallery u ntil 21 May 2016.

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Takesada Matsutani was a recognised member of Japan&rsquo\;s avant-garde Gutai Art Association (1954 &ndash\; 1972)\, exhibiting in group shows with them beginning in 19 60 and having a solo presentation at the Gutai Pinacotheca in Osaka in 1963 . Developing an aesthetic in his formative years through radical experiment ations with vinyl glue\, the young artist impregnated the surface of his ca nvases with bulbous elements\, using his own breath to create swollen and r uptured forms evocative of flesh and wounds. For his ability to elicit the sensual tactility of his materials and create viscerally profound new forms \, Matsutani was awarded first prize at the First Mainichi Art Competition in 1966 and received a six-month scholarship from the French government to study abroad. This journey to France would transform his career. While the teachings and ethos of Gutai have exerted an enduring influence upon the ar tist\, nearly 50 years later Matsutani still calls Paris his home.

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Visitors will encounter Matsutani&rsquo\;s bo ld\, colourful paintings from the early 1970s\, a radical body of work that reveals the evolution of his earlier formative notions. Soon after moving to Paris and beginning work at renowned engraver Stanley William Hayter&rsq uo\;s Atelier 17\, Matsutani devoted himself to the techniques of etching\, printmaking\, and silkscreen. Hayter&rsquo\;s workshop was a centre for cr eative exchange and collaboration\, both in Paris and New York\, and exerte d profound influence upon such artists as Louise Bourgeois\, Salvador Dal&i acute\;\, Marcel Duchamp\, Max Ernst and Joan Miró\;. Through the pro wess of Atelier 17\, American Abstraction and the New York School collided and mingled with the European avant garde &ndash\; for Matsutani\, Atelier 17 introduced new forms of artistic experimentation. Influenced by the theo ries and history of &lsquo\;the image&rsquo\; in Western culture\, and espe cially by American Minimalism and the Hard Edge paintings of Ellsworth Kell y\, he began to conceive new compositions\, re-arranging and testing the li mits of pictorial space. Transforming the same organic and biomorphic forms he first developed in glue\, the progression from &lsquo\;Le Dé\;vel oppement-A1-69&rsquo\; (1969) to &lsquo\;Two Objects&rsquo\; (1970) display s the transformation of the artist&rsquo\;s pooling\, curvaceous forms into flat geometric planes of colour on canvas.

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Many of the works on canvas from the early 1970s on display at Hause r &\; Wirth Zürich have never been exhibited in public before. Beyond t he two-dimensional re-imagination of the artist&rsquo\;s previous forms cre ated in glue\, these canvases bring a vibrant inventive juxtaposition of co lour. His use of shape grows more complex with the works of 1972\, such as &lsquo\;Harugakita&rsquo\;\, and breaks into a dynamic intermingling of for ms in &lsquo\;Sky-B&rsquo\; and &lsquo\;Propagation-72&rsquo\;. A truly sin gular period in the artist&rsquo\;s career\, the early 1970s timeframe of t he current show highlights Matsutani&rsquo\;s committed exploration of the flattening of shapes\, through a frank use of strong colours in oil on canv as.

DTEND:20160521 DTSTAMP:20160501T035921 DTSTART:20160319 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Takesada Matsutani\, Takesada Matsutani UID:416668 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of the exhibit ion\, &lsquo\;Wilhelm Sasnal&rsquo\; at Hauser &\; Wirt h Zü\;rich

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Ulrich Loock&rsquo\;s recent curatorial project\, &lsquo\;Raymond Pettibon. Homo Americanus&rsquo \;\, is on display at Deichtorhallenn\, Hamburg\, Germany\, through 11 Sept ember 2016

DTEND:20160510T210000 DTSTAMP:20160501T035921 DTSTART:20160510T200000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Wilhelm Sasnal in Conversation with Ulrich Loock\, Wilhelm Sasnal UID:416664 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;Painting is a natural activity\, it&rsquo\;s primal. I think images aren&rsquo\;t important becau se of the numbers that surround us. But painting has a chance. There is alw ays painting\, like there&rsquo\;s song. I don&rsquo\;t think it needs spec ulation as to whether it is alive or dead&hellip\; With film I am not only looking for the story but also for the language\, how to depict a certain s tate of being.&rsquo\;
&ndash\; Wilhelm Sasnal

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Hauser &\; Wirth Zürich presents a solo exhibition of ne w and recent works by Wilhelm Sasnal\, the pre-eminent painter and film-mak er known for his incongruous and quietly unsettling portrayal of our collec tive surroundings and history. The exhibition will showcase a large number of new works informed by his recent travels to America&rsquo\;s southern st ates\, and the events and crises currently dominating world affairs. Extrac ts from the artist&rsquo\;s latest feature length film\, which is inspired by Albert Camus&rsquo\;s novel &lsquo\;The Stranger&rsquo\; (1942)\, form t he axis of the presentation.

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There is a persistent preoccupation in Sasnal&rsquo\;s work to stay engaged with th e world we live in\, and perhaps more importantly\, to connect the present with the past. At once curiously personal and coolly detached\, Sasnal subj ectively and intimately interprets the topical.

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Drawing on found images from newspapers and magazines\, the Inte rnet\, billboards or his personal surroundings\, Sasnal&rsquo\;s paintings act as an archive to the mass of sprawling images that flood contemporary s ociety. In applying a concise\, photorealist approach to this eclectic subj ect matter\, he captures stolen moments in time &ndash\; his unusual croppi ng and graphic approach to light and colour suggest a camera&rsquo\;s gaze\ , imbuing the canvases with a filmic quality. In Sasnal&rsquo\;s latest ser ies of paintings\, issues relating to race\, religion and the notion of &ls quo\;other&rsquo\;\, surface. Motifs such as birds\, cowboy boots and corpo rate logos invite the viewer to make associations with the current politica l climate\, but\, as in his films\, the paintings navigate between figurati on and abstraction\, eschewing a definitive narrative or agenda. The power of Sasnal&rsquo\;s painting lies in this sense of distance created between the viewer and underlying story. Through abstraction or empty space\, he ge nerates a disquieting absence of emotional engagement.

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Sasnal has long worked in film alongside his painting\, v iewing it as a complimentary practice and welcoming the alternative challen ges that it brings. Film&rsquo\;s affinity with reality\, and therefore its ability to provoke\, also appeals to the artist. Over the past year\, Sasn al has been working with Anka\, his wife and long-time collaborator\, on pr oducing his fourth feature length film &ndash\; &lsquo\;The Sun\, the Sun B linded Me&rsquo\;. For the exhibition in Zurich\, an edited extract from on e scene in the film is projected onto the gallery walls\, creating a loop o f compelling images that encapsulate the essence of the paintings on displa y.

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The film borrows its trajectory fr om Albert Camus&rsquo\;s novel &lsquo\;The Stranger&rsquo\; (1942)\, but th e setting is Poland today\, shot in Krakow and on the Baltic coast. The sto ry also takes inspiration from Hans Christian Andersen&rsquo\;s dark fairyt ale &lsquo\;The Shadow&rsquo\; (1847). Camus&rsquo\;s novel is narrated by Meursault\, a French Algerian who\, along with his friend\, enters a confro ntation with an Arab man on the beach. After initially preventing his frien d from killing &lsquo\;the Arab&rsquo\;\, he later returns to shoot him. Wh ile awaiting the execution of his death sentence\, the reader learns that M eursault had no discernable reason for his actions and feels no guilt or re morse. The tale is existential in tone\, pertaining to Camus&rsquo\;s philo sophy on the absurdity of human existence\, which he believed has no meanin g or purpose.

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In the hands of Sasnal\ , &lsquo\;the Arab&rsquo\; is a black man hiding from border control and &l squo\;Meursault&rsquo\; first decides to shelter the man in his home\, only to realise that this was in his imagination. The encounter is repeated\, a nd on this occasion the man is killed by &lsquo\;Meursault&rsquo\;. In cont rast to Camus&rsquo\;s story\, the court diminishes the murder charges\, re asoning that the crime was self-defence against a foreign criminal. Erudite and unabashed\, Sasnal&rsquo\;s film explores the ever-salient question of what it means to be foreign today.

DTEND:20160521 DTSTAMP:20160501T035921 DTSTART:20160319 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wilhelm Sasnal UID:416663 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A three-part exhibition of the work of Felix Gonzalez-Torres will open at \;Andrea Rosen Gallery\, New York\; \;Massimo De Carlo\, Milan\; and Hauser &\; Wirth\, London in May 2016. Cur ated by artists Julie Ault and Roni Horn\, each exhibition will focus on th e dialogue between works within an essential form that Gonzalez-Torres crea ted. In so doing\, Ault and Horn hope to underline the specificity and magn itude within particular bodies of the artist&rsquo\;s work.

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By engaging the range of decisions brought to bear i n manifesting and installing selected Gonzalez-Torres works that require be ing made anew\, Ault and Horn underscore vital methods reflected throughout the artist&rsquo\;s entire oeuvre. The exhibitions are conceived as indivi dual experiences that should be understood in the larger context of all thr ee. Each presentation is intended to complement and augment the experiences they offer within the larger whole and within Felix Gonzalez-Torres&rsquo\ ;s practice.

DTEND:20160720 DTSTAMP:20160501T035921 DTSTART:20160520 GEO:45.484094;9.2435237 LOCATION:Galleria Massimo De Carlo\,Via Giovanni Ventura\, 5 \nMilan\, I-20 134 SEQUENCE:0 SUMMARY:Solo Exhibition\, Felix Gonzalez-Torres UID:416660 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One of the most influential ar tists of his generation\, Anish Kapoor dedicates his first solo exhibition at Lisson Gallery Milan to stainless steel twist sculptures. Brought togeth er for the first time\, these fourteen works \;cause a torsion of the r eflected image and deconstruct the world into abstract shapes. Kapoor&rsquo \;s meticulously polished and seamless surfaces skew and morph the surround ing environment and disorient visitors &ndash\; \;providing a lens to v iew the universe in a different light\, where perception is warped and flip ped on its side.

DTEND:20160722 DTSTAMP:20160501T035921 DTSTART:20160513 GEO:45.4651238;9.1703262 LOCATION:Lisson Gallery\,Via Zenale\, 3 \nMilan\, 20123 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anish Kapoor UID:416652 END:VEVENT BEGIN:VEVENT DTEND:20160513T210000 DTSTAMP:20160501T035921 DTSTART:20160513T190000 GEO:45.4651238;9.1703262 LOCATION:Lisson Gallery\,Via Zenale\, 3 \nMilan\, 20123 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anish Kapoor UID:416653 END:VEVENT END:VCALENDAR