Jean-Marie Appriou, Cory Arcangel, Bastien Aubry & Dimitri Broquard, Dewar & Gicquel, Piero Gilardi, Tilman Hornig, Renaud Jerez, Rachel de Joode, Bevis Martin & Charlie Youle, Marlie Mul, Owen Piper, Hayley Tompkins, Anne de Vries
Peter Regli presents a unique ensemble of sculptures that brings together emblematic figures and themes of his “Hackings” series.
Stella Succi: In this exhibition, you focus on HIV, which is no longer a recurring subject for discussion or a recurring topic in art. I was wondering, why are you doing this now?
Elmgreen & Dragset: The problem today is that, due to the lack of public information on the topic and because nobody really writes or speaks about HIV anymore, a lot of people think, “Oh, it’s just a matter of taking a pill and then you’re fine”. No one talks about the heavy side effects of taking this medication, the cost of it, the fact that you are actually forced to take medicine for the rest of your life. You have to take medication with you everywhere you travel. But of course you have a very good chance of having a normal life expectancy today if you are on treatment. When HIV was dealt with in the art world previously it was as a fatal disease, and that situation has dramatically changed. So, we thought that it was urgent to talk about it again from a current perspective.
Isa Genzken conceived this exhibition around “El Salvador”, her major Hyperbolo sculpture from 1980. She presents this work juxtaposed with with new work from her current production.
Calla Henkel and Max Pitegoff’s website offers only practical informations on the current, performative, community-based project they run in Berlin, New Theater, without visual documentation, without bio, without a list of previous works. This offers a telling illustration of their concern over the importance of presence, temporariness and of their distrust in slippery representational means. Working mainly with performance, photographs and texts, the duo reflect often
on the conditions of artistic production and its constitutive emotional and interpersonal nature. In the following interview they talk about amateurism, hierarchy of audience, the performance of the self, the metonymy of digital images and their next exhibition at Isabella Bortolozzi in May.
In 1959 I move to Paris where I attend Heyter’s courses at Atelier 17 and at the Ecole du Louvre, as well as mosaic courses at the academy with Severini and his assistant, Licata. My friendship with Tancredi, the encounters with Jouffroy, Errò, Lebel, as well as those with the affirmed masters Matta and Lam are all crucial to my formation. In 1960, thanks to Tancredi, I succeed for the first time in exhibiting my works in a space, the Galerie Bellechasse, with paintings clearly influenced by Surrealism. At the same time, there is a show organized by Jouffroy and lebel at the Galerie des 4 Saisons, whose title, “Anti-Procès”, has a strong political connotation. In 1961, I return to Italy to do military service. Thanks to Antonio Carena, an artist from Turin and owner of the Galleria L’Immagine, I have my first solo show, with works that still reflect my Parisian period. In 1962, Enrico Crispolti organizes a show in Venice at the Galleria Alpha with a series of special works: large writings with, inside each letter, figurines that can recall illuminated codes. Aldo Mondino, Nome Cognome Indirizzo, La Famiglia, La Scuola, La Religione, La morale e Il Servizio militare are a few of the titles. The encounter with Gian Enzo Sperone, director of the Galleria Il Punto, owned by Remo Pastori, represents a very important moment I display the series “Tavole anatomiche”, panels of painting on masonite, representations of a human body, a microcosm of the society we live in. At the same time, through my work, I elaborate the idea that the public is no longer a passive spectator, but an active participant in the work of art.
Renata Lucas’ diverse body of work deals with the multifaceted relationship between the individual and their urban environment. With interventions into a city’s architectonic systems —from cuts, connections, and openings to overlaps and duplications of defined spatial structures—Lucas manipulates structural frameworks in order to expose, reshape, and redefine intrinsic definitions of ownership, use, and social interaction in a manner that is both playful and radical. As part of her ongoing engagement with architectural systems, Lucas has investigated Berlin’s wide-reaching waterways and their attempts to contain and control the vital and autonomous element that is water. Consisting of rivers, canals, ground-water, and sewage channels, this complex network flows through and around the city’s buildings, taking hold of them and connecting private and public spheres in an often invisible manner.
with Michel Majerus, Albert Oehlen, Laura Owens
Majerus Estate is pleased to present “best students best teachers best school”, an exhibition organised by Fredi Fischli and Niels Olsen. Fischli and Olsen are the curators of the gta exhibitions at the Institute for the History and Theory of Architecture at Zürich’s ETH. In 2014, as part of the curatorial programme of the Gebert Stiftung for Culture, they arranged “69/96”, together with Bob Nickas at Alte Fabrik in Rapperswil, in which Michel Majerus was represented with several important works from 1996. Between Fischli/Olsen and Majerus is an age difference of more than 20 years. This will be the first exhibition in Majerus’ former studio rooms organised by a curatorial team that Majerus didn’t knowpersonally, whereas the artists Oehlen, Owens and Majerus knew each other well.
Olga Balema “Cannibals” at Croy Nielsen & Darja Bajagic and Aleksander Hardashnakov “Softer Than Stone And Sick In Your Mind” at The Apartment, Berlin
Olga Balema “Cannibals”
“Bodily needs also indicate that the appearance of autonomy is an illusion, for the body must incorporate elements from outside itself in order to survive. The need for food exposes the vulnerability of individual identity, enacted at a wider social level in the need for exchanges, communion, and commerce with others, through which the individual is absorbed into a larger corporate body” (Maggie Kilgour, From Communion to Cannibalism).
The sculptures here have ingested other former sculptures, a literal enactment of cannibalism. The round bellies of some are greedy and full, pregnant from autoerotic absorption. The latex skin of others is concave around the scaffolding of sharp and unnatural growths.
Daniel Steegmann Mangrané “Spiral Forest (kingdom of all the animals and all the beasts is my name)” at Esther Schipper, Berlin
Entitled “Spiral Forest (kingdom of all the animals and all the beasts is my name)”, the exhibition will mark the premiere of Steegmann Mangrané’s newest film produced with a custom-made camera capable of filming while rotating 360 degrees in any axis. Spiral Forest has been especially conceived for the space. It will also include an immersive 3-D environment viewed individually with a wearable headset, a so-called Oculus Rift, as well as architectural interventions, new sculptural works, drawings, photographs, and an audio installation.
I’m sorry I misled you. When we left Cali I let you believe I wanted true Exit – from the Cali cults, from window-smashing devolutionary morons and political hysteria, from Silicon wild-eologies, from my daddy complex, from whatever. But you shouldn’t have believed anything I said.
It was a sovrin pipe dream, it was a huge success, it wasn’t what I wanted.
Wherever you go, there we are we said. Wherever I go, there she is. I meant. That’s the truth D. I wasn’t running away from Cali I was running away from Bushwick and it got too late before I realized I can’t because I love her.
Richard Artschwager, Math Bass, Herluf Bidstrup, Nicole Eisenman, Laeh Glenn, George Grosz, Ilya and Emilia Kabakov, Allison Katz, Mike Kelley, Sean Landers, Charles Mayton, Pentti Monkkonen, Ebecho Muslimova, Chadwick Rantanen, Ad Reinhardt, Michael Smith, Frances Stark, and Saul Steinberg.
Liz Larner “Space is better than time, but time is okay” and Mark Handforth “The Excentric Circle” at the Modern Institute, Glasgow
Liz Larner “Space is better than time, but time is okay”
Liz Larner’s work at once explores and expands the possibilities of sculpture by combining geometric formalism with notions of movement and change. Her use of lines, colour and shape work to modify and reinvent the formal language of Minimalism, producing new relationships between viewer, sculpture and the surrounding environment. Larner’s work evokes an exquisite tension through the use of unconventional materials, the manipulation of space, the presence of unexpected colour, and the destabilisation of monumentality and volume.
You’d Get Less For Murder (and other Dad jokes)
This exhibition hosts a series of responses to Herald St being a decade in existence and includes all 22 artists. This initially carefully curated show has mutated into a show as diverse as the voices the gallery represents.
The exhibition will showcase a new body of work comprising sculpture in cowhide, Mntambo’s signature material, as well as works on paper and paintings. Having previously explored concepts such as the doppelganger and the recognition of ones dark double as well as the simultaneous embrace of attraction and repulsion, Mntambo continues
the exploration of intimate relationships. As suggested in the exhibition title—“Love and its companions”, the challenges of the dichotomies of love and hate, attraction and repulsion, remain at the core of the artist’s oeuvre. This is particularly true of the sculptures with titles such as Eros and Contempt Waiting wherein the process of cutting, moulding and shaping the hide is clearly visible—creating forms where the void is as dense with meaning as the hide that encompasses it.
The artist’s most recent series of oil paintings depict objects stored in a nondescript room at an FBI branch office. These objects, a collection of seized forgeries and other collected imagery, sit stacked on the floor and against the walls while awaiting curatorial distribution throughout the Bureau’s workspace by the volunteer office decor team.