Adrian Alecu, Ovidiu Anton, Anna Artaker, Kurdwin Ayub, Josef Bauer, Cäcilia Brown, Adrian Buschmann, Hugo Canoilas, Julian Charrière, Mitya Churikov, Eva
Egermann, Christian Eisenberger, Christian Falsnaes, Marina Faust, Lukas Feigelfeld, Daniel Ferstl, Andreas Fogarasi, Heinz Frank, Heribert Friedl, Peter Fritzenwallner, G.R.A.M., Kerstin von Gabain, Till Gathmann, Aldo Giannotti, Sofia Goscinski, Julian Göthe, Eva Grubinger, Harald Gsaller, Rebekka Hagg, Michael Heindl, Nicholas Hoffman, Ana Hoffner, David Jourdan, Barbara Kapusta, Eric Kläring, Tonio Kröner, Tina Lechner, Sonia Leimer, Paul Leitner, Los Destinados (Julius Deutschbauer / Klaus Pobitzer / Panos Mylonas), Constantin Luser, Nana Mandl, Ralo Mayer, Christian Mayer, Sarah Mendelsohn, Melitta Moschik, Hans Nevidal, Josip Novosel, Denise Palmieri, Michael Part, Nicola Pecoraro, permanent breakfast (Friedemann Derschmidt / Abbé Libansky / Karin Schneider / Barbara Zeidler), Lilly Pfalzer/Sergio Valenzuela, Karin Pliem, Johannes Porsch, Hanna Putz, Andreas Reiter Raabe, Ritornell, Valentin Ruhry, Maruša Sagadin, Ari Sariannidis, Johann Schoiswohl, Leander Schönweger, Misha Stroj, Philipp Timischl, Jenni Tischer, Octavian Trauttmansdorff, Nadim Vardag, Salvatore Viviano, Astrid Wagner, Tanja Widmann, Birgit Zinner
The 21st edition of Itineraries, “Itinerarios XXI”, features the works of nine artists. Some boast a long, time-honoured trajectory on the international art scene, whilst others are new talents with very interesting proposals: Carles Congost (Olot, 1970), Albert Corbí (Alcoi, 1976), Patricia Esquivias (Caracas, 1979), Jon Mikel Euba (Amorebieta, 1967), Rodrigo Oliveira (Sintra, 1978), Wilfredo Prieto (Sancti Spiritus, 1978); Julia Spínola (Madrid, 1979), Justin Randolph Thompson (Peekskill, NY, 1979) and Jorge Yeregui (Santander, 1975).
The exhibition will also feature works by General Idea.
General Idea’s Mondo Cane Kama Sutra (9 figures) #2 spins Stella-like abstraction into canine eroticism; it has not been seen for thirty years. It is shown here together with General Idea’s original Black AIDS painting, which is being exhibited for the first time.
Allora & Calzadilla, Cory Arcangel, Bernadette Corporation, Ian Cheng, Simon Denny, Jeff Elrod, John Gerrard, Calla Henkel & Max Pitegoff, Pierre Huyghe, Alex Israel, Daniel Keller, Josh Kline, Agnieszka Kurant, Ajay Kurian, Louise Lawler, Michel Majerus, Megan Marrin & Tyler Dobson, Katja Novitskova, Albert Oehlen, Richard Prince, Sebastian Lloyd Rees, Tabor Robak, Pamela Rosenkranz, Hugh Scott-Douglas, Steven Shearer, Reena Spaulings, Frank Stella, Rirkrit Tiravanija, Kelley Walker, Christopher Wool
The work of Maria Adele Del Vecchio is heterogeneous, as are the themes she deals with, from politics, to history, from literature, to sociology, but all connected by a common principle: to overcome the tendency to mass hypnosis, cancelling those automations that alter the behaviour of the human being. The title, “Within, Rather Than Above”, refers to a specific approach which involves the desire to give back a renewed character of essentiality to aesthetic contemplation: the idea is to work on the relationship, the “emotional correspondences” that arise from everyday experience, from the direct contact with objects that become works themselves, in an attempt to formulate a new language that contributes to the growth of awareness of oneself and of the other in space.
The exhibition project revolves around four main groups of works that resonate with each other, while remaining fully autonomous on a formal and conceptual level. As is often the case in the artist’s work, the concepts of time, trace and memory are all implicated and brought into question by a process of semantic renegotiation that focuses on their ambiguity and instability.
Asger Dybvad Larsen “Transformed in Translation” and Andreas Zingerle “Energy Saving” at Rolando Anselmi, Berlin
Asger Dybvad Larsen “Transformed in Translation”
Larsen works mainly on the physicality of the painting and on the transformation of traditional paintings materials. His works are both painterly and highly tactile and are identified most clearly in their dialectical conversation with the medium’s traditions and its classical structure. For this exhibition Asger Dybvad Larsen concentrates in the transformation that happens when you press a painting, covered with wet paint, against another painting.
Act One : Scene One
You are drowning in a room of glowing piss.
You think your shoes are too tight.
Delicately transposed. it’s the displaced materiality in Eric Baudart’s works that spurs their contemporary resonance. Millimeter paper, mattress frames, doormats – everyday, commonplace elements are flushed of everyday context and repurposed to create oeuvres that titter on the edge of artifice. “again, again and again” at Edouard Malingue Gallery marks Baudart’s first solo show in Hong Kong and presents a new series of works as well as two installations that introduce how his practice evolves from Duchamp’s readymade. whilst simultaneously devolving from it. The works or situations proposed are not mere found objects but rather reconfigured and repurposed, composed and re choreographed materials that have been carefully assembled or moulded to mount a delicate ballet of shapes, colour and form.
First conceived by Dieter Roth in the early 1980s, “the bar” is a dynamic and changing installation, and is a continuing element in the Roths’ cross-generational practice. As a condition for him to exhibit with Hauser & Wirth, Dieter Roth insisted that a bar form part of his first show in 1997. Along with his son Björn, Dieter Roth installed the functional ‘Bar 2′ (1983 – 1997) around the corner from the gallery in Fabrikstrasse in Zurich. Every beer bottle served became a part of the bar installation and visitors’ conversations were recorded and archived. Nearly 20 years after this event, another bar—entitled “Roth Bar”—will now inhabit the gallery, bringing reality and art even closer together.
Eleanor Wright/Sam Watson “Continuous Material” at Durham Castle Museum, Durham and Drop City, Newcastle
The contemporary is consumed by its own immediate past. Our histories set parameters for the present and the present seeks historicity. However, in an age of iconoclasm, political sleight of hand and a multitude of decentered cultural spheres, how do we perceive our physical and conceptual world? Continuous Material enters into a dialogue between the current and the past through their material cultures. The temporal disjunct is presented as both internecine and emancipatory, and through the poised negotiation of object and exhibition, Continuous Material offers guidance, not concrete absolutism.
Encompassing the entirety of Artists Space’s two venues in Lower Manhattan, this exhibition will include films, installations and lectures from the past ten years, as well as a new commission.
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.