Since Spring 2011, Künstlerhaus Stuttgart has been developing a series of solo exhibitions entitled, Artistic Dialogues, aiming to investigate methodological aspects of exhibition making. These solo exhibitions have been planned and programmed with different correlations and strategies regarding their conceptual, contextual, logistical, material, time-related, spatial and architectural concerns.
Habib Allah’s practice, traverses installation, video and sculpture, in order to examine the structural and material operations of the circulations of objects, people, histories and economy. While each project defines its own terms and the necessary means of engagement, he reworks existing structures or makes images of images in ways that eventually erase or replace theoriginal, until it is unclear what is original and what is the copy. Anecdotes with an air of humor, function as a pretext for more complex topics and critical positions. His practice is not about theobject or the artifact itself. It is about the reconstruction or subversion of existing objects, and inthis way questions received ideas of use and value, and the structures that hold them in place.
Why buy cheap furniture? Why shop at Ikea? Why not unwrap your purchases? Why ask?
Jacques André buys instead. Through buying and displaying he forms previously disassociated links between things declared of value and things without, affecting their status through material or market manipulation.
The second solo exhibition of Dan Rees draws together the artist’s associations around the theme of solidarity and is directly inspired by two communities; the small Welsh town of Merthyr Tydfil (near Rees’ hometown of Swansea) and the Central American country of Nicaragua. Inspired by a Welsh Nicaraguan Solidarity Campaign poster from 1986 encountered in the Merthyr Tydfil Ironworks Museum, Rees became intrigued by this specific demonstration of solidarity. Despite their geographical distance and distinct histories, organisers in Merthyr Tydfil formed the Wales Nicaragua Solidarity Campaign in 1986 in support of the Sandinista Revolution. The campaign continues to work with trade unions, campaigners and community groups against the effects of neo-liberal globalisation in Nicaragua.
Mark Handforth is a familiar name in the Zurich art scene, thanks not only to his previous exhibitions at Galerie Eva Presenhuber in 2006 and 2008, but also to his 2005 solo exhibition at the Kunsthaus. In 2007 he caused something of a sensation in Zurich when he installed a large-format sculpture made from welded chain links on Tessiner Platz at the city’s Enge railway station. In his third show at Galerie Eva Presenhuber, Mark Handforth broadens his formal scope with new sculptures that incorporate organic shapes rather than referring to urban living spaces. see more
New York-based artist Spencer Sweeney (b. Philadelphia, 1973) is known for his work in performance and visual art. His multidisciplinary Teatr Laboratorium, presented at VW in 2010, embraced collaboration and experimentation. Joyfully disregarding boundaries of genre, Sweeney transformed the gallery into a workshop, laboratory, studio and stage, making public the typically private realm of the artist’s studio.
Different times and media are united: works by James Turrell and Charlotte Posenenske from the 1960s are shown next to works by the contemporary photographer Miriam Böhm. Thus the exhibition also brings together photography, fine print, and sculpture. What the selected works have in common is their engagement with the relationship between space and beholder, and the phenomenon of reflexive viewing.
All three artists play with perception. They challenge the beholder to engage in reflexive seeing. The works address spatiality, or to be more precise: they are concerned with the interplay between figure and background, or object and space, for example real space and stage space with Böhm and Posenenske, or the pictorial space with Turrell and Böhm. Another thing these artists have in common are the processes of visualisation, the condensation and shifting of objects, which let the space emerge and make it visible.
Xing presents the second edition of Live Arts Week, held in Bologna, Italy, until 21 april 2013 at MAMbo – Museo d’Arte Moderna di Bologna and other locations.
This event dedicated to live arts, unique in Italy, hosts a blend of new productions that revolve around the presence, performance and perceptual experience of sounds and visions.
The decision to launch it as a ‘week’ is an attempt to break away from the concept of a festival as a consumer point in the cultural life of a city. This is rather a case of a co-habitation of diversified forms – differing in size and intensity – concentrated into a limited time frame, proposing a vision of art as something complex but cohesive.
Philippe Decrauzat’s approach consists in the first instance in developing an interest in a repertory of forms that contributed to define the specific field of the abstraction, and observing their differing developments, before re-appropriating them for himself.
Observing the field of art, but also any other area on which these forms, figures may have had a real occurrence: graphism, architecture, but also science, cinema or even literature or music.
1741 kg. Up here, kicking tires, it bears mentioning that the weight of such well-polished impracticality is supported by the three totemic agglomerated figures inhabiting the basement—sokkels, socles, selfless supports swathed in the tiered anonymity of their uniforms. Preoccupied, they perform their utility.
They do their job(s), admirably.
Sarah Ortmeyer. Macho Amore
Curated by Simon Castets
until 17 April 2013
Eastside Projects is finally revealed as a ‘puppet state’ or ‘marionette government’. The art organisation has been taken over by little ‘creatures’, marking what could well be a latent global condition.
The power of puppets lies in their potential for performative as well as sculptural articulation, as constructed selves and bodies, that have the faculty to speak through someone else’s voice, and are made of parts. Unlike humans who require an internal capacity for voice, language, movement and intention, puppets channel external forces in order to form presence, speech, and authorship. In this way puppets nullify the status of both objects and subjects and the related problems that are commonly associated with human societies. These superior operational qualities will be fully deployed in “Puppet Show”, in order to create precisely unauthentic conditions.
Oscar Murillo: Dinner at the members club? Yes! i’ll have a black americano first pls
until 11 May 2013
Darren Bader. #I am just living to be dying by your side
until 13 April 2013
Thick As A Brick presents a selection of more than 100 catalogues, books, art editions and zines published by Mousse and shown within three brick structures conceived by Kuehn Malvezzi and produced by the Danish company Petersen Tegl.
At the end of the last century, it was thought the new millennium would be represented in design and architecture by incorporeal values such as lightness, transparency, and evanescence, inspired by the fluidity of communication as well as the intangible nature of finance. The world seemed intent on becoming liquid. Instead, in the last few years everything has changed.
Emerging with the Pictures Generation artists in the early 1980s in New York, Wachtel has worked with juxtaposition and the visual language of mass culture for the last 30 years. Her oil, acrylic and silkscreen on canvas paintings enter into a visual language game wherein appropriated imagery is illustrated, simulated, replicated, altered and parodied. For her first exhibition at Vilma Gold, Wachtel brings together works from the 80s and 90s alongside recent painting and new poster work.
Dane Mitchell takes dematerialisation to an extreme in his first exhibition with RaebervonStenglin, “Conservation of Mass”. The New Zealand artist’s work operates at the thresholds of the rational and irrational, the visible and invisible. He explores transitional states of being through alchemical processes, treating knowledge, experience and the past as properties with substance. Spells and smells envelop visitors to his exhibition at ReabervonStenglin, who must breathe in and conjure the artwork as much as they visually perceive it.
in defiance of being here, Richard T. Walker’s first solo exhibition in the UK, brings together new and recent work by the British-born, San Francisco-based artist. The show combines video, photography, performance and large-scale installations that offer expansive and compelling views of landscapes, primarily the American West, where Walker has lived for the past six years. Problematising these images of a familiar and seductive beauty with his own presence as protagonist, Walker talks, sings and plays music directly to the land, his back to the camera, confronting the spectacle with the complexities of his very human concerns.