SELECT THE CITY
The exhibition interweaves diverse perspectives, generations and histories. From old and new photos by Van Denderen, Tlali and students to family albums, newspaper archives and interviews by Margalith Kleijwegt. Compelling
The exhibition interweaves diverse perspectives, generations and histories. From old and new photos by Van Denderen, Tlali and students to family albums, newspaper archives and interviews by Margalith Kleijwegt. Compelling sequel to the highly praised photo book Welkom in Suid-Afrika of 1991.
MAY 18 (SATURDAY) 0:00 - OCTOBER 13 (SUNDAY) 0:00
Museumplein 10 1071 DJ Amsterdam
In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities. In
In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities.
In the contemporary West, which pioneered industrialization, allowing it to dominate the worldwide production of material and intellectual goods, of commodities, services, and desires, technology is firmly coded as male. Men are viewed as having a natural affinity with technology, whereas women supposedly fear or dislike it. Men actively engage with machines, making and using them. Women, too, may rely on machines but are effectively regarded as passive beneficiaries of the inventive flame. The modernist association of technology with masculinity translates into gender-specific everyday experiences, historical narratives, employment practices, education, the design of new technologies and the distribution of power across a global society that sees technology as the driving force of progress.
The exhibition analyses the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity, and ways of living. It draws on radical feminist and techno-feminist theories from the 1970s until now that criticised and revised the nexus tying new technologies and technoscience to patriarchal ideas. The exhibition’s agenda is both intellectual and political. The works of the artists included in the show go beyond critique to think and enact other kinds of knowledge, skills, and bodily practices regarding the use as well as production of (new) technologies.
Artists: Trisha Baga, Louise Drulhe, Veronika Eberhart, Sylvia Eckermann & Gerald Nestler, Judith Fegerl, Fabien Giraud & Raphaël Siboni, Katrin Hornek, Barbara Kapusta, Marlene Maier, Miao Ying, Pratchaya Phinthong, Marlies Pöschl, Delphine Reist, Tabita Rezaire
Curators: Anne Faucheret, Vanessa Joan Müller
MAY 29 (WEDNESDAY) 0:00 - OCTOBER 6 (SUNDAY) 0:00
Kunsthalle Wien Museumsquartier
Museumsplatz 1 1070 Vienna
Stinking Dawn is an exhibition in the form of a production process for a full-length feature film by Gelatin and Liam Gillick. The collaboratively developed and improvised experimental film will
Stinking Dawn is an exhibition in the form of a production process for a full-length feature film by Gelatin and Liam Gillick. The collaboratively developed and improvised experimental film will examine the limits of human tolerance in the face of oppression, political crisis and excessive self-delusion. It follows the destiny of four privileged young people who grow up at a time of crisis and move through various stages of development and self-reflection towards a final moment of collapse.
During the shooting period (July 4–13), the artists were joined by many artist friends and long term collaborators. All visitors to the exhibition were potential extras inside a sprawling modifiable stage setting—a faux-stone toy-block architecture of colonnades, amphitheaters, night-club interiors, and a prison. After the film shoot, the postproduction begins. The exhibition for the remaining duration shows the looming grey and graffitied remnants of the production. A large slideshow of photographs is projected within the monumental setting providing insights on the filming process. Musical instruments in the space haphazardly play while visitors are able to walk among the tattered sculptural traces of the scenery that gave the film its peculiarly striking mise-en-scène.
Curators: Lucas Gehrmann, Luca Lo Pinto
Gelatin are four Vienna-based artists. They first met in 1978, when they all attended a summer camp and have been working together ever since. Their practice incorporates the codes of relational aesthetics, their invented sculptural language and approach that is anarchic and irreverent. Gelatin has exhibited internationally in institutions including the Museum Boijmans van Beuningen, Rotterdam; the Fondazione Prada, Milan; the Musée d’Art Moderne de la Ville de Paris; Kunsthaus Bregenz; Kunsthalle Krems; and the 21er Haus, Vienna. Their work was included in Manifesta 11 in Zurich, the 49th and 54th Venice Biennale, the 1st Moscow Biennale, the Aichi Triennale, the Gwangju Biennale, the Shanghai Biennale, the Liverpool Biennial and EXPO 2000.
Based in New York, Liam Gillick deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. His work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalised, neo-liberal consensus. His work has been included in documenta and the Venice, Berlin and Istanbul Biennales; he represented Germany in Venice in 2009. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, the MoMA in New York and the Tate in London.
JULY 5 (FRIDAY) 0:00 - OCTOBER 6 (SUNDAY) 0:00
Kunsthalle Wien Museumsquartier
Museumsplatz 1 1070 Vienna
This summer 2019, M WOODS presents an exhibition by Lucy Sparrow, one of the most exciting and innovative artists in the UK today. Using felt as her primary material, Sparrow
This summer 2019, M WOODS presents an exhibition by Lucy Sparrow, one of the most exciting and innovative artists in the UK today. Using felt as her primary material, Sparrow is renowned for her bright and engaging recreations of objects from everyday life. Having received worldwide attention for her felt installations in cities such as London, New York, and Los Angeles, Lucy Sparrow’s Felt Art Imaginarium is the artist’s first exhibition in Asia, and comprises an immersive installation specially commissioned for M WOODS.
For this ambitious exhibition, Sparrow has recreated 70 masterpieces from the annals of art history and covered the entirety of the museum in her signature, colorful felt. In line with M WOODS’ founding philosophy that art be F.A.T. (Free, Alchemical, Timeless), Sparrow fills the galleries with her own felt reincarnations of artworks from across time and geographies, ranging from ancient monuments and historical artifacts, to Renaissance and Old Master paintings, to modern and contemporary masterworks. By immersing viewers in her world and the distinctive language of felt, Sparrow rewrites the conventional narratives of art history while simultaneously making masterpieces within the canon more approachable and accessible. The museum is fully transformed into Sparrow’s art imaginarium, where viewers can see art from around the world and through the ages in an experience that is at once both thrilling and educational.
Following in the lineage of artists such as Andy Warhol, Richard Prince, and Elaine Sturtevant, Sparrow’s practice probes contemporary notions of appropriation and reproduction, while her choice of material evokes the traditional Arts and Crafts Movement which emerged in Britain in the late 19th century. Her works, which usually take as their subjects every day objects such as items from grocery stores, bodegas, and pharmacies, are quirky yet quietly subversive. Behind their soft, humble, and oftentimes humorous exteriors, they offer sharp critical insight into questions surrounding consumerism and mass production. In this context, Sparrow’s work also offers a unique framework through which to re-evaluate our present globalized societies, and the way in which information, images, and products are consumed and distributed around the world.
As part of its commitment to education and in collaboration with a number of international institutions who own the original artworks on view, M WOODS is pleased to present throughout the exhibition educational videos offering viewers a more in-depth understanding of these works and their contexts. M WOODS would like to thank the Rijksmuseum, Amsterdam; The Royal Museums of Fine Arts of Belgium, Brussels; Gementeemuseum, the Hague; and other collaborating institutions for their support.
About the Artist
Lucy Sparrow (b. 1986) currently lives and works in the United Kingdom. Previous exhibitions include Cornershop (2014), a fully stocked and operating corner shop in London’s East End; Warmongery (2015), which explored issues of gun control and mental health; Madame Roxy’s Erotic Emporium (2015) in London’s Soho; The Convenience Store (2017) in New York; and Sparrow Mart (2018), a fully felted supermarket in Los Angeles complete with 31,000 hand-made works. In 2016 and in celebration of Her Royal Highness The Queen’s official 90th birthday, BBC commissioned Sparrow to recreate the United Kingdom’s Crown Jewels in felt. In 2018, Sparrow unveiled an installation for Hermés’ flagship store in Beverly Hills, California, and most recently, she presented the piece Triple Art Bypass, which saw the artist perform ‘live’ surgery at Context Art Fair during Miami Art Week 2018.
JULY 6 (SATURDAY) 0:00 - OCTOBER 7 (MONDAY) 0:00
D-06, 798 Art Zone No. 2 Jiuxianqiao Road Chaoyang District Beijing 100015
M WOODSD-06, 798 Art Zone No. 2 Jiuxianqiao Road Chaoyang District Beijing 100015
The exhibition Garden of Earthly Delights sees over 20 international artists using the space of the garden as a metaphor for the state of the world, in an exploration of the complexities
The exhibition Garden of Earthly Delights sees over 20 international artists using the space of the garden as a metaphor for the state of the world, in an exploration of the complexities of our chaotic and increasingly precarious present.
JULY 26 (FRIDAY) 0:00 - DECEMBER 1 (SUNDAY) 0:00
Niederkirchnerstraße 7, 10963 Berlin
The summer exhibition in the KÖNIG GALERIE is curated by Kasper König, the father of the gallerist. Beyond the dialogue with his son Johann, he was attracted
The summer exhibition in the KÖNIG GALERIE is curated by Kasper König, the father of the gallerist.
Beyond the dialogue with his son Johann, he was attracted by the extraordinary architecture of the gallery in the former Catholic church of St. Agnes. The high nave, preserved in its original proportions, today presents itself as a fabulous exhibition hall, representing a challenge for every artist and curator.
König exhibits works by Polly Apfelbaum, Olle Baertling, Alisa Baremboym, Thomas Bayrle, Alighiero e Boetti, Nicole Eisenman, Fischli/Weiss, Thomas Hirschhorn, Mike Kelley, Annette Kelm, Marko Lehanka, Morris Louis, Justin Matherley, Emeka Ogboh, Manfred Pernice, Heidi Specker, Susi Pop, Rosemarie Trockel and Alisa Yoffe in the staircase of the tower as well as in the two-story building ensemble. As he says, their selection rests on “two thematic pillars.” They are based on Théodore Géricault’s monumental historical painting The Raft of the Medusa (1819) and Albrecht Dürer’s Peasants’ Column from 1525.
Géricault’s magnificent painting – created exactly two hundred years ago – is political. It deals with a case of cannibalism, which, against the background of the Enlightenment, shook French society as a fundamental breach of civilization. In König’s exhibition, the appropriation of the painting by the artist duo Susi Pop intones the basic thematic chord of the show. As a magenta screen print on canvas, the picture gains new relevance and points to the fact that the Enlightenment is an unfinished project.
This work is followed by another “Peasants’ Column” by Marko Lehanka. The artist refers with his works to Albrecht Dürer’s Peasants’ Column woodcut. Created in 1525 as a design for a peasants’ monument, it is crowned by a peasant stabbed by a sword. With the Peasants’ Column, Dürer took the side of the losers in the war between peasants and landowners. Essentially, however, the column shows not only a political, but also an aesthetic attitude, since it also served him as a demonstration of his doctrine of proportions.
The contemporary versions of Géricault’s and Dürer’s works combine the political and the aesthetic with the two themes that are constantly being renegotiated in this exhibition. In this way, König always brings his works into meaningful neighborhoods. He juxtaposes Lehanka’s column with a new version of Manfred Pernice’s installation Flotsam (Strandgut) from 1999. Not far from there he presents the touching Artist’s Scarves by Thomas Hirschhorn.
Similarly, complex are the alliances between Susi Pop’s The Raft of the Medusa and two works by Nicole Eisenman. Next comes the floor work by Polly Apfelbaum and the lofty steel sculpture by Olle Baertling. Further a small clever picture by Rosemarie Trockel, a subtle installation by Fischli/Weiss, a snotty punky wall piece by Alisa Yoffe and a geopolitical world map by Alighiero e Boetti. Thomas Bayrle appears on the scene with World War I (plastic highway on skulls) and Mike Kelley, who died far too early, with Pansy Metal/Clovered Hoof. Emeka Ogboh brewed in collaboration with BRLO brewery a stout beer, Alisa Baremboym thematizes boundaries in her installation, and Justin Matherley takes antiquity to heart with New Beaches.
In all these works, their critical dimension cannot be overlooked. In contrast, a painting like Dalet Chet by Morris Louis seems to be pure form and color. But it is precisely in its breathtaking beauty that the painting questions the status quo of reality and calls for change. Dorothy Draper’s textile design sketches photographed by Annette Kelm and Heidi Specker’s photographs convey a similar cathartic feeling, an aesthetic school of vision and mindfulness exercise at the same time. Between them hang the large-format poster ensemble Eight People from Europe by Niele Toroni.
The title of the exhibition is also taken from Albrecht Dürer: “WHAT BEAUTY IS, I KNOW NOT.” Kasper König feels the English translation of the noble Dürer posthumous aphorism to be a rap line: “But what beauty is, I don’t know.” The fact that one of the greatest artists of all time confesses at the end of his life that he doesn’t know what beauty is and with it art, and that such a renowned curator as Kasper König chooses this word as the exhibition title, makes the statement a question for all of us.
AUGUST 19 (MONDAY) 0:00 - OCTOBER 13 (SUNDAY) 0:00
ST. AGNES ALEXANDRINENSTR. 118–121 10969 BERLIN
Apple. An Introduction. (Over and over and once again) is an exhibition of paintings, objects and films revolving around the apple as an example of biodiversity loss. Drawing on the fruit's
Apple. An Introduction. (Over and over and once again) is an exhibition of paintings, objects and films revolving around the apple as an example of biodiversity loss. Drawing on the fruit’s rich traditions, the exhibition addresses both market dynamics and critical questions of nutrition, as well as the preservation of species, resilience and climate change. Initiated by the Berlin-based artist Antje Majewski and the Polish conceptual artist Paweł Freisler, this is a project that is artistic, research-based and cultural-historical as well as political. Tree-planting sessions, workshops and other programs involving the participation of urban initiatives and educational institutions will extend the project into urban space.
AUGUST 30 (FRIDAY) 0:00 - OCTOBER 20 (SUNDAY) 0:00
GALERIE IM TURM
Frankfurter Tor 1 10243 Berlin