Oliver Beer: Household Gods
by Alexandra Gilliams
Images > courtesy Galerie Thaddaeus Ropac, the artist. Ph. Charles Duprat
Images > courtesy Galerie Thaddaeus Ropac, the artist. Ph. Charles Duprat
SELECT THE CITY
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
How should we use a grand piano in order to produce sound? By opening the piano and stacking wooden blocks inside the instrument until one falls and creates a noise,
How should we use a grand piano in order to produce sound? By opening the piano and stacking wooden blocks inside the instrument until one falls and creates a noise, or by dropping dried beans onto the keys? Conceptual fluxus artist George Brecht (1926–2008), in one of his iconic works Incidental Music, instructed fellow artists to demonstrate how several people at once could interact with the piano.
The Fluxus movement emerged in the 1960s as an international network of artists, musicians and performers who staged experimental happenings using everyday materials. They shared an attitude to creativity that was anti-academic, quotidian and open to all.
Including works by John Cage, Philip Corner, Dick Higgins, Alison Knowles, George Maciunas, Claes Oldenburg and Yoko Ono Sense Sound/Sound Sense investigates Fluxus artists’ interest in music and sound through performance, scores, records and objects from the Luigi Bonotto Collection. Fluxus artists assigned importance to musical production, presenting public events as concerts that challenged conventional form and content in music. Their approach to music scores was equally radical. Breaking free from traditional sheet music, they devised notational systems based on graphics, poetry and the visual arts.
SEPTEMBER 3 (TUESDAY) 11:00 - FEBRUARY 2 (SUNDAY) 18:00
77-82 Whitechapel High St London E1 7QX
With the start of the new season, Fondation CAB welcomes French artist Claude Rutault (b. 1941, Trois Moutiers). First and foremost a painter, Rutault however doesn’t stress the
With the start of the new season, Fondation CAB welcomes French artist Claude Rutault (b. 1941, Trois Moutiers). First and foremost a painter, Rutault however doesn’t stress the importance of painting his works himself, nor does he necessarily participate in the supervision of their realisation.
Since the 1970s, the artist has pushed the limits of minimalism and conceptualism with his radical approach, in which the founding principle consists of a set of written instructions called “definitions / methods” for the receiver or “taker” of his work (a collector, a curator, an institution or a museum).
These rules and procedures may determine colour, format and material to be used, as well as the way in which the work is to be sold or auctioned. The initial “definition / method” was created in 1973, and formed the defining rule for hundreds of unique works that followed its conception: “A canvas stretched on a painted frame in the same colour as the wall on which it is hung.”
– Definition / Method 1. “Single Canvas “1973.
An anecdote to pinpoint the origin of this process: in 1973, Rutault moved into a new house and decided to repaint his kitchen. Realising he still had two small canvasses of 20 by 20 cm, he covered one of them with the same paint while he’s at it, just to hang it back afterwards. Since then, his work unearths the consequences of this first spontaneous gesture.
With this principle, nearly absolute in character, Rutault opens up a vast spectrum of reflections on art: on its conception, on its creation process, on its execution, on its destination and its conservation. Although the “definition / method”-practice seems objective and methodical, it ignites interaction among all parties involved and raises questions regarding trust, participation and responsibility. However, by following specific rules, the « taker » may also change the colour of his painting, change the colour of the wall or move the whole installation. This generates unexpected versions of the work, variations that must be communicated to the artist – who therefore partly gives up control over his works, allowing them to change over time and pursuing their own lives.
Fondation CAB’s exhibition Monochrome 5 sur une grille de Marelle, brings together diverse works, each of them representing radical steps that the artist took throughout his artistic career.
Marionettes for example, consists of a set of canvasses (minimum 5), painted in different colours and suspended from the ceiling with subtle fishing lines. One colour only is repeated on the walls of the room in which the puppets are installed. The canvasses all touch the floor with one angle, in an elaborate act of balance: neither vertical or horizontal, nor laid flat on the ground. This series celebrates the freedom of painting, adhering to the thought-provoking reflection on the possible manifestations of the canvas that the « d / m » procedure brings about.
As the title suggests, several works in the exhibition are inspired by hopscotch (a motive on which Rutault has been working since 1971). D / m Marellesappears as seven monochrome paintings with 5 different colours in total, dispersed over the floor and completed by a hopscotch drawing in adhesive tape. This series, equally following simple rules, echoes the playfulness inherent to his practice – however determined by methods, rules and routines.
Unique in conception and execution, the various works in the exhibition follow the definition/methods as proposed by the artists, and simultaneously adapt to the choice of the « taker », in this case Fondation CAB. Thanks to Claude Rutault’s artistic approach, unmatched and consistently relevant, this collaboration adds a new dimension to our mission, in particular by allowing the artist to affirm the evolution and the life of his work.
SEPTEMBER 4 (WEDNESDAY) 0:00 - DECEMBER 12 (THURSDAY) 0:00
RUE BORRENS 32-34 1050 BRUSSELS BELGIUM
With its hybrid cinematic language, Wu Tsang’s new film One emerging from a point of view examines the present and the political, dealing especially with the experience of migration. Filmed on the
With its hybrid cinematic language, Wu Tsang’s new film One emerging from a point of view examines the present and the political, dealing especially with the experience of migration. Filmed on the Greek island of Lesbos, it addresses the current situation that the landscape and islanders have been confronted with: the trauma of forced displacement. In 2015 alone, over 850,000 refugees reached Greece, many arriving at the shores of the island Lesbos, having travelled over the sea to flee war and untenable political circumstances. Documenting within this context, Wu Tsang employs a magical realist approach, allowing the boundaries between fact, fiction and surreal narrative to be intentionally fluid. What has commonly been referred to as a “refugee crisis” is structurally encountered in the film as a crisis of representation.
Stemming from traditions of documentary filmmaking, her approach to the moving image is a central aspect of the exhibition. One emerging from a point of view is screened via two overlapping video projections where images cut and bleed into each other, a technique also seen in the 2017 film We hold where study. Both films use rigorous camera choreography to entangle disparate worlds and psychological spaces, revealing an indeterminate “third” space, which is produced through the overlapping projections.
We hold where study (2017) presents choreographic duets in which bodies press against one another and fall in and out of entanglement. Here, Wu Tsang proposes a visual vocabulary that poetically approaches practices of blackness and queerness, responding to an essay called Leave Our Mikes Alone by Stefano Harney and Fred Moten, one of her long-term collaborators.
Collaboration as a strategy for entering into what she terms “in-betweenness” is an integral part of Wu Tsang’s practice. In her works she consciously layers the gestures, words and voices of others, allowing multiple perspectives to emerge.
SEPTEMBER 4 (WEDNESDAY) 0:00 - JANUARY 12 (SUNDAY) 0:00
Niederkirchnerstraße 7, 10963 Berlin
The Bauhaus existed for only 14 years in Germany, but for 100 years its ideas have now been passed on and its products relaunched, imitated and further
The Bauhaus existed for only 14 years in Germany, but for 100 years its ideas have now been passed on and its products relaunched, imitated and further developed. Marking the centenary of the Bauhaus’s founding, the Bauhaus-Archiv / Museum für Gestaltung’s exhibition at the Ber-linische Galerie is presenting famous, familiar and forgotten Bauhaus originals and recounting the history behind the objects. Around 1,000 exhibits will be on display: art and design from the Bau-haus-Archiv’s collection, exceptional loans from international collections and artistic positions which take a new look at the Bauhaus legacy.
On the basis of 14 key objects, the exhibition will develop 14 case histories: How did the woman sitting on the tubular-steel chair become the most famous anonymous figure from the Bauhaus? Does the Haus am Horn in Weimar have a secret twin? Why have Marianne Brandt’s tea infusers which were created as prototypes for industrial production always remained one-of-a-kind pieces?
“original bauhaus” sheds light on how unique work and series, remake and original are inseparably linked in the history of the Bauhaus. This is because Bauhaus artists did not see art and technology as opposed to each other. Instead, they used technical innovations to create exceptional works of art, and they took serial production into account from the moment they began drafting their de-signs. Today there have been almost 100 years of responses to the Bauhaus, as compared to 14 years of Bauhaus production. Reproductions, re-editions and remakes have made the Bauhaus the 20th century’s most influential school of architecture, design and art.
The centenary exhibition by Berlin’s Bauhaus-Archiv / Museum für Gestaltung in cooperation with the Berlinische Galerie is supported by the Senate Department for Culture and Europe and the German Federal Cultural Foundation.
SEPTEMBER 6 (FRIDAY) 0:00 - JANUARY 27 (MONDAY) 0:00
Alte Jakobstraße 124-128 D-10969 Berlin , Germany
The exhibition ‘Colorful Japan’ shows 226 Japanese posters in the Gallery of Honor of the Stedelijk Museum – from floor to ceiling. Colorful Japan is the Stedelijk Museum’s posthumous tribute to Japanese
The exhibition ‘Colorful Japan’ shows 226 Japanese posters in the Gallery of Honor of the Stedelijk Museum – from floor to ceiling.
Colorful Japan is the Stedelijk Museum’s posthumous tribute to Japanese graphic designer Shigeru Watano (1937-2012) and features 226 Japanese posters on display in the Gallery of Honor. Watano, who lived in the Netherlands, was a vital link between the Stedelijk and numerous Japanese designers. Through his help, the Stedelijk was able to acquire many Japanese posters, and Japanese designers generously donated their work to the museum. In 2018, DNP Foundation for Cultural Promotion presented us with a lavish gift of 92 posters, thanks to which the Stedelijk collection of 800 Japanese posters is leading in Europe.
The exhibition showcases a cross-section of Japan’s unique graphic design with work by designers such as amongst others Hiroshi Ochi, Kazumasa Nagai, Ikko Tanaka, Yusaku Kamekura, Mitsuo Katsui, Shigeo Fukuda, U.G. Sato, Ken Miki and Eiko Ishioka. The oldest poster dates from 1937, the most recent from 2018. One wall of the exhibition is devoted exclusively to the internationally-famed graphic designer and artist Tadanori Yokoo. In 1974, with the help of Watano, the Stedelijk was the first European institute to display his work.
SEPTEMBER 7 (SATURDAY) 0:00 - FEBRUARY 2 (SUNDAY) 0:00
Museumplein 10 1071 DJ Amsterdam
Judy Chicago created a remarkable body of work in Los Angeles and Fresno from 1965 - 72 that has been largely unseen for fifty years. Jeffrey Deitch, Los Angeles will
Judy Chicago created a remarkable body of work in Los Angeles and Fresno from 1965 – 72 that has been largely unseen for fifty years. Jeffrey Deitch, Los Angeles will present a full survey of these early works from September 7 – November 2, 2019. The exhibition will feature paintings, drawings, sculpture, installations, and documentation of Chicago’s environmental and fireworks projects.
Los Angeles was inhospitable to women artists during this period, but the city’s spirit of self-invention and the lack of art market pressure gave Judy Chicago the freedom to create an innovative and original approach to making art. Intent on learning more about industrial techniques that were not taught at art school, Chicago enrolled in auto body painting school, the only woman out of two hundred fifty men in her class. Chicago talks about how she had to struggle to be taken seriously, and as a result “had to get tough.”
Her first group of works coming out of auto body school were her car hoods with their bold female centric imagery, hung on the wall like paintings. The paintings and sculptures that followed drew on her experience with industrial techniques combined with her developing feminist approach to color and form. The work fuses her minimalist forms with a feminine sensibility. The lacquering techniques that she learned in auto body school allowed her to merge color and surface. The color is infused into the material.
Chicago’s 1965 sculpture Rainbow Pickett was included in the legendary Primary Structures show at the Jewish Museum in New York in 1966, but the structure of the art world at the time made it difficult for a young woman to enter the art discourse. Partly in reaction to the challenge of getting her work to be taken seriously, she began her Feminist art project which changed the course of contemporary art. The impact of this project, and her immensely influential work, The Dinner Party, 1974-79, had the effect of partially eclipsing her earlier work. When several of her Los Angeles works were included in the Getty Foundation’s Pacific Standard Time exhibition program in 2011-12, it was a revelation. Since then, her Los Angeles and Fresno works have been shown at museums in Brooklyn, Nice, Chicago, and Miami, but the presentation at Jeffrey Deitch, Los Angeles will be the first time that the full body of work from this period will be presented.
The exhibition will also feature Chicago’s Lifesavers and Fan paintings and major sculptures such as Rainbow Pickett, Trinity, and the participatory work 10 Part Cylinders.
Judy Chicago (b. 1939, Chicago) is an artist, author, feminist, and educator whose career spans over five decades. Since 1996, she has lived in Belen, New Mexico, where her nonprofit arts organization, Through The Flower, is headquartered and where an art space and resource center is being established. Recent exhibitions include Judy Chicago: A Reckoning, ICA Miami, Miami, FL (2018-2019); Roots of The Dinner Party: History in the Making, Brooklyn Museum, Brooklyn, NY (2018); and Inside the Dinner Party Studio, National Museum of Women in the Arts, Washington, D.C. (2017-2018). In the fall of 2019, in addition to the exhibition at Jeffrey Deitch, Judy Chicago will present The End: A Meditation on Death and Extinction at the National Museum of Women in the Arts. The Judy Chicago Portal–a collaboration between the Schlesinger Library, Penn State, and NMWA–will also be launched at the Schlesinger Library at Harvard.
Exhibition produced in partnership with Salon 94, NY.
Photo: Judy Chicago, Trinity, 1965
SEPTEMBER 7 (SATURDAY) 18:00 - NOVEMBER 2 (SATURDAY) 20:00
Jeffrey Deitch - Los Angeles
925 N Orange Drive Los Angeles, CA 90038