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daily recommended exhibitions

Niki de Saint Phalle. Structures for Life

Niki de Saint Phalle. Structures for Life Mar 11 – Sep 6, 2021 From the very outset of her career in the 1950s, Niki de Saint Phalle (American and French, 1930‒2002) defied artistic conventions, creating works that were overtly feminist, performative, collaborative, and monumental. Her first US retrospective, Niki de Saint Phalle: Structures for Life features over 200 works that highlight Saint Phalle’s interdisciplinary approach and engagement with pressing social issues. Innovation was key to Saint Phalle’s process: from beginning to end, she envisioned new ways of inhabiting the world. Early on, Saint Phalle pushed against accepted artistic norms, creating artworks that used assemblage and performative modes of production — such as shooting at her canvases — as well as large-scale sculptures like her Nanas. From the late 1960s onwards, Saint Phalle expanded her practice to include architectural projects, sculpture gardens, books, prints, films, theater sets, clothing, jewelry, and, famously, her own perfume. This exhibition foregrounds the artist’s interdisciplinary endeavors, focusing on the visionary architecture and utopian sculpture environments that formed the core of her later work. Saint Phalle produced fantastical and figurative houses, parks, and playgrounds. These structures were charged spaces of imagination from which she envisioned experimental societies emerging, places "where you could have a new kind of life, to just be free." Central to this vision was Tarot Garden, a massive sculptural installation outside of Rome, open to the public since 1998. The intricate detailing and organic shapes of the garden's structures, based on the 22 Major Arcana of the tarot deck, underscore Saint Phalle's belief that art can alter perception and shift reality. Saint Phalle also engaged with the politics of social space in her work. Addressing subjects that ranged from women’s rights to climate change and HIV / AIDS awareness, she was often at the vanguard in addressing pressing issues of her time. In particular, her work to destigmatize HIV / AIDS is highlighted through works related to her illustrated book AIDS: You Can’t Catch It Holding Hands (1986). Niki de Saint Phalle: Structures for Life is organized by Ruba Katrib, Curator, with Josephine Graf, Assistant Curator, MoMA PS1.
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On Hannah Arendt: 'What is Authority?'

On Hannah Arendt: 'What is Authority?' April 26, 2021 - May 22, 2021 'What is Authority?', The third exhibition in the gallery's year-long series of exhibitions inspired by Hannah Arendt, explores the political philosopher's essay of the same name from her 1968 publication Between Past and Future, around which all shows in the program are based. The question of authority - who has it and how it is implemented - has never been more widely debated. For this exhibition, three artists, Lili DUJOURIE, Everlyn NICODEMUS and Lerato SHADI, uniquely address this question, and in doing so, broaden our understanding of what it means to confront power. Brazilian sound artist and musician Laima LEYTON also responds to Arendt's essay with a new sound piece commissioned by the gallery, live on our website from April 26th.
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Petr DAVYDTCHENKO. Before It Became a Medicine, It Was an Idea

Petr DAVYDTCHENKO. Before It Became a Medicine, It Was an Idea Installation 02/20/2021 - 05/23/2021 OPENING WEEKEND: 02/20 - 02/21/2021. FREE ENTRANCE! On reservation. Petr Davydtchenko was born in modern Sarov (previously known as Arzamas-16), a closed military town in Russia, in 1986. Growing up in St. Petersburg, he experienced the violence of far-right groups. He later moved to Europe, where he developed his own artistic practice. For two years, he lived solely on a diet of fruit, vegetables and the remains of roadkill. For him, this way of life opposed to an economy of excess, a utopian alternative to industrial overproduction. Elements of his work were presented at BPS22 as part of the group exhibition Us or Chaos. When the pandemic first broke out, Davydtchenko asked himself what role an artist could play in such a situation. As a result, he decided to put all his energy and creativity into researching a vaccine for protection against COVID-19. He has surrounded himself with scientists, has read numerous medical reports, and has transformed the exhibition space of the Palazzo Lucarini Centro per l'Arte in Trevi, Italy, into a medical laboratory. He has devoted himself entirely to this new mission. He promises free distribution of his possible vaccine. And above all, he is shouldering all the consequences of his quest, including legal proceedings for the illegal practice of medicine, lobbying, censoring social networks, and more. A presentation of the current state of his research is on display at BPS22.
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Maria Hassabi: HERE

May 14 - June 20, 2021 ** Maria Hassabi: HERE ** May 14 - June 20, 2021 With Elena Antoniou, Maria Hassabi, Michael Helland, Alice Heyward, Oisín Monaghan, Robert Steijn Maria Hassabi: HERE The Vienna Secession and the Wiener Festwochen are pleased to present a new commissioned work by the artist and choreographer Maria Hassabi. The premiere of the exhibition HERE will take place in Vienna before it will be shown in Athens and Turin in 2021/22. Her live installation HERE invites visitors to share the exhibition space with six dancers during opening hours. Over several weeks, these follow a choreography that unfolds in the sculptural installation at a slow, stretched pace. In extended phases of motionlessness, the dancers struggle with asserting their presence, their being here, while it becomes increasingly difficult to distinguish whether they are powerless or resting, self-sufficient or in a state of crisis. But the apparent passivity is the result of the highest physical precision and self-control. Muscles tremble, eyes blink, sweat drips, breathing becomes visible. These smallest movements - the physical side effects of time and work - bring the attention of both the dancers and the viewer back to the moment. Since the early noughties, Maria Hassabi has been working on a unique choreographic language that focuses on standing still, slowness and the ambivalent status of bodies in motion. The focus is on silence and deceleration, both as technology and as a topic; the performers' bodies alternate between dance and sculpture, subject and object, living body and still image. This type of work allows visitors to behave and move around as usual in the exhibition and gives them time to grasp the live bodies in their physical form and to understand them as an image with a variety of references. HERE was commissioned by the Vienna Secession and the Wiener Festwochen. In coproduction with Onassis Culture, Athens, and OGR - Officine Grandi Riparazioni, Turin. Developed with the support of the Milvus Artistic Research Center (MARC), Knislinge, Sweden, and Onassis Stegi, Athens. Maria Hassabi, born in Cyprus. Lives and works in New York and Athens. With Elena Antoniou, Maria Hassabi, Michael Helland, Alice Heyward, Oisín Monaghan, Robert Steijn Sound design: Stavros Gasparatos Outfits: Victoria Bartlett Architectural study: Maria Maneta, Maria Hassabi Production management: Eva Theofanidou, Natasha Katerinopoulos A joint project of the Vienna Secession and the Vienna Festival The artist's book Maria Hassabi will be published for the exhibition. 2015-2021.
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Lucy McKenzie - Prime Suspect

EXTENDED UNTIL JUNE 6 ** Lucy McKenzie - Prime Suspect ** (September 10, 2020 - February 21, 2021) Curated by Jacob Proctor Lucy McKenzie (born 1977 in Glasgow), known for her painterly use of illusionistic trompe-l'oeil -Effects and architecturally scaled installations, quickly established herself as one of the most remarkable artists of her generation. The exhibition, which was developed in close cooperation with the artist herself, will for the first time examine the entire scope of her oeuvre with over 100 works from the period 1997 to the present day. Lucy McKenzie appropriates images, objects and motifs from the history of architecture and design, from literature, music and film, as well as from fashion, politics and sport. She changes these starting materials with old-fashioned decorative painting techniques of the 19th century, creating surprising new constellations that illuminate an alternative history of painting that emphasize the vernacular, the domestic and the collaborative. The so-called “applied arts” appear in her as protagonists of a narrative that deviates from the established chronologies of the avant-garde and modern art. Although McKenzie is known as a painter, her work also includes drawings, texts, sculptural objects and videos. Her practice, which is often collaborative and interdisciplinary, often goes beyond the gallery space and has led to the establishment of a record label, a bar and a successful clothing line, among other things. The exhibition, which is being created in close collaboration with the artist herself, offers the opportunity to bring the entire spectrum of her work together in one place for the first time. With over 100 works from 1997 to the present day, the exhibition will fill the entire lower level of the Brandhorst Museum, including the media galleries. Examples from all of the artist's major groups of works have been gathered, starting with early paintings relating to pop music and the Olympic Games in the Cold War era, through to her subsequent examination of the traditions of Scottish and Eastern European wall painting and Belgian illustration and typography to large-format paintings that were created on the basis of historical architectural styles. Also included are works from her collaborative fashion label and research office Atelier E.B. and recent works that blur the boundaries between painting, sculpture and furniture and are in part specially developed for the exhibition. A comprehensive and richly illustrated catalog will be published to accompany the exhibition, offering the first systematic presentation and scientific analysis of Lucy McKenzie's work. In addition to an essay by the exhibition curator Jacob Proctor, the catalog contains contributions by internationally renowned artists, critics, and art and cultural historians. It appears in two editions (German, English) and will establish itself as the standard work for further international and interdisciplinary discussion of McKenzie's work.
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TIMM ULRICHS. PRE-PLAY - AFTER-PLAY

TIMM ULRICHS. PRE-PLAY - AFTER-PLAY March 13 - May 16, 2021 Opening of the temporary exhibition: March 12, 2 p.m. - 8 p.m. Due to the current corona pandemic regulations, a registration for a time slot is required at: https://calendly.com/sammlungphilara/ zeitfenstertickets On the occasion of his 80th birthday on March 31, 2020, the Philara Collection is showing the retrospective exhibition Prelude - Postplay by Timm Ulrichs with a corona-related delay. Timm Ulrichs is self-taught, language fetishist, reader and humorous provocateur. In his cross-genre conceptual implementations, he repeatedly makes himself and his human constitution available as material and postulates the compatibility of art and life. Language is often his fundamental creative tool; his works play with verbal concepts, tautologies, paradoxes and diverse meanings. Timm Ulrichs channels existential feelings like hardly any other artist and thematizes the decay inherent in life as well as the staging forms of commemoration and self-production. Based on the logic of life, he thinks about his own death as a creative pole. This is not narcissistic, but extremely consistent; it is also about directing one's own life. An action, conceived at the end of the 1970s and carried out on May 16, 1981, in which he had the words “THE END” tattooed on his right eyelid, is legendary. Being I is the premise of every consideration, and of course the question of what happens post-priori also intervenes in how we look at and shape the present. Using this parameter, Timm Ulrichs repeatedly examines the world through the presence and absence of his life. The 100-part series Petrified Texts and Pictures, which has not been on public display since the mid-1980s, shows tombstones in the form of a book, taken from the Père Lachaise cemetery in Paris. Including a stone designed by Ulrichs himself with the inscription: “Always remember to forget me. Timm Ulrichs! ”“ A life for art: that can only mean a life to prepare for death, to shape it, to stage it, as a climax and culmination point [...] ”(Timm Ulrichs) The design of commemorative objects and the organization of remembrance, which Timm Ulrichs always links to his personal death, form recurring motifs in his oeuvre. Present absent Life after death in Life before death (1971) combines a death mask, shaped after Ulrich's face, with a book safe. In Meta-Breath, Ulrich's face disappears behind a pane of glass that steams up due to the expiration of his breath and prevents it from looking through - it disappears through its liveliness. Already in 1992 Ulrichs installed his tomb with the title Timm Ulrichs in the necropolis of Kassel: on the underside of the earth's surface (inverted hollow body monument II) (1972/80/90). It is a cast of Ulrich's body, sunk upside down in the ground and hollowed out, which is supposed to take up his ashes. Only his footprints are visible from the other end, above the surface of the earth. The starting point of the works presented in the Philara Collection is playing with presence and the process of disappearance, which Ulrichs also considers under economic factors. In works like Walter Benjamin: "The work of art in the age of its technical reproducibility" (1967) and Money / Exchange / Money: A circulation through twenty currencies (or: The updated fairy tale of Hans im Glück) (1968/78) he asks about the Mechanisms of value creation and depreciation through the process of dissolution and directs the focus on conditions of materialism. In the hundredfold copy of the copy, not only does the “aura” formulated by Benjamin visually decay through the reproduction of the original image, Ulrichs also demonstrates the loss of quality due to the technical process of copying. Last year, Timm Ulrichs was honored by the Academy of Arts with the Käthe Kollwitz Prize for outstanding artists. In addition to the Philara Collection, works by Timm Ulrichs are represented in the following museums: Center Pompidou, Paris; ZKM, Karlsruhe; New National Gallery, Berlin; Sprengel Museum, Hanover; Abteiberg Museum, Mönchengladbach; Museum Ludwig, Cologne; Louisiana Museum of Modern Art, Humlebæk etc. The Philara Collection With the Philara Collection, which is open to the public, the art collector Gil Bronner has created a special cultural offer for Düsseldorf and the region in the Düsseldorf district of Flingern. The constantly expanding collection of contemporary art currently includes around 1,600 works of art of various genres such as painting, sculpture, installation, photography, video and works on paper. The unique selling point of the Philara Collection is the equal comparison of local young talent and established, internationally active artists. Surrounded by the galleries, from which Bronner has essentially built up his collection over two decades, the exhibition space hidden in a back courtyard is cautiously integrated into the urban structure, without revealing its enormous size of 1,700 square meters of exhibition space from the outside. The majority of the rooms with a considerable ceiling height of up to nine meters are dedicated to the heterogeneous and annually rotating presentation of the ON DISPLAY collection as well as a more than 500 square meter sculpture terrace on the roof of the former industrial wasteland. In addition to rooms and installations by individual artists, some of which were specially constructed for the location, up to four changing exhibitions per year are shown in a separate area. In addition to these exhibition activities, the collection regularly hosts interdisciplinary events such as concerts, readings and lectures. The Lennarz glass is part of the Philara collection and is operated by the Bulle bakery as a bistro during the day and as a wine bar by Vyno in the evening. Artists of the current collection presentation On Display IV Nevin Aladağ, Miroslaw Balka, Yael Bartana, Jorge Méndez Blake, Andrea Bowers, Candice Breitz, Anja Ciupka, Natalie Czech, Marcel van Eeden, Jonah Freeman and Justin Lowe, Nicolás Guagnini, Erika Hock, Sven Johne, Thomas Kiesewetter, Sarah Kürten, Christian Marclay, Kris Martin, Matt Mullican, Olaf Metzel, Jens Pecho, Laure Prouvost, Edi Rama, Tobias Rehberger, David Renggli, Leunora Salihu, Andreas Schmitten, Juergen Staack, Studio For Propositional Cinema, Nora Turato, Moritz Wegwerth, Pae White, Johannes Wohnseifer, etc. Extended opening hours during the pandemic THU 2-6pm FRI 2-8pm SAT 2-6pm SUN 2-6pm PAY WHAT YOU WISH Admission only with time slot ticket at: https : //calendly.com/sammlungphilara/zeitfenstertickets www.philara.de
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Julie Mehretu

Julie Mehretu Mar 25 – Aug 8, 2021 Co-organized by the Los Angeles County Museum of Art and the Whitney Museum of American Art, Julie Mehretu is a midcareer survey that will unite more than seventy paintings and works on paper dating from 1996 to the present, reflecting the breadth of Mehretu's multilayered practice. Born in Addis Ababa, Ethiopia, in 1970 and based in New York City, Mehretu has created new forms and found unexpected resonances by drawing on the histories of art and human civilization. Her play with scale and technique, as evident in intimate drawings, large canvases, and complex forms of printmaking, will be explored in depth. Filling the Whitney’s entire fifth floor gallery, the exhibition will take advantage of the expansive and open space to create dramatic vistas of Mehretu’s often panoramic paintings. The first-ever comprehensive survey of Mehretu’s career, Julie Mehretu is organized by Christine Y. Kim, curator of contemporary art at LACMA, with Rujeko Hockley, assistant curator at the Whitney. The installation at the Whitney is overseen by Hockley and on view from March 25 through August 8, 2021. “Few artistic encounters are more thrilling than standing close to one of Julie Mehretu's monumental canvases, enveloped in its fullness, color, forms, and symbolic content. Mehretu's conviction and mastery of composition and brushwork — along with the sheer energy and full-on commitment of her execution — endow her works with a life force, presence, and presentness, ”said Adam D. Weinberg, Alice Pratt Brown Director of the Whitney . “The Whitney Museum is particularly pleased to co-organize this midcareer survey with LACMA, and we are thrilled to continue our longstanding and close relationship with the artist, who has been included in numerous group exhibitions at the Whitney, beginning with the 2004 Biennial. ” Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator, added: “Since 1948, when the Whitney presented its first retrospective of a living artist, Yasuo Kuniyoshi, we have maintained a strong commitment to providing substantial, in-depth views on the most groundbreaking artists of our time. I am thrilled that Mehretu's show joins a sequence of midcareer surveys in our new building, which has featured Laura Owens, Zoe Leonard, and Rachel Harrison. Taken together, these shows reveal a wide variety of mediums and artistic approaches, but they are united in their emphasis on innovation and their shared concern for giving voice and shape to contemporary experience. "Mehretu's paintings synthesize vast amounts of visual information and diverse cultural references , from Babylonian stelae to architectural drawings and from European history painting to the sites and symbols of African liberation movements. Spanning medium, scale, and subject, the exhibition centers her examinations of colonialism, capitalism, global uprising, and displacement through the artistic strategies of abstraction, landscape, and, most recently, figuration. Often drawing upon the twenty-first-century city for inspiration, Mehretu condenses seemingly infinite urban narratives, architectural views, and street plans into single unified compositions. While she employs representational elements through imagery or titling, her work remains steadfastly abstract. This approach, where abstraction and representation commingle within a single canvas or series, allows a simple hand-drawn mark to take on figurative or narrative qualities. “In their resistance to a single interpretation, Mehretu’s paintings encourage a nuanced reckoning with the true complexity of our politics, histories, and identities,” said Rujeko Hockley, assistant curator at the Whitney. “She often uses art as a means to frame social uprisings, including the Arab Spring, Black Lives Matter, and Occupy Wall Street, as well as specific events like the police killing of Michael Brown in Ferguson, Missouri; wildfires in California; and the burning of Rohingya villages in Myanmar. Without being overly literal, Mehretu’s work gives visual form to both the past and current moment. At its core, her art is invested in our lived experiences, examining how forces such as migration, capitalism, and climate change impact human populations — and possibilities. We look forward to bringing her brilliant explorations to Whitney audiences. " Along with a film on Mehretu by the artist Tacita Dean, the exhibition brings together nearly forty works on paper and thirty-five paintings dating from 1996 onward to reflect the breadth of Mehretu’s multilayered practice. The installation is loosely chronological, beginning with a gallery devoted to works from the mid-1990s, during which Mehretu developed her own idiosyncratic system of notation that includes “characters” such as dots, circles, crosses, arrows, barbells, and even organic forms like eyeballs, insects, wings, and beaks. She began to create drawings and paintings in which these characters gather to resemble migrating masses. In the gallery featuring her work from the early 2000s, Mehretu’s work embraces the monumental scale of history painting as she begins to work in painting cycles, creating loose, interrelated narratives across different bodies of work. The increasingly large and complex visual planes in her work of this period suggest a dense multicultural metropolis, "full of migrants in transit, people walking by, through, past, and with each other." Between 2010 and 2016, Mehretu’s visual language began to shift as the artist moved away from the detailed architecture and spectacular colored lines she employed previously. Instead, the works created during this period offer an intimacy and immediacy, with soft distorted blurs and smudges accompanied by gestural, emphatic marks and sometimes even the artist’s own palm prints. The exhibition culminates with a gallery showcasing the artist’s most recent works that explore current events and the unfolding histories that have long informed her practice. The base layers of these works are created by digitally blurring, rotating, and cropping photographs — of police in riot gear after the killing of Michael Brown, for instance, or fires raging simultaneously in California and Myanmar — and then marking over them. Mehretu is inspired by a variety of sources, from cave incisions, cartography, and Chinese calligraphy to architectural renderings, graffiti, and news photography. Drawing on this vast archive, she reformulates notions of how realities of the past and present shape human consciousness. ABOUT JULIE MEHRETU Born in Addis Ababa, Ethiopia, in 1970, Julie Mehretu was raised in East Lansing, Michigan. Since 1999, she has lived and worked in New York, establishing herself as one of the most exciting artists working in the United States. She received a BA in art from Kalamazoo College, Michigan, studied at Université Cheikh Anta Diop, Dakar, Senegal, and received an MFA from the Rhode Island School of Design in 1997. Her select solo exhibitions include Julie Mehretu: A Universal History of Everything and Nothing, Serralves Museum of Contemporary Art, Porto, Portugal (2017); Julie Mehretu: Gray, Deutsche Guggenheim Museum, Berlin (2010); Julie Mehretu: City Sightings, The Detroit Institute of Arts, MI (2007); Currents 95: Julie Mehretu, St. Louis Art Museum, MO (2005); Julie Mehretu: Drawing into Painting, Walker Art Center, Minneapolis, MN (2004); and Julie Mehretu, Artpace Foundation for Contemporary Art, San Antonio, TX (2001). Her group exhibitions include Actions: ‘... the image of the world can be different,’ Kettle’s Yard, University of Cambridge, Cambridge, UK (2018); I am you, you are too, the Walker Art Center, MN (2017); An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017, Whitney Museum of American Art, NY (2017); The Serial Impulse at Gemini G.E.L., LACMA, Los Angeles, CA (2016); Variations: Conversations in and around Abstract Painting, LACMA (2014); The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, NY (2014); Yes, No, Maybe, National Gallery of Art, Washington, D.C. (2013); The Bearden Project, The Studio Museum in Harlem, NY (2011); and Freestyle, The Studio Museum in Harlem, NY (2001). Additionally, Mehretu has participated in numerous recurring international exhibitions, including the Venice Biennale (2019), Sharjah Biennial (2015), Dak'Art (2014), Biennial of Contemporary Art of Cartagena de Indias (2014), Documenta (2012), Prospect New Orleans (2008-09), Sydney Biennial (2006), Whitney Biennial (2004), São Paulo Biennial (2004), Carnegie International (2004-05), Busan Biennial (2002), and Istanbul Biennial (2003). She has received international recognition for her work, including the U.S. State Department’s National Medal of Arts (2015) and a MacArthur Fellowship “Genius Grant” (2005). CURATORIAL CREDIT Julie Mehretu is co-organized by the Whitney and the Los Angeles County Museum of Art. The exhibition is curated by Christine Y. Kim, curator of contemporary art at LACMA, with Rujeko Hockley, assistant curator at the Whitney. ABOUT THE CATALOG Designed to allow close viewing of Mehretu’s vast canvases, the exhibition catalog features lush reproductions of her paintings in their entirety, as well as numerous full-page details. Long overdue, this 320-page, hardcover volume pays tribute to an artist whose work and process intermingle in a unique and important examination of painting, history, geopolitics, and displacement. Edited by Christine Y. Kim and Rujeko Hockley with contributions by Andrianna Campbell, Adrienne Edwards, Thelma Golden, Mathew Hale, Leslie Jones, Christine Y. Kim, Fred Moten, and Dagmawi Woubshet, Julie Mehretu includes 455 color illustrations and is published by the Whitney Museum of American Art and distributed by DelMonico Books and Prestel, Munich London New York.
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Boris Lurie. Anita's house

opening: May 08, 2021 05:00 pm
Boris Lurie. The house of Anita 8 MAY TO 1 AUGUST 2021 100 works of art for the first German publication of Boris Lurie's life and survival work by Wallstein Verlag. Boris Lurie lost his whole family and his childhood sweetheart in the Shoah, except for his father. Even after the liberation and emigration to the USA, part of him remained in the camps and ghettos. In the following decades he worked incessantly on the novel Haus von Anita and created radically provocative works of art as a countermovement to the common practice of remembering the Shoah and prevailing art movements such as Abstract Expressionism and Pop Art. The Boris Lurie Foundation from New York has persecuted the center for Arts Handed over works of art from all his oeuvre on loan, especially early works that were created immediately after the liberation. Boris Lurie was born in Leningrad in 1924. The family fled to Riga from anti-Semitic pogroms in 1925. Boris Lurie grew up there. After the attack on the Soviet Union by the German Wehrmacht, Lurie lived and suffered for four long years with his father, first in Latvian labor camps and later in German concentration camps. His grandmother, mother, sister and his childhood sweetheart were murdered by Germans between November 30 and December 9, 1941, along with 27,500 other Jews in the pine forest of Rumbula near Riga. Lurie and his father were liberated by American troops in a camp near Magdeburg. Lurie spoke English and worked for the US Army. In 1946 he emigrated to New York with his father and became an artist on the Lower East Side. As a reaction against abstract expressionism and the emerging POP art, he and friends invented the NO! Art movement in 1959. In the Anti-POP, Lurie attacks the complacent consumer society with his provocative art. In the mid-1970s, Lurie suddenly stopped making pictures and installations and began his novel House of Anita, which he was able to complete shortly before his death in New York in 2008. Anita’s House is now being published in German by Wallstein Verlag and the Center for Persecuted Arts is showing over 100 works by Lurie. In the book, as in his pictures, Boris Lurie processes the concentration camp experiences and asks with shocking urgency about the meaning of art after the Shoah. The first-person narrator Bobby lives together with three other slaves in “Anita's house” and is forced to engage in sexual fetish practices by the authorities. What superficially looks like a pornographic S / M novel is a provocative depiction and psychological dissection of the Nazi atrocities. A reading and exhibition that is painful and represents an extraordinary artistic processing of the Holocaust, terror and violence. With the support of the Boris Lurie Art Foundation in New York, the Center for Persecuted Arts has selected works by Boris Lurie for an exhibition in the Depot in the USA: early drawings, the War series, or the fetish images of the Love series, but also the painful portraits of mother, sister and lover. The president of the foundation, Gertrude Stein, was Boris Luri's gallery owner. The novel Haus von Anita will be published by Wallstein Verlag to accompany the exhibition. Translated from English and with a foreword by Joachim Kalka 298 p., Hardcover, dust jacket, 12 x 20 cm ISBN 978-3-8353-3887-6 (2021)
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Ugo Rondinone - a sky. a sea. distant mountains. horses. jump.

1 Davies Street W1 * Ugo Rondinone - a sky. a sea. distant mountains. horses. jump. April 12 - May 14, 2021 “The title of the exhibition a sky. a sea. distant mountains. horses. jump. reads simultaneously as a stage direction and a checklist of archetypes that take into account the watery, fluctuating state of life as it is lived, complete with the fullest range of emotions, desires and dreams. As in dreams, they are visible signs for something invisible. Taken together, they define the intersection of symbolism and spirituality. " - Ugo Rondinone, 2021 The spring exhibition at Sadie Coles HQ features new sculptures and paintings by Ugo Rondinone, in which the artist, continuously inspired by the natural world, animates profane subjects like horses, the sea, and the sky to become vessels of spiritual contemplation. Marking the end of lockdown, the exhibition - which spans both London galleries - articulates themes of time, nature, renewal and the psyche, both in its individual parts and as an eclectic whole. At Kingly Street, Rondinone presents fifteen new sculptures of horses cast from blue glass. Slightly smaller than life size, each sculpture is formed from two distinct shades of transparent blue - bisected horizontally to suggest a horizon line running through the silhouette of the animal. The contained form of the horse thereby becomes a vessel for a seascape or landscape, an ethereal frame as well as a corporeal representation. Rondinone reverses the traditional formula of a body in a landscape, transposing the "landscape" into the confines of a body in order to imply a microcosmic world. By multiplying the concept across fifteen foal-sized sculptures, he also creates a larger - three-dimensional - landscape of repeating forms. Rondinone’s horse sculptures embody ideas of space, time and nature that have recurred throughout his work over three decades. Each object suggests a compound of the four elements - water, air, earth (connected by the body of the horse), and fire, crystallized in the substance of the fired glass. The capsule-like, sealed form of the horse is countered by its intimation of boundless space. Each sculpture moreover projects itself outwards, beyond its glass confines, by casting blue light across the gallery. In this way, the sculptures are prisms that alter the space around them - creating a lightscape ’of shifting blues. Within this environment, the viewer’s own physical presence - vertical, opaque and mobile by contrast with the phantasmal horses - is thrown into relief. The conjunction of sea and sky is the subject of a painting in the rear of the gallery, in which a rising or sinking sun (or moon) is depicted looming beyond a horizon line. The simple collocation of elements - conveyed through washes of watercolor on canvas - recalls the schematic designs of Rondinone’s various long-running series of paintings, whether his ‘Horizons’ comprised of tiered horizonal lines, or his Suns ’of concentric circles. In a further echo of his earlier practice, the painting’s title is a compound word referencing the date of its completion. Timelessness is annexed with a precise date, and the painting is framed as a mental space to be entered into. At Davies Street, Rondinone is showing four multipart paintings that reinvent his long-running Mountain sculptures in two dimensions. Each painting collapses the formula of stacked, painted rocks into three shaped canvases - arranged vertically and painted in single brilliant hues. The paintings restage an ambiguity - between sculpted form and painterly surface - that was central to the mountain sculptures. The contoured outline of each canvas (suggestive of a monolithic volume) is offset by the flatness of its pigmentation - oil paint has been applied rapidly, in broad strokes, to the gesso-rendered surface. In their hard, bright surfaces, Rondinone’s new Mountain paintings are the opposite of his new watercolors, in which the pigment sinks in multiple layers into the fabric support. Upstairs, a cycle of smaller watercolors repeat and multiply the form of a celestial body hovering over a tranquil sea - their varying colors evoking a panoply of sunrises and sunsets, or rising or plunging moons. Collectively, the paintings express a dualism of diurnal time (the twenty-four cycle) and cosmic time.They also perhaps suggest the capacity for these separate magnitudes to blur together, capturing the way in which - as Virginia Woolf observed - “An hour once it lodges in the queer element of the human spirit may be stretched to fifty or a hundred times its clock length; on the other hand, an hour may be accurately represented on the timepiece of the mind by one second. " Ugo Rondinone (b. 1964, Brunnen, Switzerland) lives and works in New York and studied at Hochschule für Angewandte Kunst, Vienna (1986-90). He has exhibited internationally with solo exhibitions including the rhone + the void, Kunsthalle Marcel Duchamp, Cully (2021); a wall. a door. a tree. a lightbulb. winter., SKMU Sørlandets Art Museum, Kristiansand (2021); we are poems, Beaux-arts de Paris, Paris (2019); everyone gets lighter, Helsinki Festival and Kunsthalle Helsinki, Helsinki (2019); good evening beautiful blue, The Bass, Miami Beach (2017); your age and my age and the age of the rainbow, Garage Museum of Contemporary Art, Moscow (2017); Seven Magic Mountains, presented by Art Production Fund & the Nevada Museum of Art, Nevada (2016); Vocabulary of Solitude, Boijmans van Beuningen, Rotterdam (2016); thank you silence, M Museum, Leuven, Belgium (2013); we run through a desert on burning feet, all of us are glowing our faces look twisted, Art Institute of Chicago (2013); human nature, Public Art Fund, Rockefeller Plaza, New York (2013) and The Night of Lead (Die Nacht aus Blei), Aargauer Kunsthaus, Aarau, Switzerland (2010). Forthcoming solo shows include life time at Schirn Kunsthalle Frankfurt, in June 2021 and nude in the landscape at Belvedere 21, Vienna, in November.
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EAU DE CAR PARK

opening: May 08, 2021 12:00 pm
"We would like to cordially invite you to a tour of Nika Špan’s installation in the multi-storey car park / Malkastenpark. A final installation in the CAR PARK in Malkastenpark will take place next weekend, on Saturday, May 8th and Sunday, May 9th, 2021 from 12:00 noon to 6:00 pm: Nika Špan "Eau de Parkhaus". If Duchamp had created his readymade "Air Paris" in 1919, Nika Špan asked me 1 1/2 years ago whether she would be staying for a few weeks I bought the dehumidifier once to keep the room dry, especially for fragile work. Of course, I said yes, and Nika created her work "Eau de Parkhaus" as a homage and reminder of the exhibition space. The multiple of the same name can be purchased for € 5 per bottle from the artist herself: [email protected] The artist herself: EAU DE PARKHAUS A project by Nika Špan in the PARKHAUS in the paint box park EAU DE PARKHAUS is the Luf Moisture of the PARKING in a liquid state. It is stored in 336 beer bottles. The PARKHAUS in Malkastenpark is one of the longest-lasting exhibition spaces in the Düsseldorf off-scene. It is located in the park of the artists' association Malkasten - in the outbuildings that are being demolished and replaced by a new building. The strong presence of nature has shaped this space from the start. The EAU DE PARKHAUS makes this coexistence of the Malkastenpark and the PARKHAUS visible and tangible: the moisture in the park - which was invisible but noticeably involved in this old building for several decades - was removed from the air in the PARKHAUS with a room dehumidifier. The liquid produced in this way - EAU DE PARKHAUS - was then stored in green beer bottles (0.33 l). The “bottles” are numbered, signed and stamped with the EAU DE PARKHAUS logo. The logo is mirror-inverted. The text only becomes legible when viewed through the glass and water. At the same time, the frame around the text is recognizable as a floor plan. EAU DE PARKHAUS costs 5 euros and can be ordered here: [email protected] When ordering, please include your full name, number and (optionally) the number of the selected bottle. You can pick up your EAU DE PARKHAUS in the PARKHAUS im Malkastenpark on May 8th and 9th, 2021. "Best regards, Karl Heinz Rummeny
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Annette Kelm: Burned Books

opening: May 08, 2021 11:00 am
May 8, 2021 - July 31, 2021 ** Annette Kelm: Burned Books ** In 1933, National Socialist students burned around 30,000 books on the former Opernplatz in the middle of Berlin: political literature, scientific books, novels and poems, even children's books. The list of authors includes well-known names, but also those who have since disappeared from cultural memory. In her series Burned Books (2019–2021), Annette Kelm depicts a selection of those books that were ostracized as “un-German” from 1933 onwards. Kelm's photographs follow a decidedly factual aesthetic and show selected books - all of them are first editions - individually as flat objects, photographed from the front, against a neutral background. Reproduced in the style of classic object photography, they appear to have been freed from space and time. It is precisely this that updates them and overcomes the historical distance. Detached from history, the political imagery, the aesthetics of modernity, the socially critical impetus emerge concisely. And ultimately, it is this precise photographic view of the book and its design that makes us think again about the possibilities of representing history and dealing with the Nazi era. 70 photographic works from this series will be on view in the Meyer Kainer Gallery. A detailed text by Vanessa Joan Müller will accompany the exhibition. Open from Saturday, May 8th, 11 am–6pm
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Prelude northeast southwest

ART ON THE EXTERIOR FACADE OF THE ROBOTRON CANTINE ** Prelude Nordost Südwest ** * ** Sunday, May 30th at 3 p.m. Performance by Stephanie Lüning ** FOAM ACTION XII OVERWHELM and architectural tour ROBOTRONWALK of the Ostmodern network at the robotron canteen. * 3rd stage ART ON THE EXTERIOR FACADE OF THE ROBOTRON CANTINE ** from May 6th, 2021: Henning Haupt ** From Thursday, May 6th, the 20-meter-long three-part installation by Henning Haupt, a three-dimensional painting of the Meadow to over the roof edge of the building, the third stage of the art project Prélude Nordost Südwest on the outer facade of the robotron canteen. Henning Haupt uses the medium of painting to make color spaces tangible in three dimensions. The installation designed for the facade of the robotron canteen extends in a 20-meter-long multi-fold shape to the edge of the roof like a painting that conquers the room in the best sense of the word. The artist is also an architect and in this role teaches design at the TU Dresden. “I'm interested in how spaces change. My painting records the traces of movement in the studio. To be able to relate this dynamic understanding of painting in the robotron canteen to urban space is a beautiful, basically ideal situation, ”says the artist, who was born in 1964 and lives in Dresden. Henning Haupt heads the professorship for design theory at the Institute for Building Theory and Design of the Faculty of Architecture at the TU Dresden. He studied architecture in Darmstadt and Braunschweig as well as painting and architecture at the Cranbrook Academy of Art, USA. The installations can already be seen: - Second stage since April 22nd: Ina Weise / NEE NEE NEE (lettering Nee Nee Nee, east-modern neon advertising letters, installed on the roof) - First stage since April 8th: André Tempel / Menu A , Menu B (film covering the outer facade) * ** from April 22nd: Ina Weise ** Ina Weise (* 1985 in Dresden, lives in Dresden) works with site-specific interventions and performances in urban space. She studied design at the University of Applied Arts in Schneeberg and “Art in Public Spaces and New Artistic Strategies” at the Bauhaus University Weimar. On the roof of the robotron canteen, the artist Ina Weise installed letters from the neon lettering, several meters long, of a former GDR service center in Dresden, which were saved from demolition by activists from the Ostmodern.org network. Ina Weise is interested in different traditions of communication in urban space. “The sustainability of today's architecture and urban development, including when dealing with post-war modernism, is an important issue for me. Public space is an important place for exchanging ideas about the way we want to live in the future, ”says Ina Weise. The statement of the first word formation "NEE NEE NEE" can be interpreted in many ways. A reference to current challenges in urban development can be read as well as a reference to everyday language, in which helplessness and concern about social development of the time often find an emotional expression. The artist was also interested in the avant-garde performances of the 1960s and 70s such as Bruce Naumann or the tape work by Joseph Beuys from 1969 entitled Yes Yes Yes Yes Yes, No No No No No No, as artistic role models. Ina Weise is also planning to address young people on the skater rink directly adjacent to them with the question of which word they would like to see on the roof of the canteen. You can create your own word from the existing letters, so that the installation can be changed by your "choice of words". The artist was already present with her letter campaign in the spring of 2018 in front of the robotron canteen, at that time as part of a press conference on the future of the building. In the meantime, the letters have been shown in various exhibitions nationwide. * ** from April 8th: André Tempel ** André Tempel (* 1970 in Schwedt, lives in Dresden), besides his focus on graphic work, specializes in spatial concepts and art in architecture. He studied at the University of Applied Arts Schneeberg and the University of Fine Arts Dresden. André Tempel begins as the first of the four artists invited for the project: Inside, in which he connects the supports that line the side facade and terrace with colored foil strips. His experimental artistic handling of the building under the title MENU A, MENU B refers to the building's past as a canteen. The result is a large-scale, temporary, colored room drawing. The artistic work is deliberately not designed as an independent object for eternity, but rather engages in a process and thus at the same time in a pragmatic symbiosis with the architecture. “The canteen is actually an elegant building, even if it is currently neglected. I'm interested in how rooms can be changed through graphic interventions and color. How can I not only create something new through art, but also interpret what is already there? ”* ** Prelude Northeast Southwest ** ART ON THE EXTERIOR FACADE OF THE ROBOTRON CANTINE April 10th to June 6th, 2021 André Tempel, Ina Weise, Henning Haupt and Stephanie Lüning will temporarily use the outer facade of the robotron canteen from April 10th to June 6th as part of the Prelude Northeast Southwest project. Another artistic work is added every two weeks. At the end of the project in May, all installations will be visible at once for two weeks. INTERVENTIONS from April 8th: André Tempel from April 22nd: Ina Weise from May 6th: Henning Haupt PERFORMANCE May 13th (Ascension Day), 3 pm: Stephanie Lüning Following the performance by Stephanie Lüning, the Ostmodern network invites you at 5 pm a ROBOTRONWALK architectural tour around the robotron canteen. The experimental, artistic interventions on the facade of the building, which has been vacant for several years, literally counteract the on-site vandalism. In times of the pandemic and the standstill for culture, they form the prelude to an international exhibition that is to connect a jointly spun network of places and people in urban space in 2022. Prelude Nordost Südwest forms the prelude to the international exhibition in Dresden, which is to connect a network of places and people in urban space that is spun together in 2022. The project, planned from 2021, will also temporarily bring art to new places in the urban space and make it possible to rediscover the city. The project starts this spring with artistic interventions in the former robotron canteen. In times of the pandemic, the reference to the cardinal points stands for the desire to continue to maintain and cultivate common cultural relationships with other people, landscapes and also the architectural heritage. The robotron canteen was designed between 1969 and 1972 by the architects Herbert Zimmer, Peter Schramm and Siegfried Thiel as an elegant pavilion building. The former company restaurant, located not far from the Dresden Hygiene Museum in the heart of the city, formed the center of the extensive area of ​​the former VEB Robotron, once the heart of Dresden's information technology. After various re-uses that the ensemble experienced after 1989, most of the development of a new district has now given way: the quarters at Blüherpark are being created directly at the Großer Garten. The partner institutions of the art project Prelude Nordost Südwest are: HELLERAU - European Center for the Arts, Art Fund / State Art Collections Dresden, Network Ostmodern, Konglomerat e. V., Ostrale e. V., Galerie Ursula Walter Prelude Nordost Südwest is funded by the Homann Foundation. With thanks to GATEWAY Real Estate, Hamburg / Berlin. Still Crazy - 30 Years of the Kunsthaus Dresden This year 2021 the Kunsthaus is celebrating its 30th anniversary with long-term projects in the garden, temporary interventions in the urban space and selected exhibitions.
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Julius von Bismarck. Neustadt

Emscherkunstweg, Duisburg Julius von Bismarck. Neustadt Apr 18th - Oct 31st, 2021 Julius von Bismarck has created in collaboration with Marta Dyachenko a miniature city at the Old Emscher in Duisburg. "Neustadt" consists of model house sculptures that once shaped the Ruhr area, but have been demolished since the 2000s. On a scale of 1:25, Marta Dyachenko and Julius von Bismarck have brought former apartment buildings, schools, fun pools, churches, bunkers and other buildings back to life as sculptural models made of concrete and steel. A fictitious city structure made of demolished buildings is thus created in model format at the Duisburg-Nord Landscape Park. "In 'Neustadt', society and architectural history are not revealed through new creations, but through the decision of which architecutre was removed. The whole complex becomes a negative of contemporary building politics - a city as an antiversion that is nevertheless permanently installed in reality through the materials used - steel, glass and concrete. " Julius von Bismarck The Emscherkunstweg - Emscher Art Trail - is a permanent collection of art in public space: eighteen artistic works accessible to everyone at all times and free of charge. Along the banks of the Emscher river you'll see the unique conversion of the waterway that has decisively accompanied structural change in the Ruhr region.
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Lois Weinberger

opening: Apr 30, 2021 05:00 pm
KUB Basement and KUB Platz Lois Weinberger May 1, 2021 - July 4, 2021 The exhibition will open as part of an extended opening on Friday, April 30, from 5 to 7 p.m. in the Kunsthaus Bregenz. In 1971 a large Swiss pharmaceutical company published the picture folder Weed Communities in Europe, with texts in seven languages. The portfolio contains photographs of plants listed under their Latin names. The names are used for botanical identification, but actually to combat these plants, for which the group produces the chemical eradicants presented in the appendix. Lois Weinberger, who died during the lockdown in spring 2020, exhibited the portfolio as a readymade. The photos resemble still lifes in the tradition of Albrecht Dürer's lawn. They also prove Weinberger's lifelong interest in ruderal vegetation. In view of the call for an »ecological art« and the expectations of the pharmaceutical industry, Weinberger's contribution is highly topical. Lois Weinberger's new acquisition will be presented as an addendum to the main Pamela Rosenkranz exhibition in the KUB basement.
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Lydia Ourahmane: Barzakh

Lydia Ourahmane: Barzakh March 2 – May 16, 2021 What makes a home? Lydia Ourahmane (* 1992) asks this and countless related questions through the thousands of objects she transported from an Algiers apartment, which she meticulously reorganized from memory and presents together with a series of new sculptures and sound pieces as her first institutional solo exhibition in Switzerland . Hers is, in essence, an inquiry into how histories of displacement and colonial oppression are inscribed upon bodies — a theme recurrent amongst her projects. Here, this questioning takes shape around the ways in which those bodies lay claim to a place while things may lay claim to those who purport to own them. So, too, is it an inquiry into the disciplining of those bodies through the regimes of surveillance and control, of nationalist bureaucracies and borderlines, all of which determine who can call a place "home." The result is Barzakh, an exhibition that abides: It waits for you to pass the line of a laser’s lights. It waits for you to speak out loud a private thought, only to be captured by the bugging devices and relayed to someone you don’t know, and can’t see, who may or may not be listening in.It waits for you to sit down and stretch your legs, to let down your guard, to treat her exhibition like home. The exhibition is supported by the Ernst and Olga Gubler Hablützel Foundation and is a co-production of Kunsthalle Basel and Triangle-Astérides, Center d’art contemporain, Marseille, realized with the assistance of gmem-CNCM-marseille and rhizome, Algiers.
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Jonathan Meese - THE DR.MABUSENLOLITA (BETWEEN ABSTRACTION AND MADNESS)

Jonathan Meese - THE DR. MABUSENLOLITA (BETWEEN ABSTRACTION AND WAHN) 12 Mar - 15 May 2021 LOLITA = LEGISLATION MABUSE = WILL TO ART MABUSENLOLITAS = MAGNETISM In his 7th solo exhibition at the Krinzinger Gallery and Jonathan Meese traces in the footsteps of Jonathan Meese Dr. Mabuse, two fictional characters who stand for the establishment of their own power systems. The artist explores them in a series of paintings, drawings and sculptures. While Lolita Meese has been busy for a long time, the figure of Dr. Mabuse from the famous silent film classic of the 1920s by Fritz Lang is a new addition to the artist's visual world. Mabuse is a psychoanalyst and criminal who paves the way to power with his ability to transform, hypnosis and manipulate. In his genius and madness he fits seamlessly into the gallery of villains who have always fascinated Meese. Many of his film heroes, like the bad guys in James Bond like Dr. No, Goldfinger, Scaramanga, Ernst Blofeld, Mr. Big, Zorin are the successors of Dr. Mabuse and form a network of antiheroes that Meese has processed in a triptych for the exhibition. For Meese, Dr. Mabuse of the "Dr. Hypnotoz ”, the magician who conjures up“ reality ”like Merlin or Klingsor. In the abstract portraits of the film icon, thick layers of paint depict the figure's many masks and here, too, raise the question of the face of evil and how one can actually recognize it. A clear or psychological reading is neither the goal nor the interest. Rather, the question of what can painting set in opposition to the image of the film, where does it have better means of telling a story? Or how does history change in painting? Leadership and seduction are the two big themes of Langs Mabuse films, which not only depict images of their time, but also shine in their visionary power into our time. In these themes Mabuse and Lolita touch and are united to "Mabusenlolita". In his wild production for the Volkstheater Vienna “KAMPF-L.O.L.I.T.A. (EVOLUTION IS CHEF) or L.O.L.I.T.A. D.Z.I.O. (ZARDOZ FLIES AGAIN!) “Meese introduces a strong warrior of art. In his work it stands for the “struggle for art”, that is, the evolutionary force that brings everything forward and replaces the traditional with the future. In this portrayal of Lolitia you can feel a closeness to interpretations of the figure that did not gain acceptance until the 1980s. Lolita rebels with the weapons at her disposal as a teenager, especially bad manners and youthful clichés, against the Humbert Humbert system in order to save her own reality and her integrity. Lolita is also used in the artist's drawings and paintings. Doll-like sculptures by Lolita and Dr. Mabuse, finally go to the exhibition as if on a stage and play a new game of art there - together for the first time. Quotes from the artist: “Dr. Mabusenlolita is a principle, a structure, a method, a law! In the ‘Dr. Mabusenlolitastaat ’only governs art. All Mabusenlolitas are toys of art, that is, objects of timelessness. " “Fight for Art, Art for Fight! In art, only art always wins! The Mabusenlolitas want the triumphal procession art! Dr. Mabuse is the uniform, the ore mask, the total disguise and the ore abstraction! "
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GILBERT & GEORGE: THE GREAT EXHIBITION

GILBERT & GEORGE: THE GREAT EXHIBITION 02/12/2021 - 05/16/2021 For more than half a century, Gilbert & George have been creating art together. The topicality and significance of their outstanding oeuvre remains undiminished to this day. To honor the visually striking and at times rather provocative universe of these celebrated artists the Schirn Kunsthalle Frankfurt is dedicating the comprehensive retrospective GILBERT & GEORGE: THE GREAT EXHIBITION to which the artists have selected around 45 of their large-format pictures created between 1972 and 2019 . Two people, one artist: since their first encounter in 1967 as fellow students at London's Saint Martin's School of Art, Gilbert & George have relentlessly challenged the artistic canon and conventions. Simultaneously subject and object of their art, they form a perfect artistic entity with no distinction between art and life. As Living Sculpture, they embody their art and are both subject and object of their large-format pictorial worlds. Philipp Demandt, Director of the Schirn Kunsthalle Frankfurt, says: “Gilbert & George are totally committed to art and are forever questioning and expanding it with rigorous discipline and boundless imagination. They create art that observes, visualizes, and challenges — which, over the course of five decades, has produced a panorama of thousands of images that is impressive in every respect. I am very pleased that we can now provide an overview of Gilbert & George’s vast and visually powerful — and at times provocative — oeuvre at the Schirn Kunsthalle Frankfurt. " Gilbert & George's art does not adhere to any aesthetic, formalistic, or conceptual intention — what counts is the content. They focus on the big existential questions. Their art revolves around death, hope, life, fear, sex, money, race, and religion. They also present social themes in their contrariness: at once joyful and tragic, grotesque and serious, surreal and symbolic. Gilbert & George engage with what is unsettling, and yet their aim is not to shock, but rather to make visible what is going on in the world, in keeping with their motto "Art for All." Punks and hipsters, authorities and outsiders, headlines and advertising — Gilbert & George tend to interfere everywhere. Their art challenges our view of the world, and in doing so, consistently proves to be groundbreaking. The exhibition’s curators, Hans Ulrich Obrist and Daniel Birnbaum, further elaborate: “Early on, Gilbert and George became Living Sculpture in both their art and their daily lives, becoming not only creators, but also the art itself. They are now among the most visible artists on the planet. This is not surprising, since the recurring themes in their art could not be more fundamental to us humans: politics, religion, sexuality and beauty. Ultimately, what their art is about is human life itself. " An exhibition produced and organized by the Luma Foundation and Moderna Museet, Stockholm in collaboration with Schirn Kunsthalle Frankfurt. The exhibition GILBERT & GEORGE: THE GREAT EXHIBITION is supported by the Kulturfonds Frankfurt RheinMain. Director: Philipp Demandt Curators: Hans Ulrich Obrist and Daniel Birnbaum
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Silke Schönfeld: Beyond anything reasonable

Unfortunately, the curtain on our exhibition “Beyond everything sensible measure” by Silke Schönfeld has to remain closed, so that we cannot open on May 1st as planned. So that you can still take a look at the show, the artist is preparing a trailer that will start on Saturday 1.5. can be seen on our homepage and on Instagram and Facebook. * ** Silke Schönfeld: Beyond anything reasonable ** May 1st – July 18th, 2021 In spring 2021, KIT - Art in the Tunnel invites the artist Silke Schönfeld (* 1988) to a solo exhibition. Silke Schönfeld's cinematic productions are political reflections that often take place in unexpected spatial and temporal references. She asks questions about the emergence of stereotypes and prejudices, as well as the resulting responsibility of the individual, without exerting a moral effect on the viewer. Instead, she relies on ambiguities, investigates the authenticity of moving images and moves the audience into the diffuse area between drama and documentation. For KIT, Schönfeld is planning large-format installations that allow immersive immersion in the cinematic spaces. The exhibition is curated by Gertrud Peters.
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CLUB QUARANTINA

CLUB QUARANTINA Participating artists: AICANON & Karen Paulina Biswell, Lena Marie Emrich, Marco Godinho, Constantin Hartenstein, Jil Lahr, Zora Mann, Filip Markiewicz, Simon Mullan, Mary-Audrey Ramirez, Grit Richter, Finja Sander, Eric Schumacher & Wolfgang Tillmans. Curated by Gilles Neiens April 10–15. May 2021 The exhibition is expected to be extended until the end of May. Opening day: Friday, April 9, 2021, 2–9 p.m. On March 11, 2020, the World Health Organization (WHO) officially declared the respiratory disease COVID-19 a pandemic. Gradually, more and more countries sealed themselves off and imposed curfews on their people. The time of this first global lockdown in spring 2020 will inevitably go down in history as a turning point. The entire system of a globalized society was paralyzed for a few weeks and then collapsed like a house of cards. It turned out: "(...) there has never been so much knowledge about our ignorance and about the compulsion to act and live under uncertainty." Much shifted very quickly into the virtual space, such as work, the school and even the sport via video live switch. Families and friends also met online and held parties so as not to lose touch. Digital club nights emerged, above all the queer "CLUB QUARANTINE", from which the title of this exhibition is inspired. "Stay Home" and "Stay Safe" became the mantra of an isolated society that was "on hold". or mobility patterns, consumption and communication habits changed inexorably and possibly permanently. The pandemic accelerated this already ongoing structural change. Art and culture also had to be quarantined. For many of the artists, who often live in precarious circumstances, this came as a shock and the financial one Losses of the numerous canceled or postponed exhibitions, performances and concerts continue to increase. The exact effects the measures will have for us as a society and for the international art world in the long term is far from being foreseeable. According to a study published at the end of January 2021 the culture in Europe more under the co rona crisis suffered than other European industries. This does not bode well! Artists are often said to have “a feeling for changing moods, fear and doubt”, which is why the question arises as to how differently the precedent of a cultural quarantine is dealt with? Was the initial paralysis of shock followed by an unprecedented level of productivity and did the artists create true “masterpieces about the crisis” inside their isolation, as art critic Jörg Heiser hopes? Or did some have no time between home schooling and the mountains of administrative work? Was there even a premonition that things in general and in art in particular could no longer go on as before? Today, however, it can already be said that the art world has by no means remained inactive. Many artists, gallery owners or curators use the new digital channels of communication to present art. Whether in viewing rooms, on streamed live tours via Instagram, or in podcasts: Everywhere the favor of the art audience was courted. Some exhibition formats were moved to shop windows or directly outside so that they could be experienced without the risk of infection. In other words: a new art experience was and is possible. Much of this probably wouldn't have happened without the pandemic. The Club Quarantina exhibition now shows an exemplary cross-section of art and art experiments that arose around the first Lockdown in 2020. With an interval of one year, the question of how much Corona has retrospectively influenced or even changed the selected artists and their art is investigated. For the viewers at the various locations, it will be central to experience the works directly in an exhibition context and not purely virtually, and to face the sometimes uncomfortable truths of this “lockdown art”. The topics are diverse and react to social changes and their consequences: Isolation and the search for meaning, humor and escapism, as well as apocalyptic fears in view of the radical experience that the world will be different after Corona.

artists & participants

Karen Paulina Biswell, Lena Marie Emrich, Marco Godinho, Constantin HartensteinICANON , Jil Lahr, Zora man, Filip Markiewicz, Simon Mullan, Mary-Audrey Ramirez