- July 15, 2017 - December 3, 2017
Imi Knoebel‘s origins are to be found in Minimalism which has characterized his artistic work from its earliest beginnings right up to the present. Since the onset of the sixties when he joined the circle of young artists which had collected around Joseph Beuys and became an important contributor, there have however been very few who have followed up on the most fundamental questions regarding his work. And so the exhibition at the Skulpturenpark presents his Raum 19 (Room 19) a work which refers to the first years of Knoebel's career and yet at the same time embodies the continuity within his work. Raum 19 has thus been repeatedly described as a key work which exemplifies in showing within one single installation the relationships of expansive spatial bodies to extensive stratifications. It is the transitions and the interconnections of the works, also with each other, which play an important part in the reception of Knoebel’s work. This also applies to his coloured panels, a small selection of which Knoebel will be exhibiting in the Skulpturenpark.
- Imi Knoebel
- July 14, 2017 - July 22, 2017
Avenida Abandoibarra, 2
Today, the forceful workgroup of the Heroes and New Types is universally regarded as a key example of German art from the 1960s. This monographic exhibition, organized by the Städel Museum, Frankfurt, in collaboration with the Guggenheim Museum Bilbao, will be the first comprehensive survey of the keys to this series, whose aggressively, defiantly painted monumental figures have lost nothing of their ambiguous, portentous, vulnerable quality. However, Baselitz was concerned here with far more than general social issues—he was also reflecting on his own position in relation to society.
- Georg Baselitz
Gilbert & George
- Gilbert & George: Scapegoating Pictures for Lond...
- July 8, 2017 - September 24, 2017
Ludwig Múzeum – Museum of Contemporary Art
Komor Marcell u. 1
Working together for nearly 50 years now, the artist duo originally gained world fame with their hand-painted photo-based artworks. Their art practice blurs the boundaries of private life and creative life, and most often the protagonists of their works are themselves, their main theme being modern-day urban existence. The series Scapegoating Pictures represents a fast, ever so technology-based, multicultural world, in which paranoia, fundamentalism, religion, and victimized existence emerge.
- Gilbert & George
- July 7, 2017 - October 29, 2017
Lehmbruck Museum, Duisburg, Germany
MKM Museum Küppersmühle, Duisburg, Germany
The master of subversive irony and off-beat humour is now coming to the Ruhr region. In a joint exhibition, the MKM and the Lehmbruck Museum are showcasing works by the internationally acclaimed Austrian artist Erwin Wurm. The sculptures, photographs, murals, textile pieces and spatial installations combine to illustrate one thing: Wurm is celebrating chaos as a creative strategy. Transgressing boundaries with both humour and profundity, Wurm raises our expectations ad absurdum, and, in so doing, re-defines contemporary sculpture.Read more
- Erwin Wurm
- Lonely Old Slogans
- July 2, 2017 - September 17, 2017
Camden Arts Centre
London NW3 6DG
Since the 1990s, Daniel Richter has shaped painting in Germany as few others have done. The question of how painting can react to the political, social and media realities of today serves as starting point for Richter’s artistic work. Through the intersection of art historical, mass media and popular culture clichés, Richter creates idiosyncratic worlds and images of unstable realities.
Lonely Old Slogans traces Richter’s earliest, colour-intensive abstract improvisations through to his figurative works, described by the artist as a new form of history painting. Since 2000, he has painted narrative scenes filled with figures, often inspired by reproductions from newspapers or history books. These works convey the complex atmosphere of a moment, rather than depicting historical events or celebrating political utopias, foregrounding the contradictions and complexities of our times.Read more
- Daniel Richter
- From July 1, 2017
Hall Art Foundation
Schloss Derneburg Museum
The Hall Art Foundation is pleased to announce an exhibition by acclaimed British artist Antony Gormley to be held at its Schloss Derneburg location. Gormley is internationally lauded for his sculptures, installations and public artworks that investigate the relationship of the human body to space. This is the largest Gormley exhibition held in Germany to date, bringing together works on paper, large-scale installations, and indoor and monumental outdoor sculpture that span the artist’s sculptural journey, from the early 1980s to site-specific works created this year.
The core of Gormley’s sculptural thinking – the relationship between mass and space, carried through skin, grid and volume – can be seen on the ground floor. The first work, from the series Learning to See III (1993), is a sculpture of embodied consciousness: an alert, aware, erect body. It has one closed, continuous surface. Its eyes, for the first time, are indicated, acknowledging a kind of internal vision. Set II (2017), in the adjacent room, uses the same body posture, but here the grid structure common to architecture is used to map the subjective space of the body. This pairing is qualified by a final work, Fit (2016), an unequivocal translation of anatomy into architecture that represents the high-energy zone of a body’s presence.
Being continues to investigate ways of presenting the body less as an object and more a place – a site of transformation and an axis of physical and spatial experience. A number of early lead “Bodycase” works are made on molds taken directly from the artist’s body. These works are a materialization of a real event on a real body in real time. Using verticality and laterality, they attempt to confront the viewer with their own embodiment in space and time. One work, Close I (1992), is a splayed and prostate body on the floor – an “X” that marks a fixed point on the surface of the earth. This work represents our dependency on the planet and acknowledges that each body is a point of reconciliation between centrifuge and gravity.
One of eight large-scale Corten Steel Expansion Field sculptures, Expansion Field 40/60 (2014), continues the idea of a case for a body, although these particular cases are made with the orthogonal geometry of a room. These “Tankers”, as the artist describes them, invoke the expanding nature of consciousness, in spite of bodily determinism.
In Expansion Field I am applying the Hubble Constant – the idea that space is a state of continual expansion – to the subjective space of the body in different attitudes of emotional contraction or extension. These eight works attempt a bridge between the darkness of the body and deep space.
The linear display of the Expansion Field sculptures is complemented by a series of recent body prints and woodblocks. These works on paper prompt a conversation between the Paleolithic gesture of presence and Modernism's attraction to the void. Woodblock prints of planes equivalent to those found in the Expansion Field sculptures make x-ray-like images of the space of the body, where the grain of the wood forms a subtle, translucent crosshatching. These woodblock prints are paired with body prints, like Feel III (2016), made with a mixture of crude oil and petroleum jelly, which indicate instant indices of lived time.
Sleeping Field (2015-2016) is a large-scale installation in which architectural language is used to describe a city made up of 700 miniature body-forms. Each body-form is made from 29 discrete parts, re-configured to make up 70 original poses, each cast 10 times. The work refers to humankind’s dependency on the city as an instrument for survival. While it can be seen as an urban landscape, it also refers to the present crisis of migration and the camps that have become familiar in Turkey, Greece and Germany. Distillate I (2003), one of Gormley’s earliest built “Blockworks”, proposes an alternative model of a landscape or citadel made of multiple cells. Here, blocks of six discrete sizes map the space of an unconscious body.
Sited on the Schloss grounds is Block II (2017), a 46-tonne red granite ‘Blockwork’ made of 22 stones that sit one on top of the other using their deadweight as a constructive principle. The artist conceives of this work as a meditation on the current and temporary state of humankind embedded in the city, brooding about its future. It purposefully conveys the attitude of a lazy Buddha.
One of Gormley’s well-known works, European Field (1993), sited in a specially renovated barn, is a vast installation of 35,000 terracotta elements made from clay taken from Småland, Sweden. Simultaneously evoking our ancient ancestors and the unborn, European Field reverses the normal economy of contemplation, making the viewer the subject of its gaze. Deliberately made uncomfortable, the viewer is cast as an actor who has unconsciously walked onto a stage and is now facing an audience that asks: “Who are you? What are you? What kind of world are you making?” The presentation of European Field is complemented by 12 drawings, such as Two Beings Doubtful (1989), made of earth, oil and carbon.
Antony Gormley was born in London in 1950. His work has been the subject of numerous solo shows worldwide, including exhibitions at National Portrait Gallery, London (2016); Forte di Belvedere, Florence (2015); Zentrum Paul Klee, Bern (2014); Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro and Brasilia (2012); Deichtorhallen, Hamburg (2012); The State Hermitage Museum, St Petersburg (2011); Kunsthaus Bregenz, Austria (2010); Hayward Gallery, London (2007); Malmö Konsthall, Sweden (1993) and Louisiana Museum of Modern Art, Humlebæk, Denmark (1989). He has also participated in major group shows such as the Venice Biennale (1982 and 1986) and Documenta 8, Kassel, Germany (1987). Permanent public works include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), and Chord (MIT – Massachusetts Institute of Technology, Cambridge, MA, USA). Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year’s Honours list in 2014. He is an Honorary Fellow of the Royal Institute of British Architects, an Honorary Doctor of the University of Cambridge and a Fellow of Trinity and Jesus Colleges, Cambridge. Gormley has been a Royal Academician since 2003. He currently lives and works in London.
- Antony Gormley
- Oliver Beer Book-signing
- June 30, 2017 - June 30, 2017
Galerie Thaddaeus Ropac
37 Dover Street
W1S 4NJ, London
Galerie Thaddaeus Ropac is pleased to announce participation in Mayfair Art Week.
The Gallery will host a book signing with Oliver Beer in the Berkeley Gallery and live performances in the Gallery space. A conversation between the artist and Tim Marlow will take place at the Royal Academy.
Friday 30 June
Open: 10 am - 8 pm
Oliver Beer | Book signing and drinks with the artist | Galerie Thaddaeus Ropac: 6 - 8 pm
Oliver Beer, Composition for London, Fully illustrated, 144 pages, text by Ben Eastham and interview by Martin Germann
Saturday 1 July
Open: 10 am - 6 pm
Oliver Beer in conversation with Tim Marlow & other artists | Royal Academy: 12 pm
Oliver Beer | The Resonance Project | Galerie Thaddaeus Ropac: 12 - 5.45 pm
Sunday 2 July
Open: 11 am - 5 pm
Oliver Beer | The Resonance Project | Galerie Thaddaeus Ropac: 1 - 4.45 pm
Performed live, visitors will be able to experience the culmination of Oliver Beer's site-specific experiments with his new Resonance Project performance, Composition for London, in which classically-trained singers are placed strategically around the grand staircase and sing specific notes at precise pitches. Working without the aid of speakers or electronic amplification the singers simulate the space's natural frequencies and tease out its intrinsic notes, unchanged since the building's construction in 1776.
Oliver Beer trained in musical composition in London before studying Fine Art at the Ruskin, Oxford University and Theory of Cinema at the Sorbonne, Paris. His musical background is reflected in a distinct sensitivity to sound and in an interest in the overlap between sound, space and architecture, which he expresses through performance, film and sculpture.
Mayfair Art Weekend is joined by the Royal Academy of Arts, over 60 art galleries, artists and auction houses to celebrate Mayfair as a vibrant hub of talent, creativity, craftsmanship and production.Read more
The weekend will offer a programme of free talks, walks and events providing the public with an insight into this unique art district and a chance to experience the unparalleled artistic knowledge, quality and diversity to be found within Mayfair's art community.
- Oliver Beer
- Keep off the floor!
- June 24, 2017 - September 3, 2017
The presentation of Andreas Slominski’s art at Museum Jorn is the artist’s first solo exhibition in Denmark.
The internationally renowned German concept and found-object artist Andreas Slominski (b.1959) is known for his humorous exploration of the art world. Inspired by the satirical Dada movement, the minimalist art of the 1960s, and Marcel Duchamp’s ready-mades that seek the artistic qualities of industrially produced objects and the messages contained in them, Slominski creates his own artistic universe. This includes e.g. modified everyday objects, devices for trapping animals and thoughts, conceivably walled-in body parts, assemblages of plastic portable toilets, or finds of a contemporary archaeological nature such as ice lolly sticks and dusters.
- Andreas Slominski
- ACQUIRY OF WOKRS BY ANSELM KIEFER
- June 21, 2017 - July 1, 2018
The Michael & Eleonore Stoffel Foundation has worked in close collaboration with the Bayerische Staatsgemäldesammlungen to acquire on behalf of the latter institution five works by Anselm Kiefer. The acquisition marks a milestone in the development of the collection. Anselm Kiefer has created a body of work that broke the silence surrounding the German past in the Third Reich, while also finding a poignant language for articulating the global intertwinement of human civilization. He delves deep into old Christian, Kabbalistic, and Far Eastern traditions, explores the world’s great mythical, religious, and poetic texts, and forges links between them and the world as it is experienced today. The monumental painting “Der Sand aus den Urnen” (2009) and the two large wall pieces transferred onto lead in 2011 and entitled “OCCUPATIONS” (1969/2011) as well as the two display cases “Die 12 Stämme“ (2010) and “Morgenthau” (2016) will now form an additional highlight in the collection profile at the Pinakothek der Moderne.Read more
The recent acquisitions of those five works by Anselm Kiefer significantly expand the institution’s holdings of the artist’s works, which previously consisted solely of three photographs and the painting “Nero malt” (1974), the latter from the Wittelsbacher Ausgleichsfonds (formerly known as the Prince Franz of Bavaria Collection). With the five new accessions, the collection now boasts a representative display of Anselm Kiefer’s art. The artist’s works will go on show alongside comprehensive groups and/or rooms of works by other groundbreaking artists, particularly Georg Baselitz, Joseph Beuys, Wolfgang Laib, Sigmar Polke, Arnulf Rainer and Dan Flavin, Donald Judd, and Andy Warhol. The acquisition of this set of works not only enriches the collection in terms of its density and variety, but also further bolsters the Pinakothek der Moderne’s profile on the international stage.
- Anselm Kiefer
- Performative sculptures
- June 2, 2017 - September 10, 2017
Around 1990, Wurm found a new form of expression with his performative sculptures – a new term that the artist claimed for himself. The solo exhibition at the 21er Haus comprises upwards of 40 performative sculptures and statues, including a series of new works which Wurm developed especially for the show. In his most recent work, he deals with extraordinary examples of architecture and objects of daily use. The starting point is represented by models and blocks of clay, which are usually processed by Wurm himself or other people whom he instructs. Tension arises in the dialogue between the original form of objects and the traces left by the performative interventions, turning the body into the material and the medium of action. In the exhibition, the works of clay are juxtaposed with castings made of bronze, aluminium, iron, or polyester resin.
- Erwin Wurm