• Georg Baselitz
    PREVIEW WITH REVIEW
    April 1, 2017 - July 2, 2017
    Hungarian National Gallery
    Szent György tér 2.
    1014 Budapest, Hungary

    The exhibition titled Preview with Review will display the early works from the 1960s alongside many masterpieces from Remix, a series started in 2005. The Budapest exhibition is made special by the fact that it is the first large-scale show not only in Hungary but in all Central Eastern Europe that presents Baselitz’s art comprehensively. Staged by the Museum of Fine Arts – Hungarian National Gallery in cooperation with the Goethe-Institute in Budapest, the show will comprise more than eighty works selected from international and Hungarian public and private collections, while eight lesser-known large-format paintings and a sculpture will arrive directly from the artist’s studio.

     

    http://mng.hu/temporary_exhibitions/baselitz-preview-with-review-122742

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  • Richard Deacon
    What You See Is What You Get
    March 25, 2017 - July 25, 2017
    The San Diego Museum of Art
    1450 El Prado
    Balboa Park, San Diego, CA

    Richard Deacon: What You See Is What You Get is the renowned British artist's first major museum exhibition in the United States. Winner of the Turner Prize in 1987 and the subject of a survey at Tate Britain in 2014, Deacon has been exhibited frequently internationally and remains a pioneering figure in the field of contemporary sculpture. A self proclaimed "fabricator"—a maker of things and of meaning, neither carved nor cast—Deacon sidesteps the issue of technique by never focusing on any one material, challenging the viewers' expectations with unusual combinations. While the titles of his work can appear literal, they often invoke a range of metaphors, as well as mythological and literary allusions. The full range of the artist’s oeuvre includes free-standing sculptures and wall-mounted works, to glazed ceramics and works on paper.

     

    http://www.sdmart.org/art/exhibit/richard-deacon-0

     

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  • Erwin Wurm
    Football-sized lump of clay on light blue car ro...
    March 24, 2017 - August 28, 2017
    Kunsthaus Graz
    Lendkai 1
    8020 Graz, AUSTRIA

    An exhibition by Erwin Wurm does not mean a retrospective of the work of Austria’s surely most prominent contemporary artist, who, together with Brigitte Kowanz will fill the Austrian Pavilion at Venice this year. Instead, the building will assume the role of a generator, becoming an active participant in events. Football-sized lump of clay on a light blue car roof shows works developed specially for the Kunsthaus Graz, whereby elements of the performative, participatory and sculptural are connected with each other and the building. Evolving consistently his expanded notion of sculpture, Wurm now confronts the public with the idea of a ‘word sculpture’. Thus we encounter protagonists in the Kunsthaus who address directly the visitors from the pedestal, describing a situation as introduced in the exhibition title. This imagining of the situation ourselves, thus self-creating the sculpture as it were, is a radical extension of Wurm’s One Minute Sculptures. The imaginary becomes the exclusive location of the images.


    https://www.museum-joanneum.at/en/kunsthaus-graz/exhibitions/exhibitions/events/event/5584/erwin-wurm-6

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  • Markus Schinwald
    Artist Talk Kunsthistorisches Museum in Vienna
    February 27, 2017 - February 27, 2017
    Kunsthistorisches Museum
    Maria-Theresienplatz
    1010 Vienna

    Jasper Sharp, curator of the Kunsthistorisches Museum in Vienna, invites Markus Schinwald for an Artist Talk that will take place on the 27th of February 2017 at 7pm.

    Fore more information: http://www.parnass.at/termine/markus-schinwald-im-gespraech-mit-jasper-sharp

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  • Not Vital
    100 MOVEMENTS, Performance de Barbara Glazar
    February 25, 2017 - February 25, 2017
    16H
    Galerie Thaddaeus Ropac Paris Pantin
    69 avenue du Général Leclerc
    93500 PANTIN

    Barbara Glazar’s solo performance piece presents one hundred variations of movement in space and time. Within structured patterns of direction, weight, speed and flow, each movement section marks a specific quality. One hundred sequences brought together reveal the expression and being of the body in relation to it's inner impulses and outer surroundings. 
    The work directly relates to Not Vital exhibition's POLES as it was inspired by the environment and the monumental sculptural works that Not Vital has created. '100 Movements' develops a sculptural approach to the body and lies at the intersection between performing and visual arts.
    Duration: c. 30 min

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  • Harun Farocki Estate
    COUNTER MUSIC
    March 10, 2017 - May 28, 2017
    Haus der Kunst
    Prinzregentenstraße 1
    80538 München

    Harun Farocki (1944 – 2014) was a seminal figure amongst the filmmakers and intellectuals that emerged from the highly-charged political debates in Europe at the end of the 1960s. His oeuvre constitutes an archaeology of the political economy of media and images that question the efficacy and validity of the moving image as a mode of documentation and analysis. 

    Emerging from within this vast body of work that combines humanist, anarchic, and aesthetic militancy, "Harun Farocki: Counter Music" explores the filmmaker’s continual analysis of shifting modes of labor, production, and consumption. Indeed, current disenchantments with labor practices across the world, combined with the mass displacement of workers which have taken place under the guise of globalization have added renewed urgency and energy to Farocki’s incisive reflections on the nature of human and social agency.

    The exhibition is curated by Okwui Enwezor and Antje Ehmann with Damian Lentini.

    For more information: http://www.hausderkunst.de/en/exhibitions/detail/harun-farocki-counter-music/

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  • Oliver Beer
    IKON GALLERY
    March 15, 2017 - June 4, 2017
    Ikon Gallery
    1 Oozells Square
    Birmingham, B1 2HS

    British artist Oliver Beer returns to Ikon for the first time since 2011 to provide audiences with an opportunity to encounter his new and recent work within the context of a judicious survey.

    Oliver Beer interrogates at once the physical properties and emotional value of objects, with a paradoxical emphasis on emptiness and absence. The notion of “negative space” is key – whereby a balance is struck between occupied and unoccupied space – so the viewer is confronted with what is, literally, not there. A number of recent works have involved a selection of vessels – ceramic and otherwise – to create idiosyncratic musical instruments as installations. The empty space within each vessel has its own musical note at which it resonates, and so contributes to a symphony of natural frequencies, with microphones feeding back into looping sound systems.

    A new work, commissioned by Ikon, Reanimation (I Wanna Be Like You), 2017 is a “re-animation” of a scene from Walt Disney’s Jungle Book. 2,500 local school children, from early years until the age of 13, were invited to join in, drawing film stills in order of their age, so that the animation becomes increasingly “grown up”. Frame by frame the scribbles of infants progressively give way to the increasingly lucid drawings of children and then adolescents. Thus Oliver Beer touches on the inexorable passage of time – through a time-based medium – in order to encourage a consideration of what it is like to be human.

    More information: https://ikon-gallery.org/event/oliver-beer/

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  • Elger Esser
    MORGENLAND
    March 29, 2017 - May 21, 2017
    Parasol unit foundation for contemporary art
    14 Wharf Road
    London N1 7RW

    Parasol unit foundation for contemporary art is delighted to present an exhibition of photographic works by German artist Elger Esser. This exhibition, his first solo show in a public institution in the United Kingdom, focuses on a new series of works, entitled Morgenland, created during his travels in the Eastern countries of Lebanon, Egypt and Israel from 2004 to 2015.

    Shown for the first time at Parasol unit, the Morgenland (morning land) series refers to the concept of the Orient or the East. Rather than reflecting a negative stereotypical 'Orientalism' with its links to cultural colonialism, as discussed by Edward Said in his 1978 seminal book on the subject, Esser's depictions of the Near East aim to convey a sense of reconciliation amidst regional differences and historical issues.

    Travelling along the Lebanese shore in 2004 and the Nile between Luxor and Aswan in 2011, Esser photographed the banks of rivers, traditional feluccas and dahabiya sailing vessels, using an 8 x 10 Land camera. Captured from a great distance, Esser's calm awe-inspiring landscapes, somewhat reminiscent of the romantic images of faraway lands on old postcards, seem to convey a sense of the infinite. Their quiet and serene beauty, however, is disturbing because it is in such stark contrast to what we know of the ugly conflicts taking place in the region today and how they are generally portrayed in the media.

    During a visit to Israel in 2015, Esser created a series of works based on some archival photographs taken by an unknown photographer who had documented the existence of ruins in Israel/Palestine during 1948. With his series, Esser aims to present a timeline of conflicts, dating from the Byzantine period to recent times, showing the development and decay of cultural periods. Landscapes are seen as stratifications, layers upon layers of different cultures. The work One Sky, 2015, shows two panoramas printed back-to-back on a silver-coated copper plate. One side displays a view as seen from Lebanon, while the other side presents the same view as seen from Israel. Although both scenes are so similar they appear to be the same, they present us with a single location as seen from opposite perspectives.

    Nature and the landscape are central themes throughout Elger Esser's photographic oeuvre. Often in muted, sepia or monochromatic colours, his works have a stillness about them that evokes a sense of the sublime. Esser's large-format photographs typically depict European lowlands with his characteristic low horizon lines, pale luminous colours and vast skies, beaches, wetlands or seas. His skilful use of traditional processes, such as photogravure printing, gives his images an intense sharpness, depth and luminosity. Inspired by the literary works of Gustave Flaubert, Marcel Proust and Guy de Maupassant, paintings of the Romantic period, and early nineteenth-century photography, Elger Esser's works originate from the travels he has undertaken since 1996, across France, Italy, Spain, Scotland, Ireland, the Netherlands, the USA, and Australia.

    This exhibition, curated by Ziba Ardalan, is accompanied by a full programme of educational events aimed at engaging the public.

    For more information: http://parasol-unit.org/upcoming-exhibitions

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  • Tony Cragg
    A RARE CATEGORY OF OBJECTS
    March 4, 2017 - September 3, 2017
    Yorkshire Sculpture Park
    West Bretton
    WF4 4JX United Kingdom

    Yorkshire Sculpture Park presents the most extensive UK exhibition to date by leading sculptor Tony Cragg in the Underground Gallery and open air. New sculptures, works on paper and pieces drawn from nearly five decades of Cragg’s practice will survey and demonstrate the artist’s pioneering and continued mastery of materials.

     A ‘radical materialist’, Cragg defines sculpture as a ‘rare category of objects’, and takes a taxonomic approach to his own practice, something reflected in the exhibition. The wit and will to analyse the properties of all of the planet’s resources and use them to make new things is unique to human beings, along with the intuition to sort, order and categorise the things that exist and that we bring into existence. The exhibition begins at the entrance to the Park with the magnificent bronze sculpture Caldera (2008), nearly five metres in height and set against the extraordinary landscape setting of the Bretton Estate.
     
    Cragg’s extraordinary career has its roots in a fascination for, and exploration of, the possibilities of the material world, which he considers to be ‘the huge storeroom [in which] lie the keys to essential processes and explanations of our existence’. Cragg’s artistic practice developed from drawings he made to document experiments whilst working as a lab technician at the National Rubber Producers Research Association (1966–68). He went on to study at London’s Wimbledon School of Art and the Royal College of Art and during two summer vacations worked nightshifts in a foundry that manufactured components for engines. The combination of art and the experience of the physical transformation of materials through industrial processes is the cornerstone of Cragg’s practice.
     
    His is a systematic approach but, as is exemplified in his major series Rational Beings, which is substantially represented in this exhibition, it is one that acknowledges the alchemical transformation of particular configurations of materials into objects with meaning beyond the sum of their parts. On a material level, for example, the human body is just a unique and fleeting combination of particular atoms from the universe. The artist believes that ‘it could be said that the most fantastic material is the human neuron’, leading Cragg to consider his sculptures as being ideas made manifest.
     
    From the small scale to the monumental, Cragg’s prolific practice is the outcome of a constantly questioning and experimental symbiotic process of thought and manual making, which always starts with drawing. This relationship is articulated in the Underground Gallery through a selection of drawings and sculpture alongside each other, allowing visitors to trace the development of ideas into physical form.
     
     http://www.ysp.co.uk/ysp-media/press-releases/tony-cragg-a-rare-category-of-objects

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  • Jason Martin
    WORKS 1997-2017
    March 5, 2017 - January 28, 2018
    SCHAUWERK Sindelfingen
    Eschenbrünnlestraße 15/1
    71065 Sindelfingen (Stuttgart) | Germany

    Opening: Sunday the 5th of March 2017: 11am-12.30pm

    For the first time, SCHAUWERK Sindelfingen holds a solo exhibition of British artist Jason Martin (b. 1970). Martin’s work has been an integral part of the Schaufler collection since the 1990s.

    In his monochrome paintings, Martin applies thick layers of oil paint or acrylic gel. These he spreads across an aluminium panel forming a vibrant gesture of lines and ripples. Using a purpose-made comb, Martin creates what appears to be a very close-up view of brushstrokes. This painting technique results in sensual rhythmic reliefs where paint transforms into a three-dimensional image, thus combining the fields of sculpting and painting. The rills of the material created in this way and Martin’s use of light allow associations of landscape and hair. Martin’s rather large-scale pieces provide the viewer with an alluring play of light, surface and almost tactile sensation.

    Jason Martin studied at Chelsea College of Art and Goldsmith College. He became wider known with his work “Sensation” (1997) in the Young British Artist Exhibition held at the Royal Academy of Art in London. He lives and works in both London and Portugal.

    The solo exhibition features Martin’s works from the Schaufler collection and various loans spanning his oeuvre of the past two decades. It also includes most recent works from the artist’s studio.

     

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