Past Artfairs
CURRENT EXHIBITION 
Yuan Shun, Time Chain, 09.02. – 16.03.2018



ARTFAIRS
Art Cologne 2018, 19.04. – 22.04.2018
(www.artcologne.de)



ARTIST NEWS
Group Show „Evoking Reality“ with Clément Cogitore, Opening: Saturday, November 24th, 2018, 1 - 8 pm
25.11.18 – 19.05.2019, Daimler Contemporary Berlin, Haus Huth, Alte Potsdamer Str. 5, 10785 Berlin
›Evoking Reality‹ stellt Positionen politischer Fotografie und Videokunst aus der Daimler Art Collection (DAC) vor, die Neukonzeptionen aktueller Realitätsbilder formulieren. Beginnend in den frühen 1990er Jahren erweiterte die DAC ihren Sammlungsschwerpunkt um Werke der Neuen Medien: Fotografie, Video, Objektkunst und installative Arbeiten. Die Neuerwerbungen wurden in der dreiteiligen Ausstellungsreihe ›Photography, Video, Mixed Media I-III‹ zwischen 2003 und 2007 im Berliner Ausstellungsraum Daimler Contemporary vorgestellt. Dieser Fokus auf Fotografie und Video ist seither intensiv weiterverfolgt worden. Die Sammlung umfasst heute ein stetig wachsendes Konvolut bedeutender Arbeiten, die zeitgenössische Perspektiven auf globale Thematiken und politische Konflikte visualisieren. Die Ausstellung ›Evoking Reality‹ widmet sich zeitgenössischen Strategien, die sich von etablierten Darstellungsprinzipien und gängigen Narrativen des Fotojournalismus distanzieren, um ein offenes Wirklichkeitsbild entstehen zu lassen, das auf eine kritische Sensibilisierung des Betrachters zielt. Angesprochen wird ein kritisches Bewusstsein bezogen auf mediale Vermittlungs- und Darstellungsweisen, die das Auge mittels wiederkehrender Leidensbilder und Gewaltszenen seit Jahrzehnten prägen. Ausgehend von einer Re-Lektüre der Publikation ›Das Leiden Anderer betrachten‹ (2005) von Susan Sontag befasst sich die Ausstellung ›Evoking Reality‹ mit aktuellen medialen und konzeptuellen Herangehensweisen an politische, öffentliche und daraus resultierende private Konfliktsituationen. Das Ineinanderblenden von Fiktion, Inszenierung, Konstruktion und Realität verunsichert den Betrachter, der jene Verfremdungsstrategien zugleich unerwartet als realitätsstiftendes Moment erfährt. Offenheit und Vieldeutigkeit fordern den Betrachter auf, sich das Geschehen selbst zu erschließen, visuelle Impulse zu reflektieren und teils auch intellektuell zu revidieren. Wirklichkeit wird als fragiles Konstrukt erfahren, das aus unterschiedlichen Perspektiven stets seine Gestalt ändert. Die Werke dieser Ausstellung evozieren ein Realitätsmoment, das eben durch Vieldeutigkeit, Widersprüchlichkeit, Interkonnektivität und Relativität unsere globale Lebensrealität greifbar werden lässt. Die jüngst erworbene zwölfteilige Fotoserie Congo Democratic (2006) von Guy Tillim, der 2004 Preisträger des ›Mercedes-Benz Award for South African Art and Culture‹ war, wird erstmals in Berlin zu sehen sein. Zudem bilden fotografische Arbeiten u.a. von Jane Alexander, Clément Cogitore, Tacita Dean, Cao Fei, Pieter Hugo, Maya Zack und die Videoinstallationen Snow White (2001) von Bernie Searle sowie Mermaids [Erasing the Border of Azkelon] (2011) von Sigalit Landau Schwerpunkte der Ausstellung. Kuratiert von Renate Wiehager und Nadine Henrich. (Photo: Clément Cogitore: „The amorous Indies“, 2017, still of Video HD, 6 min., Ed. 5 + 1 AP.)
(art.daimler.com/evoking-reality/)



Group Show „Mixed Realities. Virtuelle und reale Welten in der Kunst“ with Tim Berresheim, Opening: Friday, May 4th, 2018, 7 pm
05.05. – 26.08.2018, Kunstmuseum Stuttgart
Längst haben »Virtual Reality« (VR) und »Augmented Reality« (AR) sich in der Spieleindustrie und in industriellen Anwendungen etabliert. Aber wie gehen Künstlerinnen und Künstler mit den neuen Medien um? Was passiert mit Malerei, Zeichnung und Plastik, wenn die illusionistische Erweiterung bis zu einer 360-Grad-Ansicht des Raums durch VR und AR genutzt wird? Als erste museale Einrichtung in der Innovations- und Metropolregion Stuttgart widmet sich das Kunstmuseum Stuttgart dem künstlerischen Umgang mit VR und AR. Die Ausstellung präsentiert künstlerische Positionen, die sowohl auf einer analogen wie auch einer digitalen Ebene arbeiten und beide in ihrem Werk verbinden. Der Begriff »Mixed Realities« steht für die Vorstellung, dass die reale und die virtuelle Welt keine Gegensätze sind, sondern ein Kontinuum darstellen. ////////////////////////////////////////////////////////////////////////////// Image: Tim Berresheim, The Early Bird (SIGH), Traces VI, 2012, Print on Paper, 100 x 80 cm, © Tim Berresheim. //////////////////////////////////////////////////////////////////////////////
(www.kunstmuseum-stuttgart.de/index.php?site=Ausstellungen;Vorschau_Details&id=113)



New film „PELLEA[S]“ by Josephine Meckseper showing at Whitney Museum of American Art, Film Showing: Sunday, April 29th, 2018
29.04. – 29.04.2018, Whitney Museum of American Art, New York
„PELLEA[S]“ (2017-2018, Ed. 5 + 2 AP, 40 min.), a new film by artist Josephine Meckseper, expresses through cinema the dramatic narratives and relationships contained within the universe of Meckseper's glass and mirror vitrines, and recalls one of her earliest video works from 1992 on the Rodney King riots. The film is a modern adaptation of Maurice Maeterlinck’s play „Pelléas et Mélisande“ and includes footage of the historical event of the 45th Presidential Inauguration and concurrent protests filmed by the artist. Conflating contemporary political realities with a timeless love story, the city of Washington D.C. and its architecture become a context and site of departure through which the territory and narratives of a love triangle are explored. By underscoring the film with Arnold Schoenberg’s modernist version of „Pelléas et Mélisande“, Meckseper draws a direct correlation to the way early Modernism and the avant-garde developed into a form of political and aesthetic resistance to neo-classism and capitalism. The 30-minute black-and-white and color film examines the performance of gender both in cultural production as well as in contemporary political terms; in Meckseper’s film the parts of Pelléas and Mélisande are played by the opposite gender as they were originally written in. Similar to her previous film works „PELLEA[S]“ does not follow a strict narrative thread, but instead uses meta-language to pose questions about utopianism and activism and the artist’s position within the two. The film is set in a fictitious interior evoking different elements of Meckseper’s art works. A scenic wallpaper depicting images of architecture and advertising bring to mind Rainer Werner Fassbinder’s film „The Bitter Tears of Petra von Kant“, which was filmed next door to Josephine growing up in Germany in the 1970s. In other scenes, mirrored set designs create a performative and psychological realm, unlocking an expressive field that allows Meckseper to play with the notion of the gaze and the voyeur, of the object and subject in power relations and desire. With its timeless, illusory, and refractory aspect, the mirrored sets define the mythic and operatic space for the love story that unfolds. Much as in Dadaist and Surrealist cinema, the interaction of images, daily objects, people and architecture in Meckseper’s new film occur through montage and juxtaposition to saturate the relationship between the object and a perceived subject in control. The set design, the use of objects as semiotic referents, and the posturing of the actors echo Meckseper’s signature glass vitrines; however, objects and characters are no longer static, but are now actors inside the labyrinth creating a new mythical world.
(whitney.org/)



Festival „Frames of Representation. New Visions for Documentary Cinema“ with Clément Cogitore, Showing „Braguino“ by Clément Cogitore: Sunday, April 22nd, 2018
20.04. – 28.04.2018, ICA (Institute for Contemporary Arts) London
Frames of Representation (FoR) returns to the ICA this year for its third iteration. The festival includes UK and international premieres, profiling filmmakers from Argentina, Denmark, Venezuela, Poland, India and films from Brazil, France, Germany and Portugal. The festival this year reflects on the contemporary experience of 'landscape'. (Photo: Clément Cogitore: „Braguino“, film, trailer: http://www.allocine.fr/video/player_gen_cmedia=19574713&cfilm=257410.html)
(www.framesofrepresentation.com/)



„BMW TATE LIVE EXHIBITION / PERFORMANCE: Ten Days Six Nights“ with Joan Jonas, BMW Tate Live Exhibition Joan Jonas with Jason Moran: 16. + 17.03.2018 at 7 – 10 pm and Joan Jonas: Early Works: 20. + 21.03.2018, at 7 – 10 pm.
16.03. – 25.03.2018, Tate Modern, London
This year’s annual live exhibition celebrates the work and influence of Joan Jonas, a pioneer of performance. Ten Days Six Nights 2018 features performances by Jonas together with the renowned jazz pianist and composer Jason Moran; Chilean-American artist Sylvia Palacios Whitman and Turner Prize winner Mark Leckey. Explore free daytime installations in the Tanks including Jonas’s spellbinding installation „Reanimation“; two early sculptural works by Jonas and a new work by Jumana Emil Abboud drawing on Palestinian folklore and fairy tales. In addition to a ticketed night programme, you can watch free performances of Jonas’s „Mirror Piece II“. At low tide the exhibition extends outside for a new version of Jonas’s performance „Delay Delay“, an outdoor ritual performed on the shore of the River Thames. The live exhibition demonstrates the lasting legacy of Jonas’s work and its powerful impact on contemporary artists today. Tate Modern’s innovative BMW Tate Live Exhibition returns for ten days and six nights of free and ticketed performances and installations. (Photo: Joan Jonas „Reanimation“ 2010/2012/2013 Multimedia installation. Courtesy Joan Jonas and Gavin Brown’s enterprise, New York/Rome. Photography: Thomas Müller.)
(www.tate.org.uk/whats-on/tate-modern/exhibition/bmw-tate-live-exhibition-ten-days-six-nights?utm_source=emarsys&utm_medium=email&utm_campaign=CRM_Jan_w4_BMWLive_LondonEngaged&sc_src=email_136336&sc_customer=2045726&sc_lid=11759357&sc_uid=y4CBFwFXIS&sc_llid=55728&sc_eh=16f705012831347b1)



Solo Show „Joan Jonas“
14.03. – 05.08.2018, Tate Modern, London
Joan Jonas – hero to a generation of younger artists, Joan Jonas is a pioneer of performance and video who has pushed the boundaries of art for the last five decades. Experience the largest exhibition of Jonas’s work ever held in the UK. Early works from the late 1960s are shown alongside recent installations dealing with topical themes such as climate change and extinction. You can see her landmark installations including „Organic Honey“, „The Juniper Tree“ and „Reanimation“. For the first time at Tate Modern, a single artist’s work is explored in the exhibition galleries, and in film screenings in the Starr Cinema and installations in the Tanks – an experimental exhibition for an experimental artist. Joan Jonas will also perform live alongside other artists as part of the BMW Tate Live Exhibition: Ten Days Six Nights programme. (Photo: ​Joan Jonas „Stream or River Flight or Pattern“ 2016-2017 © Joan Jonas / Artists Rights Society ARS, New York / DACS, London.)
(www.tate.org.uk/whats-on/tate-modern/exhibition/joan-jonas)



ArtReview Feature with Joan Jonas, in March 2018 issue
23.02. – 29.03.2018, ArtReview
Joan Jonas – A major feature will look at the career of Joan Jonas, a pioneer of performance and video art. Jonas, who represented the US at the 2015 edition of the Venice Biennale to widespread critical acclaim, is the subject of a Tate Modern solo exhibition that opens in March.
(artreview.com/features/)



Villa Romana Fellow 2018 – Viron Erol Vert, Opening: Friday, February 16th, 2018, 7 pm
16.02. – 30.03.2018, Villa Romana, Via Senese 68, 50124 Florence, Italy
At the beginning of their ten-month stay in Florence, the Villa Romana Fellows 2018 will introduce themselves in a joint exhibition of new works. The artists Jeewi Lee, Christophe Ndabananiye, Lerato Shadi and Viron Erol Vert have been nominated for the fellowship by the jurors Nasan Tur, artist, and Bonaventure Soh Bejeng Ndikung, director of SAVVY Contemporary, Berlin and Curator at Large at documenta 14. ////////////////////////////////////////////////////////////////////////////// Viron Erol Vert, born 1975 in Germany, lives and works in Istanbul and Berlin. He studied at the Universität der Künste in Berlin, at the Royal Academy of Antwerp, and has further education in fashion and textile design. With his objects and installations, Vert confronts himself with the narratives of Mediterranean historiography and translates their characters into his own visual codes. Recently, he installed inside the Galerie Wedding in Berlin a “Dreamatory”, a sort of dormitory in which he invites visitors to make space for their dreams in their daily lives. Among his solo shows venues are the Künstlerhaus Stuttgart, the gallery Galerist in Istanbul and the Berghain in Berlin.  Each year, the Villa Romana Prize is awarded to four artists of outstanding artistic quality living in Germany. The Villa Romana Prize includes a ten-month residency at the Villa Romana in Florence, free use of an atelier and a monthly stipend. At the end of their stay they jointly produce a publication. (Photo: At the beginning of their ten-month stay in Florence, the Villa Romana Fellows 2018 will introduce themselves in a joint exhibition of new works. The artists Jeewi Lee, Christophe Ndabananiye, Lerato Shadi and Viron Erol Vert have been nominated for the fellowship by the jurors Nasan Tur, artist, and Bonaventure Soh Bejeng Ndikung, director of SAVVY Contemporary, Berlin and Curator at Large at documenta 14. Viron Erol Vert, born 1975 in Germany, lives and works in Istanbul and Berlin. He studied at the Universität der Künste in Berlin, at the Royal Academy of Antwerp, and has further education in fashion and textile design. With his objects and installations, Vert confronts himself with the narratives of Mediterranean historiography and translates their characters into his own visual codes. Recently, he installed inside the Galerie Wedding in Berlin a “Dreamatory”, a sort of dormitory in which he invites visitors to make space for their dreams in their daily lives. Among his solo shows venues are the Künstlerhaus Stuttgart, the gallery Galerist in Istanbul and the Berghain in Berlin. ////////////////////////////////////////////////////////////////////////////// Each year, the Villa Romana Prize is awarded to four artists of outstanding artistic quality living in Germany. The Villa Romana Prize includes a ten-month residency at the Villa Romana in Florence, free use of an atelier and a monthly stipend. At the end of their stay they jointly produce a publication. (Photo: Lerato Shadi: „MATSOGO“, 2013, video still © by-nc-nd 4.0 int.)
(www.villaromana.org/front_content.php)



New catalogue „more or everything“ by Wolfgang Flad
06.02.18 – 06.02.2019,
„WOLFGANG FLAD. more or everything“, ed. Atelier Wolfgang Flad & Sylvia van der Woude, Berlin: VfmK Verlag für moderne Kunst 2018, S. 191.
(www.wolfgangflad.de/)



Group Show „Shanghai 30 years contemporary art documentary exhibition: vanguard and new trend (from 1985-1992)“ with Yuan Shun
28.01. – 25.03.2018, Ming Yuan Art Center, 1199 Fuxing Middle Rd, Xuhui Qu, Shanghai Shi, China
The group exhibition shows Yuan Shun’s early paper works. (Photo: Yuan Shun: "Han, Han, Han", 1987, ink, acylic on paper, 38 x 55 cm.)
()



Solo Show „Lasse Schmidt Hansen – Other Activities“, Opening: Friday, January 26th, 2018
26.01. – 10.03.2018, Christian Andersen Gallery, Copenhagen

(christianandersen.net/index.php?/exhibitions/current/)



Group Show „BYE BYE DE STIJL“. Contemporary artists respond to De Stijl with Erik van Lieshout, Katja Mater, Mary Heilmann, Ding Yi, Barbara Visser, Marc Bijl and others
16.12.17 – 04.03.2018, Centraal Museum, Agnietenstraat 1, 3512 XA Utrecht, The Netherlands
The year 2017 marked 100 years of De Stijl. This renowned modern art movement has been presented and celebrated in a series of exhibitions across the country, and Centraal Museum is presenting a final exhibition to round off this nation-wide manifestation. This exhibition is devoted to works by contemporary artists, from the 1990s until today, for whom the iconic works by Rietveld and Mondriaan are something to mock or to emulate, to interpret or to elaborate on. Influence of De Stijl In this exhibition, featuring Collectief General Idea, Erik van Lieshout, Katja Mater, Mary Heilmann, Ding Yi, Barbara Visser, Marc Bijl and others, the artists offer some form of commentary on De Stijl. The exhibition takes its cue from several components of the installation by the influential collective General Idea, called Infected Mondriaan. In response to the HIV/Aids epidemic, they made copies of Mondriaan’s paintings and Rietveld’s chairs, but replacing the colour yellow by the colour green, which Mondriaan detested. Bart Rutten, artistic director of Centraal Museum: "One hundred years after the establishment of the artists’ journal, De Stijl has become an iconic concept. It represents an uncompromising ambition and lofty ideals that continue to inspire, impress but also annoy artists today. Thanks to these artists, De Stijl remains alive and kicking."
(centraalmuseum.nl/en/visit/exhibitions/bye-bye-de-stijl/)



NGV Triennial with Josephine Meckseper, Opening: Friday, December 15th, 2017
15.12.17 – 15.04.2018, National Gallery of Victoria in Melbourne, Austalia
Josephine Meckseper’s vitrine works combine the artistic language of modernism with elements of retail shopping and advertising displays to demonstrate the influence of consumer culture on society. By showcasing both historical and contemporary artefacts, Meckseper’s stainless- steel and glass installations are windows into the collective unconscious of our time. Las Meninas (2Xist), 2013, is part of a recent body of works that refers to the political dimension of modernist architecture and design in Germany during the Weimar Republic (1919–33), when the schools of the Bauhaus and Deutscher Werkbund operated before their destruction by the Nazi regime. The vitrine houses arrangements of early twentieth century–inspired sculpture casts and paintings in a shoplike display and is one of a number of works through which the artist critiques consumerism. Also presented at the NGV Triennial is Meckseper’s new film PELLEA[S], 2016–17, inspired by the civil dissent in response to the inauguration of Donald Trump as President of the United States in 2016. A modern adaptation of Maurice Maeterlinck’s play Pelléas et Mélisande (1892), the film is shot in a mirrored pavilion that doubles as the psychological space of its protagonists. The room’s design serves as a link between the works. BIO Meckseper’s work has been exhibited internationally, including solo exhibitions at Migros Museum für Gegenwartskunst, Zurich (2009), and the Museum of Modern Art, New York (2008), and in various international biennials, including two Whitney Biennials (2006 and 2010), the Sharjah Biennial (2011) and the Taipei Biennial (2014). In 2007 a major retrospective of Meckseper’s work was organised by the Kunstmuseum Stuttgart. Meckseper’s work is represented in private and public collections internationally, including the Hammer Museum, Los Angeles, the Solomon R. Guggenheim Museum, New York and the Whitney Museum of American Art, New York. Supported by Michael and Emily Tong.
(ngv.vic.gov.au/exhibition/ngv-triennial/)



Group Show „Raum & Fotografie“ with Stephen Willats, Opening: Friday, November 24th, 2017, 7 pm
25.11.17 – 22.04.2018, Museum der Moderne Salzburg, Mönchsberg 32, A-5020 Salzburg, Österreich
In dieser Ausstellung wird vielfältigen Bezügen von Raum und Fotografie nachgegangen. Standen in der Frühzeit der Fotografie technische und bildnerische Möglichkeiten im Vordergrund, erweiterten ab den 1960er-Jahren Künstler_innen ihr Verhältnis zu „Raum“ auf soziale und konzeptuelle Themen. Die Ausstellung reicht von 1860 bis heute und zeigt Werke von 35 Künstler_innen: ausgehend von einer begehbaren Camera obscura, in der das Licht der Salzburger Altstadt zum projizierten Bild wird, bis hin zu der Installation How Not to Be Seen von Hito Steyerl aus 2013. In sechs Kapiteln wird exemplarisch die sich verändernde Sichtweise auf und in den Raum vorgestellt. Frühe Bildverfahren und experimentelle Fotografie stehen am Anfang der Ausstellung. Im technikbegeisterten 19. Jahrhundert entstanden neue Methoden, um mit den Möglichkeiten der Kamera menschliche Sichtweisen und räumliches Sehen zu imitieren. Das änderte sich im frühen 20. Jahrhundert, als das sogenannte „Neue Sehen“, entstanden durch die Entwicklung moderner Kameratechniken, und das „Neue Bauen“ miteinander korrespondierten, wie beispielsweise in den Arbeiten des Bauhauslehrers László Moholy-Nagy. Der architektonische Raum wurde von den neusachlichen Fotograf_innen zum Anlass für experimentelle Bildkonzepte genommen, die eine Erweiterung der Seheindrücke darstellten. Die anschließenden Kapitel befassen sich mit dem gebauten Raum und dem Einfluss von Architektur auf die Gesellschaft. Die Expansion der Städte, die Entstehung von Randbezirken und Wohntürmen sind Themen der Arbeiten des Konzeptkünstlers Stephen Willats und des Fotografen Wolfgang Tillmans. Seine Videoinstallation Book for Architects, die 2014 auf der Architekturbiennale in Venedig vorgestellt wurde, zeugt von der Faszination, die das Leben in der Stadt und die divergenten gestalterischen Einzelentscheidungen auf den Künstler haben. Mit dem Film The Forgotten Space von Allan Sekula und Noël Burch aus dem Jahr 2010, Arbeiten von Santu Mofokeng und Dayanita Singhs Museum of Chances von 2015 widmet sich der dritte Ausstellungsteil den Grenzen in politischen Systemen, Wirtschaftsräumen und solchen, die vor allem virtuell bestehen. ////////////////////////////////////////////////////////////////////////////// Werke von Philip Kwame Apagya, Herbert Bayer, Giacomo Brogi, Franz Bergmüller Jindřich Eckert, Hans-Peter Feldmann, Seiichi Furuya, Isa Genzken, Johannes Gramm, Birgit Graschopf, Florence Henri, M. Hoffmann, Kenneth Josephson, Wolfgang Kudrnofsky, Georges Lévy & Moyse Léon, Werner Mantz, Ingrid Martens, Santu Mofokeng, László Moholy-Nagy, Negretti & Sambra, Beaumont Newhall, Gregor Sailer, Alfons Schilling, Allan Sekula, Dayanita Singh, Margherita Spiluttini, Hito Steyerl, Sasha Stone, Clare Strand, Yutaka Takanashi, Wolfgang Tillmans, Umbo, Felix Weber, Stephen Willats ////////////////////////////////////////////////////////////////////////////// Kuratorin: Christiane Kuhlmann, Kuratorin für Fotografie und Medienkunst; Kuratorische Assistent_innen: Tina Teufel und Peter Schreiner.
(www.museumdermoderne.at/de/ausstellungen/aktuell/details/mdm/raum-und-fotografie/)



Großes Kino im Deutschen Fleischermuseum: „Marche au supplice“, 2004 by Pia Maria Martin im Rahmen der 16. Langen Nacht der Museen, Opening: Saturday, November 18th, 2017, 6.30 pm
18.11.17 – 31.03.2018, Deutsches Fleischermuseum Böblingen, Marktplatz 27, 71032 Böblingen
Geflügelexistenzialismustrickfilmkunst in Einzelbildschaltung vom Feinsten!
(www.fleischermuseum.boeblingen.de/)



„Inside the Weird and Magical Collections of Artists“ – Artsy Editorial by Daniel Kunitz with Josephine Meckseper
02.06.17 – 02.06.2018,
[...] „Josephine Meckseper would certainly agree. For her installations, the German-born New Yorker gathers readymades—everything from hosiery to old advertisements to sculptural models—which she thinks of as “as signifiers and representations of capitalism.“ Bringing them together in her mirrored displays is “like looking at culture through collective eyes, and he eyes of future generations.” While not a collector of things, she considers herself rather “a temporary custodian of objects,” in part because, she says, “I grew up in a large, old house in Germany filled with my parents’ collections of old 19th-century toys, contemporary art, and rooms filled with bookshelves. Subsequently, I don’t feel the urge to collect.” Interesting that for us the word collect has come to mean own. Meckseper might not consider herself a collector, but she does accumulate things—mostly books. ( “Primarily,” she says, “because I read them.”) To the Brussels show, she loaned a first edition of Hunter S. Thompson’s The Great Shark Hunt, an overt cultural marker—it compiles the late author’s gonzo political journalism—that functions, too, as a comment on the current cultural and political situation. It is also, inevitably, nostalgic, as Meckseper herself obliquely acknowledges: “Now that we have entered a digital age, the book as a physical object containing narratives and content on a page feels even more significant.” Meckseper’s practice provides a glimpse into the way certain people transform ordinary objects that are invested with cultural sentiment into art. Today we call those people artists. In the past, it was shamans or priests who transmuted common, artisanal things into magical entities. Which goes a long way toward explaining why the Dutch artist Folkert de Jong collects tribal art along with contemporary works. Pieces like the Indonesian fertility sculpture, with, de Jong writes, “funky hair and oversize penis,” which he showed in Brussels, put him “in contact with something primal and connect me to the fact that we are part of nature.” Dawood is himself the owner of an assortment of ancient Egyptian magic and occult items. “I have a shabti, which is a ceramic glazed mummy, in blue,” he tells me, “and a beaded mummy mask, as well as two or three magical amulets.” At “Mementos,” you could gaze upon his pair of kohl-rimmed eyes, from an ancient Egyptian sarcophagus, mounted on a brown Perspex stand, and which he bought in Paris. The platitude of the eyes being the windows to the soul comes to us from ancient Egyptian magic, he tells me. His text adds, “I like the idea of something from the ancient past meeting a 1970s future that doesn’t quite work out.” It’s the way of all things: They travel through time accruing to this or that person, and live out an awkward future with objects from other eras. Perhaps it takes the eyes of an artist to recognize the magic in connecting them anew.“
(artsy.net/article/artsy-editorial-inside-weird-magical-collections-artists)



Herzlichen Glückwunsch Thomas Locher!
08.02.17 – 08.02.2022, HGB Leipzig – Hochschule für Grafik und Buchkunst Leipzig
Der Erweiterte Senat der HGB Leipzig hat gestern (08.02.2017) den Künstler Thomas Locher zum neuen Rektor der Hochschule für Grafik und Buchkunst Leipzig gewählt. Die Amtszeit des neuen Rektors beträgt fünf Jahre. Thomas Locher löst mit seiner Wahl Prof. Dr. Ana Dimke ab, die seit 2011 Rektorin der HGB war und zum 1. April 2016 aus persönlichen Gründen aus dem Amt ausgeschied. „Ich bin sehr glücklich über die Wahl! Mich ehrt das entgegengebrachte Vertrauen, das ich unbedingt zurück geben möchte“, sagte Thomas Locher nach der Wahl. „Ich freue mich auf interessante und produktive Jahre mit den Studierenden und den KollegInnen an der HGB Leipzig.“ Thomas Locher, geboren 1956 in Munderkingen, ist Künstler. Von 1979 bis 1985 studierte er an der Staatlichen Akademie der Bildenden Künste Stuttgart, 1981 bis 1985 an der Universität Stuttgart. Locher lehrte international an Kunstakademien, Fachhochschulen und Universitäten (Merzakademie Stuttgart, Technische Universität Wien) und war von 2008 bis 2016 Professor an der Königlich Dänischen Kunstakademie in Kopenhagen. Thomas Locher ist Mitglied im Deutschen Künstlerbund. Er lebte von 1986 bis 2000 in Köln, arbeitet und lebt nun in Berlin und Kopenhagen. Thomas Locher stellte weltweit aus, u. a. in der Tate Gallery, Liverpool (1989), im Museum of Contemporary Art, Sidney (1992), im Museum of Modern Art, Saitama/Japan (1994), in den Deichtorhallen, Hamburg (2004) und im Museum of Modern Art, New York (2006). Lochers Arbeiten sind heute in großen öffentlichen Sammlungen vertreten, wie im Museu d’Art Contemporani de Barcelona, im Museum of Modern Art, New York, in der Vancouver Art Gallery, in der Grafischen Sammlung Albertina, Wien und in der Staatsgalerie Stuttgart. Foto: Erich Malter
(www.hgb-leipzig.de/)