Past Artfairs
LELLO//ARNELL, Poems for Infrastructure, 23.09. – 03.11.2017

Solo Show „Zeitgeist“ of conceptual paintings, video and sculpture by Marc Bijl, that question the notion of truth in an overloaded stream of propaganda, tags and fake news, Opening: Saturday, October 28th, 2017, 7 pm and Afterparty @ Disco Dolly, 9.30 pm
28.10. – 23.12.2017, Upstream Gallery, Kloveniersburgwal 95, NL - 1011 KB Amsterdam
‘Zeitgeist’, as the defining spirit of an era, is one of those few German phrases that are also known in the English-speaking world. Marc Bijl, who lives and works in Berlin, chose it as the title for his exhibition in which he shows new works that address our current cultural climate of information overload, and in which too many sources are undermining our view on truth and facts. The political black and white thinking of Bijl’s earlier works and the symbolic search for structure seems to have completely vanished in these ‘times of blurry conflicts’, as Bijl describes them. Furthermore, his distinctive gloomy style has given way to bright colours and an often sleek, and industrial finish. The new works do however remain ominous, as if the use of sweet colours is only meant as an additional smoke curtain for the multitude of disinformation that guides our current society and lifestyle. The exhibition includes a range of new paintings that are made with an industrial powder coating technique, in which the lacquer is burnt directly into the aluminium. For these works, Bijl uses images from daily news reports of important events or the deaths of celebrities and modifies them to become almost unrecognizable. After Dark, for example, is a blurred version of one of the last photos of Prince, taken in his own club ‘After Dark’. Others, such as Brussels and Chicago, are based on news images of terrorist attacks and shootings. This ongoing series of blurry images converted from existing media photos represents Bijl’s perspective on the slowly dissolving boundaries between fact and fiction. As Bijl further explains: ‘The abstract and haziness symbolize looking away, hypocrisy and refusing to see things clearly: a new political movement’. Within the exhibition, this is further expressed through the Fake Manifest, that addresses the volatile character of online statements, and the site specific installation The Diffusion Politics, that literally puts its surroundings in a new light. The works combined are an active attempt to broach automated opinions, photos and news feeds through social media and criticize their negative influence and dangerous effects on our perception, on reality and on group dynamics. ////////////////////////////////////////////////////////////////////////////// Marc Bijl (NL, 1970) has had solo exhibitions at institutions worldwide, including the Groninger Museum (2012); Kunsthalle Fridericianum, Kassel (2009); DA2, Salamanca (2009); Gem Museum, Den Haag (2005); and Kunstlerhaus Bethanien, Berlin (2002), among others. Bijl has participated in significant group exhibitions including those held at Stedelijk Museum, Amsterdam; Van Abbemuseum Eindhoven; Rijksmuseum Twenthe; Groninger Museum; Cobra Museum Amstelveen; Hamburger Bahnhof Berlin; Kunstmuseum St Gallen; Fridericianum Kassel; Kunstmuseum Bonn; and MUSAC Castilla y Leon. The artist’s work is held in numerous public collections internationally, including Stedelijk Museum, Amsterdam; Collection MUSAC, Castilla y Leon; Frac, Nord, Pas de Calais; Collection HVCCA, New York; Collection Kunstmuseum Stuttgart; Collection Gemeentemuseum, Den Haag; Groninger Museum; KRC Collection, The Netherlands; and Daskapopoulos Collection, Greece, among others. ////////////////////////////////////////////////////////////////////////////// Image: Marc Bijl, Zeitgeist, 2016. Powder coating on aluminium, 100 x 70 cm.

Solo Show „Josephine Meckseper“
22.09. – 28.10.2017, Proyectos Monclova, Colima 55, Col. Roma Norte, 06700 Mexico City
Proyectos Monclova is pleased to present Josephine Meckseper's first solo exhibition in Mexico City. Meckseper’s practice is premised in a consideration of the visual and material cultures of consumerism, art history, counter-culture, and 20th century modes of display through installations, assemblages, and film. Using methods of retail display such as glass vitrines, shelves, shop windows, combined with a methodical and confrontational use of mirrors and reflection, her work establishes a non-linear narrative that highlights capitalism's infinite tendency to appropriate, replicate, and corrupt. In her show at Proyectos Monclova, Meckseper juxtaposes paradoxical elements such as a film still of Sharon Stone, references to Brancusi's endless column, a mannequin hand, and a painting that reads AUSSTELLUNG[EXHIBITION]. A series of paintings of casual brushy strokes made with toilet wands eludes to mid-century master works, but here the painter's canvas has been substituted by blue denim, replacing the traditional bourgeois canvas for a working class and revolutionary signifier. Her film DDYANLALSATSY is a supercut of footage from the 1980s American culture touchstone television shows Dynasty and Dallas. Featuring scenes of exploding oil rigs, diamond necklaces, cowboys on horses, ejaculating champagne bottles, and protesters brandishing signs behind a chain-link fence that say "Americans GO HOME!," these soft-focus media fantasies of dissent and affluence resonate now as self-fulfilling prophesies. Set to a Detroit acid house dance track and reflected in a mirror floor sculpture, the vintage TV footage hauntingly forecasts the current explosive political climate of the United States. ////////////////////////////////////////////////////////////////////////////// Meckseper's work has been exhibited at institutions worldwide, including solo exhibitions at Neuer Aachener Kunstverein, Germany (2014); The Parrish Art Museum, NY (2013); Migros Museum für Gegenwartskunst, Zurich (2009); and Museum of Modern Art, NY (2008), and featured in various international biennials. Her film work is currently included in exhibitions at the Whitney Museum of American Art. ////////////////////////////////////////////////////////////////////////////// Meckseper’s work is in the permanent collections of the Metropolitan Museum of Art, NY; Museum of Modern Art, NY; National Gallery of Victoria, Melbourne, Australia; Solomon R. Guggenheim Museum, NY; and Whitney Museum of American Art, NY. Meckseper lives and works in New York City.

„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.“

Clément Cogitore – Gewinner des „Kino der Kunst 2017“ Festivals in München
19.04.17 – 24.01.2018, Akademie der Bildenden Künste München
KINO DER KUNST 2017 – Preisverleihung in der Akademie der Bildenden Künste München. Die Gewinner sind: Der in Afghanistan spielende Kinofilm „Ni le ciel Ni la terre“ des Franzosen Clément Cogitore, Julian Rosefeldts „Manifesto“ mit Cate Blanchet in 13 Rollen und der mittellange Film „Die Insel“ des Niederländers Eric van Lieshout sind die großen Gewinner der dritten Ausgabe des Festivals für Künstlerfilme KINO DER KUNST, das am Sonntag Abend (23.04.2017) in München zu Ende ging. Eine internationale Jury, der u.a. die amerikanische Kameralegende Ed Lachman und Schauspielerin Nina Hoss angehörten, vergab die insgesamt mit 20.000 Euro dotierten Preise. In ihrer Begründung hob sie Cogitores Art hervor, „emotionale Intensität für einen Alptraum“ zu erzeugen, und lobten an „Manifesto“ die „seltene Meisterschaft beim Zusammenspiel von Text, Bild und Schauspiel“. Die Auszeichnung für „Die Insel“ begründeten sie damit, wie van Lieshout mit „Humor und Ironie den Zuschauer entwaffne“. „Manifesto“ von Julian Rosefeldt erhielt (auch) den mit 5.000 Euro dotierten Publikumspreis. Der in New York lebende Medienkünstler Ian Cheng wurde mit dem „Preis für das filmische Gesamtwerk“ von 10.000 Euro ausgezeichnet. Und der Projekt-Preis für einen jungen europäischen Nachwuchs-Künstler ging an Emilija Skarnulyte. Eine lobende Erwähnung der Jury geht an Callum Hill. Beim diesjährigen 5-tägigen internationalen Festival KINO DER KUNST in München liefen 33 Filme aus 19 Ländern im internationalen Wettbewerb, davon 5 Weltpremieren, 2 Europapremieren und 11 Deutschlandpremieren. Mit den im Rahmen von KINO DER KUNST gezeigten Ausstellungen in Museen und Galerien und den Artist Talks waren 67 Künstler beteiligt und KINO DER KUNST war an 22 Orten in München präsent. KINO DER KUNST wird gefördert vom Bayerischen Staatsministerium für Bildung und Kultus, Wissenschaft und Kunst, der Ingrid Werndl-Laue Stiftung, der Biehler von Dorrer Stiftung, der Kirch-Stiftung, der Kunststiftung Ingvild und Stephan Goetz, der ARRI Media Gmbh, der Schwarz-Außenwerbung GmbH, der HypoVereinsbank, in Zusammenarbeit mit der Hochschule für Fernsehen und Film Muenchen, der Akademie der Bildenden Künste München, der Sammlung Goetz, dem Museum Villa Stuck, der Pinakothek der Moderne, dem Museum Brandhorst, dem Haus der Kunst, den Münchner Kammerspielen, dem Kunstverein München und dem Espace Louis Vuitton München.

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

Wolfgang Flad at Tampa Museum of Art
10.12.15 – 10.12.2017, Tampa Museum of Art