Past Artfairs
CURRENT EXHIBITION
Clément Cogitore, Digital Deserts, Evil Eyes and Kids. Photos, 07.01. – 31.01.2020


UPCOMING EXHIBITIONS 
MAD AS HELL. Decades of Protest (Group show featuring Clément Cogitore, Anne-Lise Coste, Jeremiah Day, Ólafur Elíasson, Uwe Max Jensen, Thomas Locher, Josephine Meckseper, Mark Pearson, David Robbins, Julika Rudelius and Yuan Shun), 07.02. – 13.03.2020

ARTFAIRS
Art Cologne 2020, 23.04. – 26.04.2020
(www.artcologne.de)



ARTIST NEWS 
Solo Show „Joan Jonas: Moving Off the Land II“, Artist Talk and opening: Monday, February 24th, 2020. Performance: Wednesday, February 26th, 2020 at Museo Nacional del Prado, Auditorium
24.02. – 18.05.2020, Museo Nacional Thyssen-Bornemisza, Madrid
Joan Jonas’s exhibition „Moving Off the Land II“ centers on the role the oceans have played for cultures throughout history as a totemic, spiritual, and ecological touchstone. This project is the culmination of three years of intensive research in aquariums around the world as well as in the waters off the coast of Jamaica, commissioned by TBA21–Academy, an itinerant platform that forms part of Thyssen-Bornemisza Art Contemporary (TBA21). The exhibition was first inaugurated at Ocean Space, Venice, in 2019 and comprises new video, sculpture, drawing, and sound works, as well as a performance to be presented in Madrid on February 26, 2020. In „Moving Off the Land II“, Jonas pays tribute to the oceans and their creatures, biodiversity, and delicate ecology. Her new works dive deep into the ocean water, swim with the fish inhabiting it, and weave in literature and poetry by writers who have homed in on the liquid masses that cover two-thirds of the planet. Following the methodology that has earned her her lauded reputation, Jonas combines poetry and prose by writers such as Emily Dickinson and Herman Melville with texts by Rachel Carson and Sy Montgomery, and with moving images filmed in aquariums and in Jamaica, where algae bloom and overfishing pose urgent threats to the environment. As part of a sustained dialogue about their respective work, the marine biologist and coral reef and photosynthesis expert David Gruber has shared with Jonas his captivating underwater recordings that focus on biofluorescence. In 2018, Gruber visited Jonas at her summer home in Cape Breton, Canada, where he shot footage of her dog, Ozu, playing with the surf on the shoreline. The rich imagery by Gruber and other collaborators is juxtaposed with Jonas’s own voice and that of young people she frequently collaborates with, as well as music by the celebrated composer and drummer Ikue Mori and by the acclaimed musicians María Huld Markan Sigfusdottir and Ánde Somby. In her unique visual language, Jonas has created a confluence of the poetic and the observational, of mythological folklore, contemporary narratives, and scientific studies, inviting viewers to plunge into a spellbinding experience. Joan Jonas is one of the most renowned artists of her generation. She is celebrated for her groundbreaking work in performance, installation, and video since the 1960s. At a time when art started leaving the confines of the gallery space, Jonas created work that converged with dance, music, and theater. Ever since, her work has tackled complex questions regarding humans’ relationship with the environment. With this new work she revisits some of the themes touched upon in her US Pavilion exhibition (Jonas represented the United States at the 56th Venice Biennale in 2015), „They Come to Us Without a Word“: the natural world and the animals inhabiting it—from bees to fish—as well as the present danger of climate change and extinction. The oceans are a recurring motif in Jonas’s work. For the video Waltz (2003), she visited a beach near the woods in Nova Scotia, where she spent most of her summers since the early 1970s. With a group of friends and accompanied by her dog, Jonas performed a series of imagined, abstract rituals involving objects such as masks, a staff, and mirrors. The work calls to mind ancient fairy tales and myths surrounding the oceans, as well as their raw and fragile beauty. Beach Piece (1970) was performed at Jones Beach in Long Island, New York, where the audience was invited to stand on the muddy ground as performers appeared from and disappeared into sand dunes. Jonas, wearing a white sports mask, stood on a ladder with a mirror and reflected the sun back at the audience. In the installation „Reanimation“ (2012), Jonas focused on Icelandic and Norwegian landscapes and their representations in age-old sagas as well as in the writing of the poet Halldór Laxness, resulting in an evocative merging of air, land, glaciers, and sea.
(www.tba21.org/#item--JJ_Moving_Off_Land--2046)



On the origin of images: Artist Talk with Clement Cogitore, Wednesday, February 5th, 2020, 6:30-7:30 pm
05.02. – 05.02.2020, Hirshhorn Museum, Washington, DC
„It seems to me that, behind each image, something resists and reoccurs regardless of the era, method, or technology used. It is this irreducible element that interests me.“ Clément Cogitore, Institut Francais, 2019. French filmmaker Clément Cogitore is deeply interested in the origins of images as well as the technologies, rituals, and social histories that underpin them. The artist, whose multifaceted practice encompasses feature-length films, video, installations, and photographs, situates his work halfway between cinema and contemporary art. Much of his work revolves around the nature of collective memory and the role of rituals within communities. His 2015 film, „Neither Heaven Nor Earth“, follows a troop of soldiers deployed in Afghanistan as they disappear one by one, while his video installation, „The Evil Eye“ (2018), distorts hundreds of stock photos. Join Cogitore for a talk on how he uses different languages offered to him by images to invent new ways of examining the relationship between humankind and its representations. The program will include a screening of Cogitore’s celebrated short film „Les Indes Galantes“, which led to his first foray into stage direction for a live production of the work. Cogitore’s work has been shown at major museums internationally, including the Palais de Tokyo, Centre Georges Pompidou, Boston Museum of Fine Arts, Museum of Modern Art, and Kunsthaus Baselland. In 2018, Cogitore was honored with France’s prestigious Marcel Duchamp Prize, named after the esteemed artist whose work and legacy are the focus of „Marcel Duchamp: The Barbara and Aaron Levine Collection.“ His talk will be accompanied by a screening of his film, Braguino, on Saturday, February 8. Schedule: 5:30-6:30 pm: Come early to enjoy a happy hour at Dolcezza Café in the Lobby. Drinks for purchase. 6 pm: Doors open to Ring Auditorium. 6:30-7:30 pm: Artist Talk: Clément Cogitore. We encourage you to arrive early. Ring Auditorium seating is limited. Any open seats may be released to walk-up visitors 10 minutes before the program. About „Les Indes Galantes“: „Les Indes Galantes (The Amorous Indies)“ is an opera-ballet created by Jean-Philippe Rameau in 1735. Rameau was inspired by dances performed in 1723 in Paris by Mitchigamea chiefs brought from the Americas by French settlers. Clément Cogitore adapts a short part of Rameau’s ballet in a 2017 film — also called „Les Indes Galantes“ — by mobilizing a group of Krump dancers. Krump, an art form born in South Central Los Angeles in the 1990s, grew out of the aftermath of the Rodney King riots against police brutality. Amidst this charged atmosphere, young dancers started to embody the violent tensions of the physical, social, and political body. Both the dance performed in Paris in 1723 and the rebellious Krump dancers of the 1990s shape a reenactment of Rameau’s original libretto, staging young people dancing on the verge of a volcano. Free ‪admission. Advance Insider tickets available Tuesday, January 14, 12 pm EST (space is limited). General tickets available Friday, January 17, 12 pm EST. We strongly recommend claiming a ticket to ensure your seat. This program is expected to be at capacity. Questions? Email: Hirshhornexperience@si.edu or Hirshhorn Insiders, email: HMSGdevelopment@si.edu (photo: Clément Cogitore.)
(hirshhorn.si.edu/event/on-the-origin-of-images-artist-talk-with-clement-cogitore/)



The Paris Opera & Ballet HD Screening „Les Indes Galantes“ by Jean-Philippe Rameau. Introduced by Director Clement Cogitore, Sreening: Sunday, February 2nd, 2020, 1 pm
02.02. – 02.02.2020, Florence Gould Hall, New York
The American Friends of the Paris Opera & Ballet is delighted to renew the Paris Opera & Ballet HD Screening series in partnership with the French Institute Alliance Française for the 3rd edition in a row. This year, we are thrilled to invite you to discover the triumphant new production of the Paris Opera 19/20 season presented this past September: „Les Indes Galantes“, by Rameau and directed by Clement Cogitore. Visionary artist and filmmaker Clément Cogitore breathes new life into Jean-Philippe Rameau’s first opera-ballet in this audacious reimagining of the Baroque masterpiece. With choreography by French hip-hop eminence Bintou Dembélé, this acclaimed production resets Rameau’s musical delights within an urban and political space that both honors the opera while challenging the Euro-centric views of the „other.“ This highly anticipated production was chosen by The New York Times as one of the 10 best classical music performances of 2019. US Premiere: Opera-ballet in four acts and a prologue (1735). In French, with English subtitles. Approx. 3 hours and 30 minutes including introduction and one intermission. Coffee, tea, and cookies will be served during the intermission. Advance tickets highly recommended (photo © Little Shao / OnP.)
(fiaf.org/event/2019-02-hd-les-indes-galantes/)



Clément Cogitore, The New York Times: „Best Classical Music of 2019“ by Zachary Woolfe
18.12.19 – 31.12.2020, The New York Times
It could have gone so, so wrong. A French Baroque opera that puts an aesthetic gloss on colonial encounters, refitted with street choreography: a recipe for awkwardness, at best. That it was instead one of the freshest, most charismatic and poignant performances I’ve ever seen speaks to the conceptual focus of Clément Cogitore, an artist and filmmaker making his debut as a stage director, and Bintou Dembélé, a pioneer od French hip-hop dance (and to the keen instincts of Stéphane Lissner, the leader of the Paris Opera, where I saw it in October). The cast of singers and dancers was superb, led vibrantly by the conductor Leonardo García Alarcón and his Cappella Mediterranea ensemble.
(www.clementcogitore.com)



„Netzwerkerinnen der Moderne – 100 Jahre Frauenkunststudium“ mit 3 Hamburger Frauen (Ergül Cengiz, Henrieke Ribbe und Kathrin Wolf), Ausstellungseröffnung: Sonntag, 1. Dezember 2019, 15 Uhr
01.12.19 – 19.04.2020, Städtische Galerie Böblingen
Im Jahr 1919 wurden Frauen, die sich zur Künstlerin berufen sahen und sich zudem beruflich als Künstlerin betätigen wollten, offiziell und ohne Beschränkungen an deutschen Kunstakademien als Studentinnen zugelassen. Diese Errungenschaft, die nur ein Jahr nach Einführung des Frauenwahlrechts in der Weimarer Republik erfolgte, stellt einen wichtigen Meilenstein im Kampf um Gleichstellung und Gleichberechtigung dar. Auch, dass Frauen ein Studium an der damaligen Königlichen Kunstakademie in Stuttgart aufgreifen durften, jährt sich in diesem Jahr zum 100. Mal. Wie wichtig dabei die Solidarität unter den gleichgesinnten Frauen, die gegenseitige Unterstützung und das gute Pflegen von Netzwerken war – sie entwickelten sich zu regelrechten Meisterinnen im Vernetzen – wird durch den gewählten Titel der aktuellen Präsentation zusätzlich unterstrichen. Der Schwerpunkt der Kollektivausstellung liegt auf dem südwestdeutschen Raum und bringt 30 GEGENWARTSPOSITIONEN mit 10 KLASSISCHEN KÜNSTLERINNEN zusammen. Gezeigt wird – zum Teil spezifisch auf die Gegebenheiten vor Ort abgestimmt – eine Bandbreite unterschiedlicher Gattungen und Techniken wie Collagen, Gemälde, Installationen, Objekte, Performance-/Aktionskunst, Skulpturen und Zeichnungen von: MIN BARK / ROSEMARIE BEIßER / CHRISTINE BENDER / NINA JOANNA BERGOLD / GABI BLUM KOOP DRACH_ RÖMPP + WENZ / ANDREA EITEL / IRIS FLEXER / MARTINA FRANKENBERGER ANNA HAFNER / BIRGIT HERZBERG-JOCHUM / ROTRAUD HOFMANN / ANNA HUXEL / CINYI JOH FRIEDERIKE JUST / KARIMA KLASEN / KIRSTEN KLEIE / »3 HAMBURGER FRAUEN« (ERGÜL CENGIZ / HENRIEKE RIBBE / KATHRIN WOLF) / ANJA LUITHLE / MUCHE / ANDREA PETER / GISELA REICH / VERA RESCHKE / YVONNE RUDISCH / EVA SCHMECKENBECHER / JULIA SCHRADER HELGA SCHUHMACHER / ALESSIA SCHUTH / CHRISTA WINTER / JOHANNA WITTWER / KLARA FEHRLE-MENRAD / ALICE HAARBURGER / EMMA JOOS / MARIE LEMMÉ / HEDWIG PFIZENMAYER HERTA RÖSSLE / HANNE SCHORP-PFLUMM / MARES SCHULTZ / DODO STOCKMAYER / SALLY WIEST.
(staedtischegalerie.boeblingen.de/start/ausstellungen/ausblick.html)



Solo Show „Joan Jonas. Vertical Roll, Left Side Right Side, Double Lunar Dogs, Brooklyn Bridge“, Opening: Friday, November 22nd, 2019, 7 pm
26.11.19 – 24.01.2020, Neuer Berliner Kunstverein (n.b.k.), Berlin
Joan Jonas (*1936 in New York, lebt in New York) begann Ende der 1960er Jahre mit medienübergreifenden Performances und Video zu experimentieren. Sie gilt heute als eine der einflussreichsten Wegbereiter*innen dieser Kunstformen. Das neue Medium Video ermöglichte es Jonas, ihre Auseinandersetzung mit Skulptur, Tanz und Theater in einem zeitbasierten Format zu adaptieren und bis dahin nicht realisierbare Aspekte der Performancekunst auszuloten. Jonas kombiniert archetypische und symbolische Objekte mit gestischen Ausdrucksformen, darunter etwa Spiegel und Spiegelung, Maske und rituelle Handlung. Diese werden von der Künstlerin in neu entwickelten, körperbasierten erzählerischen Formaten jenseits traditioneller Kunst- und Theaterformen eingesetzt. Kennzeichnend für die in der Ausstellung gezeigten Arbeiten aus der Sammlung des n.b.k. Video-Forums – „Vertical Roll“ (1972), „Left Side Right Side“ (1972), „Double Lunar Dogs“ (1982), „Brooklyn Bridge“ (1988) – ist ihr Interesse an Literatur und weiblicher Subjektivität, an Semiotik und Medienreflexivität. Joan Jonas ist Professorin Emerita des Massachusetts Institute of Technology (MIT). Zuvor unterrichtete sie an der University of California, Los Angeles, an der Rijksakademie van beeldende kunsten, Amsterdam, und an der Staatlichen Akademie der Bildenden Künste Stuttgart. Sie nahm mehrfach an der Documenta teil (2012; 2002; 1987; 1982; 1977; 1972) und war auf zahlreichen Biennalen vertreten. Jüngste Retrospektiven wurden im Museu Serralves, Porto (2019), und in der Tate Modern, London (2018), gezeigt. 2015 repräsentierte Jonas die Vereinigten Staaten von Amerika auf der 56. Venedig Biennale. Neben zahlreichen Performances, Ausstellungen, Vorlesungen und Workshops weltweit fanden weitere Überblicksausstellungen im Hangar Bicocca, Mailand (2014), im Queens Museum of Art, New York (2003), der Galerie der Stadt Stuttgart (2000) und im Stedelijk Museum, Amsterdam (1994), statt. 2009 wurde Joan Jonas mit dem erstmals verliehenen Lifetime Achievement Award des Solomon R. Guggenheim Museum und 2018 mit dem Kyoto Prize in Arts and Philosophy ausgezeichnet. Kuratorin: Ute Meta Bauer (image: Joan Jonas, 2018 © Foto: Toby Coulson).
(www.nbk.org/ausstellungen/showroom.html)



Solo Show „Anne-Lise Coste. BAZOOKA“, Opening: Friday, November 22nd, 2019, 6 pm
25.11.19 – 07.02.2020, Château d’Assas, Le Vigan, France
Le département du Gard produit une exposition inédite de la plasticienne Anne Lise Coste. Ce projet, présenté au château d’Assas, se place dans la suite de son exposition à la fondation Salomon à Annecy «Sors le monde», achevée en avril et de «La vie en rose» au CRAC Occitanie, à Sète, achevée en septembre. Passant de l’actualité aux slogans consuméristes, des revendications collectives à la parole individuelle, l’artiste garde le cap de la liberté et de la poésie. Synthétisant le Pop’, le minimal, l’art et les mots, le graffiti et l’appropriation, elle existe par le tracé de son écriture et la justesse de son geste, élégante et critique jusqu’au paroxysme (photo: Anne-Lise Coste: „Nothing compares to you“, 2019).
(www.gard.fr/au-quotidien/se-cultiver-lire-et-visiter/chateau-dassas.html)



„FEELINGS. Kunst und Emotion“ mit 3 Hamburger Frauen (Ergül Cengiz, Henrieke Ribbe und Kathrin Wolf), Ausstellungseröffnung: Donnerstag, 7. November 2019, 19 Uhr
08.11.19 – 04.10.2020, Pinakothek der Moderne, München
Bewegend und berührend, sinnlich und Sinn stiftend – Gefühle offenbaren das Innerste des Menschen. Ob Glück, Freude, Leidenschaft oder Geborgensein, ob Wut, Schmerz, Trauer oder Einsamkeit: Vor allem Gefühle machen uns zu Menschen. Die Ausstellung zeigt Bilder, Objekte, Filme und Räume von Künstlerinnen und Künstlern, die keinen erklärenden Begleittext brauchen und bei den Betrachtern Gefühle durch ihre bloße Existenz auslösen. Kunst, die den Dialog dort beginnt, wo das Menschsein unmittelbar zu treffen ist: im Herzen. Werke von Hans Aichinger, Jan Albers, Monika Baer, Heike Kathi Barath, Vlassis Caniaris, Gregory Crewdson, Alex Da Corte, Nathalie Djurberg und Hans Berg, 3 Hamburger Frauen, Marlene Dumas, Elmgreen & Dragset, Tracey Emin, Gotthard Graubner, Jenny Holzer, Thilo Jenssen, Tadeusz Kantor, Ruprecht von Kaufmann, Mike Kelley und Paul McCarthy, Nikita Kadan, Jochen Klein, Rosa Loy, Rosilene Luduvico, Stephan Melzl, Olaf Metzel, Mirwa Ogasawara, Catherine Opie, Laura Owens, Richard Prince, Bernhard Prinz, Alexandra Ranner, Wilhelm Sasnal, Markus Schinwald, Norbert Schwontkowski, Cindy Sherman, Sam Taylor Johnson, Jessica Vaughn, Gillian Wearing, Amelie von Wulffen und Artur Zmijewski.
(www.pinakothek.de/ausstellungen/feelings)



„Beste Aussichten II“ mit Ergül Cengiz, Ausstellungseröffnung: Freitag, 25. Oktober 2019, 17 bis 21 Uhr
25.10.19 – 27.10.2020, K&K – Bündnis Kunst & Kind, Salon, Kongress * Sardenhaus München
Freitag, 25.10., 17-21 Uhr: E R Ö F F N U N G. N.N. liest Uli Aigner (Interview mit K&K im Sommer 2018). Samstag, 26.10., 15 Uhr: S A L O N & G E S P R Ä C H. K&K im Gespräch mit Susanne Kurz (Grüne), Gesa Puell (AdBK), Kirsten Kleie (Lehrauftrag AdBK) & Veronika Kirschner (Gleichstellungsbeauftragte Kulturreferat). Sonntag, 27.10., 12 Uhr: M A T I N É E. Sekt und Performance sewicide (rag*treasure/beißpony) Sounds Like A Cello vom LIDL. Wo stehen wir heute als Künstler*innen im Angesicht der Klimakrise und eines weltweiten Umdenkens? Wie können wir leben und arbeiten, wenn wir Familie haben, in der täglichen Bemühung um die Realisierung der Chancengleichheit und als Künstler*innen oftmals nah am Existenzminimum? 100 Jahre Frauenwahlrecht 2019 und 100 Jahre Frauen an der Kunstakademie München 2020 – was bedeutet das für uns und was sind unsere Aussichten, was ist möglich und was nicht? Welche Rolle spielt die neu aufkommende Solidarität in der Bevölkerung und wie können wir uns als Künstler*innen besser unterstützen und zusammenarbeiten, um uns gemeinsam eine lautere Stimme zu geben und um auch auf Politik und Gesellschaft Einfluss zu nehmen? Ist Kunst heute als Ort der freien Meinungsäußerung umso wichtiger? Wir wollen reden. Darüber und über alles, was uns sonst noch bewegt und dazu zeigen wir brandaktuelle künstlerische Arbeiten aus dem K&K Netzwerk. Ausstellung und Salon mit Infos zu K&K und zum Thema Kunst & Kind: Fr 16-21 Uhr, Sa 12-18 Uhr, So 12-16 Uhr. Mit Uli Aigner, Moritz Altmann, Gabi Blum, Ergül Cengiz, Raymond Gantner, Manuela Gernedel, Rebecca Grollmann, Verena Hägler, Ann Nadine Händel, Ute Heim, Dana Lürken, Heike Jobst, Kirsten Kleie, Victoria Kleinecke, Salima Mansouri, Annabelle Mehraein, Emanuel Mooner, Gesa Puell, Nina Radelfahr, Regine Rode, Anna Schölß, Verena Seibt, Anne Seiler, Soundfreaks, Thomas Splett, Alix Stadtbäumer, 
Naomi Steuer-v.Westphalen, Christine Tanqueray, Elisabeth Wieser und Stefan Wischnewski. K&K ist ein Bündnis von und für Künstlerinnen mit Kindern, gegründet im Februar 2018 von Anna Schölß und Gabi Blum. K&K pflegt einen Verteiler von mittlerweile über 70 Adressen der sich auch um eine ständig wachsende Zahl männlicher Kollegen ergänzt. K&K strebt eine dauerhafte Tätigkeit an und will zum einen die Arbeitsbedingungen von Künstler*innen mit Kindern verbessern und sich für deren Interessen stark machen, zum anderen geht es um Netzwerkbildung und das gemeinsame Arbeiten an Projekten, sowie Bündeln und Archivieren von Informationen. 
K&K veranstaltet regelmäßige diskursive Treffen mit Gästen, die zum Thema referieren und mit den Teilnehmer*innen diskutieren. Wechselweise trifft man sich in Ateliers und Ausstellungsräumen. Zu Gast waren bisher Friedel Schreyögg (Vorsitzende der Gedok), Alix Stadtbäumer (Künstlerin und Kuratorin der Artothek), Susanne Witzgall (Leitung cx centrum für interdisziplinäre Studien an der AdBK München), Frauke Meyer (Frauenkulturbüro NRW), Uli Aigner (Künstlerin aus Berlin), Lisa Britzger (Kuratorin) und Julia Maier (Kuratorin und künstlerische Mitarbeiterin AdBK München). Im Herbst 2018 richtete K&K ihre erste Ausstellung „Beste Aussichten“ im Kloster Schlehdorf mit 54 teilnehmenden Künstler*innen aus.
(gabiblum.de/K&K.html)



Solo Show „Tim Berresheim. Lake 2006/2019 (Revisited)“, Opening: Saturday, September 14th, 2019, 11 am
30.08.19 – 29.08.2020, Online exclusive at artsy.net
The eleven-part sequence „Lake 2006/2019 (Revisited)“ is the second group of works that Tim Berresheim has singled out to undergo a specific form of revision. In terms of formal aesthetics, the 2006 series interlaces photography, painting and composition in the digital space. Press Release: After The Early Bird (Sigh) Traces (Revisited), the eleven-part sequence Lake 2006/2019 (Revisited) is the second group of works that Tim Berresheim has singled out to undergo a specific form of revision. In terms of formal aesthetics, the 2006 series interlaces photography, painting and composition in the digital space. The photographs for the Lake series were taken at Effelder Waldsee, a small body of water at the heart of a forest not far from Berresheim's home town of Wassenberg: To a certain extent, the process of roaming the three-dimensional, digital space that characterises his artistic production was therefore preceded by explorations of the analogue sphere. But Lake does not only dissolve the boundaries between documentation and fiction: What the lens has captured and absorbed becomes part of a stage setting. At the same time, interlocking the photographic backdrop with the digitally incorporated elements emphasises the autonomy of the image. Berresheim started using his own photographic works as a stage for digital objects in 2004 – shortly after producing his first stage-like compositions with the help of CGI and rendering. What makes this re-examination of older work groups stand out is that the revision does not depart from the image surface but rather from its data set, i.e. the DNA of the image, in a way. As with The Early Bird (Sigh) Traces (Revisited), in his revisal Berresheim reduced the colour palette and the depth of detail of the first portfolio, while simultaneously polishing the texture of the figures and of the elegantly draped fabrics – turning the latter from a mere canvas within the digital space into sculptural elements – and extensively editing the photographed objects to endue the works with a wholly new atmosphere and structure. After intensifying in the recent past, in 2020 Berresheim's increased focus on autobiographic elements will culminate in an exhibition project in Wassenberg and nearby Heinsberg (photo: Tim Berresheim: „Lake III 2006/2019 (Revisited)“, 2019).
(www.artsy.net/show/studios-new-amerika-lake-2006-slash-2019-revisited)



Introducing the Helmut Lang x Josephine Meckseper hand-painted Capsule Collection, Inspired by the brand‘s three-striped trucker jacket from 1997
15.07.19 – 13.07.2020, Helmut Lang, New York
Helmut Lang presented its Fall/Winter 2019 show during New York Fashion Week in February, and now the brand has released an additional capsule under the collection as a part of its ongoing artist collaborations. This time around, multimedia artist Josephine Meckseper is spotlighted in a series of hand-painted pieces, referencing the brand’s three-striped trucker jacket from the ’90s as inspiration.
(www.helmutlang.com/)



Interview: „Linda Ginsberg, New York, United States“ with works by Anne-Lise Coste, “My grandmother left her other grandchildren money but I got these sculptures – the sweeter deal.“
28.01.19 – 29.02.2032, Linda Ginsberg, New York, United States
Passionate New York art collector Linda Ginsberg is the founder of an elite legal recruiting firm focusing on partners in law firms. She tells us about supporting starving artists and keeping provocative artwork under the bed! FAM (fineartmultiple magazine): The blue color that your apartment is painted in is very striking. What provoked this aesthetic decision? Linda Ginsberg: In 2001 when I bought my very first apartment of my own, I thought white stood for “rental”, so for me a different color constituted ownership. When I told my decorator I wanted a color, he said “Great, what’s your favorite color?” I said blue, but I can’t have a blue apartment. And he said: “Why not? Make it blue”. So I did. That was 15 years ago. Today I would definitely paint the apartment white but my kids won’t let me! They identify it as home—and can see when I am home from about a mile away as the blue lights at night are a beacon in the neighborhood. FAM: When did you start collecting art? Linda Ginsberg: I first became a collector in 2003, when I started to become successful as a recruiter. FAM: What’s your favorite work that you have up now in the apartment? Linda Ginsberg: I’m a bad rotator, even though I have tons in storage. But I’m attached to everything here. My most sentimental pieces are these two sound sculptures by Harry Bertoia, an Italian artist who worked in the US and is best known for his ubiquitous wire chairs. My grandmother bought them from the artist himself in the 70s and when I was growing up she would let us touch them. As a kid it feels subversive to be able to touch art—and the very purpose of these is to “boing” them together so that they make this chiming sound. When my grandmother died she left her other grandchildren money but I got these sculptures—which I think was the sweeter deal. These days, when I “boing” them in my apartment I always look up, say hello, and can hear her laughing in delight. FAM: Do you have any works of a political nature? Linda Ginsberg: Yes, I am a huge fan of the French artist Anne-Lise Coste’s work. She combines poetry with protest and comments on political and personal issues with a rebellious honesty. Her style often reminds me of street graffiti, but she uses airbrush, pencils, pastels, markers and watercolors to give her gestures permanence by materializing them on paper or canvas. Her work does not follow any rules and yet there is a harmony and delicateness to it. I own more of Anne-Lise’s work than that of any other artist and it is all different. Her range is vast. But if you know her, you can follow the thought line from this Picasso-like portrait to this brilliant Lee Ufan in France to perhaps her purist text piece, Poem. If I collected works from no other artist, I would still have an amazingly diverse collection. FAM: Could you tell us something about this site-specific work above your television? Linda Ginsberg: Everybody gravitates to that. It is by Harold Ancart, a young Belgian artist. He was the first “starving artist” that I befriended, and I believe this is the first piece he sold in the US. After visiting his studio I knew I wanted something site-specific but wasn’t sure what or where. One night as I sat on the couch looking at that corner I knew instantly where the work needed to go. It is basically pigment thrown against the wall, and the piece has this light touch. His other work has more pigment but in 2011 Harold was young and new at installing in people’s houses, and was sweetly concerned about messing up the apartment. FAM: Do you have a preference for supporting “starving artists”? Linda Ginsberg: I go back and forth. On the one hand, I love supporting young artists. I’ve met almost every artist that I’ve bought work from and they are fascinating people—some have even become dear friends! But on the other hand, living the struggles they face to advance their career can be tough, right? The art world is tough. It’s like what Ernest Hemingway said about bullfighting: “It was not nice to watch if you cared anything about the person who was doing it.” On the other hand, I recently bought my first piece by a dead artist (a series of 30 prints by Agnes Martin) and felt bad about it, because I’m not supporting the artist with this purchase. I love the work, have tremendous admiration for the artist, but she gets no lift from my buying it. So yes, we can say I care deeply about artists. FAM: That’s a fun and somehow welcoming piece you have up in the kitchen next to the fridge. Can you tell us about it? Linda Ginsberg: Yes, that’s by Adam McEwen, a British artist who I met at a group dinner and instantly thought was terrific. He did a series of these shop signs, but this was the most aggressive. Initially I wanted to buy one of the signs, but not this one because I had young sons at that point and could not even say the word in front of them, let alone hang a sign of it. The gallerists insisted that this was THE one to buy, so I bought it and it stayed under the bed for four years. When I pulled it out, my kids were intrigued but wary of whether it being art made it OK. Now it’s just part of us and has entirely ceased to be provocative. FAM: Your kids have art in their rooms as well. Are they collectors? Linda Ginsberg: My kids appreciate the art and have selected pieces they admire. They now give tours of our collection and “boing” the Bertoias for their friends. Once on vacation we bought a Damien Hirst print for each kid as their first investment in art. One of my kids proudly displays a little Jeff Koons balloon dog sculpture which we bought for $300 and now sells at auction for an additional digit. One of my favorite pieces in this apartment is this cardboard piece that was made by my then eight year old son, a Duchampian homage. I feel like it holds up in this room. Interview by Ksenia M. Soboleva (image: a portrait of Linda Ginsberg by Anne-Lise Coste. © Linda Green.)
(fineartmultiple.com/blog/linda-ginsberg)



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/)



Film: 15 Jahre Freundeskreis des Kunstmuseum Stuttgart, 2018
01.01.03 – 01.01.2033, Kunstmuseum Stuttgart
Reinhard Hauff spricht über die Zeichnungen von Thomas Müller, die sich im Besitz des Kunstmuseum Stuttgart befinden.
(www.kunstmuseum-stuttgart.de/index.php?site=Videos;Videos_Details&id=48)