Past Artfairs

ARTIST NEWS 
Group Show „Jetzt oder nie. 50 Jahre Sammlung LBBW“ with Tim Berresheim, Thomas Locher, and Josephine Meckseper
13.11.21 – 20.02.2022, Kunstmuseum Stuttgart
Anlässlich des 50-jährigen Bestehens der Sammlung LBBW und der langjährigen Kooperation mit dem Kunstmuseum Stuttgart werden herausragende Werke aus der Sammlung LBBW in einer großen Sonderausstellung präsentiert. Erstmals wird dabei das gesamte Spektrum der Sammlung LBBW zu sehen sein, von der Kunst der Klassischen Moderne bis hin zu zeitgenössischen Positionen. Als Spiegel von Gegenwart(en) eröffnen die Werke ein zeitgeschichtliches Panorama deutscher Geschichte vom Beginn des 20. Jahrhunderts bis hin zu Ereignissen und Themen von heute. Chronologisch gegliedert folgt die Ausstellung zunächst dem künstlerischen Blick auf die Vorkriegszeit, die Weimarer Republik und das Dritte Reich. Weiterhin im Fokus stehen die Geschehnisse und Debatten um die Spaltung und Wiedervereinigung Deutschlands, der Kampf der Frauen um Gleichberechtigung, die 68er-Bewegung und der terroristische Widerstand gegen den Staat seitens der RAF. Jüngere Kunstwerke reflektieren aktuelle Fragestellungen, darunter die Migration, den Transfer zwischen den Kulturen, die fortschreitende Digitalisierung und Ökonomisierung der Lebens- und Arbeitswelt sowie die manipulative Macht von Bildern. Künstler:innen: Franz Ackermann, Max Ackermann, Nevin Aladağ, Horst Antes, Georg Baselitz, Willi Baumeister, Lothar Baumgarten, Franz Bernhard, Tim Berresheim, Julius von Bismarck, Julius Bissier, Shannon Bool, Carina Brandes, Peter Brüning, Maria Caspar-Filser, Julian Charriere, Thomas Demand, Rineke Dijkstra, Diplom-Klasse Timm Rautert (HGB Leipzig), Otto Dix, Marlene Dumas, Tracy Emin, Valie Export, Adolf Fleischmann, Günther Förg, Isa Genzken, Liam Gillick, K. O. Götz, Renée Green, HAP Grieshaber, Asta Gröting, Thomas Grünfeld, Andreas Gursky, Otto Herbert Hajek, Erich Heckel, Georg Herold, Hannah Höch, Gerhard Hoehme, Adolf Hölzel, Martin Honert, Stephan Huber, Nadira Husain, Christian Jankowski, Sven Johne, Anselm Kiefer, Martin Kippenberger, Herbert Kitzel, Astrid Klein, Imi Knoebel, Daniel Knorr, Dieter Krieg, Wolfgang Laib, Uwe Lausen, Thomas Lenk, Thomas Locher, Markus Lüpertz, Heinz Mack, Michel Majerus, Josephine Meckseper, Reinhold Nägele, Ernst Wilhelm Nay, Marcel Odenbach, Albert Oehlen, A. R. Penck, Elizabeth Peyton, Georg Karl Pfahler, Otto Piene, Bernhard Prinz, Hans Purrmann, Neo Rauch, Tobias Rehberger, Otto Reiniger, Gerhard Richter, Pippilotti Rist, Martha Rosler, Thomas Ruff, Laura Schawelka, Oskar Schlemmer, Emil Schumacher, Thomas Schütte, Cindy Sherman, Max Slevogt, K. R. H. Sonderborg, Anton Stankowski, Walter Stöhrer, Thomas Struth, Fred Thieler, Hans Thoma, Wolfgang Tillmans, Rosemarie Trockel, Günther Uecker, herman de vries, Ben Willikens, Fritz Winter, Lambert Maria Wintersberger, Anna Witt, Peter Zimmermann (Foto: Elizabeth Peyton: „Craig hooded“, 1997, Courtesy: Sammlung LBBW, © Elizabeth Peyton).
(www.kunstmuseum-stuttgart.de/ausstellungen/jetzt-oder-nie)



Sonderausstellung „Carneval“ mit 3 Hamburger Frauen, Eröffnung: Donnerstag, 11. November 2021, 19 Uhr
11.11.21 – 27.03.2022, Deutsches Fleischermuseum Böblingen
Pinsel und Paletten schwingend erstürmen die drei bildergewaltigen Malerfürstinnen Henrieke Ribbe, Kathrin Wolf und Ergül Cengiz das altehrwürdige Vogtshaus und die dazugehörige Vogtsscheune. Die fünfte Jahreszeit 21/22 beginnt in Böblingen mit einem donnernden künstlerischen Paukenschlag. Die Copa Cabana liegt auch am Murkenbach. Mit vollem Körpereinsatz stürzen sich drei Diskursfleischwölfinnen auf alle Themen des Deutschen Fleischermuseums und seine Sammlungen. Einverliebt, verdaut und verwurstet wird alles zu einem synästhetischen Gesamtkunstwerk.

Nichts ist, was es zu sein scheint. Oben ist unten. Es geht um alles und unter die Haut.

Zackezickezackezicke, Heu-Heu-Heu, Narro-Narri, Hälau.
(fleischermuseum.boeblingen.de/,Lde/start/ausstellungen/3+hamburger+frauen+_carneval_.html)



‘Failure Was Around the Corner’: Why Joan Jonas, at Age 85, is Still Looking For New Ways to Perform and Spaces to Inhabit. With a MoMA retrospective on the horizon, the 85-year-old performance and video artist is finally claiming center stage.
08.11.21 – 08.11.2022, artnet News
For more than six decades, the artist Joan Jonas, now 85, has been gathering images, phrases, and sounds—sometimes from writers or other artists, sometimes from nature or cultural rituals—and absorbs them into her own body, where they stir her to  move or dance or draw. The resulting performances, videos, and live drawings broke ground when she debuted them in New York in the 1960s, mostly to a small group of artist peers, including Pat Steir, Richard Serra, and Gordon Matta-Clark. In recent years, Jonas has been dancing the circuit of international exhibitions: She’s shown at Documenta at least five times, the Venice Biennale twice, including as the representative for the U.S. in its national pavilion in 2015. She’s had retrospectives at Milan’s HangarBicocca, Tate Modern, and the Stedelijk in Amsterdam. Institutions in the U.S. have been a bit slower to catch on, but they now seem to be rapidly making up for lost time. Last month, the Dia Art Foundation in Beacon, New York, turned over its basement level to show two of Jonas’s installations from 1976, „Stage Sets and After Mirage (Cones/May Windows)“, as well as a multimedia reprisal of a performance she staged at the museum in 2004, „The Shape, the Scent, the Feel of Things“. And coming up in 2024, Jonas will be the subject of a large-scale retrospective at the Museum of Modern Art in New York. We spoke with the artist about her latest exhibitions, how she finds inspiration in literature, and the relationship between narcissism and performance. The two older works in the Dia show are both from 1976, when you started translating your performances into installations. What significance do these pieces, which were once used as stages, carry for you? Space is one of my main concerns and elements, so all my work is constructed in relation to a certain space. When I began performing, I already had a background in sculpture and I had to define the space to perform in. So, from the very beginning I made situations. Stage sets are a kind of coming together of elements. The row of chairs was from a piece called „Organic Honey“; I found one chair in a basement and I had it copied then that became part of the piece. The cones are part of earlier work, the hoop I use in many pieces, and the whole construction of the receding paper walls and the hoop and goalposts is from an earlier performance called Funnel, in which I performed in that space. It’s the first time that I actually made a piece like that to be seen with no video or no performance, just itself as a kind of sculpture. You’ve been going to Nova Scotia every summer for decades and that landscape has informed much of your work. But these past two years, you haven’t been able to travel to Canada because of the pandemic. Have you found new places to work locally? The first summer that I spent here, I made a big effort to go to the beach, out in Long Island, during the full moon. And so I made a little piece that I put in the Shanghai Biennale. I did a big drawing installation and I made a video out of that performance on the beach. I’m not going outside the way I usually do to work, or in my studio up there. But now I’m thinking, where in New York can I find [that space]? Because actually, when I began in New York in the late ’60s, early ’70s, I did perform outside. And New York was rougher and wasn’t so built up. It wasn’t so slick. For me, it was much more interesting and inspiring. Now of course, we’ve lost that. But I think there are places I’m interested in, that I want to visit now in New York, to use this landscape. What kinds of places? The beach again, but also nearby in the Pine Barrens. Maybe even the streets, like I did in the ’70s, when I got a guy with a video camera and brought Pat Steir with me, and we went down to lower Wall Street at night and performed in the street. I brought my tin and paper cones and we just improvised. It was a beautiful landscape, you know, the steam and passersby. You can’t do that now in the same way. You can’t just go out in the street and do whatever you feel like doing. Maybe the pandemic will bring it back? I don’t know. What was it about that landscape that you gravitated toward? The roughness, it was beautiful. I just saw a performance by Kevin Beasley in the street, which was good and reminded me of those days, the way he was using instruments, the metal, and the mics. I liked it very much. I guess it was the kind of openness and I can only use the word “roughness.” It wasn’t a shiny indoor space. There weren’t all these glass buildings then. New York was really more beautiful than now. But there’s still places, of course—maybe I just don’t have the same energy. I’m much older. In the early ‘70s, late ‘60s it was a smaller art community. Most of us were below 14th Street. Everybody knew each other, and so when I was going to do a performance outdoors, I would just get in touch with all my friends and they would come and be in it and work with me. It wasn’t a collaboration, but they would come and be part of the performance that I would direct. There were other artists, like Gordon Matta-Clark and Carol Gooden. What brought you to that space, the piers, where you performed Songdelay with Matta-Clark and the others? That was recorded on the Lower West Side, in those empty lots. It was amazing. It was a huge outdoor area where the factory buildings had just recently been torn down so there were maybe 10 empty lots. We were beside the river, and there was a big audience on the roof of a building on Greenwich Street, actually the roof from Richard Serra’s building, and they watched the performance from there. I had done a piece in Canada where the audience was standing on top of a cliff looking down. So I was interested in points of view, and also working outdoors. I had done a piece in Nova Scotia from overhead, so when I did the piece down there, it was like the overhead view and distance. I don’t think you can find that kind of distance anymore. Maybe you can and I just haven’t looked. You know we produced our own work. At the beginning, I made my own posters. We went around and put them up. There was no money for that. What do you feel when you perform? Are you thinking about what you’re doing or are you lost in the moment? It varies, of course, but if I put a costume on, I feel like I can move differently. I feel my presence in a different way. And certainly, in the early works, I did research relating to rituals and other cultures, not imitating them, but thinking of myself as part of a ritual, and I can only say that it transforms my sense of what or who I am. I play roles, and I dress up. I have several pairs of dark glasses that disguise me. They’re kind of a mask, and I move differently with the mask. Is it because you don’t want to see the audience or you don’t want them to see you?  Because I don’t want to see the audience. I don’t want to look into their eyes. I can look toward them, but I don’t want to make eye contact or see who’s in the audience. I want to separate myself. It makes me feel freer, because I’m not thinking about “Oh, who’s there?” And definitely, when you’re performing, you’re in another zone. Time is different. It goes by like a flash—when you’re doing it well, not when you’re doing it badly. You’re an improvisational performer in some ways, and in recent years you’ve collaborated with an improvisational musician, jazz composer and pianist Jason Moran. Did working with him teach you anything new about improvisation or sound? It was wonderful to work with Jason. Improvisation is something everybody uses to work toward something. Whenever I start working on something, I start by improvising, then I settle down and by the time I either record or perform or do anything with the piece, it’s all set. I don’t improvise at all during an actual live performance. Working with Jason, I relaxed a little bit. Whenever we settled on a certain sequence of motifs, we would work with them over and over again, the same way, except that each time he played them, he would play them slightly differently. But you would always recognize those motifs. I have instruments that I bring, bells and rattles and so on, and we did a duet in which I improvised with my instruments with his playing live. I’ve never done that before live. It was a wonderful freeing experience. You not only translate your own past videos and performances into new ones, but you also do it with other artists’ work, including the German art historian Aby Warburg and the Icelandic author Halldor Laxness. What is it about a text that strikes you, not just as a great work of art, but as something you can alchemize into your own practice? Just on a very basic level, if something draws me, that’s beautiful. Or, on the other hand, if it’s something that’s important. At one point, I did a piece based on Dante’s „Divine Comedy“ because it’s such a beautiful text and I was dying to read it. And I just thought, this is a good way to read. It’s so obscure to us Americans, but the Italians spend three years reading it. I had Okwui Enwezor’s daughter read it for a piece, she was 10, and I called it „Reading Dante“, because I wanted to show that anybody can read Dante. I began with poetry, with Borges. The way he talks about mirrors inspired me to use mirrors, and also to quote him. And then the way James Joyce uses myth as metaphor to illustrate or represent a character, that idea influenced me quite a bit. And then after working with poetry and Borges, the fairy tale forms of storytelling intrigued me. Given how intertwined you are with your work, I wonder if being a performer has in turn shaped your personal life in some way, like how you approach interactions with others socially, or how you talk during interviews?  Well, I’ve always enjoyed athletics, but I’m not a professional. I think it helps my physicality in relation to performing. When I perform, I have to be in a good physical condition. I can’t just step into something without preparing a bit physically, and being in what I think is the right shape, so that I can move freely. And then I often find a character by dressing up in different ways. Or I define my character by dressing up in costumes. But I have to step from my everyday life into the life of whatever the space of the performance is. That’s why I make those stage sets, so I can step into them and be in a different world. It’s a tough question. Maybe it’s more of an observation than a question. I’m thinking about how you have such a strong presence about you, and I wonder if it’s from having done so much performance to your life. Well I tell you what, I built my self-confidence up. I didn’t always have that. I used to get terrible stage fright. I had no experience theatrically. I never studied theater or anything. Teaching helped me too, getting up in front of groups, and giving lectures. So all those things together changed my relationship as the performer and as a presence to the public. It altered my relationship for the better. I made me more confident, and I can act more freely and improvise. How did you get through that stage fright in the early days? And why did you even go into performance if you had it? I was very drawn to performance. The minute I did it, for the first time, I was drawn to it, to find the work by using my body in relation to space and objects. The way I would arrive at that would be total improvisation, picking up an object and working with it. I was just simply drawn to it, irresistibly. I like to perform, I like to be in front of an audience. But it was scary in the beginning, and that’s one of the reasons I used masks at the very beginning. It hid my presence. I didn’t want to be Joan Jonas, I wanted to be a character, or anonymous. Just by putting on a pair of glasses, you can alter your persona. That must have been particularly stressful in those days, when you were performing truly avant-garde works that might have looked completely new and strange to many audiences. It was very exciting because everyone realized that we were in new territories. But yeah, scary. Failure was around the corner. Sometimes I would do a piece and it was simply bad, and that’s kind of humiliating. Everybody has that experience, every performer. Once I talked to Yvonne Rainer about it and we shared the fact that we’re both very shy people. I think often shy people are performers because you can hide behind your identity on the stage. And you don’t talk to people directly. You have a distance and indirect way of relating to them. When I did my first video performances I looked in the camera and and the audience saw me looking at them, but I was looking in the camera. So that was the whole idea of working at that time. So it’s a way to have the stage without necessarily being at the center somehow. It’s so interesting because we usually think of the actor as being a stereotypically narcissistic figure. Well, narcissism was something I played with directly because there was such an anathema against narcissism during the time of minimalism. What was the relationship between narcissism and minimalism? There were certain people who were really against narcissism. The dancers were really against romanticism and narcissism, I’d say, and there was a kind of anti-story. They didn’t want to tell a story, so the movements were very basic movements, and there was simply a desire to get away from narcissism. I think it has to do with the history of dance. You could say that Martha Graham was very narcissistic, and ballet is a kind of narcissism. And so I played with that, in relation to the video camera, and looking at myself by looking in the mirror. It also came up when I did the mirror pieces, people would be uneasy when they saw themselves in those mirrors, and I played on that. It makes people uncomfortable to be caught looking at themselves in the mirror. I read somewhere that you don’t like being called a performance artist? Those terms were not invented by me, they’re invited by curators actually. I think Willoughby Sharp was the one who first said “performance art.” I just didn’t like the term at the beginning. I’ve accepted it now. But if you just say, “performance artist” to the general public, what do they think? I would rather be called an artist, because that’s what I am. And performance is one of my main mediums, but I also make videos, I make drawings. So is that performance art? No. Not everything is performance art. But it’s very hard to shake that term. Where are you at in planning for the 2024 MoMA retrospective? Can you tell me anything about what will be included? I’ll definitely include photographs, and not just snapshots, but really good photographs by professionals who have over the years photographed my work. I will include videos of performances. But I think most of it will be installations, which in idea relate to the one at Dia Beacon. So it’ll be a series of installations and single-channel video works and drawings. I don’t know yet which ones, but it’s quite a big show. It’s the top floor of MoMA. Will you make anything new for it? Probably. I don’t know what that’s gonna be yet. Over the years when I have these shows I always try to make something new because otherwise you get totally lost in your past and what you’ve done before. And I like to keep myself alive by doing a new work in relation to that situation (article by Rachel Corbett, Deputy Editor, photo: Portrait of Joan Jonas by Don Stahl.)
(news.artnet.com/art-world/joan-jonas-2028608?utm_content=from_&utm_source=Sailthru&utm_medium=email&utm_campaign=EUR%208%20November%20AM&utm_term=EUR%20Daily%20Newsletter%20%5BMORNING%5D)



Gruppenausstellung „Starke Frauen – Bildende und angewandte Kunst aus der GEDOK München“ mit Ergül Cengiz, Vernissage: Freitag, den 05.11.2021, gegen Anmeldung
06.11. – 12.12.2021, Stadthausgalerie Sonthofen
„Starke Frauen“ titelt die Ausstellung, die vom 6. November bis zum 12. Dezember in der Stadthausgalerie Sonthofen zu sehen ist. Sie trumpft mit Arbeiten von 51 Künstlerinnen auf. Ein genau auf die Räume zugeschnittener Ausstellungsparcours gibt Einblick in ein schillerndes Kaleidoskop vielfältiger künstlerischer Positionen aus dem Bereich der bildendenden und der angewandten Kunst. Neben einem hohen handwerklichen und künstlerischen Niveau verbindet die Akteurinnen die Solidargemeinschaft der GEDOK München. Eine Inventur Ende der 1980er-Jahre im New Yorker Metropolitan Museum of Art führte zu einem Sturm der Entrüstung: Weniger als fünf Prozent der Arbeiten in der Abteilung zeitgenössischer Kunst stammte von Frauen. Seitdem ist einiges passiert. Inzwischen ist jedes dritte Kunstwerk in zeitgenössischen musealen Sammlungen in Deutschland von Frauen und an deutschen Kunstakademien stellen Frauen mehr als die Hälfte der angehenden Profis in Sachen Kunst. Und dennoch gibt es noch so manche Schräglage, so werden beispielweise die Kunstwerke von Frauen auf dem internationalen Kunstmarkt meist geringer taxiert als die der männlichen Kollegen. Kulturreferentin Petra Müller und die künstlerische Leiterin der Stadthausgalerie Uta Römer geben mit der Ausstellung „Starke Frauen“ der Gender-Thematik Raum. Die freie Kuratorin Katia Rid und die bildenden Künstlerinnen Dörthe Bäumer und Ergül Cengiz haben auf Einladung der Stadt Sonthofen über Monate eine genau auf die Räume der Stadthausgalerie Bezug nehmende Ausstellung kuratiert und organisiert, die über 50 künstlerische Positionen aus dem Netzwerk der GEDOK München vorstellt. Dabei ist mit Malerei, Fotografie, Zeichnung, Objekt, Installation und Video ein breites Spektrum bildender Kunst zu sehen sowie Glasarbeiten, Papierobjekte und Schmuck aus dem angewandten Bereich. Dabei wurde auf ein übergeordnetes Thema verzichtet, um der Vielfalt von Positionen, Inhalten, Auseinandersetzung und Ausdrucksformen Raum zu geben. Künstlerinnen: Adidal Abu-Chamat, Silke Bachmann, Dörthe Bäumer, Ursula Bolck-Jopp, Sieglinde Bottesch, Simone Braitinger, Ergül Cengiz, Nena Cermak, Ruth Effer, Judith Egger, Susanne Elstner, Sophia Epp, Heidrun Eskens, Katja Fischer, Sheila Furlan, Renate Gehrcke, Reinhild Gerum, Alexandra Hendrikoff, Susanne Holzinger, Elis Hoymann, Monika Humm, Lisa Hutter Schwahn, Christiana Jöckel, Jessica Kallage-Götze, Christina Kirchinger, Kirsten Kleie, Ayako Koike, Rosa Maria Krinner, Margret Kube, Inge Kurtz, Patricia Lincke, Ina Loitzl, Nina Anabelle Märkl mit Katharina Kohm, Irmengard Matschunas, Hertha Miessner, Anne Pincus, Luise Ramsauer, Penelope Richardson, Hilla Rost, Kathrina Rudolph, Ursula Steglich-Schaupp, Sabine Schlunk, Rose Stach, Barbara von Taeuffenbach, Susanne Thiemann, Anja Uhlig, Ulrike Umlauf-Orrom, Charlotte Vögele, Elke Zauner, Anette Zey.
(www.stadthausgalerie.de/ausstellungen-veranstaltungen/starke-frauen-im-november/)



Solo Show „Joan Jonas“, Opening: Friday, October 8th, 2021
08.10. – 23.12.2021, Dia Art Foundation, Beacon, New York
This exhibition brings together three collection works by Joan Jonas, a founding figure of video and performance art of the 1960s and 1970s. Presented in Dia Beacon’s lower-level galleries, the exhibition features the large-scale multimedia installation „The Shape“, the Scent, the Feel of Things“ (2004), which was commissioned as a performance for Dia Art Foundation in 2005–06, and two recently acquired works, „Stage Sets“ and „After Mirage“ (Cones/May Windows) (both 1976). Collectively, the three works present a compelling trajectory of Jonas’s oeuvre from the pivotal year of 1976, when Jonas decisively turned to translating nonlinear performance and video into performance installations, to the evolution of the artist’s work thirty years later. Opening on October 8, 2021, this exhibition brings together three seminal works by Joan Jonas, a central figure in the development of video and performance art. Occupying an expansive lower-level gallery of Dia Beacon, this presentation unites the large-scale multimedia installation The Shape, the Scent, the Feel of Things, originally commissioned as a performance for Dia in 2004, with two recently acquired works, Stage Sets and After Mirage (Cones/May Windows) (both 1976). Collectively, these three works illuminate an essential trajectory of Jonas’s practice from the pivotal year of 1976, when she first began creating performance installations, through to the ongoing evolution of the artist’s work decades later.

“Dia’s relationship with Joan Jonas has spanned more than twenty years, encompassing commissions, performances, video screenings, and these two essential additions to our permanent collection,” said Jessica Morgan, Dia’s Nathalie de Gunzburg director. “This major presentation gives remarkable insight into the artist’s revolutionary use of performance and video as well as the complex reimagining of her own work throughout her career.”

Jonas’s work primarily centers on intricate installations involving drawing, sound, video, and stage sets, often activated through performances that feature the artist and her collaborators, using props like masks and mirrors. Her radical video and performance works from the 1960s and ’70s are closely linked with emerging feminist critiques of the time, while simultaneously regarded as key pieces in the evolution of video art. Jonas’s anthropological interest in global ritual and performance customs has been integral to her decades-long practice, as has her engagement with diverse artistic and literary forms.

The exhibition includes Stage Sets and After Mirage (Cones/May Windows), two important works from the 1970s that were acquired by Dia in 2019. The year 1976 marked a decisive shift in Jonas’s practice, during which she begantransforming performance and video into performance installations. From that point forward, the artist conceived installations in tandem with her performances. These two early installations constitute palimpsests of works that preceded them, which the artist has continued to reanimate in an evolving self-reflexive process. Thus, although they are singular installations, a complex history of Jonas’s oeuvre is also inherently embedded, indexing antecedents as well as subsequent works from the decades to follow, including The Shape, the Scent, the Feel of Things. This marks the first presentation of both Stage Sets and After Mirage (Cones/May Windows) in the United States since their original iterations in 1976.

In 2004 Dia Art Foundation commissioned The Shape, the Scent, the Feel of Things, a performance staged in Dia Beacon’s lower level multiple times during 2005 and 2006. The multimedia performance conjures a hallucinatory space through voiceovers, dance, an original score by Jason Moran, and several mobile screens that project images ranging from Albrecht Dürer’s engraving Melencolia I (1514) to the landscapes of the American Southwest. The Shape, the Scent, the Feel of Things takes on an updated iteration in this current installation.

In the new exhibition at Dia Beacon, Jonas has reconceived all three works for the cavernous lower-level gallery conceiving a new, site-specific layout. “Indicative of Joan Jonas’s iterative approach to her performance installations, at Dia Beacon the artist has worked intimately with this unique space to stage newly imagined presentations of three iconic works,” said Kelly Kivland, curator. “Both site-specific and expansively self-referential, Jonas’s own hand is paramount throughout every detail of this installation.”

This exhibition will be accompanied by a monograph, forthcoming in 2022 and edited by Barbara Clausen, Kelly Kivland, and Kristin Poor. In addition, Joan Jonas: The Shape, the Scent, the Feel of Things, first published in 2006 as a companion to the original performance at Dia Beacon, will be reissued with a new statement by the artist.

About Joan Jonas:
Joan Jonas was born in New York in 1936. She received a BA from Mount Holyoke College, South Hadley, Massachusetts, in 1958, and an MFA in sculpture from Columbia University, New York, in 1965. Her work has been exhibited internationally, with recent solo exhibitions at the Tate Modern, London (2018); Isabella Stewart Gardner Museum, Boston (2019); Fundação de Serralves, Porto, Portugal (2019); and Museo Nacional Thyssen-Bornemisza, Madrid (2020). Jonas represented the United States at the 2015 Venice Biennale and received the Kyoto Prize in 2018. Jonas is Professor Emerita at Massachusetts Institute of Technology, Cambridge (Joan Jonas: „After Mirage“, installation view, Sant'Andrea de Scaphis, Rome, February 17-March 19, 2016. © Joan Jonas/Artists Rights Society (ARS), New York. Photo: Roberto Apa, courtesy Gladstone Gallery, New York.)
(www.diaart.org/exhibition/exhibitions-projects/joan-jonas-exhibition)



Group Show „SOL ! La biennale du territoire. #1 – Un pas de côté“ with Anne-Lise Coste, Opening: Friday, October 1st, 2021, 6 pm
01.10.21 – 09.01.2022, MO.CO.PANACÉE, Montpellier
MO.CO. présente SOL !, première édition d’une biennale qui reflètera le territoire et la scène artistique locale.  Intergénérationnelle, inclusive, aimant à explorer les lisières, cette exposition se veut généreuse, célébration de la dynamique créative qui anime Montpellier et sa région. SOL ! La biennale du territoire ouvrira le 2 octobre 2021 au MO.CO. Panacée. Elle s’est engagée dès 2019 par des visites d’ateliers et des rencontres, des recherches approfondies sur la scène artistique locale et une réflexion sur le rôle de l’institution culturelle envers sa communauté immédiate. Le territoire défini va de Sète à Alès et de Nîmes à Béziers. La biennale se veut aussi une plateforme de diffusion et de promotion nationale et internationale. Dans cette optique, une publication regroupant les artistes de l’exposition est prévue pour l’automne 2021. Cette première édition se concentre sur un phénomène de «décentrement» observé dans les pratiques artistiques contemporaines. L’artiste est souvent le radar, l’aiguillon qui ressent les changements, les menaces ou les enchantements du monde. Il/elle s’inscrit pleinement dans son temps, tout en exprimant une singularité lui permettant d’échapper aux normes en vigueur. Avec sa création en 2019, MO.CO. poursuit cette même perspective de «décentrement». Or, la création contemporaine s’accompagne d’une défiance vis-à-vis d’un système autoritaire, hiérarchique, centré sur notre espèce, un système dont les valeurs sont établies selon des schémas de domination et des modèles périmés. Les artistes quittent aujourd’hui les grandes capitales au profit de territoires moins denses, abandonnent les modèles de la production entrepreneuriale au profit de formes vernaculaires: les frontières entre art et artisanat, entre le noble et le prosaïque, s’estompent. Les œuvres dépendent désormais de lieux spécifiques, se transforment et évoluent au gré des cadres qui leur sont offerts. Ces grandes lignes forment le cadre de l’exploration qui nous a conduit à cette première édition de la biennale, intitulée Un pas de côté. Les œuvres, montrées selon trois axes (le rapport à la nature; le rapport à l’Histoire; le rapport à la société), expriment ce décalage libérateur qui ouvre un rapport au monde dénué d’a priori, et un rapport décomplexé aux outils et matériaux de l’art, allant ici du pinceau à la branche de ronce, de la feuille photocopiée à la porcelaine, de la peinture en bombe aux pigments naturels. L’écosystème du MO.CO. a été créé pour encourager, soutenir et diffuser la création contemporaine sur son territoire. Il a été pensé comme une structure de rayonnement horizontal, facilitant les échanges entre l’ici et l’ailleurs, depuis la formation des artistes jusqu’à l’exposition, en passant par la médiation et les moyens mis en œuvre pour faciliter l’accès et l’appropriation des formes artistiques contemporaines par le public. L’Ecole Supérieure des Beaux-arts de Montpellier (MO.CO. Esba), a permis des allers-retours entre formation et professionnalisation, entre développement d’une création propre et intégration dans un réseau multiformes: les échanges entre les sites (Ecole, Panacée et Hôtel des collections), entre les équipes et les étudiant.e.s, entre les étudiant.e.s et les artistes invité.e.s ont été explorés, développés, programmés : Saison 6 est le programme permettant aux jeunes diplômé.e.s de participer à des Biennales internationales, des résidences (Château Capion, Aniane; Domaine des Boissets, Sainte Enimie; Maison Daura, Saint Cirq Lapopie; Abbaye de Fontfroide, Narbonne; Fonderie Darling,  Montréal…) accueillent chaque année des diplômé.e.s, les artistes, commissaires, critiques invité.e.s par le MO.CO. rencontrent et collaborent également avec les étudiant.e.s de l’Ecole. En 2019, l’exposition 100 artistes dans la Ville a été l’occasion d’exprimer plus particulièrement cette porosité, en investissant le cœur de ville pour y produire et y exposer près de 54 artistes du territoire sur les 102 présenté.e.s au total. L’inauguration de l’Hôtel des collections a également été l’occasion de faire appel aux artistes locaux pour des créations spécifiques (La Cellule, Geoffrey Badel). Plus récemment, l’exposition Possédé.e.s intègre quatre artistes installé.e.s à Montpellier depuis leur sortie d’Ecole (Nicolas Aguirre, Jimmy Richer, Chloé Vitton, Luara Learth Moreira). Enfin, Drawing Room et Boom ont souligné ce lien avec les acteurs de la création contemporaine à Montpellier et ses alentours. Un parcours d’exposition autour de trois axes sera proposé aux visiteurs,  le rapport à la nature, le rapport à l'histoire, le rapport à la société.
(www.moco.art/fr/exposition/sol-la-biennale-du-territoire)



Tim Berresheims Bilderreise: Eine einzigartige Radroute im Heinsberger Land, Eröffnung: Mittwoch, den 07.07.2021, 14:30 Uhr
07.07. – 31.12.2021, Am Bahnhof der Museumseisenbahn Selfkantbahn in Schierwaldenrath (Am Bahnhof 13 a, 52538 Gangelt)
Der international gefeierte digital arbeitende, bildende Künstler Tim Berresheim gestaltet eine Radroute voller virtueller Überraschungsmomente in seiner Heimat. Nun ist sie „erfahrbar“ und wird in seiner Anwesenheit von Regierungspräsidentin Gisela Walsken, Landrat Stephan Pusch und mit einer Videobotschaft von NRW-Wirtschaftsminister Andreas Pinkwart offiziell eröffnet. An insgesamt 14 Stationen und mit weiteren drei Specials lädt der im Kreis Heinsberg geborene und aufgewachsene international gefeierte Künstler Tim Berresheim die Betrachtenden auf eine spannende Reise zwischen Vergangenheit und Zukunftstechnologie ein. Nun wird das innovative Zusammenspiel von App, augmentierter Realität, visuell beeindruckender Kunst und Radfahren der Öffentlichkeit vorgestellt. Initiiert und realisiert wird das Radtourismus-Projekt von HEINSBERGER LAND, der touristischen Abteilung der Wirtschaftsförderungsgesellschaft für den Kreis Heinsberg. Ermöglicht wurde es durch eine Förderung mit Mitteln des NRW-Wirtschaftsministeriums. Sie erwarten vor Ort folgende Gesprächspartner:innen: Tim Berresheim, Regierungspräsidentin Gisela Walsken, Landrat Stephan Pusch, WFG – Heinsberger Land - Geschäftsführer Ulrich Schirowski sowie eine Video-Grußbotschaft von Wirtschaftsminister Professor Andreas Pinkwart. Die AR-Kunst von Tim Berresheims Bilderreise wird Ihnen vor Ort live präsentiert. Sie haben (unter den geltenden Corona-Auflagen) die Gelegenheit zum Austausch mit dem Künstler und den weiteren Gesprächspartner:innen sowie zu verschiedenen Foto-Szenarien. Wir bitten aus organisatorischen Gründen um eine kurze Anmeldung bis 06.07.2021 per E-Mail an: kaemmer@heinsberger-land.de
(heinsberger-land.de)



„Artists urged to shrug off Brexit blues in cross-Channel project“ with Anne-Lise Coste, „People in UK and France encouraged to submit work exploring new relationship between two countries.“
08.02.21 – 07.02.2022, The Guardien
Artists on both sides of the Channel are being encouraged to beat the Brexit blues in a project exploring the new relationship between the UK and France. „I Love You, Moi Non Plus“ aims to highlight how the arts across all disciplines from painting, illustration, photography, music and writing can break down the borders thrown up by Britain’s departure from the EU. A number of celebrities including Brian Eno, Ai Weiwei, Stella McCartney, Jean Paul Gaultier, Tamara Rojo of the English National Ballet and the British contemporary artist Bob and Roberta Smith have already agreed to contribute their interpretations of what the British-French relationship means to them. However, the organisers are keen for the well known to serve as inspiration for everyone else to express themselves. „In response to Brexit and the new borders now in place, the project seeks to highlight how art and creativity can maintain connections between communities across the Channel, unifying voices from across Britain and the EU,“ said a spokesperson for the Somerset House arts centre, one of the project’s partners along with the fashion chain Dover Street Market. „I Love You, Moi Non Plus“ – inspired by Serge Gainsbourg’s 1969 hit with Jane Birkin – echoes last year’s lockdown competition inspired by David Hockney called Hope in Spring, dreamed up by Ruth Mackenzie, the chair of the London Arts Council. Mackenzie is also involved in this latest project, which she said aimed to remind people that Brexit was more than „an economic catastrophe“. „Art provides links between us that we really need right now,“ she said. „But artists have had no voice in these [Brexit] discussions. As in any divorce you have to pay attention not just to the economics, but the emotional bedrock.“ Among the early entries is a 2012 film by the Chinese artist Ai called Learning to Sing the Grass Mud Horse Song, which highlights how censorship and lack of freedom resonates with European and British artists who can no longer move freely between the UK and the continent. The music producer and artist Eno has created an image merging the union flag and the tricolour, while the French director Mohamed El Khatib’s offering follows the red, white and blue theme with school lines reading „Je ne dois pas dire du mal de Boris Johnson“ (I must not say bad things about Boris Johnson). Théo Recoules of the Sabir agency, which is coordinating the project, said it was hoped the famous artists would inspire contributions from „ordinary citizens“. „We want to hear from anyone, anywhere who have something to say about the unique relationship between France and Britain,“ Recoules said. „It’s open to all and we hope the entries will be as different as possible. Since 2016, the subject of Brexit has been treated exclusively by politicians in London and Brussels, while we citizens had very little voice to express ourselves.“ Work can be submitted by sharing it on social media under the hashtags #ILoveYouMoiNonPlus, #ILYMNP and #LifeAfterBrexit, or on the Dover Street Market website before the 25 February deadline. All submissions will be published online and the best will be chosen for an exhibition to be held in Paris and London when coronavirus restrictions are lifted. „I believe there is an artist in everyone, and like the David Hockney project it’s about finding that artist,“ Mackenzie said. By Kim Willsher in Paris (image: A piece by the French artist Anne-Lise Coste.)
(amp.theguardian.com/politics/2021/feb/08/artists-urged-shrug-off-brexit-blues-cross-channel-project)



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)