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gabrielesalvaterra · 6 years

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Christian Macketanz. Family portrait

curated by Gabriele Salvaterra

Trento, Paolo Maria Deanesi Gallery

June 8th - September 8th 2018

(exhibition views)

Press release:

Christian Macketanz presenta per la prima volta alla Paolo Maria Deanesi Gallery un nuovo nucleo di lavori pittorici interamente dedicato alla propria famiglia. Nelle opere della serie Family portrait gli affetti dell’artista diventano i personaggi delle sue suggestive e misteriose ambientazioni dove le figure, immerse in un’atmosfera onirica, hanno pose o sono intenti in azioni eccentriche e mai chiaramente comprensibili. Un mistero che viene alimentato dallo stesso Macketanz che osserva il manifestarsi dell’immagine con la stessa curiosità del comune osservatore: “Le persone, nei miei dipinti, si impegnano davvero con grande onestà, spesso nonostante ostacoli enormi, di cui mi dispiaccio sinceramente. (…) Non dipende da me se i loro sforzi avranno successo o meno. Ciò risiede totalmente negli occhi, nelle menti e sopratutto nei cuori degli osservatori pazienti”.

Nei dipinti di Macketanz il mondo parentale è un piccolo universo che accompagna, con i suoi rapporti e i suoi traguardi, la nostra crescita di uomini e che, celebrato in questa serie, rivela i suoi misteri ed enigmi così vicini ma impenetrabili. La sua pittura come una stonatura nell’ortodossia del mondo dell’arte contemporanea è una spontanea forma di affronto e resistenza – violenta nella sua delicatezza – a tutto quel sistema di velocità e chiarezza, concettualismo e verbosità che caratterizza le forme del pensiero odierno.

Family portrait è introdotta da un testo critico di Gabriele Salvaterra e da uno statement dell’artista.

Christian Macketanz, nato a Eutin in Germania nel 1963, ha frequentato agli inizi degli anni Ottanta i corsi di Maria Lassnig alla Hochschule für angewandte Kunst di Vienna. Dopo diversi soggiorni che lo hanno portato a Roma tra il 1995 e il 2001 e a Berlino tra il 2002 e il 2010, attualmente vive e lavora a Dresda dove è Professore di Pittura alla Hochschule für Bildende Künste della città.

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Christian Macketanz presents for the first time, at Paolo Maria Deanesi Gallery, a new group of paintings completely devoted to his family. In the works of the series Family portrait the relatives of the artist become the characters of his suggestive and mysterious settings in which the poses and the actions of the actors, diving in a dreamy atmospheres, are always eccentric and never clearly comprehensible. It’s Macketanz himself who nourishes this mystery. The painter looks at the creation of the image with the same curiosity of the common public: “The people in my pictures are making such an honest effort, often in spite of enormous obstacles, that I truly feel for them. (…) It's not up to me whether their efforts are successful or not. This lies totally in the eyes, the heads and especially the hearts of the patient observers”.

In his paintings the family world is a small universe that brings, with its relations and goals, our growing of human beings and that, celebrated in this series, shows its mysteries and puzzles so close but inscrutable. His work, as a clash in the contemporary art world’s orthodoxy, is a spontaneous form of outrage and resistance (violent in its fragility) to an entire system of rapidness and clarity, conceptualism and wordiness, that are typical of today’s thought.

Family portrait is introduced with a critical essay by Gabriele Salvaterra and with the artist’s statement.

Christian Macketanz, born in Eutin, Germany, in 1963, frequented at the beginning of the 80s the courses of Maria Lassnig at the Hochschule für angewandte Kunst in Vienna. After various travels that led him at Rome from 1995 to 2001 and to Berlin from 2002 to 2010, now he lives and works in Dresden, where he is Professor of Painting at the Hochschule für Bildende Künste of the city.

Gabriele Salvaterra

#christian macketanz #exhibition #art #gabriele salvaterra #paolo maria deanesi gallery #gallery #artist #painting #bad painting #anachronistic #press release

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deutscheshausnyu · 5 years

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INTERVIEW WITH THORSTEN BAENSCH

Thorsten Baensch was born in Heide, Germany, in 1964. He has lived in Brussels since 1991 as an artist and publisher. Baensch has worked as a bookseller and book production manager in Cologne, Hamburg, Munich and New York. He studied painting in Brussels and Milan. In 1995, he established Bartleby & Co., through which he creates and publishes artists’ books and editions. His limited-edition books are in the collections of many prestigious institutions.

On November 15, 2018 at 6:00pm Deutsches Haus at NYU presented the exhibition opening by Thorsten Baensch. His exhibition “Winter Heroes” will be on view until March 2019.

In 1995, you established Bartleby & Co., which creates and publishes artists’ books and editions. What inspired you to establish such a project?

“Bartleby & Co.” developed gradually. My first edition from 1995 was inspired by Luc Richir, my former professor of philosophy at the Brussels “Académie des Beaux Arts”. Upon visiting a small exhibition displaying some of my drawing books, he asked me if I would like to work with him. He gave me a manuscript consisting solely of aphorisms, and I added my original drawings. We named the joint project, “La Quadrature du Ciel”. To me, making artists’ books seemed to be the perfect solution to combine three of my professional passions: bookselling (first trained as a bookseller), bookmaking (working as a production manager for a well-known German art publisher) and art (studying painting at the Art Academy in Brussels).

Certainly your project Bartleby & Co., helps you in networking and in facilitating the exchange of ideas with other artists. How does this collaboration inspire your own work and practice?

Over the years, collaborating with other “experts” has become the most important to me. What I truly like about making artists’ books is indeed the collaborative aspect. One cannot make a book all by one’s self. Writers, artists, printers, and bookbinders are all essential during the publishing process.

Your exhibition “Winter Heroes,” is currently on view at Deutsches Haus at NYU. Can you tell us how you developed the idea for this exhibition and how it was realized?

I like the idea that my books can be exhibited as specific objects of art without neglecting the richness of the content they are comprised of. For the show at Deutsches Haus, I tried to make a simple and movable exhibition featuring a few pages, quotations, laminated photographs and some other material of the two editions Neuköln “Heroes” and Nuclear Winter.

Besides the texts from these two very special artists' books, the work of two photographers is part of the exhibition. Can you tell us a little more about these collaborators?

Indeed, the show is featuring some elements of the book Neuköln “Heroes,” published in close collaboration with the two Parisian photographers, Benoît Grimbert and Hannah Darabi. In addition to a series of stills from the silent Billy Wilder film, “Menschen am Sonntag,” showing ordinary Berliners from the 1920’s, Benoît and Hannah present their photographs of people from Berlin-Neukölln today. “Nuclear Winter,” was done with Benoît Grimbert, with whom I’ve already made a few books, three of them feature famous iconic figures of pop.

Is there anything else you are reflecting on during your stay in New York City? Any new projects you are thinking of?

Yes indeed! From time to time I come to New York. Over the years – ever since I first came here in 1989 – I’ve made friends with various artists, many of who I’ve enjoyed intensive work relations. During my stay, I met the New York based artist-writer Richard Kostelanetz, with whom I recently finished a book project. We are now developing a new book idea.

I also met with Joe Scanlan, a visual artist who lectures at Princeton. Twelve years ago, we published the book “Two Views,” and this time we have propelled the idea of publishing a book based on a monumental series of 3000 drawings he made. Another friend, the painter Laleh Khorramian from Catskill, met up with me in New York City and we are dreaming of a new joint artist book.

What has been your most precious experience in New York City? What do you enjoy the most when you are here?

I love New York City. I also like to discover new places. This time, I “found” an old-fashioned sandwich shop called “Eisenberg,” near the Flatiron building at Madison Square. Another enjoyable experience was the great “Hilma af Klint” show at the Guggenheim Museum. I’ve never before heard about this early abstract painter from Sweden. I found her work astonishingly beautiful.

Where do you feel most creative? Indoors? Outdoors? Has a city ever captivated your imagination?

I get my best ideas in public places. I love sitting in cafes or bars with a note or sketch book. While observing the other guests, and if sitting next to a window, I watch the life outside, get into a meditative mood, and in this state, I get new ideas…

Are there any contemporary artists that you’re particularly interested in?

“Hilma af Klint” was a real discovery. I prefer “silent” artists and those who for some reason are underestimated. On the more famous side, I admire the work of the Austrian painter Maria Lassnig, who passed in 2014. I’m really inspired by the work of Joseph Beuys, and I truly appreciate the American artist Richard Prince.

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belldubois · 6 years

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Maria Lassnig: “Soft as marmalade, marmalade out of blood I’m batted and feel hindered and left locked out from the world of painting.”

“There was a saying, if a boy is born, parents drink a schnapps, but if it is a girl they would only celebrate with water or even less … nothing”, recollects Maria Lassnig in one of her recently numerous interviews

Born in 1919 she started to scribble her first artworks at a very young age. Once her mother even seeked the help of a fortune teller because her little girl was holding her hands in such a crooked way while drawing, that she looked like a fool. Although her mother was told to support her daughter, her only thought was to get her married to a decent man to keep her out of harm’s way.

But Life had different plans for her. As a young woman she decided to make a living out of painting. Between 1941 and 1943 Maria Lassnig studied at the academy of fine arts in Vienna. Later on she lived in Paris and New York. While living in the United States she started making animated films because her paintings were not understood. In the year 1980 she accepted a teaching position at the University for applied arts in Vienna. She was the first female professor for Painting at an academy in the German speaking world. Between 1982 and 1997 her works were shown at the documenta in Kassel. In the year 1988 she receives the Austrian State Art Prize and in 2004 she was awarded with the Max-Beckmann prize of the city of Frankfurt

#Maria Lassnig #Artist

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a---z · 7 years

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Saturday 25th of February Doors open at 5.30pm 6 - 9pm

Dark Water: The Dead of Night

Laurie Anderson Anna Bunting-Branch Valie Export Rebecca Jagoe Sam Keogh Maria Lassnig Lynn Hershman-Leeson Lawrence Lek Rashaad Newsome Tai Shani Marianna Simnett Zadie Xa Special print by Allison Katz

Programmed by Tai Shani & A---Z (Anne Duffau)

At the point of 'Heat Death of the Universe' or maximum Entropy / A realised cyborgian myth / A Subliminal intervention between Here and Nowhere (Tai Shani, The Vampyre, 2016)

Tai Shani & A---Z (Anne Duffau) presents an evening of performances and screenings around Sci Fi / technology / the future bodies at CGP London, Dilston Grove.

An evening of performances and screening exploring and extending a research around amorphous living through technology & the inner space.

In associate with LUX, Daata Editions, sixpackfilm and the Royal College of Art, School of Fine Art

SOLD OUT

Please note that seated places will be limited so arrive early - a 15/20 min interval will take place after the first hour - the total duration of the evening will be 3 hours.

v Laurie Anderson

O Superman, 1982, 8min28

v Anna Bunting-Branch

The Linguists, 2017, 8min04

v Valie Export

Self-Portrait with Head, 1966-1967, 1min

v Rebecca Jagoe

The Apotropaion (Reptilian Coiffure),15-20 min

v Sam Keogh

Predator Versace Bleached, performance, 25min

v Maria Lassnig

Shapes, 10min 1972

v Lynn Hershman-Leeson

Seduction of a Cyborg, 1994, 8min

Lawrence Lek Shiva's Way (Seoul 2072),12m02

v Rashaad Newsome

Put Some Respect On My Name, 2016, 1min13 courtesy the artist and Daata Editions

v Tai Shani

DARK CONTINENT: PHANTASMAGOREGASM, 2016, 25min

v Marianna Simnett

The Needle and the Larynx, 2016, 15min17

v Zadie Xa

Mood Rings, Crystals and Opal Coloured Stones, 2016, 10min (Special Edit)

v Special print by Allison Katz

One of the most admired and acclaimed experimental-performance artists in the United States of America, Laurie Anderson is a free-spirited, creative genius, whose work intrigues and mesmerizes audiences across the globe. From performing a symphony of car horns to performing on the violin wearing frozen skates, Anderson has the capability to add that rare edge to all her performances. In a career spanning over four decades, she has managed to create art using a variety of media, be it sculpture, spoken-word songs, films or projected imaginary. She has showcased her work across various prestigious museums across the world and has released seven albums under the Warner Bros label. Popularly referred to as the ‘godmother of the New York art scene’, Anderson’s innovative performances reveal immense creative energy, when compared to contemporary artist and musicians. She is fiercely unpredictable on stage and carefully mixes her experimental compositions with pop-synthesizing beats. Some of her well-known works include ‘Duets On Ice’, ‘O Superman’, ‘Home of the Brave’, ‘Homeland’, ‘The Waters Reglitterized’ and ‘Big Science’. www.laurieanderson.com

Anna Bunting-Branch (born 1987, Cambridge) is an artist and researcher based in London. Recent solo presentations include The Labours of Barren House, Jerwood Visual Arts, London (2017); W.I.T.C.H. (“Women Inspired To Commit Herstory and other tales…”), Hardwick Gallery, Cheltenham (2015); Mizora – A World of Women, Passatge Studio, Barcelona (2014). Selected group exhibitions and events include Witchy Methodologies, ICA, London (2017); Bloomberg New Contemporaries 2016, The Bluecoat, Liverpool / ICA, London (2016); Art Show, WisCon 40, Madison (2016); Everything Else, Ngā Taonga Sound & Vision, Wellington (2016); Primary Care, Julius Caesar, Chicago (2015); Wendel! Open Your Door, CGP, London (2013); Performance Compost, KIASMA Museum of Contemporary Art, Helsinki (2012). Anna Bunting-Branch is currently undertaking a practice-related PhD at Slade School of Fine Art, UCL, supported by the London Arts & Humanities Partnership / AHRC. Her research explores science fiction as a methodology to re-vision feminist practice and its histories. www.annabuntingbranch.com

Valie Export, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna Export’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. Valie Export is one of the most important pioneers on conceptual media art, performance and film. Export took part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film Die Praxis der Liebe, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. http://www.valieexport.at

Rebecca Jagoe presents a body of work that is a body itself, an unruly body refusing to be consumed. Working across text, performance and sculpture, her practice addresses the aspiring self and notions of self-fashioning that might negate embodiment. Recent shows include A glass is half empty of everything but simple passage, at Seventeen Gallery; Unveiling (You embrace me, as I am) at Jupiter Woods (2016), OpenProcess 3: This Just Blows My Hair Back!, at Space Studios, The White Building (2016) and The Kiss at Blyth Gallery (2016). A commissioning editor at E.R.O.S., her text-based work has been published by E.R.O.S. Journal, Rice + Toye, Paper Journal and It’s Nice That Printed Pages. www.rebeccajagoe.com

Sam Keogh, born 1985, currently in residence at the Rijksakadmie, Amsterdam.  Education: MFA Fine Art, Goldsmiths College, London, 2011 - 2014; BA Fine Art Painting, NCAD,Dublin, Graduated 2009. Solo Exhibitions include Eurocopter EC135, Dortmunder Kunstverein, Germany, June 2016; Four Fold, Douglas Hyde Gallery, Dublin, May 2015; Mop, Kerlin Gallery, Dublin, September 2013; Terrestris, Project Arts Centre, Dublin, July 2012 Recent group exhibitions include Rijksakademie OPEN 2016, Amsterdam, November 2016; ECTOPLASM, curated by Padraic E Moore, 1646, Den Haag, October 2016; Lost & Found, curated by Geo Wyeth, Muziekgebouw, Amsterdam, September 2016; Riddle of the Burial Grounds, curated by Tessa Giblin, Extra City, Antwerp, March 2016; 2116, curated by Chris Clarke and Caitlín Doherty, Glucksman Gallery, Cork, Ireland and the Broad Museum, Michigan, USA, March 2016; The Bandits Live Comfortably in the Ruins. curated by Sean Lynch, Flat Time House, London, March 2016;‘Something to be Scared of’ A.M. London, March 2015; Hall of Half Life, curated by Tessa Giblin, Graz Museum, Graz, Austria, September 2015; 30 Years the Future, Castlefield Gallery, Manchester, December 2014; Dukkha, Douglas Hyde Gallery, Dublin, August 2014; LOCOMOTION, Store, London, May 2014; The Line of Beauty, curated by Rachel Thomas, Irish Museum of Modern Art, Dublin, July 2013; How to Read World Literature, The Public School, NYC, July 2013 www.samkeogh.net

Maria Lassnig was born in Austria in 1919, and studied at the Academy of Fine Arts in Vienna during the Second World War. After visiting Paris in the 1950s, she developed an interest in different forms of abstraction, in which artists use shapes, colours, forms and gestural marks to achieve their effect. She experimented with some of these styles herself, and returned to live in Paris between 1961 and 68. With self-portraiture a lifelong obsession, early in her career she produced drawings referred to as ‘introspective experiences’, and later, coined the term ‘body awareness’. The artist depicted the parts of her body that she actually felt as she worked, instead of painting only what she could see: ‘The only true reality is my feelings, played out within the confines of my body’, as she put it. Despite what sounds initially like an introspective, unbending approach, Lassnig’s style evolved during her long career; she would also experiment with making animated films, which complemented the themes of her painting. Often reflecting external issues, her work commented on the nature of woman’s role in society, technological advances and conflict, all through the prism of self-portraiture. Together with Arnulf Rainer and Oswald Oberhuber founded informal painting in Austria; founder of the art of body painting. Lived abroad in Paris (1961-68) and New York (1968-1980). Since 1970, she created autodicdacticly according to her own drawings on a self-invented work desk (not an animation desk). 1979 DAAD scholarship to go to Berlin. 1980-90 professor of the master class for Experimental Design at the College of Applied Arts in Vienna. 1982 founded the only Austrian teaching studio for animated film. Member of the Woman Artist Filmmakers Group New York (1972-80). Österreichischer Staatspreis (Austrian state award) for painting (1988). Member of the Austria Filmmakers Cooperative. www.hauserwirth.com/artists/19/maria-lassnig/biography/ www.sixpackfilm.com/en/catalogue/filmmaker/119

Over the last five decades, artist and filmmaker Lynn Hershman Leeson has received international acclaim for her art and films. She is recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. She is considered one of the most influential media artists and has made pioneering contributions in photography, video, film, performance, installation and interactive as well as net-based media art. Her activist films on injustice within the art world and society at large have been praised worldwide. !Women Art Revolution! won first prize in the Montreal Festival for Films on Art and hailed by the Museum of Modern Art as one of the three best documentaries of 2012. www.lynnhershman.com

Lawrence Lek creates speculative worlds and site-specific simulations using software, video, installation and performance. Often based on real places, his digital environments and video game essays reflect the impact of virtual realities on our perception of the city. Contrasts between utopia and ruins, desire and loss, and fantasy and history appear throughout his work to symbolise this exchange. Recent works and exhibitions include the Nøtel, his ongoing collaboration with Kode9, Seoul MediaCity Biennial 2016 at Seoul Museum of Art, Glasgow International 2016 at Tramway, Glasgow; Secret Surface at KW Berlin; Software, Hard Problem at Cubitt Gallery, London; The Uncanny Valley at Wysing Arts Centre, Cambridge; Unreal Estate at the Royal Academy of Arts, London; Performance as Process at the Delfina Foundation, London. Lek is recipient of the 2016 Jerwood/Film & Video Umbrella Award and the 2015 Dazed Emerging Artist Award. www.lawrencelek.com

Mashing together American hip-hop culture and the European heraldic tradition, Rashaad Newsome produces collages, installations, performances, videos, and songs that send-up and celebrate African-American culture. Drawing from sources high and low, he masterfully appropriates the gestures, sounds, and symbols of black culture and European heraldry (coats of arms), demonstrating the surprising similarities between them. As he explains: “A coat of arms is really a collage of objects that represent social status and economic status and status as a warrior. […] Everybody wants to be the king of hip-hop.” For his exuberant, meticulously composed collages, for example, Newsome culls images from hip-hop and luxury magazines. Like coats of arms, they represent success and opulence, hip-hop style. In his “Shade Compositions” (begun 2005), he builds musical rhythms from what he calls “ghetto gestures,” revealing the grace and humor in head-cocking, tongue-clicking, and other expressions of displeasure. American, b. 1979, New Orleans, Louisiana, based in New York, New York www.rashaadnewsome.com

‘Dark Continent Productions’ by Tai Shani is an on-going project that proposes an allegorical city of women, it is an experimental and expanded adaptation of Christine de Pizan's 1405 pioneering feminist book, ‘The Book of the City of Ladies’ within which Christine builds an allegorical city for notable women drawn from a medieval conception of history, where fact, fiction and myth are blurred. This non-hierarchical approach also determines the construction of the characters and narrative of ‘Dark Continent’. Taking Pizan's book as a point of departure to imagine an alternative history which privileges, sensation and interiority and constructs a possible post-patriarchal future. This very loose adaptation offers an ahistorical, non-linear, non-place, simultaneously internal and geographic, past and future, a city in time but not in space. This city of women is populated by composite, symbolic protagonists that embody excess and examine 'feminine' subjectivity and experience as well as the potentials of a realism defined by excess and the irrational; qualities traditionally surrounding notions of “femininity”. The project is iterated through disparate installations, films and performances that together form a mythology that conceptualises the ‘epic’ as a form test the potentials of feminist politics and ideologies, a platform to critique the current structures, norms and gender constructs, and imagine a post-patriarchal world. Shani has presented her work extensively in the UK and abroad, including Tensta Konsthall, Stockholm (2016); Serpentine Galeries (2016); Schirn Kunsthalle, Frankfurt (2015); Southbank Centre, London (2014-15); Arnolfini, Bristol (2013); Matt’s Gallery, London (2012) and FRAC Nord-Pas de Calais and Loop Festival, Barcelona (2011). www.taishani.com

Marianna Simnett is an artist based in London. Her work spans video, performance, installation and drawing, with a focus on bodies and their limits. She was a winner of the Jerwood/FVU Award in 2015, and had recent solo exhibitions and screenings at Seventeen and Serpentine Galleries. Forthcoming work includes a solo show at Matt’s Gallery in September and a musical film to be produced by Film and Video Umbrella.

Through performance, video, painting and textiles, artist Zadie Xa interrogates the overlapping and conflation of cultures that inform self conceptualized identities, notions of self and her experience within the Asian diaspora. Her intricate hand sewn fabric work stitches together familiar symbols of yin-yangs, knives, lucky numbers and monolid eyes, all operating within a system of personalized semiotics. These exaggerated motifs are utilised by Xa to both combat and engage with Eurocentric perceptions of Asian identity and otherness and aspire to create new and alternative Asian identity narratives often fantastical and within the realm of the supernatural.

Zadie Xa was born in 1983 in Vancouver Canada and currently lives in London UK. She received an MA in Painting at the Royal College of Art in 2014 and a BFA at Emily Carr Institute of Art and Design in 2007. Recent exhibitions and performances include; Basic Instructions B4 Leaving, programmed by PS/Y as part of "Hysteria 2017" Cafe OTO, London UK, 3 Thousand and 30 High Priestess of Pluto, Whitechapel Gallery; Linguistic Legacies and Lunar Exploration, Serpentine Gallery; Kind of Flossy, Assembly Point Gallery; A Rose Is Without a ‘Why’. It Blooms Because It Blooms, Carl Freedman Gallery; Ride the Chaktu // First Contact, Serpentine Radio; With Institutions Like These, Averard Hotel; At Home Salon: Double Acts, Marcelle Joseph Projects (all London, 2016); Schwabinger Tor, Munich (2016); and Studio Voltaire Open 2015. Upcoming exhibitions include; Walled Gardens in an Insane Eden, curated and organized by Marcelle Joseph Projects, Sara Zanin Gallery, Rome IT, Castlefield Gallery, Manchester (both February 2017), Pumphouse Gallery (solo), programmed by PS/Y as part of "Hysteria 2017", London UK (August 2017) http://www.zadiexa.com

A- - -Z is an exploratory curatorial platform produced by Anne Duffau. Taking the formula of the alphabet, A- - -Z uses words related to the idea of Entropy as a starting point to map out and test various unstable potentials. one Letter, one experiment, twenty six times. abc-z.org

CGP London // Dilston Grove Southwest corner of Southwark Park. London SE16 2DD

Bus & Underground: Canada Water Station on the Jubilee and London Overground lines.

Dilston Grove is a 10 minute walk from Canada Water Station.

Overground: Surrey Quays Station.

Dilston Grove is a five minute walk from Surrey Quays station.

Follow CGP London: Twitter: @CGP_London facebook: CGP London Instagram: @CGP_London

Follow Tai Shani: Twitter: @Tai_Shani Instagram: @taishani

Follow A- - -Z: Twitter: @ADuffau Facebook: abc-z.org Instagram:@a___________________________z

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nofomoartworld · 7 years

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Hyperallergic: Art Movements

(via Twitter/@vicecanada)

Art Movements is a weekly collection of news, developments, and stirrings in the art world.

Guy Wildenstein was cleared of concealing paintings and other property from French tax authorities. The presiding judge acquitted the art dealer, despite stating that there had been a “clear attempt” at concealment, due to shortcomings in both the investigation and with French tax fraud legislation.

Steven Mnuchin‘s financial disclosure revealed that he owns a multimillion-dollar stake in a Willem de Kooning painting. The U.S. Treasury Secretary nominee has an estimated net worth of $620 million.

A proposal to build a local branch of the Beijing-based National Palace Museum in Hong Kong has been met with opposition, with many residents decrying the project as a means to curry favor with the mainland Chinese government.

Artist Zachary Cole Fernandez (aka “Jesus Hands”) was booked on a misdemeanor charge after he voluntarily surrendered himself to the LAPD. Fernandez told VICE that he and his ex-wife/partner, Sarah Fern, were responsible for the “Hollyweed” sign prank on New Year’s Day.

Heritage Auctions filed a second lawsuit against Christie’s after claiming that the auction house poached three of its former employees. Heritage Auctions alleges that the “Collectrium Market Data Beta,” Christie’s searchable database of auction results, includes 2.7 million listings culled from its own auction data.

The exterior of ABC No Rio, New York (2008) (via Flickr/Cory Doctorow)

The construction of ABC No Rio‘s new building has been delayed by a lack of funding. According to the space’s director, Steven Englander, the setback is due to higher than expected project bids. The renowned art and activist space is continuing to accept donations on its website.

The Albany Museum of Art in Georgia was closed to the public after sustaining serious storm damage. Multiple sections of the museum’s roof were torn off by high winds, resulting in “several inches of water on both the second and first floors.”

Philip Johnson‘s Interfaith Peace Chapel in Dallas was vandalized.

The Japanese government recalled its ambassador and one of its consuls to South Korea after protestors installed a sculpture commemorating the thousands of Korean women forced into sexual slavery by the Japanese imperial military during World War II.

The Limbach Commission recommended that the Sprengel Museum return Karl Schmidt-Rottluff’s 1922 watercolor, “Marsh Landscape With Red Windmill,” to the grandchildren of Jewish businessman Max Rüdenberg.

The Rialto Bridge, Venice (via Wikipedia)

The restoration of the Ponte di Rialto — the oldest bridge across Venice’s Grand Canal — was completed.

The British Library returned a book to the heirs of a Jewish art collector after a member of staff found his name inscribed on a book plate. The book, a copy of a German play, was stolen from Karl Maylander’s collection after he was deported and murdered by the Nazis.

The High Line unveiled a selection of proposals for its new plinth project.

The City of Austin launched its own artist-in-residence program.

Transactions

Archibald J. Motley, Jr., “Hot Rhythm” (1961), oil on canvas, 39 7/8 x 48 1/4 x 7/8 in, collection of the Nasher Museum of Art at Duke University, gift of Mara Motley, M.D., and Valerie Gerrard Browne in honor of Professor Richard J. Powell and C.T. Woods-Powell and in memory of Archie Motley (courtesy the Chicago History Museum, Chicago, Illinois; © Nasher Museum of Art at Duke University)

Two of Archibald Motley’s heirs, Dr. Mara Motley and Valerie Gerrard Browne, donated the artist’s 1961 painting, “Hot Rhythm,” to the Nasher Museum of Art at Duke University.

The Wikimedia Foundation received a $3-million grant from the Alfred P. Sloan Foundation.

The Worcester Art Museum received a $825,000 grant from the Henry Luce Foundation.

The Hyde Collection received a $100,000 grant from the Charles R. Wood Foundation toward the development of a new gallery dedicated to modern and contemporary art.

Artnet acquired the intellectual property of defunct startup Artlist. The company also hired two of Artlist’s co-founders, Astrid de Maismont and Kenneth Schlenker.

The National Veterans Art Museum in Chicago acquired 31 screen prints by Kurt Vonnegut Jr.

John Singleton Copley’s “The Fountaine Family” (1776) was allocated to the Tate after it was acquired for the UK through the Arts Council England’s Cultural Gift Scheme.

John Singleton Copley, “The Fountaine Family” (1776) (courtesy Tate)

Transitions

According to the Guardian, the Tate’s trustees have chosen Maria Balshaw to succeed Nicholas Serota as director of the Tate.

Bryan Suereth, the founder and executive director of the Disjecta Contemporary Art Center, was dismissed by the nonprofit’s board of directors.

Jonathan Laib left Christie’s to become a director at the David Zwirner Gallery.

Eran Neuman was appointed director of the Israel Museum.

Alison Gass was appointed director of the University of Chicago’s Smart Museum of Art.

Michael P. Mansfield was appointed executive director of the Ogunquit Museum of American Art.

Sarah McCrory was appointed director of 1,000m2 gallery, Goldsmiths University’s new contemporary gallery.

Kim Nguyen succeeded Jamie Stevens as curator and head of programs for the CCA Wattis Institute of Contemporary Arts in San Francisco.

Hilary Lewis was appointed chief curator and creative director of the Glass House.

Makeda Best was appointed curator of photography at the Harvard Art Museums.

(courtesy Lucas Museum of Narrative Art)

George Lucas settled on Los Angeles as the site of the Lucas Museum of Narrative Art. The film director and art collector has committed to financing the $1 billion project himself.

According to ARTnews, Artspace laid off the bulk of its staffers, including its editor-in-chief, Andrew M. Goldstein.

The estate of sculptor Ruth Asawa is now represented by David Zwirner Gallery.

The Metropolitan Museum of Art pushed back its plans for a new, $600-million wing dedicated to modern and contemporary art.

The And/Or Gallery reopened in Pasadena, California.

New York’s Joseph Gross Gallery announced that it will close its space in Chelsea [via email announcement].

Detroit’s Susanne Hilberry Gallery will close after 40 years in business.

Accolades

Installation view of Sondra Perry’s Resident Evil (2016) at The Kitchen, New York (photo by Jason Mandella)

Sondra Perry was awarded the 2017 Gwendolyn Knight and Jacob Lawrence Prize.

The Duchess of Cambridge accepted an honorary, lifetime membership of the Royal Photographic Society.

The College Art Association announced the recipients and finalists for its 2017 Awards for Distinction.

Laurie Anderson and Lawrence Weiner will receive the 2017 Wolf Prize later this year.

Isa Genzken was awarded the 2017 Goslarer Kaiserring (“Emperor’s Ring”) Prize.

The International Center of Photography announced the recipients of its 2017 Infinity Awards.

The Maria Lassnig Foundation awarded its inaugural art prize to Cathy Wilkes.

Elizabeth Bick was awarded the Norton Museum of Art’s 2016 Rudin Prize for Emerging Photographers.

Elizabeth Bick, “Every God IV” (2015), chromogenic development print (courtesy the artist)

John Walter was announced the winner of Hayward Touring’s 2017 Curatorial Open.

Abbas Akhavan, Rochelle Goldberg, and Eva Kot’átková were each selected for a residency at Alexander Calder’s former home studio in Saché, in France’s Loire Valley.

Artpace announced its 2017 artist residencies.

Obituaries

Daan van Golden, “White Painting” (1966), Stedelijk Museum, Amsterdam (photo by Flickr/Selena N.B.H.)

Joyce Appleby (1929–2016), historian.

Zygmunt Bauman (1925–2017), sociologist and philosopher.

Tony Booth (unconfirmed–2017), artist. Designed posters for the Beatles during the early 1960s.

Christopher Byron (1944–2017), financial writer.

Jewel Plummer Cobb (1924–2017), educator and university administrator. First black woman to lead California State University, Fullerton.

Nat Hentoff (1925–2017), author, journalist, and jazz critic.

Clare Hollingworth (1911–2017), journalist.

Karel Husa (1921–2016), Pulitzer Prize-winning composer.

Anthony King (1934–2017), political commentator and historian.

Stephen Lebowitz (1939–2016), artist.

Derek Parfit (1942–2017), philosopher.

Peter Sarstedt (1941–2017), singer and songwriter.

Martha Swope (1933–2017), photographer specializing in dance and theater.

Daan van Golden (1936–2017), artist.

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