View allAll Photos Tagged Haacke,
This issue is about the graphic arts.
edited by Anne Brodzky.
Toronto, Society For Art Publications, august 1969.
9-1/16 x 11-1/2, 24 sheets white glossy side-stapled twice & glued into white glossy wrappers, interiors all printed black letterpress, covers all black offset with 3-colour process additions to outside covers, with 2 leaves laid in:
1) "Magic makes you feel outside", by Michael Van Elsen; 17-1/4 x 17-1/4 white glossy broadside printed 4-colour process offset & folded twice to 8-5/8 x 9-15/16;
2) IMAGE 5, adsheet, 7-7/8 x 1o-3/8, single sheet white glossy folded to 4 pp leaflet, all printed black offset.
cover graphic by Andras Szecsko/photographed by Michael Van Elsen.
96 contributors ID'd:
Jeremy Adamson, Margaret Ariss, Margaret Atwood, Walter Bachinski, Marcel Barbeau, Pat Martin Bates, Helmut Becker, Billy Al Bengston, Stan Bevington, Andre Bieler, Bill Bissett, Sam Black, William Blake, Richard Bondrenko, Paul-Emile Borduas, Joe Brainard, John Bruce, Dorothy Cameron, Frank Carner, Donald Carr, Josef Caveno, Anton Cetin, John Chamberlain, John Chambers, John Noel Chandler, Victor Coleman, Ken Coupland, Robert Daigneault, Norman Day, Fred Douglas, L.Douglas, John Esler, Ian Hamilton Finlay, Vera Frenkel, Hans Haacke, Richard Hamilton, Anson Holmes, Alain Horic, Penelope Horic, Arn James, Roy Kiyooka, Cornelius Krieghoff, Richard Lacroix, Michael Lambeth, Gary Lee-Nova, Hugh LeRoy, Rita Letendre, Jacques Lipchitz, Barry Lord, Robert Lundgren, Robert Markle, Ron Martin, Seymour Mayne, David McFadden, Norman McLaren, William Mitchell, Guido Molinari, Henry Moore, James Wilson Morrice, Michael Morris, Joan Murray, bpNichol, Frank O'Hara, Michael Ondaatje, Eberhard Otto, Charles Pachter, Andy Phillips, Marguerite Pinney, Michaelangelo Pistoletto, Dounglas Pringle, David Rabinowitch, Patricia Railing, John Reeves, Diter Rot, Nicholas Roukes, Paul Russell, Stephen Scobie, Michael Semak, Bob Snider, Frank Stella, Harry A.L.Stephen, Andras Szecsko, Tommy Thompson, Robert Title, Harold Town, Charlotte Townsend, Tony Urquhart, Michael Van Elsen, Rembrandy Van Rijn, Peter Varley, Kurt VonMeier, Tamio Wakayama, Alan Weinstein, Tim Whiten, Cathy Wismer, Ed Zelenak
Nichol inclusions:
i) SCRAPTURES: 11th sequence (comic, pp.2 & 3 in full, extremely reduced, as illuss.for (vii) below)
ii) "Drrrrrrrrrrr" (concrete poem in full, reduced, as part of (viii) below; fuzzy reproduction)
iii) "pane" (concrete poem, as (ii) above; missing a piece of the "p" bottom left)
iv) "aNSWE" (concrete poem, as (ii) above)
v) "Letters Home" (title lettering, as (ii) above)
vi) "OWL" (concrete poem, as (ii) above)
also includes:
vii) little magazines / small presses, by Michael Ondaatje (prose, pp.17-18; copiously illustrated including Nichol (see (i) above); with quotes by Nichol (from DELAYS), David Rosenberg)
viii) "Magic makes you feel outside", by Michael Van Elsen (insert between pp.18/19, a photograph of very many Coach House Press productions featuring many Nichol & -related items, including (ii)-(vi) above & Andy Phillips' cover photographs for Nichol's BORDERS & bp (the latter pretty much indiscernible))
edited by Carla Stellweg.
Chapultepec, Museo De Arte Moderno, june 1979.
84 pp printed + subscription envelope tucked in, offset. 8-1/4 x 1o-5/8, stapled wrappers.
primarily essays on comics by Nicolas Amoroso, Jorge Romero Brest, Pietro Favari, José Carlos González, Harold Hinds Jr. & Oscar Steimberg, with illuss.throughout by Anibal Angulo, Sergio Aragonés, Sergio Arau, Tóth Arpád, Alberto Breccia, John Buscema, Guido Crepax, Jo De Oliveira, Ludvik Feller, Palmira Garza, Helio Flores, Roberto Fontanarrosa, Harold R.Foster, Chester Goulde, Nicole Gravier, Rubem Campos Grillo, F.Ibáñez, Bob Kane, Jack Kirby, Harry Lampert, Winsor McCay, Pierre Mouchott, No Grupo, José Clemente Orozco (cover), Richard Felton Outcault, Guy Peelaert, Lamberto Pignotti, Abel Quezada, Ad Reinhardt, Bud Sagendorf, Charles Schulz, Joe Shuster, Hugo Tighman, Gabriel Vargas, Edgar Vasques, Guillermo Z.Vigil, Chic Young, among others. other incidental art by Haus Beck, Juan Calderón, José Luis Cuevas, D.James Dee, Robert Frank, Hans Haacke, Fancisco Icaza, Les Levine, Jonier Marin, Carlos Merida, Peter Moore, Diego Rivera, Mary Stuart, Nathaniel Tileston, Sylvia Palacios Whitman, Fritz Wotruba & more.
free corners bumped at front, some minor cover creases, "A Space Archive Copy" rubberstamp on contents page; what appears to be a scuff through the title is in fact an error in printing that occurred before the PVC was applied...
75.oo
FOR A SPECIAL PLACE:
DOCUMENTS AND WORKS FROM THE GENERALI FOUNDATION COLLECTION
February 21 – May 3 | 2007
Gallery hours:
Monday – Saturday | 10 am – 6 pm
Austrian Cultural Forum New York
11 East 52nd Street
New York, NY 10022
212 319 5300
Opening reception: Tuesday, February 20 | 2007 | 6 pm – 8 pm
Remarks at 7 pm
VALIE EXPORT will perform her expanded cinema film action Up+ Down+ On+ Off (1968)
Panel Discussion: Saturday | February 24 | 2007 | 5 – 7 pm
Exhibition dates: February 21 – May 3 | 2007
Gallery hours: Monday – Saturday | 10 am – 6 pm
Gottfried Bechtold
Ernst Caramelle
Maria Eichhorn
VALIE EXPORT
VALIE EXPORT / Peter Weibel
Harun Farocki
Andrea Fraser
Isa Genzken
Dan Graham / Robin Hurst
Hans Haacke
Hans Hollein
Werner Kaligofsky
Klub Zwei
Jaroslaw Kozlowski
Edward Krasinski / Eustachy Kossakowski
Dorit Margreiter / Mathias Poledna / Florian Pumhösl
Gordon Matta-Clark
Dora Maurer
Gustav Metzger
Ewa Partum
Walter Pichler
Adrian Piper
Martha Rosler
Allan Sekula
Franz West
Heimo Zobernig
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
www.flickr.com/photos/artexh/albums/72157719009215211
www.flickr.com/photos/artexh/14119387010/in/album-7215771...
www.flickr.com/photos/artexh/14304030202/in/album-7215771...
Svetlana Kopystiansky
About the work “Shadow of Gravitation”
I worked on this series several years from 1990 and it was accomplished in a number of 40 collages in 1993.
Collages were made from postcards with reproductions of landscape paintings and photographs. I was doing photographs of the ground and water surfaces mostly in the Upstate New York and was buying in various museum shops postcards with reproductions of landscape paintings by different artists mainly from XVIII and XIX century.
The landscape (reproduction from the existing painting) was “enlarged” by an addition of a new space at the foreground and by that an edition (postcard) was turned into a unique object.
Postcards are contemporary produced reproductions from landscape paintings created at least a hundred years ago or more and photographs made by myself at the moment of production were records from the very recent moment in time
(approaching the end of the XX century).
In each collage one reality is chosen from my surroundings and documented with the photographic technique. The second reality is created by an artist, who shaped it in a very different period of time.
Each of these realities had it's own space and their combination creates a tension between material and spiritual substance and at the same time originates a totally new visual space.
It is never known to which extend original landscape paintings represent a reality and to which extend they are results of construction of an imaginary reality by the artist.
Title: Shadow of Gravitation
Date: 1993, Unique. Collage
Color photograph/Postcard, Dimensions: 18.3 x 14.3 cm. (7 3/16 x 5 5/8 in.)
Works from the series “Shadow of Gravitation” are represented in museum collections:
Metropolitan Museum, New York, USA
Art Institute of Chicago, Chicago, USA
Museum of Fine Arts, Houston, Texas, USA
Exhibition History of “Shadow of Gravitation”
The complete series of more then 40 works was exhibited at individual projects:
1994 Igor Kopystiansky “The Museum. Svetlana Kopystiansky. “The Library," (cur. Jürgen Harten). Kunsthalle Düsseldorf, Germany. (cat.)
"Svetlana Kopystiansky," (cur. Timo Valjakka). Kunsthalle Helsinki, Finland.
"Svetlana Kopystiansky." Oulu Art Museum, Finland (solo)
1996 "Some Assembly Required." The Art Institute of Chicago, USA (cat.)
The series was represented at individual exhibitions:
1997 "Collages," Thomas Schulte Gallery, Berlin, Germany
"Fiction," Wooster Gardens Gallery, New York
Works from the series Shadow of Gravitation were exhibited at group exhibitions:
2010 “Between Here and There: Passages in Contemporary Photography,” July 2, 2010–February 13, 2011(Curator Douglas Eklund) Metropolitan Museum, New York
2009 "Boule to Braid," (Curator Richard Wentworth). Lisson Gallery London
Boule to Braid: Curated by Richard Wentworth, June 24-Aug 15, Lisson Gallery London. Participating artists: Art and Language, Bob Law, Giuliano Paolini, Hans Haacke, Donald Judd, Yoko Ono, Dan Graham, Daniel Buren, Terrence Bond, Bernard & François Baschet, On Kawara, Lee Ufan, Marcel Broodthaers, Gordon Matta-Clark, Igor & Svetlana Kopystiansky, Tony Cragg, Scott Burton, Terrence Bond, Richard Deacon, John Latham, Julian Opie, James Casebere, John McCracken, Liam Gillick, Tony Oursler, Franz West, Paul McCarty, Jonathan Monk, Sharon Ya'ari.
2004 "Pieced Together: Photomontage From the Collection," May 22–September 19, (Curator Elizabeth Siegel, Galleries 3 and 4)
Art Institute of Chicago.
2002 “Regarding Landscape,” Participating artists: Roni Horn, Rodney Graham, Igor and Svetlana Kopystiansky. Art Gallery of York University, Toronto, Canada
“Au regard du paysage. Regarding Landscape II,” Galerie Liane et Danny Taran du Centre des Arts Saidye Bronfman, Montréal (Québec), Canada
2001 "Places in the Mind. Photographs from the Collection." The Metropolitan Museum of Art, New York
1997 "From the permanent collection," Metropolitan Museum, New York.
“New Faces and Other Recent Acquisitions," (cur. David Travis and Sylvia Wolf). Art Institute of Chicago
1995 "Memento," Haus am Wannsee, Berlin, traveled to Stadtgalerie im Sophienhof, Kiel, Germany, State Gallery, Prague (cat.).
Catalog: Svetlana Kopystiansky. Shadow of the Gravitation. 1994. www.worldcat.org/title/svetlana-kopystiansky-shadow-of-gr...
I found this memorial quite affecting, and the photo does not do it justice. The sculpture is "Mother With Her Dead Son" by Käthe Kollwitz. It sits alone at the center of this room, and the room is fronted by a screen of iron bars. I came upon it at dusk and viewed it in the dim light. The memorial plaque reads (my translation, hope it is reasonably accurate):
In the years 1816-1818 the Neue Wache (New Guardhouse) was erected from plans by Karl Friedrich Schinkel for the Prussian king Friedrich Wilhelm III. From 1818 through 1918 the Royal Watch was housed here.
In 1931 the Prussian government allowed the Neue Wache to be remodelled. Heinrich Tessenow created a "Memorial For The Fallen Of The World War". At the center of a room for reflection stood a granite block with a silver laurel wreath.
Shortly before the end of the Second World War, the Neue Wache badly damaged by bombing.
Beginning in 1960 the restored building served the DDR as the "Memorial For the Victims of Faschism and Militarism." From 1969 there stood an eternal flame in the middle of the room.
In 1969 the remains of an unknown soldier and an unknown concentration camp prisoner were interred. They were enclosed in soil from battlefields of the Second World War and from concentration camps.
Since 1993, the Neue Wache has been the central memorial place of the German Republic.
The interior design from the Weimar Republic was extensively restored. In the center of the memorial stands an enlarged sculpture of "Mother With Her Dead Son" by Käthe Kollwitz. It was executed by Harald Haacke.
The Neue Wache is a place of reflection and remembrance of the victims of war and tyranny.
We remember the peoples that have suffered because of war.
We remember the citizens who were persecuted and lost their lives.
We remember the fallen of the world wars.
We remember the innocents, who through war and the consequences of war in our homeland, lost their lives through captivity and displacement.
We remember the millions of murdered Jews.
We remember the murdered Sinti and Roma.
We remember all of those who were killed becaused of their ancestry, their homosexuality, or because of sickness and disability.
We remember all of the murdered, who were denied their right to life.
We remember the people who had to die because of the religious or political beliefs.
We remember all of those who were victimized by tyranny and innocently went to death.
We remember the women and men who offered their lives in resistance to tyranny.
We remember the women and men who were persecuted and murdered because they stood against the totalitarian dictatorship after 1945.
Cessna 510 Citation Mustang [510-0462]
Reg: D-IUVH
Operator: Haacke LTIF GmbH
EGLF - Farnborough
05/11/20
Hans Haacke -
"Narrow White Flow" (1967-1968) -
[Fabric, metal, wood and air vent] -
MUSAC, León (Spain)
Gift Horse, 4th Plinth, Trafalgar Square, London. Unveiled in March 2015, Gift Horse is the work of Hans Haacke. It is 4.57 metres high and weighs 1,700kg.
London, The Fourth Plinth, Trafalgar Square
April 2015
Proposal for the Fourth Plinth
By Hans Haacke
Gift Horse
Proposed Materials: bronze, electroluminescent film
Instead of the statue of William III astride a horse, as originally planned for the empty plinth, Hans Haacke proposes a skeleton of a riderless, strutting horse. Tied to the horse’s front leg is an electronic ribbon which displays live the ticker of the London Stock Exchange. The horse is derived from an etching by George Stubbs, whose studies of equine anatomy were published the year after the birth of the reputedly decadent king, whose statue was abandoned due to a lack of funds. Haacke’s proposal makes visible a number of ordinarily hidden substructures, tied up with a bow as if a gift to all.
Haacke’s early work employed physical and organic processes, such as condensation, in what he called ‘systems’, until his focus shifted to the socio-political field of equally interdependent dynamics. For the last four decades Haacke has been examining relationships between art, power and money, and has addressed issues of free expression and civic responsibilities in democratic societies. Haacke’s practice is difficult to categorise, moving from object to image to text, from painting to photography, at times of a provocative nature.
[GLA website]
The Fourth Plinth of Trafalgar Square, in its northwest corner, designed by Sir Charles Barry (1795-1860). It was originally intended to be the base for an equestrian statue of William IV, although it never happened due to funding problems.
In 1998 the Royal Academy of Arts began the Fourth Plinth Project with commissioning three consecutive works; in 2005 the scheme was reprised and has been running ever since.
Proposal for the Fourth Plinth
By Hans Haacke
Gift Horse
Proposed Materials: bronze, electroluminescent film
Instead of the statue of William III astride a horse, as originally planned for the empty plinth, Hans Haacke proposes a skeleton of a riderless, strutting horse. Tied to the horse’s front leg is an electronic ribbon which displays live the ticker of the London Stock Exchange. The horse is derived from an etching by George Stubbs, whose studies of equine anatomy were published the year after the birth of the reputedly decadent king, whose statue was abandoned due to a lack of funds. Haacke’s proposal makes visible a number of ordinarily hidden substructures, tied up with a bow as if a gift to all.
Haacke’s early work employed physical and organic processes, such as condensation, in what he called ‘systems’, until his focus shifted to the socio-political field of equally interdependent dynamics. For the last four decades Haacke has been examining relationships between art, power and money, and has addressed issues of free expression and civic responsibilities in democratic societies. Haacke’s practice is difficult to categorise, moving from object to image to text, from painting to photography, at times of a provocative nature.
[GLA website]
The Fourth Plinth of Trafalgar Square, in its northwest corner, designed by Sir Charles Barry (1795-1860). It was originally intended to be the base for an equestrian statue of William IV, although it never happened due to funding problems.
In 1998 the Royal Academy of Arts began the Fourth Plinth Project with commissioning three consecutive works; in 2005 the scheme was reprised and has been running ever since.
Svetlana Kopystiansky: Shadow of Gravitation
Exhibition History of “Shadow of Gravitation”
The complete series of more then 40 works was exhibited at individual projects:
1994 Igor Kopystiansky “The Museum. Svetlana Kopystiansky. “The Library," (cur. Jürgen Harten). Kunsthalle Düsseldorf, Germany. (cat.)
"Svetlana Kopystiansky," (cur. Timo Valjakka). Kunsthalle Helsinki, Finland.
"Svetlana Kopystiansky." Oulu Art Museum, Finland (solo)
1996 "Some Assembly Required." The Art Institute of Chicago, USA (cat.)
The series was represented at individual exhibitions:
1997 "Collages," Thomas Schulte Gallery, Berlin, Germany
"Fiction," Wooster Gardens Gallery, New York
Works from the series Shadow of Gravitation were exhibited at group exhibitions:
2010 “Between Here and There: Passages in Contemporary Photography,” July 2, 2010–February 13, 2011(Curator Douglas Eklund) Metropolitan Museum, New York
2009 "Boule to Braid," (Curator Richard Wentworth). Lisson Gallery London
Boule to Braid: Curated by Richard Wentworth, June 24-Aug 15, Lisson Gallery London. Participating artists: Art and Language, Bob Law, Giuliano Paolini, Hans Haacke, Donald Judd, Yoko Ono, Dan Graham, Daniel Buren, Terrence Bond, Bernard & François Baschet, On Kawara, Lee Ufan, Marcel Broodthaers, Gordon Matta-Clark, Igor & Svetlana Kopystiansky, Tony Cragg, Scott Burton, Terrence Bond, Richard Deacon, John Latham, Julian Opie, James Casebere, John McCracken, Liam Gillick, Tony Oursler, Franz West, Paul McCarty, Jonathan Monk, Sharon Ya'ari.
2004 "Pieced Together: Photomontage From the Collection," May 22–September 19, (Curator Elizabeth Siegel, Galleries 3 and 4)
Art Institute of Chicago.
2002 “Regarding Landscape,” Participating artists: Roni Horn, Rodney Graham, Igor and Svetlana Kopystiansky. Art Gallery of York University, Toronto, Canada
“Au regard du paysage. Regarding Landscape II,” Galerie Liane et Danny Taran du Centre des Arts Saidye Bronfman, Montréal (Québec), Canada
2001 "Places in the Mind. Photographs from the Collection." The Metropolitan Museum of Art, New York
1997 "From the permanent collection," Metropolitan Museum, New York.
“New Faces and Other Recent Acquisitions," (cur. David Travis and Sylvia Wolf). Art Institute of Chicago
1995 "Memento," Haus am Wannsee, Berlin, traveled to Stadtgalerie im Sophienhof, Kiel, Germany, State Gallery, Prague (cat.).
www.knme.org - Bill Gilbert at the University of New Mexico holds class for an entire semester in the forgotten outdoors - exploring with students the evolution of Land Arts from its ancient beginnings in rock art - to Earthworks monuments such as the Spiral Jetty - to today's cutting-edge performance art in both rural and urban environments. Watch Artisode 1.2 and get inspired by the wild!
Click the link below to watch the video:
PREVIEW PARTY: FRIDAY, JANUARY 29th / / VIP PREVIEW begins at 5 PM / / ARTIST PREVIEW 6-8 PM
BENEFIT SALE
SATURDAY, JANUARY 30 from 10 AM–6 PM
SUNDAY, JANUARY 31 from 12 PM–4 PM
A J Compton is among more than 1500 original postcard-sized artworks available for sale in the 18th Annual Postcards from the Edge Exhibition 2016, hosted by Sikkema Jenkins and Co. Gallery, New York.
They are priced at $85 each, and offered on a first-come, first-served basis. The identity of the artist is revealed only after the work is purchased.
Notable artists taking part this year include: Ed Ruscha, Lawrence Weiner, Catherine Opie, Bridget Reilly, Josephine Halvorson, John Baldessari, Kara Walker, Mark Bradford, Katherine Bernhardt, Wangechi Mutu, Arturo Herrera, Kay Rosen, John Waters, Kiki Smith, Polly Apfelbaum, Kerry James Marshall, Julie Mehretu, Arlene Shechet, Tony Feher, Annie Sprinkle, Hans Haacke, Lorraine O'Grady, Nayland Blake, Marilyn Minter, Ryan McNamara, Martha Wilson, William Cordova, Jennie C. Jones, Marcel Dzama, Amy Sillman, William Wegman, Barry McGee, Geoffrey Hendricks, Penelope Umbrico, Charles LeDray, Julie Mehretu, Jane Hammond, Ross Bleckner, Louise Fishman, Mitch Epstein and Robert Longo.
Postcards from the Edge is one of Visual AIDS' biggest fundraisers of the year. Visual AIDS has raised over $940,000 since first launching Postcards from the Edge in 1998. Over 22,000 original postcard-sized works of art have been exhibited by artists from around the world.
By participating in Postcards From the Edge artists and collectors support the activities of Visual AIDS, enabling the organization to produce AIDS-focused contemporary art programs and provide supplies and assistance to artists living with HIV/AIDS, many who are unable to continue producing work without such support. All Postcards From the Edge proceeds support the programs of Visual AIDS.
www.visualaids.org/projects/detail/postcards
Email info@visualaids.org
Sikkema Jenkins & Co,
530 W 22nd St,
New York,
NY 10011
For the part of the project titled “Ontology, or Things that Might Have Been” Svetlana Kopystiansky made 40 photographs from various selected objects: tools and materials which were used by different artists in a project for production of their artworks. These found objects were considered as finished art works, as sculptures. Images of each object were printed as black-and-white posters in multiple editions and were distributed around the city in various combinations. At the time of the photographs’ distribution, the objects no longer existed in their documented form.
For the part of her project titled “Travels and Leaves Behind,” over the period of one month Svetlana Kopystiansky made 40 photographs of various objects at the sites where they were found: tools and materials which were used by construction workers during the restoration of the Westfälisches Landesmuseum in Münster. All these objects were mass-produced and originally were identical in form to countless others. When they were photographed, however, their original forms had been altered by use and, thus, subjected to a process of “individualization” in which each object became absolutely unique in its new form. All of these objects were also exhibited in the museum as sculptures. Black-and-white photographs of these sculptural works were later exhibited during the Sculpture Project at the museum.
For the catalog, Svetlana Kopystiansky used texts from the Encyclopedia Britannica and the Brockhaus Enzyklopädie from their entries concerning “Sculpture.”
www.lwl.org/skulptur-projekte-download/muenster/97/kopyst/
Sculpture Projects Münster 1997, Curators Kasper König and Klaus Bussmann.
LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany
Skulptur. Projekte in Münster 1997
Artists: Kim Adams, Carl Andre, Michael Asher, Georg Baselitz, Alighiero e Boetti, Christine Borland, Daniel Buren, Janet Cardiff, Maurizio Cattelan, Eduardo Chillida, Stephen Craig, Richard Deacon, Mark Dion, Stan Douglas, Maria Eichhorn, Ayse Erkmen, Peter Fischli / David Weiss, Isa Genzken, Paul-Armand Gette, Jef Geys, Douglas Gordon, Dan Graham, Marie-Ange Guilleminot, Hans Haacke, Raymond Hains, Georg Herold, Thomas Hirschhorn, Rebecca Horn, Huang Yong Ping, Bethan Huws, Fabrice Hybert, Ilya Kabakov, Tadashi Kawamata, Martin Kippenberger, Per Kirkeby, Jeff Koons, Svetlana Kopystiansky, Sol LeWitt, Atelier van Lieshout, Olaf Metzel, Reinhard Mucha, Maria Nordmann, Claes Oldenburg / Coosje van Bruggen, Gabriel Orozco, Tony Oursler, Nam June Paik, Jorge Pardo, Hermann Pitz, Marjetica Potrc, Charles Ray, Tobias Rehberger, Ulrich Rückriem, Allen Ruppersberg, Reiner Ruthenbeck, Kurt Ryslavy, Karin Sander, Thomas Schütte, Richard Serra, Roman Signer, Andreas Slominski, Yutaka Sone, Diana Thater, Bert Theis, Rirkrit Tiravanija, Eulàlia Valldosera, Herman de Vries, Lawrence Weiner, Franz West, Rachel Whiteread, Andrea Zittel, Heimo Zobernig
...Through a Moon's Eye
Proposals for the Fourth Plinth
Gift Horse by Hans Haacke through Moon Mask by Ugo Rondinone
Gift Horse
Proposed Materials: bronze, electroluminescent film
Instead of the statue of William III astride a horse, as originally planned for the empty plinth, Hans Haacke proposes a skeleton of a riderless, strutting horse. Tied to the horse’s front leg is an electronic ribbon which displays live the ticker of the London Stock Exchange. The horse is derived from an etching by George Stubbs, whose studies of equine anatomy were published the year after the birth of the reputedly decadent king, whose statue was abandoned due to a lack of funds. Haacke’s proposal makes visible a number of ordinarily hidden substructures, tied up with a bow as if a gift to all.
Haacke’s early work employed physical and organic processes, such as condensation, in what he called ‘systems’, until his focus shifted to the socio-political field of equally interdependent dynamics. For the last four decades Haacke has been examining relationships between art, power and money, and has addressed issues of free expression and civic responsibilities in democratic societies. Haacke’s practice is difficult to categorise, moving from object to image to text, from painting to photography, at times of a provocative nature.
[GLA website]
The Fourth Plinth of Trafalgar Square, in its northwest corner, designed by Sir Charles Barry (1795-1860). It was originally intended to be the base for an equestrian statue of William IV, although it never happened due to funding problems.
In 1998 the Royal Academy of Arts began the Fourth Plinth Project with commissioning three consecutive works; in 2005 the scheme was reprised and has been running ever since.
Ein sehr modern designtes Haus der Firma HAACKE-HAUS, außen mit einer Materialkombination aus Holzvertäfelung und klassischem weißen Putz. Abgerundet wird das moderne Erscheinungsbild durch ein schlichtes Flachdach.
Daniel Schmidt - CEO & Managing Partner, CEPRES
Ulf von Haacke - Partner, Managing Director, Head of Industrial, 3i
Hermann Dambach - Managing Director, Oaktree Capital Management
Nick Money-Kyrle - Founding Partner, Steadfast Capital
Matthias Wilcken - Partner & Managing Director, Gilde Buyout Partners
Rolf Scheffels - Member of the Board of Management., DBAG
Sculpture "Gift Horse" by Hans Haacke symbolises the links between power, money and history. The ribbon at the front receives live feed from the London Stock Exchange. It occupies the fourth plinth in London's Trafalgar Square.
Gift Horse, a skeletal bronze sculpture by German artist Hans Haacke, in Trafalgar Square, displays a live feed from the London Stock Exchange
Pine Feather Period marks the first of three exhibitions for the sixteen artists selected to participate in Coalition Gallery, a one-year, juried, co-operative exhibition program for emerging, contemporary Chicago artists. In the spirit of a debut, Pine Feather Period, a 1920's flapper slang phrase, describes the period of a debutante's coming out. This exhibition introduces the work of CAC's 2011-2012 Coalition Gallery artists who throughout the year will expand their exhibition, marketing, networking and professional development skills.
The 2011-2012 Coalitions Gallery artists are: Steve Amos, Marissa Lee Benedict, Barbara Blacharczyk, Angela Davis Fegan, Daniel Giordan, Amanda Greive, Carole Hennessy, Debra Kayes, Alexandra Lee, Cydney M. Lewis, Sandra Perlow, Erik Peterson, Renee Prisble, Brittany Ransom, David Wittig, and Jim Zimpel.
Coalition Gallery artists will be featured in dynamic exhibitions curated by Chicagoland area independent curators, Tempestt Hazel (Co-Founder of Sixty Inches From Center: The Chicago Arts Archive and Collective Project), Anna Kunz (Artist, Co-Founder/Director of Kunz, Vis, Gonzalez Chicago), Jamilee Polson (Artist, Curator, Writer, Founder/Director of Twelve Galleries Project), and the curator of Pine Feather Period, Jeff Ward (Independent Curator, Co-Founder, Threewalls).
About the Curator: Jeff M. Ward has worked as a curator and critic in Chicago since 2002, participating in the organization of numerous shows, including exhibitions at the Hyde Park Art Center; threewalls, of which he was a co-founder; and the Pond, a no longer extant artist-run space of which he was also a co-founder. He was a critic-in-residence at the Core Program of the Glassell School of Art at the Museum of Fine Arts, Houston, and he has written for New Art Examiner and ArtLies magazines. He is currently Assistant to the Provost at the School of the Art Institute of Chicago.
Governor Hogan Tours Dixon Valve Distribution Center by Patrick Siebert at 365 Haacke Dr, Chestertown, MD 21620
Daniel Schmidt - CEO & Managing Partner, CEPRES
Ulf von Haacke - Partner, Managing Director, Head of Industrial, 3i
Hermann Dambach - Managing Director, Oaktree Capital Management
Nick Money-Kyrle - Founding Partner, Steadfast Capital
Matthias Wilcken - Partner & Managing Director, Gilde Buyout Partners
Rolf Scheffels - Member of the Board of Management., DBAG
PREVIEW PARTY: FRIDAY, JANUARY 29th / / VIP PREVIEW begins at 5 PM / / ARTIST PREVIEW 6-8 PM
BENEFIT SALE
SATURDAY, JANUARY 30 from 10 AM–6 PM
SUNDAY, JANUARY 31 from 12 PM–4 PM
A J Compton is among more than 1500 original postcard-sized artworks available for sale in the 18th Annual Postcards from the Edge Exhibition 2016, hosted by Sikkema Jenkins and Co. Gallery, New York. They are priced at $85 each, and offered on a first-come, first-served basis. The identity of the artist is revealed only after the work is purchased.
Notable artists taking part this year include: Ed Ruscha, Lawrence Weiner, Catherine Opie, Bridget Reilly, Josephine Halvorson, John Baldessari, Kara Walker, Mark Bradford, Katherine Bernhardt, Wangechi Mutu, Arturo Herrera, Kay Rosen, John Waters, Kiki Smith, Polly Apfelbaum, Kerry James Marshall, Julie Mehretu, Arlene Shechet, Tony Feher, Annie Sprinkle, Hans Haacke, Lorraine O'Grady, Nayland Blake, Marilyn Minter, Ryan McNamara, Martha Wilson, William Cordova, Jennie C. Jones, Marcel Dzama, Amy Sillman, William Wegman, Barry McGee, Geoffrey Hendricks, Penelope Umbrico, Charles LeDray, Julie Mehretu, Jane Hammond, Ross Bleckner, Louise Fishman, Mitch Epstein and Robert Longo.
Postcards from the Edge is one of Visual AIDS' biggest fundraisers of the year. Visual AIDS has raised over $940,000 since first launching Postcards from the Edge in 1998. Over 22,000 original postcard-sized works of art have been exhibited by artists from around the world.
By participating in Postcards From the Edge artists and collectors support the activities of Visual AIDS, enabling the organization to produce AIDS-focused contemporary art programs and provide supplies and assistance to artists living with HIV/AIDS, many who are unable to continue producing work without such support. All Postcards From the Edge proceeds support the programs of Visual AIDS.
www.visualaids.org/projects/detail/postcards
Email info@visualaids.org
Sikkema Jenkins & Co,
530 W 22nd St,
New York,
NY 10011
Curated by Susan Hapgood and Cornelia Lauf, an exhibition of artist certificates. The exhibition focuses on the little known territory of certificates that serve as deeds for artworks, legal statements, and fiscal invoices that can both embody the artwork itself and refer to it at the same time.
www.saltonline.org/en#!/en/359/in-deed-certificates-of-au....
uben Aubrecht, Judith Barry, Robert Barry/Stefan Brüggemann, Hemali Bhuta & Shreyas Karle, Pierre Bismuth, Marinus Boezem, George Brecht, Daniel Buren, André Cadere, Marcel Duchamp, Maria Eichhorn, Urs Fischer, Dan Flavin, Andrea Fraser, Liam Gillick, The Felix Gonzalez-Torres Foundation, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Ken Lum, Piero Manzoni, Gordon Matta-Clark, Josiah McElheny & Allan Kaprow, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Cesare Pietroiusti, Adrian Piper, Emilio Prini, Robert Projansky & Seth Siegelaub, Raqs Media Collective, Robert Rauschenberg, Sharmila Samant, Joe Scanlan, David Shrigley, Daniel Spoerri, Haim Steinbach, Superflex, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West, Ian Wilson, Cerith Wyn Evans, Carey Young, Andrea Zittel, Heimo Zobernig
Artwork by Hans Haacke, as part of "Data Deluge" at Ballroom Marfa
Hans Haacke
News, 1969
RSS newsfeed
20 x 60 inches
Courtesy of Esther & Joseph Varet
In 1969, as part of the exhibition “Prospect '69” in Düsseldorf, Hans Haacke installed News, which consisted of a telex machine that printed out news items that were transmitted live by Germany’s leading press agency, Deutsche Presse-Agentur (DPA). Visitors to the exhibition were able to get news “hot off the presses,” reading such headlines as “Concorde Breaks Sound Barrier,” “GDR Celebrates 20th Anniversary” and “Anti-Apartheid Protesters Disrupt Frankfurt Book Fair.” It was later exhibited as part of the seminal 1970 exhibition “Software -- Information Technology: Its New Meaning for Art” at the Jewish Museum in New York. Haacke continued to update the technology of News; today it consists of a dot matrix printer that receives data from an RSS newsfeed.
The fact that events of the outside world were directly affecting the content of an artwork inside the hermetic world of a gallery or museum space was critical for Haacke, who stated in Lucy Lippard's book Six Years: The dematerialization of the Art Object from 1966 to 1972: “A ‘sculpture’ that physically reacts to its environment is no longer to be regarded as an object. The range of outside factors affecting it, as well as its own radius of action, reaches beyond the space it materially occupies. It thus merges with the environment in a relationship that is better understood as a ‘system’ of interdependent processes. These processes evolve without the viewer’s empathy. He becomes a witness. A system is not imagined, it is real.”
Data Deluge, March 3 – July 8, 2012
Curated by Rachel Gugelberger & Reynard Loki
Photograph(s) by Fredrik Nilsen
Courtesy of Ballroom Marfa
Artist: Marshall, Kerry James (American, b. 1955)
Title: May 15 2001
Date: 2004
Medium: four-color screenprint on Arches
Dimensions: 21.5 x 15.75 inches
Edition: AP 7/10
Signature: Pencil signed, titled, and numbered lower margin
Provenance: Benefit for College Art Association, printed by Brodsky Center for Innovative Editions
Frame Type: white wood
Frame Size: 24.5 x 30 inches
May 15, 2001 resembles a grocery store’s advertising circular. Instead of depicting vegetables or canned goods, Kerry James Marshall “advertises” works by modern and contemporary artists, along with their auction prices, from a sale at Sotheby’s held on May 15, 2001. Like all of Marshall’s work, this image percolates with embedded references to the African American experience and the traditions of art history: the names of Caucasian artists and artists of color are intermingled and some are occluded; salient at upper left is a blurry, iconic little reproduction of Jeff Koons’s garish gilt ceramic portrait of Michael Jackson and his pet monkey, Michael Jackson and Bubbles (1988), from that artist’s Banality series. The figure, racially ambiguous and ambiguously parodic, sets off a sequence of reverberations that ripple through the image: Koons to Lichtenstein to Warhol to Pollock; Jackson to Basquiat to Puryear to Gallagher. Black and white artists intermingle, their values declared in fat, deadpan numbers and their boldface names claiming the visual space once granted to images. In this context, Basquiat’s tiny black silhouette Furious Man (1982) appears in skeptical dialogue with Koons’s more placid sculpture.
In keeping with one of Marshall’s longstanding preoccupations, May 15, 2001 makes layered references to art history. The artist slyly acknowledges the critical interventions of Hans Haacke and the Guerrilla Girls, who have harshly interrogated the financial underpinnings of the art world, and provides a tongue-in-cheek commentary on Warhol’s Campbell’s Soup cans, now temporarily restored to their original nonart place on the shelves of the American supermarket.
Marshall was born in 1955 in Birmingham, Alabama, and raised in Los Angeles, California. He received his BFA from the Otis Art Institute in Los Angeles in 1978 and an honorary doctorate there in 1999. From 1993 to 2006, he taught in the School of Art and Design at the University of Illinois, Chicago. In 1997 Marshall was awarded the prestigious John D. and Catherine T. MacArthur Foundation Fellowship.
Randy Hemminghaus, master printer at the Rutgers Center for Innovative Print and Paper (renamed the Brodsky Center for Innovative Editions in 2006), collaborated with Marshall to produce the lithograph.
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
While traders and hedge fund managers make their millions, "the less fortunate look to the bare bones of the horseplay of today's gentry", Hans Haacke.
Some art I liked at the Pompidou:
Le monstre de Soisy by Niki de Saint Phalle
Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 by Hans Haacke
Aménagement de l'antichambre des appartements privés du Palais de l'Elysée pour le Président Georges Pompidou by Agam
Les jambes by Antoni Tàpies
3 pages du carnet by Jean-Paul Jungmann
The new commission Gift Horse by artist Hans Haacke, was unveiled on Thursday 5 March 2015 in London’s Trafalgar Square
1972
Glass and acrylic containers, pump, polluted Rhine water, tubing, filters, chemicals, goldfish, drainage to garden.
Installation, Museum Haus Lange, Krefeld.
A new sculpture has appeared on Trafalgar Square's 4th plinth, unveiled just yesterday.
According to Wikipedia:
'Hans Haacke: Gift Horse (5 March 2015 - present) – depicts a skeletal, riderless horse. Haacke says the sculpture is a tribute to economist Adam Smith and English painter George Stubbs. The horse is based on an engraving by Stubbs taken from ‘The Anatomy of the Horse’ published in 1766. Tied to the horse’s front leg is an electronic ribbon displaying live the ticker of the London Stock Exchange, completing the link between power, money and history. The sculpture was unveiled on 5 March 2015.'
From: http://www.helsinki.fi/jarj/iiaa/io1998/seppa.html
"Around 1965 Haacke moved on to other flexible natural forces and started to build his “weather events” with air draughts and blower systems both indoors and outdoors. Blue Sail (1965) was one of his indoor installations, consisting of blue chiffon, nylon thread, weights, and an oscillating fan which kept the installation in perpetual motion, as if it were a living organism fluttering fragilely in the air, but kept alive only with the help of the fan."
Artwork by Hans Haacke, as part of "Data Deluge" at Ballroom Marfa
Hans Haacke
News, 1969
RSS newsfeed
20 x 60 inches
Courtesy of Esther & Joseph Varet
In 1969, as part of the exhibition “Prospect '69” in Düsseldorf, Hans Haacke installed News, which consisted of a telex machine that printed out news items that were transmitted live by Germany’s leading press agency, Deutsche Presse-Agentur (DPA). Visitors to the exhibition were able to get news “hot off the presses,” reading such headlines as “Concorde Breaks Sound Barrier,” “GDR Celebrates 20th Anniversary” and “Anti-Apartheid Protesters Disrupt Frankfurt Book Fair.” It was later exhibited as part of the seminal 1970 exhibition “Software -- Information Technology: Its New Meaning for Art” at the Jewish Museum in New York. Haacke continued to update the technology of News; today it consists of a dot matrix printer that receives data from an RSS newsfeed.
The fact that events of the outside world were directly affecting the content of an artwork inside the hermetic world of a gallery or museum space was critical for Haacke, who stated in Lucy Lippard's book Six Years: The dematerialization of the Art Object from 1966 to 1972: “A ‘sculpture’ that physically reacts to its environment is no longer to be regarded as an object. The range of outside factors affecting it, as well as its own radius of action, reaches beyond the space it materially occupies. It thus merges with the environment in a relationship that is better understood as a ‘system’ of interdependent processes. These processes evolve without the viewer’s empathy. He becomes a witness. A system is not imagined, it is real.”
Data Deluge, March 3 – July 8, 2012
Curated by Rachel Gugelberger & Reynard Loki
Photograph(s) by Fredrik Nilsen
Courtesy of Ballroom Marfa
Pine Feather Period marks the first of three exhibitions for the sixteen artists selected to participate in Coalition Gallery, a one-year, juried, co-operative exhibition program for emerging, contemporary Chicago artists. In the spirit of a debut, Pine Feather Period, a 1920's flapper slang phrase, describes the period of a debutante's coming out. This exhibition introduces the work of CAC's 2011-2012 Coalition Gallery artists who throughout the year will expand their exhibition, marketing, networking and professional development skills.
The 2011-2012 Coalitions Gallery artists are: Steve Amos, Marissa Lee Benedict, Barbara Blacharczyk, Angela Davis Fegan, Daniel Giordan, Amanda Greive, Carole Hennessy, Debra Kayes, Alexandra Lee, Cydney M. Lewis, Sandra Perlow, Erik Peterson, Renee Prisble, Brittany Ransom, David Wittig, and Jim Zimpel.
Coalition Gallery artists will be featured in dynamic exhibitions curated by Chicagoland area independent curators, Tempestt Hazel (Co-Founder of Sixty Inches From Center: The Chicago Arts Archive and Collective Project), Anna Kunz (Artist, Co-Founder/Director of Kunz, Vis, Gonzalez Chicago), Jamilee Polson (Artist, Curator, Writer, Founder/Director of Twelve Galleries Project), and the curator of Pine Feather Period, Jeff Ward (Independent Curator, Co-Founder, Threewalls).
About the Curator: Jeff M. Ward has worked as a curator and critic in Chicago since 2002, participating in the organization of numerous shows, including exhibitions at the Hyde Park Art Center; threewalls, of which he was a co-founder; and the Pond, a no longer extant artist-run space of which he was also a co-founder. He was a critic-in-residence at the Core Program of the Glassell School of Art at the Museum of Fine Arts, Houston, and he has written for New Art Examiner and ArtLies magazines. He is currently Assistant to the Provost at the School of the Art Institute of Chicago.
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
Central Memorial of the Federal Republic of Germany to the Victims of War and Tyranny
The Neue Wache (New Guardhouse) was built in the years 1816 to 1818 on behalf of the Prussian kind, Fredrick William III, according to a design by Karl Friedrich Schinkel. From 1818 until 1918 the Royal Palace Guard was located here.
In 1931, the Prussian Government had the guardhouse redesigned Heinrich Tessnow created a "memorial to those who fell in the world war" in the centre of the room, which was designed to invite reflection, stood a black of granite with a silver wealth of oak leaves.
Shortly before the end of the second world war the Neue Wache was severely damaged by bombs.
From 1960 the restored buildings served the GDR as a "memorial to the victims of facism and militarism." In 1969 an eternal flame was lit in the middle of the room.
In 1969 the mortal remains of an unknown soldier and an unknown concentration camp prisoner were laid to rest here. They are surrounded by earth from the battlefields of the second world war and from concentration camps.
Since 1993 the Neue Wache has served as the central memorial of the Federal Republic of Germany.
The interior design from the time of the Weimar Republic was largely restored. An enlarged replica of the sculpture by Kathe Kollwitz known as "mother with her dead son" stands in the center of the memorial. It was made by Harald Haacke.
The Neue Wache is the place where we commemorate the victims of war and tyranny.
We honor the memory of the peoples who suffered through war. We remember their citizens who were persecuted and who lost their lives. We remember those killed in action in the world ways. We remember those killed in action in the world wars. We remember the innocent who lost their lives as a result of way in their homeland, in captivity, and through expulsion.
We remember the millions of Jews who were murdered. We remember the Sinti and Roma who were murdered. We remember all those who were killed because of their origin, homosexuality, sickness or infirmity. We remember all who were murdered whose right to life was denied.
We remember the people who had to die because of their religious or political convictions. We remember all those who were victims of tyranny and met their death though innocent.
We remember the women and men who sacrificed their lives in resistance to despotic rule. We honor all who preferred to die rather than act against their conscience.
We honor the memory of the women and men who were persecuted and murdered because they resisted totalitarian dictatorship after 1945.
Neue Wache
Unter den Linden 4 10117 Berlin
+49 30 25002333
visitberlin.de
en.wikipedia.org/wiki/Neue_Wache
After German reunification, the Neue Wache was again rededicated in 1993, as the "Central Memorial of the Federal Republic of Germany for the Victims of War and Dictatorship." The GDR memorial piece was removed and replaced by an enlarged version of Käthe Kollwitz's sculpture Mother with her Dead Son. This sculpture is directly under the oculus, and so is exposed to the rain, snow and cold of the Berlin climate, symbolizing the suffering of civilians during World War II.
The big blue cock has gone and I missed Boris as well. Now replaced by a big horse skeleton with share prices on its leg.
Voigtlander Bessa R3A
Canon RF 50mm f/1.4 LTM
Agfa Vista 200
Epson V500
Hans Haacke
Condensation Cube, 1963-2008
Plexiglass and water
30 x 30 x 30 in.
Hirshhorn Museum
Washington, DC
A collaboration between SALT and Van Abbemuseum, İstanbul Eindhoven-SALTVanAbbe. The second exhibition İstanbul Eindhoven-SALTVanAbbe: 68-89 opens on April 20 and presents artworks from the Van Abbemuseum collection that were produced between the years 1968 and 1989. The artists in the exhibition were Carl Andre, Gerrit van Bakel, John Baldessari, Robert Barry, Lothar Baumgarten, Bernd & Hilla Becher, Marinus Boezem, Marcel Broodthaers, Cengiz Çekil, Jan Dibbets, Ayşe Erkmen, Ian Hamilton Finlay, Altan Gürman, Hans Haacke, Douglas Huebler, Joan Jonas, Donald Judd, Serhat Kiraz, Joseph Kosuth, John Körmeling, David Lamelas, Sol LeWitt, Ahmet Öktem, Ergül Özkutan, Michalengelo Pistoletto, Martha Rosler, Ulrich Rückriem, Edward Ruscha, İsmail Saray, Gerry Schum, Thomas Schütte, Lawrence Weiner and Ian Wilson.
www.saltonline.org/en#!/en/301/istanbul-eindhoven-saltvan...
Cosmogonies, au gré des éléments
Collectif sous la direction de Hélène Guenin [Catalogue de l'exposition], MAMAC/Snoeck, 2018
Cosmogonies, au gré des éléments
9 juin – 16 septembre 2018
MAMAC – Nice
Commissariat : Hélène Guenin.
Artistes : Marina Abramovic, Dove Allouche, Giovanni Anselmo, Davide Balula, Hicham Berrada, Michel Blazy, Marinus Boezem, Famille Boyle, John Cage, Charlotte Charbonnel, Judy Chicago, Emma Dajska, Edith Dekyndt, Agnes Denes, Quentin Derouet, Noël Dolla, Piero Gilardi, Andy Goldsworthy, Hans Haacke , Ilana Halperin, Peter Hutchinson, Yves Klein, Irene Kopelman, Tetsumi Kudo, Maria Laet , Barbara et Michael Leisgen, Anthony Mc Call , Susana Mejia, Ana Mendieta, Bernard Moninot, Teresa Murak, Maurizio Nannucci, Otobong Nkanga, Yoko Ono, Denis Oppenheim, Gina Pane, Giuseppe Penone, Evariste Richer, Charles Ross, Vivien Roubaud, Rúrí, Tomas Saraceno, Charles Simonds, Michelle Stuart, Thu-Van Tran, Nicolas Uriburu, Capucine Vandebrouck, Maarten Vanden Eynde.
INFOS : www.mamac-nice.org/francais/exposition_tempo/musee/cosmog...
DOSSIER DE PRESSE [PDF] : www.nice.fr/uploads/media/default/0001/17/Cosmogonies.pdf
JOURNAL DE L'EXPOSITION [PDF] : www.mamac-nice.org/francais/exposition_tempo/musee/cosmog...
2001 "Places in the Mind. Photographs from the Collection." Curator Maria Hambourg, The Metropolitan Museum of Art, New York
Svetlana Kopystiansky: Exhibition at the Metropolitan Museum of Art, New York, 2001
Acquisition of works by the MET:
www.flickr.com/photos/artexh/7511279750/in/album-72157633...
Exhibition History of “Shadow of Gravitation”
The complete series of more then 40 works was exhibited at individual projects:
1994 Igor Kopystiansky “The Museum. Svetlana Kopystiansky. “The Library," (cur. Jürgen Harten). Kunsthalle Düsseldorf, Germany. (cat.)
"Svetlana Kopystiansky," (cur. Timo Valjakka). Kunsthalle Helsinki, Finland.
"Svetlana Kopystiansky." Oulu Art Museum, Finland (solo)
1996 "Some Assembly Required." The Art Institute of Chicago, USA (cat.)
The series was represented at individual exhibitions:
1997 "Collages," Thomas Schulte Gallery, Berlin, Germany
"Fiction," Wooster Gardens Gallery, New York
Works from the series Shadow of Gravitation were exhibited at group exhibitions:
2010 “Between Here and There: Passages in Contemporary Photography,” July 2, 2010–February 13, 2011(Curator Douglas Eklund) Metropolitan Museum, New York
2009 "Boule to Braid," (Curator Richard Wentworth). Lisson Gallery London
Boule to Braid: Curated by Richard Wentworth, June 24-Aug 15, Lisson Gallery London. Participating artists: Art and Language, Bob Law, Giuliano Paolini, Hans Haacke, Donald Judd, Yoko Ono, Dan Graham, Daniel Buren, Terrence Bond, Bernard & François Baschet, On Kawara, Lee Ufan, Marcel Broodthaers, Gordon Matta-Clark, Igor & Svetlana Kopystiansky, Tony Cragg, Scott Burton, Terrence Bond, Richard Deacon, John Latham, Julian Opie, James Casebere, John McCracken, Liam Gillick, Tony Oursler, Franz West, Paul McCarty, Jonathan Monk, Sharon Ya'ari.
2004 "Pieced Together: Photomontage From the Collection," May 22–September 19, (Curator Elizabeth Siegel, Galleries 3 and 4)
Art Institute of Chicago.
2002 “Regarding Landscape,” Participating artists: Roni Horn, Rodney Graham, Igor and Svetlana Kopystiansky. Art Gallery of York University, Toronto, Canada
“Au regard du paysage. Regarding Landscape II,” Galerie Liane et Danny Taran du Centre des Arts Saidye Bronfman, Montréal (Québec), Canada
2001 "Places in the Mind. Photographs from the Collection." The Metropolitan Museum of Art, New York
1997 "From the permanent collection," Metropolitan Museum, New York.
“New Faces and Other Recent Acquisitions," (cur. David Travis and Sylvia Wolf). Art Institute of Chicago
1995 "Memento," Haus am Wannsee, Berlin, traveled to Stadtgalerie im Sophienhof, Kiel, Germany, State Gallery, Prague (cat.).