Artists: Ahmed Al-Nawas and Minna Henriksson, Kader Attia, Annika Eriksson, Natascha Sadr Haghighian with Haig Aivazian and Jumana Manna, Ilya Orlov, Liisa Roberts. Special guest: Clémentine Deliss. Poster by: Erik Bruun

Public programme with: Yael Bartana, Terike Haapoja, Saara Karhunen, Eva Neklyaeva, Nora Sternfeld, Jenna Sutela, Mikko Teräsvirta and many others

Curated by: Joanna Warsza

During Bertolt Brecht’s years in exile in the Nordic countries, when he wrote endlessly about political struggles, he suddenly turned to picturing the landscapes of Scandinavia. His sonnet Finnische Landschaft (1940), written in Finland’s Kymi Province, contemplates the clean waters, farmhouses and activities of this people that he described as being “silent in two languages.” But even the most pastoral landscape is always also social and political. As Brecht explained: “silence” referred also to mechanisms of idealisation, conciliatory rhetoric and fear of action at various stages of Finnish history.

The summer-long exhibition Finnish Landscape responds to the array of cultural and political landscapes embedded in the heterotopic scenery of Seurasaari Open-Air Museum, founded on an island near Helsinki in 1909. The museum grew out of ethnographic nationalism and political romanticism, its rural houses relocated from various regions combining to form a “little Finland.” The idea was to idealize the countryside, to create a new regionalism, and to tell a different story that opposed both Russification and Swedish dominance. Then, after World War II, rapid modernization meant that Finland lost interest in self-identifying with its agrarian past, and modernity suppressed links with its rural foundations.

In summer 2016, a number of artists will intervene in the museum site, in its displays, houses and collections. The various projects will deal with the concepts of conservation and destruction, nature and culture, ethnography and post-ethnography, historical use and misuse, and finally with the subtle difference between building an identity and branding an identity in the current Finnish cultural and political landscape.

Commissioned by Checkpoint Helsinki, co-produced with the National Museum of Finland and Seurasaari Open-Air Museum

Checkpoint Helsinki was founded in 2013 as a constructive and sustainable alternative for commerce-driven city branding art initiatives. We commission and produce the contemporary art of the future, inviting international artists and curators to work in Finland. We work in collaboration with local organizations without one fixed venue. We are driven by art and artists’ fascinating power to establish a critical space within society. Our program consists of new commissions, developed by international and local curators and artists, specifically for Helsinki. Alongside this, we actively engage in public debate, campaigns and projects with the aim to support the lively and diverse art scene. We are currently preparing the publication Next Helsinki-Public Alternatives for Guggenheim’s Culture Driven Development will be launched in the fall. The publication presents submissions of Next Helsinki competition that was launched in 2015 as a collaboration between Gulf Labor Coalition, Terreform and Checkpoint Helsinki.

Artists: Chan Kwong-wah / Bryan Chung / Luke Ching / Doreen Etzler / May Fung / Phoebe Hui / Kum Chi-keung / Ip Yuk-yiu / Linda Lai + Floating Projects Collective / Lam Miu-ling + Yu Ka-ho, Albert / Keith Lam / Lily Lau / Jamsen Law / Jo Law / Otto Li / MMI (Moving Moving Images) / Mo Man-yu / Ellen Pau / Winnie Soon + Helen Pritchard / Jeffrey Shaw / John Wong / Samson Young / Solomon Yu / Danny Yung

Curator: Su Wei

Co-curator and Researcher: Phoebe Wong

Videotage is pleased to announce that the retropective exhibition No References. A Revisit of Hong Kong Video and Media Art from 1985 has successfully opened. The exhibition lasts to June 15, 2016.

The significance of history lies first and foremost in its relevance to the present. When triggered by events in our daily lives, we can’t help but revisit times and happenings from past eras, hoping to be enlightened and inspired by reevaluations and reconstructions of overrused narratives, forgotten histories and odd fragments long lost in the river of time. The more pressing the circumstances of the present, the louder the echoes of history and the stronger the resonance of the past.

Such has been the situation in Hong Kong in the past two years. An urgency has been steadily building momentum—taking fuel from frustrating political realities, rapid societal polarisation as well as the fraught development of the local art infrastructure. One of the most pressing and complicated challenges is that of contextualizing local artistic production with an appropriate historical perspective: while it has become commonplace to tackle the question of “Hong Kong” in art, it is a different thing to analyze such attempts in a lucid and historically-informed manner.

The development of the contemporary art scene in Hong Kong is inextricably linked to the development of video art in the region. In the early 1980s, under the influence of Hong Kong new wave cinema, a group of young artists began their initial explorations in video art with elementary and unsophisticated means. In 1986, some of these pioneering artists (members of Zuni Icosahedron at the time) came together to establish Videotage, undertaking the mission of developing new media art in Hong Kong. Represented by Danny Yung, Ellen Pau, May Fung, Mo Man-yu and Wong Chi-fai, these artists introduced the form and spirit of video art to Hong Kong at a time when there was no artistic precedent, institutional support or any sort of public interest. At a time when the concept of media art had yet to be clearly defined, the young medium was challenged, moulded and incrementally developed via illuminating experiments and crossovers with other art forms such as dance, painting, installation and theatre.

The task of chronicling the 30-year history and development of media art in Hong Kong is not an easy feat. This exhibition attempts to look back, reflect and re-evaluate Hong Kong media art with a fresh methodology—one that is based on a critical historical perspective rather than the technological development of various mediums. Furthermore, history itself is dissected and re-contextualized. Traditional accounts of Hong Kong divides its contemporary history into discrete periods, namely: the end of the British occupation; the transitional era after its handover to China; and the issue of Article 23 of Hong Kong’s Basic Law, etc. While such chronologies foreground core values of democracy and nativeness, they inevitably simplify the complexities and problematics that interweave art, social life and ideological discourse.

Using the institutional history of Videotage as an alternative guiding chronology, this exhibition presents a Hong Kong media art based on No References. Since its conception, media art in Hong Kong has been a melting pot for diverse perspectives and influences, it has always been adopting an open and humble learning attitude towards audiences, critics and members of the public from within and beyond the city. Over the years, Hong Kong artists learned how to transform their anger and frustrations into a form of creative resistance, while not abandoning the appeal of breaking away from collective identity. Their efforts present a combined struggle against singularity and univerality with enormous power and potential.

No References revolves around the notion of subjectivity: in revisiting history we explore the development of subjective consciousness and its relationship to larger enveloping narratives. This subjectivity, as expressed in this exhibition, is based on hospitality to the Other and struggle against singularity and universality: a situation of refusion and refusal, in which Hong Kong media artists practice. An art subject or concept never exists in a vacuum; it is always deeply interwoven within specific geographical, historical and sociopolitical contexts. At the same time, such concepts arise without precedent or example, born out of history while seeking to change the status quo. In their quest for new orders and new ways of living, such new subjectivities refuse to be subsumed within existing social structures; nor do their efforts fully reflect dominant narratives and histories. This is the reason why we cannot generalize a Hong Kong identity or history based solely on political developments or external identities: such accounts omit the individual exploration, the interindividual inspiration that foretell and pre-date the actual happenings.

Presenting works by pioneering video artists whom have attempted to self-organize and inspire each other in their collective goal of developing media art in Hong Kong forms a conceptual and literal point of departure of the exhibition. In Unit 12 at Cattle Depot, the works display an intriguing interrelationship between interindividual inspiration and independent creativity that manifests in a transgressive historical consciousness—one that transcends the limitations of media as well as personal and social boundaries. It is in this way that subjective consciousness infiltrates and transforms artistic, social and political dialogue through a wide range of media practices. In Unit N2, N5 and Unit 13, we strive to present the complexity that is deeply rooted in and unique to Hong Kong media art. From media experiments to institutional critique and from sociopolitical views to private personal desires, the exhibition constructs a space that interweaves diverse fragments and stories. At the same time, adopting an investigative archival approach, we also endeavour to discuss about the event of documenting media works as a “re-mediatizing” process.

Curated by François Piron for its 2016 edition, the contemporary art biennale Les Ateliers de Rennes is pleased to announce its final list of participating artists.

Ed Atkins, Babi Badalov, Ismaïl Bahri, Eva Barto, Camille Blatrix, Maurice Blaussyld, Jean-Alain Corre, Trisha Donnelly, David Douard, Michaela Eichwald, Jana Euler, Jean-Pascal Flavien, Aaron Flint Jamison, Michel François, Melanie Gilligan, Karolina Krasouli, Laura Lamiel, Klaus Lutz, Mark Manders, Mélanie Matranga, Anna Oppermann, Jean-Marie Perdrix, Jorge Queiroz, Anne-Marie Schneider, Liv Schulman, Lucy Skaer, Thomas Teurlai, Darielle Tillon, Anne-Mie Van Kerckhoven

“What are emotions we are about to have in a future already present? The era of emotions is over. One prefers a mood or mood predictor [...] which in turn become logos for products, which in turn become product-emotions, which in turn become consumers (by-products),” once stated American poet Tan Lin. In other words: What are the consequences of our incorporation into the abstract systems of our economic world?

Incorporated! focuses on the affects provoked by our prolonged submission to the ideologies and the technologies governed by economics. The dissolution of borders between the public and the private, the singular and the common; feelings of helplessness and dispossession: these are all examples of the concerns reflected in the artworks by this cross-generational group of renowned and emerging artists.

Incorporated! aims at reconsidering the emancipatory forces that lie in the negation, the opacity, the resistance exerted by the artworks gathered in the biennale. The exhibition will present numerous new productions and important ensembles specially commissioned for the biennale.

A dozen solo and collective exhibitions form a single project, with intensities, tones and moods specific to each venue.

In Rennes: Halle de la Courrouze, Musée des beaux-arts de Rennes, Frac Bretagne, 40mcube Outsite, La Criée centre d’art contemporain, Galerie Art & Essai, Le Praticable, Musée de la Danse / École Européenne Supérieure d’Art de Bretagne (EESAB) – site de Rennes and Lendroit éditions.

Elsewhere in Brittany: Passerelle Centre d’art contemporain (Brest), Le Quartier Centre d’art contemporain (Quimper), École des Beaux-arts / Galerie Raymond Hains (Saint-Brieuc).

Organization: Art Norac
Curator: François Piron, assisted by Marie de Gaulejac
Implementation: le troisième pôle

Press contact: 2e Bureau, ateliersderennes@2e-bureau.com

Les Ateliers de Rennes – contemporary art biennale
Since 2008, Les Ateliers de Rennes – contemporary art biennale is a renowned international artistic event in Brittany founded by Art Norac. The biennale receives support from the City of Rennes – Rennes Métropole, the Ministry of Culture and Communication (Drac Bretagne), the Brittany Region, and the General Council of Ille-et-Vilaine.

Every exhibition is a collectively shared form of an ideal, intellectual, public “mental” space, bringing together co-authors, points of reference, and forms of knowledge. This provisional map is a constant negotiation between discussion partners with their mappings of time and space, reflecting their individual realities. As a presentation, an exhibition allows public access to its makers’ latest editorial decisions, final data-rendering and temporary design structure. What happens when it is born as an idea in one hemisphere and moved to another? How does it become an ongoing exhibition process starting with a research visit, an exchange of artist residencies, and experimental open studios? Under what conditions can an exhibition continue developing content internationally along with local cultural codes? What happens to this cultural context, intellectual climate and everyday realities and how can these communicate with diverse audiences?

In Politics of Sharing an antipodean perspective crosses with a Continental/European approach to create a trilogy of exhibitions with unfolding content in three phases: Berlin, Stuttgart and Auckland, focusing on the reflections, and understandings of collective wisdom. Employing artist residencies as research generators, deploying open studios as a way of public broadcast and community engagement, and publishing political controversies and culturally sensitive issues, this multilayered and multi-venue exhibition project, Politics of Sharing invites Germany and New Zealand/Aotearoa into an enquiry. As a limited economy or a confined ecology of how we subconsciously decide on what to share, and with whom, the exhibition emerges from a research visit, to a shared mental space at the closing of its last episode.

As we look at the same sky we literally share the same air. The European form of handshake, which might be taken as a reciprocal declaration of solidarity, is here replaced by the hongi—a customary touching of noses—which defines the exchange of the breath we share. Maori cosmogonic creation narratives also focus on the notion of sharing, by looking at the relationship between Ranginui (Sky Father), and Papatuanuku (Earth Mother), who open up the space between them, for an ever-spiralling cycle of creative potential. The complexities of the human condition are explained through the multitude of their offspring. The cultural understanding of whakapapa—genealogy—which literally translates as making layers upon the earth, shows itself socio-economically in culturally specific aspects of landownership, property and organisation of public space.

Learning from the unique cultural context of New Zealand/Aotearoa, and being experienced with Germany’s long history of traveling exhibitions, this collaboration between Artspace and ifa galleries intends to reactivate the act of sharing. With the active engagement of Yogyakarta based collective KUNCI within the exhibition program, ifa’s Berlin gallery operates as an artist studio, radio station and an extension of the public space prior to the exhibition’s opening. The Berlin and Stuttgart based installations will include commissioned works from Lonnie Hutchinson, Daniel Maier-Reimer, Peter Robinson, and Kalisolaite ‘Uhila as well as recent works by Gabriel Rossell-Santillán and Natalie Robertson.

Wednesday, June 1, 7pm, ifa-Galerie Berlin “The End of Contemporary Art (as we know it)”: Lecture by Marion von Osten, Berline

Friday, June 3, 4pm, ifa-Galerie Berlin Curatorial tour and artist talk with: Daniel Maier-Reimer and Syafiatudina (KUNCI), Peter Robinson, Gabriel Rossell-Santillán and Kalisolaite ‘Uhila moderated by Elke aus dem Moore (ifa) and Misal Adnan Yildiz (Artspace NZ Auckland) Performance by Kalisolaite ‘Uhila

Friday, July 8, 7.30 pm ZK/U, Moabit “Shared experiences of some micro-histories/Sharing: With and against and for” Film programme, curated by Madeleine Bernstorff

Including documentation material from Radio Kunci and film program, “Imaginary Date Line” (with works from Pilimi Manu, Jeremy Leatinu’u, Darcell Apelu, Vea Mafile’o, Shannon Te Ao, Rik Wilson, Janet Lilo and Nova Paul; produced by Artspace NZ)

State of Concept is proud to present After Europe, the first Greek solo exhibition of Dutch visual artist Jonas Staal, curated by Iliana Fokianaki.

The exhibition After Europe centers on the current political, economic, and humanitarian crises in Europe. Rejecting both the existing managerial and corporate policies of the EU as well as the rise of ultranationalist parties all over the continent, Staal proposes art as a space to criticize and rethink the idea of the political union. What comes after Europe as we have known it so far? Where can the desire and imaginary of art bring us, to establish a new transdemocratic union?

The first part of the exhibition consists of the artistic and political organization New World Summit, which the artist founded in 2012 and since then has developed by creating “alternative parliaments” for stateless and blacklisted political organizations from all over the world. In the past four years, these parliaments have taken the form of large-scale architectural constructions in theaters, public spaces, and art institutions, in which the artist invited representatives of stateless political organizations to discuss the political histories of their organizations and the alternatives they represent, and furthermore to debate the violent policies enacted against them by Western democracies in the name of the War on Terror. From the Basque to the Kurdish and Tamil independence movements, these parliaments became spaces of assembly to propose and discuss alternative world orders. Staal’s New World Summit is currently working on a commission of the autonomous Kurdish region of Rojava (northern-Syria) to build a permanent public parliament for this revolutionary society. As a whole, New World Summit makes visible violent policies enacted in the name of democracy, including the European one, and simultaneously shows the political alternatives proposed by those who have resisted neocolonial and neoliberal policies.

The second part of the exhibition consists of Staal’s New Unions, the beginning of a new long-term project shown for the first time, in which the artist’s research in Athens became its point of departure. This project starts with the current European crises and takes the form of an artistic campaign to support progressive, emancipatory, and autonomist movements all over the European continent to explore the possibility to establish a new transdemocratic union. With the term “transdemocracy” the artist refers to the massive rise of social movements and new political parties throughout the continent that have challenged traditional institutional structures by creating new models of political assembly and decision making. From the civil initiative in Iceland to collectively rewrite the constitution after the economic crisis to new pan-European initiatives opposing the economic terror imposed upon the Greek people. Together, these political experiments emerging out of Europe propose new forms of transdemocratic practices, no longer limited by traditional state boundaries. In this exhibition the artist presents the layout of the New Unions campaign for the first time.

Both Staal’s New World Summit and New Unions, aim to contribute to the imaginary of an age after Europe.

On the opening of After Europe the artist and curator will join the stage with activists, thinkers and academics to discuss what comes after Europe. Confirmed speakers are Quim Arrufat (Popular Unity Candidacy, Catalunya), Angela Dimitrakaki (writer and academic, Greece/Scotland), Maria Hlavajova (artistic director BAK, basis voor actuele kunst, Utrecht, The Netherlands), and Vincent W.J. Van Gerven Oei (publisher, punctum books, US/Albania). For further information about the event refer to www.stateofconcept.org.

State of Concept is supported by OUTSET Contemporary Art Fund (Greece). The exhibition After Europe is made possible, in part, by the Mondriaan Fund (The Netherlands).

The Los Angeles County Museum of Art (LACMA) announces the release and premiere of Loris Gréaud: Sculpt on August 16, 2016 in the Bing Theater, the sole authorized and official venue for this unique presentation. Sculpt is a social science fiction movie that depicts unprecedented shapes and experiences, along with obsessions and fantasies. The film follows the thoughts of a man about whom we know very little, who seems to be constantly developing the concept of what experiencing beauty, thought, or obsession can be, despite the risks to which the subjects are exposed in the long term.

Sculpt, produced for LACMA, is Loris Gréaud’s first major exhibition project to take place on the west coast of the United States, as well as being his first feature-length film. It offers a unique experience to each viewer who sees it as an immersive environment.

For this presentation, LACMA’s Bing Theater will be reconfigured for only one audience member at a time. Each screening will therefore turn into a unique one-person experience, with the movie seemingly watching its visitor as it is watched. Screenings take place thanks to the generous loan of the film from Voodoo Queen Priestess Miriam Chamani who has permitted its distribution solely at LACMA. In this chrysalid state, the film is on loan for an unspecified time.

Then, a series of bootlegs and stolen clips from the movie will occasionally reappear via a black market, during illegal screenings throughout the world, as far as the Dark Net abyss. Sculpt will thus reach its main goal: to become one of the obsessions whose story it endeavored to describe.

Sculpt will be screened daily from August 16, 2016. Admission free. Tickets will be released on site each morning. Due to the nature of the project and the uncertainty of the longevity of the loan, the film will be screened for an indeterminate period.

Written and directed by Loris Gréaud
Starring: Willem Dafoe, Charlotte Rampling, Michael Lonsdale, The Residents, Pascal Greggory, Abel Ferrara, Claude Parent, Voodoo Queen Priestess Miriam Chamani, Betty Catroux
Original soundtrack: The Residents
In association with Cryptic Corporation—Greaudstudio
Production in association with Noirmontartproduction, MK2

Loris Gréaud was born in 1979 in Eaubonne, France. Since the early 2000s, he has developed a singular trajectory in the international contemporary art scene whereby he constructs unique environments to house disruptive elements, often with an ambiguous narrative that blurs the boundaries between fiction and reality. Rumors, poetry, viruses, architecture and demolition, academicism and self-negation are therefore regularly summoned in his work as it strives to oppose the separation between physical and mental spaces.

Gréaud’s projects have resulted in significant solo exhibitions. He is the first artist to be granted full use of the Palais de Tokyo in Paris for his project Cellar Door (2008–15), which he further developed at the Institute of Contemporary Art (ICA) in London, the Vienna Kunsthalle, the Kunst Halle Sankt Gallen, and La Conservera Museum in Murcia. Gréaud is also the only artist who has exhibited jointly in the Musée du Louvre and in the National Museum for Modern Art at the Pompidou Center in Paris with the internationally acclaimed double exhibition project [I] (2013). In 2015, he took over the whole gallery space of the Dallas Contemporary with the ambitious and radical project The Unplayed Notes Museum. Gréaud has also been included in several group shows including: A Certain State of the World?, Garage Center for Contemporary Culture in Moscow (2009); Altermodern, London Tate Triennial (2010); ILLUMInations, 54th Venice Biennale (2011); The World Belongs to You, Palazzo Grassi—François Pinault Foundation, Venice (2011); X_Sound: John Cage, Nam June Paik and After, Seoul Nam June Paik Art Center (2012); Prima Materia, La Punta della Dogana—François Pinault Foundation, Venice (2013); and Art or Sound, Prada Foundation, Venice (2014).

China’s Yinchuan City to host the first biennale in September 2016 with Anish Kapoor, Ai Weiwei, Abigail Reynolds, Alke Reeh, Andrew Miller, Basel Abbas and Ruanne Abou-Rahme​, and more

Madam Liu, Director of Museum of Contemporary Art Yinchuan (MOCA Yinchuan), announced today that the museum will hold its first biennale. To be curated by internationally acclaimed artist, curator and co-founder of Kochi-Muziris Biennale, Bose Krishnamachari, the exhibition will be held from September 9 to December 18, 2016 on the premises of MOCA Yinchuan and will include an engaging display of artworks both inside and outside the museum.

Titled For an Image, Faster Than Light the inaugural edition will witness more than 80 international artists representing all facets of the global spectrum and from all parts (east–west, north–south) working on contemporary issues that the world has to contend with. This announcement comes with the first list of 40 artists for the First Yinchuan Biennale.

According to the concept note presented by Curator Bose Krishnamachari, “This biennale in China can thus postulate different themes, including spiritual and social consciousness, an examination of political narratives and critical global engagement and an acknowledgment of a collective responsibility therein.”

“A light to be seen through art’s eyes. It is indeed a circle in which we seek, from beginning to end, a light to hold within the image of a finger bowl,” he says. The inaugural Yinchuan Biennale thus proposes to create a discourse on all the conflicts that the world is currently confronted with and perhaps makes possible propositions through a global creative confluence.

Many of the works will involve artistic residencies in MOCA Yinchuan’s International Artist Village and research travels to Yinchuan to create site-specific works. “To this international biennale,” feels MOCA Yinchuan’s Artistic Director Suchen Hsieh,” we are going to set up the first professional culture promotion base among the cites on China’s ‘One Belt, One Road’ Strategy list.”

The Museum of Contemporary Art Yinchuan is the first contemporary museum along the Yellow River in the northwest of China. In 2015 it found place among the best new museums. The biennale will also see a host of cultural activities like music programmes and seminars on the various aspects of the concept note. Some of the participating artists will be conducting workshops for children. Madam Liu says, “the first Yinchuan Biennale will be an excellent platform to showcase the best of contemporary global art.”

The first list of 40 artists:
Abigail Reynolds, Ai Weiwei, Alke Reeh, Andrew Miller, Anish Kapoor, Basel Abbas and Ruanne Abou-Rahme, Basir Mahmood, Benitha Perciyal, Boedi Widjaja, Brook Andrew, Charbel Joseph, Cristiana de Marchi, Dana Awartani, Danie Mellor, Daniel Arsham, Fred Eerdekens, George Osodi, Hassan Sharif, Heman Chong, Hicham Berrada, Ivan Navarro, Joana Hadjithomas & Khalil Joreige, Khaled Sabsabi, Lala Rukh, Li Jinghu, Liu Wei, Mao Tongqiang, Mary Ellen Carroll, Mohammed Kazem, Newsha Tavakolian, Riyas Komu, Robert Montgomery, Ryota Kuwakubo, Santiago Sierra, Sherman Ong, Slavs and Tatars, Song Dong, Sudharshan Shetty, Tim Silver, Tita Salina Valsan Koorma Kolleri, and Yee I-Lann.

From summer 2015, the Shedhalle project The Whole World in Zurich (concept and realization in collaboration with the artist Martin Krenn) yielded to artistically explore concrete proposals for Urban Citizenship in Zurich. A transdisciplinary expert group developed projects focusing on three essential aspects of citizenship: freedom of residency, freedom from discrimination, and freedom of agency. Those processes took place in closed “harbor talks” with decision makers as well as in public “harbor forums,” where local and international protagonists discussed the potential of urban citizenship for the City of Zurich. Zurich should become a safe harbor: for all who live here, and those yet to arrive.

The project created a transformative space for thinking, negotiating and acting collaboratively—beyond practical constraints of political “realism.” It created a pre-enactment of a social utopia. For in a global age, the whole world is reflected in one city.

Now, the exhibition #urbancitizenship. City and Democracy gives visual insights into above-mentioned processes: the idea of urban citizenship, its beginnings throughout the world, its arrival in Switzerland, and its future: a city for us all.

Curator: Katharina Morawek
Concept The whole World in Zurich: Katharina Morawek and Martin Krenn​
Research: Roger Conscience and Andreas Kleemann
Wall/Graphic design: Carolina Cerbaro and Roger Conscience
Drawings: Andreas Bertschi
Scenography: Mirjam Bürgin
Publicity: Nicole Niedermüller
Technicians: Wamidh Al-Ameri and Martin Schmid

Speakers at the harbor forums: Ilker Ataç, Ayesha Basit, Bah Sadou, Jochen Becker, Kijan Malte Espahangizi, Mary Jane Jacob, Rohit Jain, Martin Krenn, Henrik Lebuhn, Katharina Lenz, Oliver Marchart, Katharina Morawek, Tarek Naguib, Osman Osmani, Nathan Prier, Christoph Schäfer, Bea Schwager, Nora Sternfeld, Ivana Pilic

Members of the expert group: Bah Sadou (activist, “Autonomous School Zürich”), Dr. Kijan Malte Espahangizi (managing director, Center “History of Knowledge,” ETH & University of Zurich), Martin Krenn (executive artist, www.martinkrenn.net), Katharina Morawek (curatorial director, Shedhalle), Tarek Naguib (lawyer, ZHAW School of Management and Law), Osman Osmani (trade union secretary for migration, UNIA), Bea Schwager (director of SPAZ, contact point for Sans Papiers in Zurich), Dr. Rohit Jain (social anthropologist, University of Zurich/Zurich University of the Arts)

“Reality is stronger than art.
As an artist I do not want to reflect a reality,
But I do want to question it.”
–Sislej Xhafa

A major retrospective devoted to an ironic, subversive artist who draws inspiration from the complexity and contradictions of reality.

The exhibition’s title is taken from the major installation created by the artist in 2000 within the ambit of the Arte all’Arte project in the Casole d’Elsa hills near Siena. A gigantic script Benvenuto (Welcome), an invitation to openness, to the embracing of others understood as necessary, inevitable progress that over time leads to social and cultural change.

This work, together with many others on show, highlights issues such as the coexistence of the cultures and religions and the redefinition of the concept of migrant in a global world.

The exhibition comprises 30 works, spanning his career from the 1990s through to the present, including a new work the artist has created especially for this show. MAXXI is presenting the full range of his artistic output that draws inspiration from the contradictions of contemporary reality.

The issues the artist tackles are frequently tied up with his own experiences; those of identity, nationality, migrations, legality and the institutions, always confronted with tones ranging from the ironic to the subversive and making recourse to the most diverse techniques.

BENVENUTO! Sislej Xhafa is a visual journey through the complexity of the modern world in which each work encourages the observer to reflect, both in personal and collective terms, on the social, economic and political phenomena of our world.

On the first day of opening of the exhibition, Thursday, June 2 at 6pm, the performance Again and Again will be staged in MAXXI’s Gallery 1 (admittance with a museum entrance ticket). A performance piece by the artist that involves the Orchestra d’archi Roma Sinfonietta and which like other works by Xhafa plays on the deconstruction of traditional values and the overturning of perception.

40 Italian and international masters of photography; 150 images describing Italy in its multiple and at times contradictory guises.

June 2 also sees the opening to the public of the exhibition EXTRAORDINARY VISIONS. L’ITALIA CI GUARDA, on the occasion of the 70th anniversary of the birth of the Italian Republic to which MAXXI is paying tribute.

Costruiamo la comunità del XXI secolo, the work with which MAXXI is participating in the project Inside Out by JR, can be viewed in the museum piazza.

In an age when geo-location, interactive maps, or just a simple click can transport you across space, what has happened to our cartographic sensibility? 49 Nord 6 Est covers up the tracks and takes you on a springtime walk… of the mind. Against the grain of every cartographic grammar, the 19 featured artists make a point of deconstructing the Western mappa mundi, and invite you to step into an imagined or forgotten elsewhere.

Bringing together over 30 works (belonging mainly to the 49 Nord 6 Est collection), these “sensitive zones” are deconstructed (M. Vatamanu & F. Tudor), decentered (K. Ströbel), recited (B. Heidsieck), reordered (K. Pieroth), and renamed (D. Renaud), tactile (J. Kaeppelin, J. Discrit), epidermic (J. Blau), and imaginary (Y. Ono), in order to remind us that any cartographic representation is but a subjective projection in the form of an image, likely to disperse in a cloud of dust (N. Oranniwesna).

From the very heart of a fragmented regional territory comes the following proposition: the first attempt at charting a new, expanded horizon. Since there is no c(h)art without a trac(e), why not imagine an aroma of Grand Est and get on the scent? An olfactory entity tied to, and designed for, the inhabitants: this is what the artist-in-residence, Julie Fortier, is going to try to achieve in partnership with the Centre International d’Art Verrier (International Center for Glass Art) in Meisenthal.

Brought into perspective by the cartographer’s dream (Philippe Rekacewicz), the exhibition will be complemented by urban strolls to discover gendered spaces or islands of solidarity. Screenings, meetings, and workshops will offer the public opportunities to engage in sensible, collective explorations of space.

Related program

Exploratory Walk: “Sécucité femmes”: with Pauline Pelissier
July 5, 8pm

Screening and Meeting: “Lettres à Max”: with Eric Baudelaire
September 8, 7pm

Interactive map: “Cartographie Solidaire”
September 14, 3pm, with Centre Le Lierre-Thionville et le Réseau Solidarité

Nomadic concert: “Digitales Vagabondes”
September 22, 7pm, with Station Miao – Stéphanie Barbarou and Laurence Hartenstein

Workshop: “Cartographie Subjective”
October 1, 2–5pm, with Philippe Rekacewicz, Peggy Pierrot and Philippe Rivière

Two voices encounter: “Dialectique du Monstre”
October 13, 7pm, with Alexandre Laumonier and Sylvain Piron

Conference and night walk: “Espaces Genrés”
October 19, 7pm, with Rachele Borghi

More information available on our website: www.fraclorraine.org

The 49 Nord 6 Est is supported by the Alsace – Champagne-Ardenne – Lorraine Regional Council and the DRAC at the Ministry of Culture and Communication

Hours:
Friday, June 10, 5–9pm
Saturday, June 11, 12–7pm
Sunday, June 12, 12–7pm

Opening party at Akademie der Künste: Friday, June 10, 9pm–late

After party at ACUD Macht Neu: Sunday, June 12, 9pm–late

MISS READ: The Berlin Art Book Fair 2016 will take place on June 10 to 12 at Akademie der Künste Berlin and will bring together a wide selection of some 200 publishers, art periodicals and artists/authors. Founded in 2009, MISS READ is Europe’s Art Book Festival, dedicated to community-building and creating a public meeting place for discourse around artists´ books, conceptual publications and publishing as practice. Admission is free.

Featuring 200+ international participants with this years special focus on Spanish-speaking countries, MISS READ will be accompanied by series of lectures, discussions, book launches and workshops, exploring the boundaries of contemporary publishing and the possibilities of the book.

On Friday, June 10, MISS READ STAGE will focus on Publishing as Artistic Practice with panels, book presentations and lectures by Annette Gilbert, Eleanor Vonne Brown, Eva Weinmayr, Hannes Bajohr, Paul Soullelis and the Mexican collective Rrréplica meeting/encounter/clash of rebellious/disobedient/unruly publishers/editors/printers and duplicators.

Friday’s public programmes schedule is available here.

On Saturday, June 11, the fourth Conceptual Poetics Day will explore the imaginary border between visual art and literature. It will feature readings, talks, performances and books by Eugen Gomringer, James Sherry, Matvei Yankelevich, Cordula Daus, Paul Soulellis, Franz Thalmair, Lois Bartel, Stefan Riebel, Ignacio Uriarte, Hank Schmidt in der Beek, Annette Gilbert, Thomas Thiel, Arno Auer, Cia Rinne, and many more.

The detailed program of the Conceptual Poetics Day 2016 is available here.

On Sunday, June 12, MISS READ STAGE will present lectures, booklaunches and a symposion on How to Collect Artists Books, organised in collaboration with Zentrum für Künstlerpublikationen Weserburg and featuring presentations by Anne Thurmann-Jajes, Tony White, Eva Linhart and Beatrice Hernad, among others.

Sunday´s public programmes schedule is available here.

To sustain our activities, we occasionally publish fundraising editions. More information about our editions with John Stezaker, Cia Rinne, Haris Epaminonda and Eugen Gomringer is available here: missread.com/editions

Participants:
88books (Vancouver) / A BALZAC A RODN (Paris) / ABC [Artists' Books Cooperative] (New York and elsewhere) / adocs (Hamburg) / Afterall (London) / Akademie der Künste (Berlin) / AKV (Berlin) / Alt Går Bra (Bergen, Norway) / Anagram Books (London/Berlin) / AND Publishing (London) / Animal Press (Brussels) / Apparent Extent (Cologne) / Archive Books (Berlin) / Archive Artist Publications (Munich) / Åse Eg Jørgensen (Copenhagen) / ATLAS Projectos (Lisbon/Berlin) / August Verlag (Berlin) / Bartleby & Co. (Brussels) / Baeckerei (Berlin) / BELMONDO (Warsaw) / BLEK (Leipzig, Germany) / Boabooks (Geneva) / BOM DIA BOA TARDE BOA NOITE (Berlin) / BOMB Magazine (New York) / Book Works (London) / Brad Downey (Berlin)/ Brinkmann & Bose (Berlin) / Broken Dimanche Press (Berlin) / Bücher & Hefte (Berlin) / Bücherbogen (Berlin) / bywater bros (Port Colborne, Canada) / Camera Austria (Graz, Austria) / Cabinet Magazine (Brooklyn) / Cia Rinne (Berlin) / Colour Code (Toronto) / Dennis McGrath (Los Angeles) / Dirty Flower Press (Berlin) / Doppell (Berlin) / drittel books (Berlin) / Edit e.V. (Leipzig) / Edition Fink (Zurich) / edition.nord (Niigata, Japan) / Éditions Incertain Sens / Cabinet du livre d’artiste (Rennes, France) / Edizione Multicolore (Leipzig) / ENDLESS EDITIONS (New York) / Eugen Gomringer (Rehau, Germany) / Fantôme Verlag (Berlin) / FH Dortmund (Dortmund, Germany) / Flaneur Magazine (Berlin) / Folkwang UdK (Essen, Germany) / Fotograf (Prague) / Frans Masereel Centrum (Kasterlee, Belgium) / FUKT (Berlin) / g*press (Amsterdam) / GAGARIN (Antwerp) / Galavant Magazine (Singapore) / Galerie Neu (Berlin) / Girls Like Us (Amsterdam) / Gloria Glitzer (Berlin) / Grafter’s Quarterly (Bergen, Norway) / Grazer Kunstverein (Graz, Austria) / GRRRR (Zurich) / Hamburger Eyes (Los Angeles) / Hank Schmidt in der Beek (Berlin) / Hard Mag (London) / Haris Epaminonda (Berlin) / Impractical Labor (Bridgeport, USA) / indekeuken (Brussels) / JB. Institute (Berlin) / Journal of Aesthetics & Protest (Los Angeles) / Kerber Verlag (Bielefeld) / KHB Weißensee (Berlin) / Knuckles & Notch (Singapore) / Knust/Extrapool (Nijmegen, the Netherlands) / Kontaktcenter (Hamburg) / KudlaWerkstatt (Prague) / Kultur & Gespenster (Hamburg) / Künstlerhaus Bethanien (Berlin) / Kunstverein Milano (Milan) / Kunstverein Publishing (Amsterdam) / kuš! (Riga, Latvia) / KUTA HOUSE* (Warsaw) / Library of the Printed Web (New York) / Look Back and Laugh Books (Ljubljana, Slovenia) / lorem ipsum (Rennes, France) / Lubok Verlag (Leipzig) / MATERIA (Rome) / MER Paper Kunsthalle (Ghent, Belgium) / MGLC International Center of Graphic Arts (Ljubljana, Slovenia) / Miami books (Geneva) / Michael Baers (Berlin) / Michalis Pichler (Berlin) / MIT Press (Cambridge, USA) / Montez Press (Hamburg) / mzin (Leipzig) / nbk (Berlin) / NoRoutineBooks (Vilnius, Lithuania) / Nos:books (Taipei) / Occulto (Berlin) / Onomatopee (Eindhoven, the Netherlands) / ottoGraphic (Marshfield, UK) / Palefroi (Berlin) / par(ent)esis (Florianopolis, Brazil) / Paul Soulellis (New York) / Pegacorn Press (New York) / Peleja (Florianopolis, Brazil) / PogoBooks (Berlin) / possible books (Berlin) / Poster Tribune (Carouge, Switzerland) / PrintRoom (Rotterdam) / Ptohograhpies (Berlin) / Publication Studio (Rotterdam) / Ethan Rafal (San Francisco) / Raum der Publikation (Kiel) / Re:Surgo! (Berlin) / Red Sphinx (Berlin/London) / Red76 (Portland, USA) / Roma Publications (Amsterdam) / Rondade (Tokyo) / Salon du Salon (Marseille) / Salon für Kunstbuch (Vienna) / Sarah and Schooling (Singapore) / Schlebrügge.Editor/Fama & Fortune Bulletin (Vienna) / Scriptings/Achim Lengerer (Berlin) / Sergej Vutuc (Heilbronn, Germany) / shashasha collective (Tokyo/Paris/Leipzig) / SKULPI (Berlin) / slow editons (Yokohama, Japan) / Small Tune Press (Hong Kong) / Space Poetry (Copenhagen) / Spector Books (Leipzig) / springerin (Vienna) / Städelschule (Frankfurt) / Starship (Berlin) / Sternberg Press (Berlin) / Zentrum für Künstlerpublikationen Weseburg (Bremen, Germany) / supersupersupersuper (Amsterdam) / Susanne Bürner (Berlin) / TBooks (Cologne) / textem (Hamburg) / TFGC Publishing (Düsseldorf) / TLTRPreß (Berlin) / the blue notebook (Bristol, UK) / the everyday press (Paris) / The Newww (Venice) / The Name Books (Chur, Switzerland) / Elgarafi .The Postershop (Berlin) / Tiny Masters (Leipzig) / Tiny Splendor (Berkeley/Los Angeles) / Toupée (Berlin) / Triangle Books (Brussels) / Ugly Duckling Presse (Brooklyn) / Unity Press (Oakland) / Verlag der Buchhandlung Walther Koenig (Cologne) / Verlag Silke Schreiber (Munich) / Verlak (Weimar, Germany) / Verlag für moderne Kunst (Vienna) / Vlado Martek (Zagreb, Croatia) / von100 (Berlin) / Werkplaats Typografie (Arnhem, the Netherlands) / Westphalie (Vienna) / White Fungus (Taiwan) / wicker industries GmbH & Co. KG (Berlin) / X Marks the Bökship (London) / zero sharp (Berlin) / zirkumflex (Berlin) / ztscrpt (Berlin/Vienna) and many more…

The detailed exhibitor list is available here: missread.com

Hispanic Focus:
Adolfo Press (Barcelona) / Autoedita con Alegría (Madrid) / Back Bone Books (Berlin/Mexico City) / Bandiz Studio (Madrid) / Calipso Press (Cali, Columbia) / Casa del Hijo del Ahuizote (Mexico City) / Clandestine (Barcelona/Mexico City) / Do the Print (Barcelona) / Ediciones Anómalas (Barcelona) / FIBRA Casa Editora (Buenos Aires) / Gato Negro (Mexico City) / Las Otras (Santiago de Chile) / Libros Mutantes (Madrid) / Humobooks (Buenos Aires)/ KINK EDICIONES (Barcelona) / Kitschic (Barcelona/Bogotá) / Morena Publications (Barcelona) / RAUM Editions (Salamanca, Spain) / Pupa Press (Santiago de Chile) / Sta Rosa Editora (Buenos Aires) / Ricochet.cc (Leipzig/Buenos Aires) / Rrréplica meeting/encounter/clash of rebellious/disobedient/unruly publishers/editors/printers and duplicators (Mexico City) / Taller de Ediciones Económicas (Mexico City) / TDPapeles (Barcelona)

The poster for MISS READ: The Berlin Art Book Fair 2016 was created by Cia Rinne.
The poster for the Conceptual Poetics Day 2016 was created by Haris Epaminonda.

MISS READ was initiated in 2009 by KW Institute for Contemporary Art, argobooks and Michalis Pichler.

The Akademie der Künste is an exhibition and event location, a meeting place for artists and people interested in the arts, where public debates on art and cultural policy take place. Founded in 1696, the Berlin Akademie der Künste is one of the oldest cultural institutes in Europe. Access is barrier-free.

MISS READ 2016 team

“Director”: Michalis Pichler
Curators: Yaiza Camps, Moritz Grünke, Michalis Pichler
Coordinators: Yaiza Camps, Moritz Grünke
Graphic Design: Moritz Grünke
Press: Sascha Konrad
Coordinator’s Assistant: Ethan Levenson

For further press inquiries please write to presse@missread.com.

Special thanks
Cia Rinne; Haris Epaminonda; Eugen Gomringer; AA Bronson; Lawrence Weiner; Nicola Beißner and Johannes Odenthal, Akademie der Künste; Anne Thurmann-Jajes, Zentrum für Künstlerpublikationen Weserburg; Anke Schleper and Gabi Horn, KW Institute for Contemporary Art; BaltoPrint; Christiane Lange, Literaturwerkstatt Berlin; Paola Morán, Secretaría de Cultura Mexico; León Muñoz, Gato Negro; Rosa Velázquez, Christine Steigmiller, Embajada de España en Berlín; HVS Plakat; Kristina Krämer, ZVAB; Daniel Lorch and Aidin Zimmermann, L&Z; Katja Reichard, Pro qm; Chiara Figone, Archive Kabinett; Adeline Manarini, Anagram Books; Drucken Heften Laden; Jordan Nasser, Shannon Michael Cane and Max Schumann, Printed Matter, Inc.; Christian Kaspar Schwarm; Phil Aarons; Egidio Marzona; Til Pörksen; Matthias Bleyl; Franziska Brandt; Misaki Kawabe; John Stezaker.

Kunstmuseum Liechtenstein is mounting the first comprehensive museum exhibition of the Paris-based artist Charlotte Moth (born 1978 in the UK).

Charlotte Moth sets out to discover the mysterious in the familiar. She focuses her attention on the spaces and objects with which we live and the conditions of perceiving materiality in space and time. The artist surveys and explores places: everyday, natural, architectural or institutional. And she creates mise-en-scènes so her works engage in “sculptural dialogues” with each other, dialogues that create truly magical atmospheres.

The artistic devices used by Moth are analogue: photography and film, slide projections and three-dimensional arrangements. The source and point of reference of many of her works is “Travelogue,” a collection of photographs that she has been assembling since 1999, constantly adding more in the course of her research. The artist commented, “As a collection it reveals a personal circulation and movement through my visiting places.”

“My photographic collection functions as a hidden aspect of my practice. … The photographs within the Travelogue await moments of externalisation. These moments themselves create specific spaces and contexts for the encounter of an image, whether on its own or as part of an installation, which may contain a number of components.”
–Charlotte Moth

Moth often chooses architectural icons or topics from art history as the subject of her projects. Her destinations have included Ibiza, following the trail of Dadaist Raoul Hausmann, or St Ives, England, where she visited the studio of British sculptor Barbara Hepworth. Ahead of the exhibition at Kunstmuseum Liechtenstein she has taken a particularly close look at two outstanding bridge structures in the region, and examined sensory materials used in Montessori education. She has also created new works for the show during her stay as artist in residence at Sitterwerk in St. Gallen.

The exhibition combines Moth’s diverse groups of works to create a presentation that engages with the architecture of the Kunstmuseum. It offers visitors a number of surprising spatial experiences: we begin by passing through a shimmering gold curtain, with hidden things awaiting discovery beyond, subsequently immersing ourselves in rooms bathed in coloured light, becoming part of the situation created by the artist.

Charlotte Moth. Travelogue is the sixth exhibition in a series showcasing outstanding young artists. Each artist taking part in the series—so far Rita McBride, Fabian Marcaccio, Monika Sosnowska, Matti Braun and Bojan Šarčević—also curates a presentation from Kunstmuseum Liechtenstein’s collection.

The exhibition, conceived in collaboration with Charlotte Moth, is a production of Kunstmuseum Liechtenstein, curated by Christiane Meyer-Stoll. The first monograph on Moth, edited by Christiane Meyer-Stoll with texts by Eva Birkenstock, Penelope Curtis, Fabrice Hergott, Ian Hunt and Kasia Redzisz, as well as the artist’s edition The Stones of Adrian Stokes, I–VI (6 lithographs on BFK Rives paper) will accompany the show.

The artist
Charlotte Moth studied Fine Arts at the Kent Institute of Art and Design at Canterbury and at the Slade School of Art in London. She has taken advantage of various grants to engage in her artistic research, including stays in Germany, Ireland, Canada, Portugal and the USA. Moth lives and works as a freelance artist in Paris and has been lecturing in Fine Art at Goldsmiths College, University of London since 2013.

The Grazer Kunstverein carries on its dedication and investigation into language, exchange and communication by presenting an exhibition by American artists Matt Keegan and Kay Rosen as part of the 30th anniversary program. Following Philippe Van Snick’s post-minimalist approach to painting, this exhibition investigates the physical relation to and translation of language in space, while simultaneously portraying an intimate dialogue between two artists from different generations.

Kay Rosen (1943, US) has been exploring the possibilities of the word-as-image for the past four decades following her early academic studies in languages and linguistics. Her work takes pleasure in the small shifts and the subtle changes in language that subvert meaning and reveal the unexpected. In her paintings, drawings, wall works and collages she uses color, scale, composition, grammatical and typographical strategies, and above all, the structure of language and letterforms to challenge the way people view, read and understand the works presented. In addition to the mailings with Keegan, Rosen will include in Eine Wanderausstellung a three-part site-specific wall painting, Happy Ever After; a new video, Blue Monday; and a small painting, She-Man.

Matt Keegan (1976, US) is an interdisciplinary artist. For Eine Wanderausstellung, he presents a laser-cut steel sculpture, wall painting, video, and collage that highlight his use of idiomatic phrases—for instance, “it goes without saying”—calling attention to the materiality of language and its open-ended possibilities. Like Rosen, Keegan mines the rich terrain of word-as-image, as seen in his video “N” as in Nancy. For this work, the artist’s mother, Nancy, is shown assigning words and phrases to images that she assembled to teach English as a Second Language coursework to high school and adult education classes. Translation of images, material, meaning, color and form are foundational to Keegan’s work.

Keegan and Rosen’s shared interests led to a physical mail exchange started in 2009 and ongoing. Through their correspondence, they have created an archive of images, drawings, collages, and notes that map their thoughts and ideas about current events, their daily lives, pop culture, humor and more.

The exhibition Eine Wanderausstellung will be the first to bring together a selection of their mailings alongside works by each of the artists. The exhibition will take on a new form at the Contemporary Art Museum Houston in October.

The Members Library* presents

Peter Friedl
The Diaries, 1981–2016

Since his early beginnings, writing and drawing—in the broadest sense—have been core activities of Friedl’s artistic practice, in which critical intimacy, displacement, political awareness, conceptual transfers, and new models of narration play an important role. All of the artist’s handwritten diaries from 1981 to 2016 will be on view at the Grazer Kunstverein.

More than 300 closed notebooks are displayed in piles within specially-designed museum showcases. As is often the case with Friedl’s projects, juxtaposition and overexposure are the exhibition’s very dynamics. In fact, The Diaries is an epic staging of real time, memory, volume, and text on paper. Thousands upon thousands of densely filled pages covering a period of over 30 years testify to the impossibility of capturing bare life in words. Like Friedl’s other long-term projects such as Playgrounds (since 1995) and Theory of Justice (1992–2010)—both based on documentary photographic images—his diary installation is a study in narration and is open to change

*The Members Library is constructed and designed by the artist Céline Condorelli (b. 1974, France) in collaboration with Harry Thaler as a permanent work entitled Things That Go Without Saying.

On display continuously

The Peacock
February 1, 2013–
A non-stop group show examining the interior of the Grazer Kunstverein by introducing (new) furniture, design, applied and decorative arts that analyze their own functionality.

On display
June 11–August 7, 2016

Julieta Aranda*, Josh Faught, Liam Gillick, Christian Mayer*, Nicolás Paris, Chadwick Rantanen*, Will Stuart
*New additions

Ian Wilson
February 1, 2013–

Save the date!
Grazer kunstverein’s 30th anniversary celebration will take place on July 1 with performances and commissions by Mariana Castillo Debal and Carlos Sandoval, Nils Bech and Dorit Chrysler and Gregor Schmoll.

Locations: Grazer Kunstverein, the innercity of Graz and the Orangerie at the Burggarten

Start: 3pm

Please check our website www.grazerkunstverein.org for regular updates on our program. For further information, please contact office@grazerkunstverein.org.

Press inquiries: Tanja Gurke, tg@grazerkunstverein.org

Grazer Kunstverein is structurally supported by the city of Graz, the Austrian Federal Ministry for Education, Art and Culture, the province of Styria, Legero The Footwear Company and its members.

Curated by Elfi Turpin

One can’t
have it

both ways
and both

ways is the only
way I want it.(1)

Ever since words and things stopped understanding each other, Don Quixote has been wandering a world that does not recognise him. “A long thin graphism, a letter that has just escaped from the open pages of a book”(2), he has been scouring the world for signs of a resemblance to the books he has emerged from. For Don Quixote, our sign-errant, is faced with quite a problem: the literature of chivalry and the fanciful novels he has come out of don’t resemble the world he’s moving through. Writing and things no longer resemble each other. Words and things no longer understand each other. So he sets about resembling the texts he knows, for he “must also furnish proof and provide the indubitable sign that they are telling the truth, that they really are the language of the world.” Thus his life path then becomes “a quest for similitudes: the slightest analogies are pressed into service as dormant signs that must be reawakened and made to speak once more.”(3)

If I summon up this figure of the “hero of the Same”(4)—at least as defined by Michel Foucault—it is because Natalie Czech’s work finds a kinship in him, so much does he depend on decipherment: not the decipherment of reality our sign-errant would resort to, but decipherment of his representation. And to do this—to reawaken the signs (the words) dormant in the text and the image, Czech has developed different methods which have notably produced the photographic series Hidden Poems (2010–12), Poems by Repetition (2013–16), Il pleut by Guillaume Apollinaire (2012), Voyelles (2013), Critic’s Bouquets (2015) and most recently To [Icon], (2015–16).

With Hidden Poems and Poems by Repetition Czech sets off in search of poems which already exist but are concealed in the pages of magazines or illustrated books, or on record sleeves, bags and digital reading devices: poems by authors like E. E. Cummings, Frank O’Hara, Jack Kerouac, Robert Lax, Khlebnikov and Gertrude Stein, which Czech notices, marks, re-edits and photographs, using the interplay of difference and repetition to set them dialoguing with the texts, images and objects serving as supports for them. And that’s how a text within a text produces an image.

Conversely, in the series Il pleut by Guillaume Apollinaire she invites writers to fill the empty spaces between the words making up Apollinaire’s famous calligramme. In doing so they embed the image of the rain of words on the page in a text that she photographs against a coloured ground. And that’s how a text that is an image produces another text that is another image.

Similarly, with Critic’s Bouquets she asks writers to write a critique of an exhibition in which each sentence is associated with a feeling taken from the language of flowers. Thus each text enables her to compose a bouquet each of whose flowers is associated with a sentence. The bouquet—photographed in an outstretched hand—sends its message frontally to its recipient: in this case, the viewer. And that’s how an exhibition produces a text that produces a bouquet that produces an image.

Lastly, with To [Icon]—literally “Making an Image”—Czech scrutinises the computer icons that people our digital environment, pictograms she identifies on the surfaces of clothes and fashion accessories: on trench coats, jeans, overalls, shirts and backpacks that are themselves iconic. According to the apps in question these desktop metaphors—houses, pens, dials—take on different meanings that prompt different acts, and provide her with the different words that will make up a new poem. Thus she finds the blank page icon in the collar of the dress shirt she is photographing on the floor, accompanied by a label bearing the new poem generated by a list of the pictogram’s assorted meanings: a “Draft,” a “Blank Page,” a “Preview,” an “Artboard” or just “New.”

And that’s how an image within an image produces a text then an image.

And that’s how you reawaken dormant signs.

And that’s how Natalie Czech writes.

–E. T., May 2016.

(1) From A. R. Ammons, The Really Short Poems (New York: W. W. Norton, 1990).
(2) Michel Foucault, The Order of Things (New York: Vintage, 1994), p. 46.
(3) Ibid., p. 47.
(4) Ibid., p. 46.

Opening garden party—June 16, 7:30pm
Free shuttle from Art Basel; departure from Isteinerstrasse at 7pm; return to Basel (via Mulhouse) at 10:30pm.

RSVP and press contact:
Richard Neyroud, r.neyroud@cracalsace.com

CRAC Alsace is a member of d.c.a and Versant Est.

CRAC Alsace is supported by Ville d’Altkirch, Conseil Départemental du Haut-Rhin, Conseil Régional d’Alsace Champagne-Ardenne Lorraine and DRAC Alsace Champagne-Ardenne Lorraine – Ministère de la Culture et de la Communication.

Download the summer issue of Artforum, available now on the iTunes newsstand. And get the mobile app for artguide—the art world’s most comprehensive directory of exhibitions, events, and art fairs in more than 500 cities. To download artguide on your Android device, click here; for your iPhone, click here.

This month in Artforum:

Art and Identity: A special issue:

“This issue of Artforum aims to examine who is speaking, how we see, where we are. It’s precisely the we that’s at stake: because identity is never about some singular individual. Every form of subjectivity is also a form of exclusion and coercion.”
–Michelle Kuo

Collective Consciousness: To map the shifting coordinates of identity and difference in culture today, Huey Copeland moderates a roundtable with Dipesh Chakrabarty, David Joselit, Kara Keeling, Michelle Kuo, Kobena Mercer, and Emily Roysdon:

“People in power who don’t understand why people invest in identities are also people who are already invested themselves.”
–Dipesh Chakrabarty

Artists on Identity:
A. K. Burns, Antoine Catala, Zackary Drucker, Coco Fusco, Cathy Park Hong, bell hooks, Iman Issa, Mary Kelly, Bouchra Khalili, Ajay Kurian, Kalup Linzy and Dan Colen, Park McArthur, Oscar Murillo, Senga Nengudi, Rashaad Newsome, Will Rawls, Aki Sasamoto, Christine Sun Kim, Martine Syms, Hank Willis Thomas, Wu Tsang, Carrie Yamaoka, and Samson Young:

“The idea that artmaking could be exempt from questions of identity and subjectivity seems misguided at best, amnesiac at worst.”
–Will Rawls

“Within a culture of domination, all our political struggles risk commodification in ways that diffuse their radical intent.”
–bell hooks

“For me, as a human, an artist, and a trans person, art and politics and the personal are one, and the act of living is a fully realized work.”
–Zackary Drucker

“Now there would be no turning back, no holds barred.”
–Mary Kelly

Artists’ Projects for Artforum by Andrea Crespo, fierce pussy, Barbara Kruger, Zoe Leonard, Adrian Piper, and Claudia Rankine and John Lucas

Writing the Void: Homi K. Bhabha on Language, Identity, and Migration:

“The Rwandan tragedy was banal in the archaic meaning of the word that relates to customary and communal life: it was a genocide of neighbors and neighborliness.”
–Homi K. Bhabha

Personae of Interest: Lynn Hershman Leeson and Juliana Huxtable in conversation:

“I like the idea of using performance and technology as a way to create screens, or distractions from the idea that it’s a real, raw person in front of you.”
–Juliana Huxtable

“Fuck You! A Feminist Guide to Surviving the Art World”:

“Walk Piece is Yoko Ono’s polite way of saying, ‘Go fuck yourself if you think you can penetrate my mind with your dick.’”
–Ara Osterweil

Hannah Black on the Identity Artist and the Identity Critic:

“The identity critic can miraculously arrive at nonsexism and nonracism without considering race/gender, which have always just stopped being real: some new civic gain (freedom, the vote, a movie) has always just obliterated history.”
–Hannah Black

Brian Wallis on the art of Danny Lyon:

“A photograph, Lyon seems to say, is a provisional statement, perhaps even a moral proposition, a fragmentary attempt to evaluate a slice of humanity.”
–Brian Wallis

Passages: Mark Wigley, Anthony Vidler, Daniel Libeskind, Nasser Rabbat, Bernard Tschumi, and Frank Gehry on Zaha Hadid:

“Zaha was the exception, and she became a model.”
–Frank Gehry

And: Teddy Cruz and Fonna Forman on the United States–Mexico Border, Louis-Georges Schwartz on video evidence; Ed Halter on the films of Marlon Riggs; and Daphne A. Brooks on modern protest pop.

Also: Thelma Golden on Black Male; Elisabeth Sussman on the 1993 Whitney Biennial; John Tain on The Theater of Refusal; Wayne Koestenbaum on ‘My’ Masculinity; Dawn Chan on Asia-futurism; and writer Rivka Galchen shares her Top Ten.

Plus: Summer Reading: Nairy Baghramian, Naomi Beckwith, Carissa Rodriguez, Ben Lerner, Yvette Mutumba, Mark Dion, Lauret Savoy, and Tony Tulathimutte share the books they’ll be reading this season; Jack Bankowsky on Painting 2.0: Expression in the Information Age; and Philip Tinari on M+ Sigg Collection: Four Decades of Chinese Contemporary Art.

Curated by: Lucy Cotter
Commissioned by: Mondriaan Fund

The Mondriaan Fund is pleased to announce that Cinema Olanda by artist Wendelien van Oldenborgh (1962) and curator Lucy Cotter (Ireland, 1973) will be the Dutch entry for the 57th edition of the Venice Biennale, taking place in 2017. With this decision, the Mondriaan Fund follows the advice of a jury of experts, who selected the proposal from five plans shortlisted following a national call for submissions.

The presentation developed by Wendelien van Oldenborgh in collaboration with Lucy Cotter was selected due to the quality of the artist’s existing body of work, the curator’s reputation, the added value of the collaboration between the artist and the curator, and the relevance of the proposal. According to the jury, Cinema Olanda connects intimately with the zeitgeist and shares unique and important cultural narratives. The jury members expressed their appreciation of the prominent role played by dramaturgy in the proposed filmic works, allowing viewers to observe a new development in the artist’s oeuvre.

Cinema Olanda approaches the Dutch Rietveld pavilion (1953) as a modernist projection of the Netherlands, and seeks to reconsider what lies beyond its aesthetic and ideological frame, both at the time of it’s making and in the present. Three new filmic works will make space for lesser-known episodes in Dutch postcolonial history and explore how they resonate with current transitions in the Netherlands’ cultural and political landscape. The exhibition will be accompanied by a live programme in Venice and a multidisciplinary symposium, to be held in the Netherlands in partnership with Amsterdam School for Cultural Analysis (ASCA), The University of Amsterdam.

Wendelien van Oldenborgh’s work is acclaimed for its use of the cinematic format as a methodology for production, with live (public) film shoots generating the collective co-production of scripts. Her recent film-based works are presented in dynamic relation to site-specific architectural installations. In 2014, Van Oldenborgh was presented with the prestigious Dr. A.H. Heineken Prize for Art. A monographic publication, Amateur, which addresses Wendelien van Oldenborgh’s film works and accompanying installations, was jointly published by Sternberg Press, Berlin; If I Can’t Dance, Amsterdam and The Showroom, London in 2016. Van Oldenborgh’s work will be included in the upcoming Aichi Triennale, Toyohashi, Japan, 2016 and in the Athens Biennial 2017.

Lucy Cotter is an independent writer and curator whose work explores the interplay of the aesthetic, the political and the unknown. She is editor of Reclaiming Artistic Research, forthcoming with 17, Institute for Critical Studies, Mexico City and currently writing a further book entitled Art Knowledge: Between the Known and the Unknown. Cotter has initiated over 25 exhibitions and events as director of the Master Artistic Research, Royal Academy of Art, The Hague (2010–2015) and co-curated such projects as Here as the Centre of the World (2006–08), which took place in six cities worldwide. She holds a PhD from the University of Amsterdam, focusing on national curatorial representation in a postcolonial context.

The jury was made up of Lorenzo Benedetti (curator), Nathalie Hartjes (Director of Showroom MAMA, Rotterdam), Aernout Mik (visual artist) and Mirjam Westen (Curator of Contemporary Art at Museum Arnhem, the Netherlands). The jury was chaired by the Director of the Mondriaan Fund, Birgit Donker.

The Mondriaan Fund, a publicly financed fund for visual arts and cultural heritage, is responsible for the Dutch entry to the Venice Biennale. For the 57th edition the Mondriaan Fund again issued an open call to curators and artists, who were asked to produce a plan in keeping with a State event.

For further information and images:
The Mondriaan Fund, Caroline Soons: T +31 (0) 20 523 15 23 / c.soons@mondriaanfonds.nl
For images please visit www.venicebiennale.nl.

The Board of Directors of LAXART is pleased to announce that they are proceeding with their search for a new Executive Director and released the official job description for the position.

In order to fill this key leadership role, LAXART has assembled two committees. The Search Advisory Committee, which includes a mix of curators, artists, and community members, will be tasked with helping to identify potential candidates. The Interview Committee, which includes four LAXART board members, will review and interview candidates and present their recommendation to the Board of Directors. These two committees will collaborate closely in the coming months in order to ensure the organization finds the strongest candidate for this foremost role at LAXART.

Charlie Pohlad, Co-Chair of LAXART’s Board of Directors stated, “We are thrilled to be moving forward with the search for LAXART’s new Executive Director with the strategic guidance and support of the committees we have identified. The LAXART board members, artists, curators, and supporters that comprise both the Advisory and Interview Committees have an unparalleled commitment to and understanding of LAXART’s mission and program, which is essential as we identify a dynamic new leader for the organization.”

For more information about the position, or to submit a CV for consideration, please contact directorsearch@laxart.org.

For more information about LAXART and the full position, see below and visit our website.

LAXART Executive Director job description

Mission fulfillment and organizational sustainability
The Executive Director is responsible for ensuring that LAXART’s mission is fulfilled and its strategic objectives are attained. This position further ensures that LAXART produces ambitious programming in the form of exhibitions, publications, public art initiatives, performances and programs such as artists talks and symposia. The position also provides leadership and oversight in all non-program areas: strategic partnerships and sponsorships, gallery operations, fund development, board and external relations, program budget management and staff management.

Programming responsibilities
–Defines scope and direction of LAXART’s programming in conjunction with Deputy Director
–Travels to exhibitions and critical events in order to remain current and ensure that LAXART accurately represents leadership in the discourse of contemporary art locally, nationally and internationally
–Develops public programming in conjunction with outside exhibitions, festivals and biennials

Resource development and financial management responsibilities
–Responsible for hiring and managing the team to fulfill LAXART’s mission and operational goals
–Works directly with the Director of Finance in initiating and preparing long term plans and budgets
–Oversees all donor outreach and ensures established development goals are met
–Oversees grant requests alongside grant writer, and participates in the proposal process, as necessary

Board and external relations responsibilities
–Serves on the LAXART Board of Directors, acting as the liaison between LAXART staff and board
–Assists the Board of Directors in managing board-committees and new-member recruitment
–Works in partnership with a variety of individuals and organizations essential to LAXART’s success—artists, writers, curators, dealers, donors, media, government, corporations, LAXART members, and the general public
–Represents LAXART to the art community, actively working to promote the organization’s influence and visibility in Los Angeles as well as its national and international profile
–When participating in any engagement outside of LAXART, continues to serve primarily as the Executive Director of LAXART, an employee of the organization; represents and upholds the LAXART mission and programs accordingly

LAXART mission statement
Responding to Los Angeles’ ever-shifting cultural climate, LAXART questions traditional contexts for the exhibition of contemporary art, architecture, and design.
With a renewed vision for the potential of independent art spaces, LAXART is a center for interdisciplinary ideas built through provocation, dialogue, and engagement.
LAXART offers a space for the production and display of exploratory work, supporting artistic practice and curatorial freedom in Los Angeles and abroad.
LAXART is a hub for artists and curators based on flexibility and obligated to accessibility. It addresses the urgency in contemporary culture while advocating for transition, spontaneity, and change.

Upcoming exhibitions
Kristin Calabrese, Joshua Aster, Jillian Mayer
June 4-July 9, 2016

Media contact
Zoe Fortin, SUTTON
zoe@suttonpr.com / T +1 212 202 3402

With about 150 works from the Brandhorst Collection, Schiff Ahoy focuses on the continued relevance that the art of the 1960s and 1970s holds for contemporary art production. During this period, artists such as Carl Andre, Joseph Beuys, James Lee Byars, Andre Cadere, Mario Merz, Ed Ruscha, Niele Toroni, Richard Tuttle, and Lawrence Weiner experimented with materials and production methods previously considered unworthy of art. They called into question the static and work-based character of modern art, vigorously addressed the role of the viewer, and engaged with alternative artistic formats and channels of distribution. These impulses continue to be provocative and fruitful today, revealing numerous points of connection between the collection’s holdings dating from 1958 to the present.

The works on display share an interest in activating historical and art-historical interconnections. The artwork which lends the exhibition its title, Schiff Ahoy—Tied to Apron Strings (1989) by Lawrence Weiner is a prime example. The 13-piece collage series is based on pages taken from the book Die Siegesfahrt der Bremen (1940). Written in a heroic and patriotic tone, the book chronicles the daily experiences of a captain. Shortly before the outbreak of World War II, Commodore Ahrens sailed Norddeutscher Lloyd’s high-speed steamer “Bremen” from the US to the ship’s National Socialist homeland, and thus into a fatal future, which ended with the emergence of a new world order in 1945. Returning to this book in the historically significant year of 1989, Weiner juxtaposes two vital turning points in the history of the 20th century, and dismantles the hegemonic efforts of ideological systems that, he implies, were “tied to apron strings.”

The exhibition opens with Sitzgruppe Heimo (1996) by Franz West and Heimo Zobernig, which invites the visitors to take a seat on chairs designed by West. A “white cube”—representing the reduced form of the modern art space—is set up in front of chairs. Does it have anything to say, and if so, what? Is it an autonomous space or an object on a stage? If there’s a stage, then who’s the actor? These considerations set the tone for the works that visitors encounter at the museum’s entrance level. A connecting link between the works is the figure of the viewer. This becomes evident in classic minimalist artworks such as Carl Andre‘s FeCuND (1986), or an untitled mirrored wall-work by Heimo Zobernig, which sets visitors squarely within the picture.

The rooms on the lower level explore the expanded range of artistic formats and distribution channels of art from the 1960s. Exemplary in this regard are Ed Ruscha‘s early artist’s books, Twentysix Gasoline Stations (1963), and Some Los Angeles Apartments (1965), which are exhibited alongside the photographic series on which they are based. Ruscha took the photographs with the intention of publishing them in books—a decidedly democratic and unspectacular form for art—that could be purchased for a few dollars. Both Paul Chan‘s printed and digital artist’s books from the last years, which hover between image and text, book and exhibition, and Martin Kippenberger’s Pop It Out (1994), a portfolio of 31 posters that friends of the artist designed for him, can be described as yet another contribution to the expansion of artistic formats. Seth Price‘s pictures and objects based on the motif of the standard business envelope provide the conclusion to the rooms’ display. In the light of an increasing erosion of privacy via the inflationary circulation of information, the envelope motif takes on an emblematic significance: in an era where even the most intimate information is only a click away, the ultimate secrets are in the protective envelope. Thus, the envelopes become dystopian endpoints for the alternative modes of distribution celebrated by conceptual art—modes derived from a desire for broad accessibility.

In Schiff Ahoy, a special focus is placed on recent acquisitions of the past two years, most of which are presented to the public for the first time. With works by Kerstin Brätsch, Paul Chan, Jacqueline Humphries, Louise Lawler, Mark Leckey, Seth Price, Josh Smith, R.H. Quaytman, Kelley Walker, and Heimo Zobernig, Schiff Ahoy marks the expansion of the museum’s collection to include current artistic production. This emphasis will be continued in the coming year with solo exhibitions by Wade Guyton, Kerstin Brätsch and Seth Price, and occurs within the context of the museum’s own collection history, which has grown since the 1970s with the art of its time.

Curator: Patrizia Dander

The exhibition is supported by PIN. Freunde der Pinakothek der Moderne e.V.

*Albert Oehlen, Ohne Titel (Baum 6) [Untitled (Tree 6)], 2014. Oil on dibond, 375 x 250 cm. Udo and Anette Brandhorst Collection. Photo: Haydar Koyupinar, Bayerische Staatsgemäldesammlungen, Munich. © Albert Oehlen.

Thai artist Rirkrit Tiravanija (1961) creates art that explores human social interaction. In Tomorrow is the Question, he will set up a series of stainless steel ping pong tables and invite the public to participate in his work. Tiravanija has staged exhibitions at venues throughout the world. Tomorrow is the Question (2015)—previously presented in Moscow, Arles, France, and elsewhere—marks the artist’s debut in Amsterdam. Tiravanija is seen as one of the most influential multimedia artists of his generation.

With his installation on the Museumplein, Tiravanija blurs the line between art and life. The work playfully confronts traditional ways of viewing art in classic Tiravanija style, as well as the etiquette that goes with it. As an alternative, the artist offers a more theatrical and social—and more enjoyable—experience. Tiravanija sees art as something artist and viewer create together, a process where people can be social beings, preferably outside the rarified realm of the gallery space. “It is not what you see that is important, but what takes place between people,” says Tiravanija.

The social interaction that Tiravanija pursues with this project has different historical references, from the ping pong matches organized at a gallery in Bratislava as a way of communicating by Slovakian artist Július Koller in the 1970s, to the Ping Pong Diplomacy of the United States during the Cold War period. In 1971, the US organized a ping pong tournament between American and Chinese players, under the motto “Friendship First, Competition Second.”

Practical information
The work is accessible to everyone and free of charge. Ping pong paddles and balls can be borrowed from a distribution point on Museumplein.

About the artist
Rirkrit Tiravanija (1961) was born into a Thai diplomat’s family in Buenos Aires. He was raised in different parts of the world, and currently lives between New York, Chiang Mai, and Berlin. Tiravanija’s installations combine elements of traditional visual (object) art, culinary traditions, sports, public performances and social interaction. Movement is an integral aspect of his oeuvre, and facilitates the activation of new communities, networks, and enduring relationships. In his work, Tiravanija encourages people to become active contributors to culture, rather than passive consumers. He clouds the boundary between public and private by inviting visitors to take tea with him in a replica of his home, serving curry to gallery-goers, and welcoming them to sit at a gigantic picnic table and take part in assembling a jigsaw puzzle. In The Land (an ongoing project begun in 1999), the artist invites participants to create their own artistic, agrarian, or social project on a tract of disused land in Thailand. Tiravanija’s work has been widely exhibited at venues including the Museum of Modern Art (New York, 1997), Los Angeles County Museum of Art (1999), Museum Boijmans Van Beuningen (Rotterdam, 2004), Museé de la Ville de Paris (2005), and Kunsthalle Bielefeld (2010). He is the recipient of numerous awards, including the Lucelia Artist Award from the Smithsonian American Art Museum, the Solomon R. Guggenheim Museum’s Hugo Boss Prize, and the 2010 Absolut Art Award. Tiravanija is also connected to the Colombia University’s School of the Visual Arts, and is a co-founder of the Utopia Station art collective.

About the Stedelijk and Holland Festival
In 2015, the Stedelijk Museum and Holland Festival decided to intensify their partnership. Each year, they jointly commission a visual artist working at the interface of visual art and performance in order to present a freely accessible public artwork on Amsterdam’s Museumplein. Last year, New York-based British artist Liam Gillick kicked off this new initiative with All-Imitate-Act, an installation that offered people a chance to immortalize themselves as characters from artworks in the Stedelijk’s collection. The Stedelijk Museum and the Holland Festival also co-commissioned This Variation by Tino Sehgal, part of the year-long exhibition A Year at the Stedelijk: Tino Sehgal (2015). By working together, large-scale, expensive productions such as these are made possible. Moreover, it is the mission of both Holland Festival and the Stedelijk Museum to show art in public spaces, thereby making art accessible to as many people as possible.

Tomorrow is the Question is made possible by the Ringier Collection.
Holland Festival is made possible with the support of Fonds21, the Dutch Ministry of Education, Culture, and Science, the Municipality of Amsterdam, AMMODO, and Rabobank.
The Stedelijk Museum Amsterdam is supported by the the Municipality of Amsterdam, BankGiro Loterij and Rabobank.

Art and fashion have always been interrelated. And it’s due to fashion’s ability to quickly capture social shifts that the art world has repeatedly turned to it. With issue 102, Texte zur Kunst again takes “Fashion” as theme—this time examining how the late ’00s promise of online network “democratization,” street style, and more relatable models has only reinforced the industry’s power structure, engendering hyper-accelerated production cycles, significant creative turnover in fashion’s top tier, and a climate wherein designations of “luxury,” “discount,” and “underground,” have been all but destabilized as designers, unconvinced of these designations, increasingly apply them in jest. And while fashion has indeed opened to “real”-er bodies, each, it would seem, now comes with an exceptional hyper-individualized identity, each a “nodel” or a particular “othered” body—as if to be better differentiated from the stream.

But then how is the system itself responding? And what strategies are the more contested protagonists in the field taking up? Some answers can perhaps be found in fashion’s correspondence with art, as canonical art conceptual practices (e.g., parasitism, collective authorship, détournement, and forms of institutional critique) are putting new pressure on fashion’s markets. Though even as these potentially revolutionary forms, darker styles, and ’90s-style anti-branding branding have gained new traction, the metabolic rate of branding itself is, no doubt, only speeding up.

Main section (in English and German):
Ingeborg Harms
“Crystal Mesh: Existential imagery in current fashion”

“Collective Soul”
Jessica Gysel in conversation with Lotta Volkova Adam and Atelier E.B. (Beca Lipscombe & Lucy McKenzie)

Caroline Busta
“Neo-Bodies”

Natasha Stagg
“Access Coding”

Philipp Ekardt
“Dressing After the Great Divide: The emancipation of Jonathan Anderson”

Calla Henkel and Max Pitegoff
“Last Night”

Fashion profiles by Rob Kulisek and David Lieske (with texts by Harry Burke, Tess Edmonson, Jack Gross, and Bianca Heuser) of:
69 Worldwide / Nasir Mazhar / Kyle Luu / Bernadette Van-Huy / Liam Hodges / Telfar / Nik Kosmas & Jeanne-Salomé Rochat / Martine Rose / Juliana Huxtable / Eckhaus Latta / DIS / Nhu Duong / Dese Escobar

Reviews (partial listing):
Peter Geimer
on Friedrich Kittler’s Baggersee (German)

Sara Marcus
on K8 Hardy’s Outfitumentary (English)

Barbara Vinken
on Michaela Melián at Lenbachhaus, Munich (German)

Jens Hoffmann
on Unfinished: Thoughts Left Visible at the Met Breuer, New York (English)

Verena Dengler
on Lili Reynaud-Dewar at Galerie Emanuel Layr, Vienna (German)

Craig Buckley
on Les Levine at Buell Hall, GSAPP, Columbia University, New York (English)

Susanne von Falkenhausen
on Boris Lurie at Jüdisches Museum, Berlin (German)

Dena Yago
on Ei Arakawa, Gela Patashuri, and Sergei Tcherepnin at Midway Contemporary, Minneapolis (English)

Julia Moritz
on Tobias Madison at Kestnergesellschaft, Hannover (English)

Hans-Christian Dany
on Nervöse Systeme at Haus der Kulturen der Welt, Berlin (German)

Obituaries:
Björn Gottstein remembers Pierre Boulez (1925–2016) (German)
Than Hussein Clark remembers Zaha Hadid (1950–2016) (English)

Plus artists’ editions by:
John Miller
Torbjørn Rødland

Visit TEXTE ZUR KUNST online at www.textezurkunst.de.
Available by subscription at TZK Abonnement.

For editions and other information, please contact:

TEXTE ZUR KUNST
Strausberger Platz 19
10243 Berlin
Germany

T +49 (0) 30 30 10 453 45 / F +49 (0) 30 30 10 453 44 / editionen@textezurkunst.de