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May 29 2013

Gabriel Orozco at Kurimanzutto, Mexico City

For his current exhibition at Kurimanzutto Gallery in Mexico City, artist Gabriel Orozco decided to work with river stones. Orozco is a passionate collector of things. This time he decided to collect something that nature prepared over many, many years and re-use it and give it a new meaning. The exhibition runs until June 15, 2013.

Upcoming solo exhibition of Gabriel Orozco include Kunsthaus Bregenz (July 7 – October 6, 2013) and Edinburgh Art Festival Exhibition, Fruit Market Gallery (August 1 – October 20, 2013).

Gabriel Orozco at Kurimanzutto, Mexico City. Opening, April 13, 2013. Video by Diego García Sotomoro.

For more videos on Gabriel Orozco, such as Gabriel Orozco’s Retrospective at Kunstmuseum Basel, visit our archive.

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Excerpt from the press release:

The artist—always watchful—comes across the stones. Ordinary river stones; but, it should be noted, of an inter- esting size: not your typical pebble that fits in the palm of your hand, but stones similar in size—also because of their oval form—to a football.
It is highly unlikely that the idea of how they would be later intervene emerged clearly in that first moment, but there is something in the objects (their colours, their drawings, their size) that replenishes the creative impulse; that is to say, that places the artist one more time at the beginning of something. For Orozco, this is how the process starts: based on a hypothesis that defines a provisional working course. That is why the work is always the how it could be, not the how it should be.
The stone, in any case, is a variation of a theme to which this artist constantly comes back to in his work: the circle—and all its derivatives: the sphere, the balloon, the ball, the disc, the wheel, the planet, the orbit. It is there, at the centre of the circle, where Orozco likes to pinpoint the beginning of things; a beginning that aims in all direc- tions—unlike the immovable unidirectionality of the straight line. And that is why in his work we find oranges, tires, soccer balls, billiard balls, sand balls, melons and all kinds of objects close to the sphere: potatoes, watermelons, mixiotes1, seeds, hands that are the heart. Because they are bodies that speak of what the circle speaks: of mobil- ity, of cycles, of game, of fullness, of rotation, etc.
This stones are made to be touched: that is why the drawings are not superimposed, they penetrate the stone. Although, well-regarded, a cleft is actually nothing but a space that occupies a place in matter. But occupies it conversely to graphite: here the void is not the organic form that is left free from drawing, it is the gap itself that produces the drawing. So, it is not about just a void, but a void where there used to be something: more stone. But that which diminishes the original materiality is precisely that which increases the sense of the work (it stops being a stone to become a sculpture). You might say, an exchange of substances. The less stone the more sculp- ture, the stone collaborates here becoming a drawing itself.
Nevertheless, the dialog between two sculpting forms stays intact: that of nature, which makes the stone go from a rough and jagged rock to a polished cobblestone; and that of the artist, who, as we have already stated, is the one that cuts (literally, with a sharp diamond tip).



May 27 2013

Max Ernst Retrospective at Fondation Beyeler

Max Ernst is considered as one of Modern Art’s most versatile artists. Max Ernst started out as Dadaist in Cologne, then moved to Paris to become one of the leading Surrealist artists. After his emigration to the USA and his return to war-devastated Europe he was finally rediscovered as one of the most fascinating artists of the 20th Century. The comprehensive retrospective Max Ernst at Fondation Beyeler features more than 160 paintings, collages, drawings, sculptures and prints, including major works that can only be seen together in this exhibition in Riehen, Switzerland. Among the highlights of the exhibition are the works La Vierge corrigeant l’enfant Jésus devant trois témoins: André Breton, Paul Èluard et le peintre (1926); Au premier mot limpide (1923), L’habillement de l’épousée / de la mariée (1940); and L’ange du foyer (Le triomphe du surréalisme) (1937). The show runs until September 8, 2013.

Max Ernst Retrospective at Fondation Beyeler, Riehen (Basel, Switzerland). Vernissage, May 25, 2013.

PS: Bespoke hat with chili by Piers Atkinson for Karolina ;–)

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May 24 2013

Paul McCarthy: Life Cast / Hauser & Wirth New York 69th Street

Hauser & Wirth’s entire spring program in New York City is devoted to the artist Paul McCarthy. At Hauser & Wirth’s venue at 69th Street, the gallery presents Paul McCarthy: Life Cast, featuring platinum silicone life casts of the artist and Elyse Poppers, one of the key performers in his most recent projects Rebel Dabble Babble and WS. The exhibition runs until July 26, 2013.

Paul McCarthy: Life Cast / Hauser & Wirth New York 69th Street. Press preview, May 10, 2013. Video by Shimon Azulay.

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Excerpt from the press release:

‘Paul McCarthy: Life Cast’

Also opening to the public on 10 May at Hauser & Wirth’s townhouse on 69th Street, ‘Paul McCarthy: Life Cast’ (on view through 26 July) showcases highly developed themes and narratives coursing through and connecting different areas of McCarthy’s vast and complex practice. Here those themes are revealed through platinum silicone life casts – bravura replicas of the artist and Elyse Poppers, one of the key performers in his most recent projects ‘Rebel Dabble Babble’ and ‘WS’.

‘Horizontal’ (2013) is a haunting depiction of the artist in uncanny full-scale replica, naked and prone in the gallery’s skylit ground floor south room. ‘Horizontal’ is a recent ‘repetition-variation’ of the 2005 work ‘Paul Dreaming, Vertical, Horizontal’, in which the artist’s own body was molded standing upright. Defined by gravity’s pull, that earlier sculpture was half-clothed and subtly distorted, its belly and penis distended outward. While ‘Paul Dreaming’ elicits thoughts of death, it also suggests that the artist is very much alive and a bit of a bearded buffoon in socks and shirt, but no pants. ‘Horizontal’ presents an altogether different avatar and, in the artist’s words, ‘makes no bones about the fact this is someone dead, without the mask of a clown or the possibility of sleep and dreaming’. Cast with McCarthy in a prone position, this morgue-like caricature strikes a subversive note in which absurdity and pathos echo one another.

‘Horizontal’ was presaged by one of McCarthy’s earliest exhibited works, the hollow metal ‘Dead H’ (1968), also on view in ‘Paul McCarthy: Life Cast’. ‘Dead H’ – at first glance a Minimalist sculpture in the then-prevailing style – slyly mimics a dead body (and, coincidentally, a toppled twin of the first letter in Los Angeles’ famous Hollywood sign).

An ironic comment upon vanitas and the ambitions and fables of art and culture, McCarthy’s ‘Dead H’ is a fallen hero. Forty-five years later, the artist’s study of the body as a vehicle for liberation and exploitation continues full force. Works on view at 69th Street also include ‘Rubber Jacket Horizontal, Rubber H’, a poignant fragment from the life casting activities of the past year that captures a sunken and hollow portion of the artist’s own torso.

‘Paul McCarthy: Life Cast’ also presents four female figures of uncanny verisimilitude. All are life casts of Elyse Poppers achieved through a series of painstaking processes at the leading edge of special effects technology. ‘T.G. Awake’ (T.G. is an acronym for ‘That Girl’ and refers to another feminine icon, aspiring actress namesake of a hit 1960s situation comedy) is comprised of three life-sized casts of the actress in similar sitting positions, with her legs spread open to varying degrees and eyes cast in different directions. Together these static variations reference the magical effect by which a series of still images can be joined together to become film. ‘T.G. Awake’ found its origins in drawings that McCarthy made of his wife Karen in the 1960s and relates to the first White Snow pencil drawings of 2009. The sculpture ‘T.G. Asleep’ presents the same woman prone, her body curved and hands cupped, a counterpoint to the dead figure of ‘Horizontal’.

The exhibition also includes ‘That Girl’, a four-channel video installation based in the process by which ‘T.G. Awake’ and ‘T.G. Asleep’ were achieved. Capturing the molding process, the model’s live movement studies, and the documentation of these through deliberately positioned cameras, this work brings viewers into the action through which the sculptures on view were made. ‘Life casting liberates the literal through a kind of unifying monotone,’ McCarthy has said. ‘It creates a different representation of the original thing that lets me explore where reality and abstraction intersect’.



May 23 2013

Valie Export: Images of Contingence / Zak Branicka, Berlin

Bilder der Berührung (Images of Contingence) at the gallery Zak Branicka in Berlin presents works by Valie Export that deal with expressions of physical contact and its implications. The title of the show is derived from Valie Export’s installation work Fragmente der Bilder einer Berührung (Fragments of Images of Contingence) of 1994, in which light bulbs are rhythmically immersed into cylinders filled with milk, used oil, or water. This major work of the exhibition is complemented by video works and drawings, and various photographs and archive material that documents Valie Exports long-standing artistic career. In this video, Asia Zak walks us through the exhibition. The show runs until June 15, 2013.

Valie Export: Images of Contingence (Bilder der Berührung) / Zak Branicka, Berlin. Interview with Asia Zak. April 28, 2013. Video by Frantisek Zachoval.

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Excerpt from the press release:

ŻAK | BRANICKA is delighted to present Bilder der Berührung [Images of Contingence], an exhibition of works by VALIE EXPORT to be shown during the Gallery Weekend Berlin 2013. The exhibition highlights the artist’s groundbreaking expressions of physical contact and its implications in various media, including installation, drawing, photography, film and archival materials. The title of the exhibition is rooted in VALIE EXPORT’s installation work Fragmente der Bilder einer Berührung [Fragments of Images of Contingence] of 1994, in which pole- and wire-hung light bulbs are rhythmically immersed into cylinders filled with milk, used oil, or water. These liquids are fundamental sources of our existence. At the same time, their physical fusion with electricity implies a life-threatening danger—a contradictory, yet also mutually conditioned state of joining and repelling. The rhythmic movement in this work is repeated in a second installation of the exhibition, Die un-endliche/-ähnliche Melodie der Stränge [The un-ending/-ique melody of cords] of 1998, a recording of a threadless sewing machine and its sound.

Contingency, liminality, and sensual experience likewise permeate the artist’s video works as themes, a selection of which will also be shown, including one of her most famous works, TAPP- und TASTKINO [TOUCH CINEMA] (the Munich performance of 1969). During this performance, the artist wore an aluminium box around her naked chest, allowing passersby to enter her miniature cinema as visitors with their hands. “To see the film, that is, in this case, to touch and feel it, the viewer (user) has to guide his hands through the entrance into the screening hall. With this, the curtain, previously only raised for the eyes, is now finally raised for both hands. The tactile reception takes a stand against the deception of voyeurism. For, as long as the citizen satisfies himself with the reproduced copy of sexual freedom, the state remains spared from the sexual revolution”, EXPORT states. In its confrontation and appropriation of the male gaze, this iconic performance has become a symbol of feminist art.

The motif of touch reappears in VALIE EXPORT’s series of drawings dating from the beginning of the 1970s. Depicting hands that protect or caress, hands that suffer, and hands that create suffering, these works, as all others, configure an iconographic index of the human body, and particularly a woman’s body; the individual parts of which inscribe and are inscribed with meaning. Its capacity for “touch” is most telling: It is testimony not only to sensuality, intimacy, and carnality, but also to aggression and violence. As EXPORT says: “For me, contingence is how and where you perceive borders, and how and where and when borders explode.”

Aside from the aforementioned works, various photographs and display cases showing archive material and documentation from EXPORT’s long-standing artistic career (specifically compiled for the exhibition VALIE EXPORT – Archive at the Kunsthaus Bregenz in 2011) will complement the exhibition.



May 22 2013

Frieze New York Art Fair 2013

This video provides you with a walk through Frieze New York Art Fair 2013, the second edition of the fair on Randall’s Island.

Frieze New York art fair 2013, Randall’s Island, New York, May 10, 2013. Video by Shimon Azulay.

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May 21 2013

Pulse Art Fair New York 2013

Pulse is another art fair that chose to run concurrently to Frieze New York instead of Armory Show. Among the galleries participating in the fair at the Metropolitan Pavilion are Ethan Cohen (New York), Stefan Roepke (Cologne), Tokyo Gallery + BATP (Tokyo), z2o Galleria Sara Zanin (Rome). This video provides you with a walkthrough of the fair.

Pulse New York, The Metropolitan Pavilion, New York, May 9, 2013. Video by Shimon Azulay.

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May 20 2013

VernissageTV PDF Magazine No. 24: Carte Blanche

Out now: VernissageTV PDF-magazine No. 24, May 2013.

In this issue we look back at selected exhibitions, such as Markus Müller’s solo show at Nicolas Krupp in Basel, Ohad Meromi at Gallery Diet in Miami, Keith Farquhar at New Jerseyy in Basel, Sverre Bjertnes’ collaborative exhibition at White Columns New York, and Jon Kessler’s immersive installation at the Swiss Institute in New York.
For Magazine No. 24 we have also produced exclusive “video portraits” of nine of Jean Tinguely’s kinetic works that will be accessible only for a limited time. These video portraits are accompanying the photo series shot on the occasion of Tinguely@Tinguely, the large-scale retrospective at Museum Tinguely in Basel.
Another exclusive contribution is The Garden of Unearthly Delights, Los Angeles-based light and space artist Susan Kaiser Vogel’s presentation of artist Mollie McKinley, including a conversation between Susan Kaiser Vogel and Mollie McKinley.
Finally, there are three architecture related photo series: We have a look at Herzog & de Meuron’s new halls for Messe Basel, Hilario Candela’s abandoned Miami Marine Stadium, and Singapore’s Gardens by the Bay.

Click image or this link to download the magazine (55 MB) or hit the jump to view the magazine in Issuu Reader, and get the links to the related videos.

All issues are available in our Magazine section.

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Kaoru Arima: And Then. Queer Thoughts Gallery, Chicago

In Chicago, Queer Thoughts Gallery presents And Then, the first solo presentation in America by Japan-based artist Kaoru Arima. Arima was born in 1969 in Aichi, Japan. The artist has exhibited extensively in Japan at venues including Misako and Rosen (Tokyo), and was included in the group exhibition The Age of Micropop: The Next Generation of Japanese Artists at The Art Tower Mito (Mito). Arima has shown internationally with Galerie Dennis Kimmerich (Düsseldorf), in group shows at Galerie Catherine Bastide (Brussels), Bortolami (New York), the Walker Art Center (Minneapolis), the Carnegie Museum of Art (Pittsburgh) and Shane Campbell Gallery, Lincoln Park (Chicago).

For the solo show And Then, Kaoru Arima presents new paintings on canvas and works on paper. For Arima, the works represent a formal development from his continued series of drawings on whited-out newspapers.

Kaoru Arima: And Then. Solo exhibition at Queer Thoughts Gallery, Chicago. Opening reception, May 3, 2013. Video by Francisco Cordero-Oceguera.

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May 19 2013

Kapoor in Berlin / Martin-Gropius-Bau, Berlin / Interview with Anish Kapoor

Kapoor in Berlin is the first comprehensive exhibition of Anish Kapoor in Berlin. The Indian-born British sculptor Anish Kapoor is known for his spectacular sculptures and installations, such as the Cloud Gate in Millennium Park, Chicago. For his exhibition at Martin-Gropius-Bau he uses the whole ground floor of the building, including the atrium. In this video, Anish Kapoor talks about the concept of the show and specific works, such as the huge kinetic installation in the atrium of the Martin-Gropius-Bau.

Kapoor in Berlin. Anish Kapoor solo exhibition at Martin-Gropius-Bau, Berlin (Germany). Interview with Anish Kapoor. Berlin, Germany, May 17, 2013. Video by Frantisek Zachoval.

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Kapoor in Berlin is currently the most comprehensive exhibition of one of the world’s most important contemporary artist. At the Martin-Gropius-Bau art lovers can see more than 70 works from the 1980s to the present. The exhibition mainly presents works that have been shown in major exhibitions such as Documenta and La Biennale di Venezia. For Kapoor in Berlin, the artist has produced a new version of his work Descent into Limbo (1992),which was one of the highlights of documenta IX. The viewer can also see Kapoor’s gleaming high-grade steel mirrors. The central installation of the show is the piece Symphony for a Beloved Sun.

In this interview, Anish Kapoor explains how he worked with the exhibition space with its specific architectural style and its own history. He talks about the importance of the original installation of the Leviathan, which was created for the Grand Palais in Paris in 2011, and the monumental installation in the atrium of the Martin-Gropius-Bau: Symphony for a Beloved Sun.

Selected solo exhibitions of Anish Kapoor include: ‘Objects’, Seoul: Leeum, Samsung Museum of Art (2012); ‘Anish Kapoor: Flashback’, Manchester Art Gallery, Manchester (2011); ‘Monumenta’, Grand Palais, Paris (2011); ‘Anish Kapoor’, Fabbrica del Vapore, Milan (2011); ‘Anish Kapoor: Delhi / Mumbai’, National Gallery of Modern Art (NGMA), New Delhi and Mehboob Studios, Mumbai (2010); ‘Turning the World Upside Down’, Kensington Gardens, London (2010); ‘Anish Kapoor’, Museo Guggenheim de Arte Moderno y Contemporáneo, Bilbao (2010); ‘Anish Kapoor’, Middlesbrough Institute of Modern Art, MIMA, Middlesbrough (2010); ‘Turning the World Upside Down’, Kensington Gardens, London (2010); ‘Anish Kapoor: Shooting into the Corner’, MAK Museum, Vienna (2010); ‘Drawings’, Regen Projects, Los Angeles (2009); ‘Memory’ Guggenheim, New York (2009); ‘Place/No Place: Anish Kapoor in Architecture’, Royal Institute of British Architects, London (2008); ‘Anish Kapoor’, Haus der Kunst, Munich (2007); ‘Anish Kapoor, Sky Mirror’ Rockefeller Centre, New York (2006); ‘Anish Kapoor Japanese Mirrors’, Scai The Bathhouse, Tokyo (2005); ‘My Red Homeland’, KUB, Kunsthaus Bregenz (2003); ‘Marsyas’, Turbine Hall, Tate Modern, London (2002-03); Tel Aviv Museum of Art, Tel Aviv (1993); Mala Galerija, Moderna Galerija Ljubljana, Museum of Modern Art, Slovenia (1994); ‘Anish Kapoor, XLIV Biennale di Venezia’, British Pavilion, Venice (1990).



May 16 2013

Random International: Rain Room / Museum of Modern Art MoMA, New York

After its premiere at the Barbican Centre in London in October 2012, Random International’s Rain Room is now installed at the Museum of Modern Art in New York. Follow us inside: it’s raining, but you won’t get wet (promised).

Random International’s immersive environment Rain Room is a major component of the MoMA PS1 exhibition EXPO 1: New York. The installation is presented in the lot directly adjacent to The Museum of Modern Art. Simply put, Rain Room is a field of falling water that pauses wherever a human body is detected. Thus, Rain Room offers visitors the experience of controlling the rain. “The work invites visitors to explore the roles that science, technology, and human ingenuity can play in stabilizing our environment. Using digital technology, Rain Room creates a carefully choreographed downpour, simultaneously encouraging people to become performers on an unexpected stage and creating an intimate atmosphere of contemplation.” Watch also our video covering the presentation of Rain Room at The Curve, Barbican Center and our interview with the founders of Random International, Stuart Wood, Florian Ortkrass and Hannes Koch.

Random International’s Rain Room turned out to be a lot of fun for the visitors, but it’s also a very complex installation. It consists of injection moulded tiles, solenoid valves, pressure regulators, 3D tracking cameras, wooden frames, steel beams, a hydraulic management system, and a grated floor. The system is controlled by custom software.

Random International are known for their digital-based contemporary art. The London-based studio creates artworks and installations that explore behaviour and interaction.

rAndom International: Rain Room. Museum of Modern Art (MoMA), New York. May 10, 2013. Video by Shimon Azulay.

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Random International was founded in 2005 by Stuart Wood, Florian Ortkrass and Hannes Koch. They first met when they were students at the Royal College of Art in London. The studio is based in a converted warehouse in Chelsea, London. Random International have exhibited at art fairs, museums and biennials with works and installations such as Pixelroller, Temporary Graffiti, Audience, Study For A Mirror, Swarm Light, Self Portrait, Temporary Light Printing Machine, and Rain Room. The presentation of Rain Room at The Museum of Modern Art is the U.S. premiere of this environment. The piece debuted at Barbican Centre, London, in October 2012.

Photo set:



May 15 2013

Shirin Neshat: The Book of Kings / Faurschou Foundation, Beijing

Shirin Neshat’s solo show The Book of Kings at Faurschou Foundation in Beijing, China features a new body of photography works and a video installation by the internationally acclaimed Iranian artist. The project is inspired by the 60.000 verse epic poem, Shahnameh (Book of Kings), by the 11th century Islamic conquest of Persia. Interweaving history, poetry, music, philosophy and politics, the series is set against the backdrop of the recent Arab Spring, and the Iranian Green Movement, which brought hundreds of thousands onto the streets across Iran in June 2009 in protest against corrupt power. As Shahnameh cast the Islamic conquest of Persia as a tragedy, so The Book of Kings commemorates the countless masses of unknown citizens who courageously sacrificed themselves in the name of justice across the Middle East and Arab World.

Shirin Neshat: The Book of Kings / Faurschou Foundation, Beijing. April 13, 2013. Video by Diana Coca.

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May 14 2013

Werner Aisslinger: Home of the Future / Haus am Waldsee, Berlin

Werner Aisslinger is a multiple award-winning product designer and co-founder of the Berlin Design Festival DMY. For his current exhibition at Haus am Waldsee in Berlin, he transformed the venue into a “Home of the Future”. Home of the Future is Werner Aisslinger’s first institutional survey exhibition in Germany. The show presents his central theme of material transfer in the form of numerous pieces of furniture and objects. On display, among other things, are modular construction kits, such as stowage spaces and shelves, the renowned Loftcube installation of 2007 in the sculpture garden at Haus am Waldsee, as well as energy storage and renewable furniture, Aisslinger‘s most recent ventures.

Werner Aisslinger: Home of the Future at Haus am Waldsee, Berlin. Interviews with Katja Blomberg (Director, Haus am Waldsee) and Werner Aisslinger. Berlin, Germany, April 21, 2013. Video by Frantisek Zachoval.

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May 13 2013

Phil Collins: In every dream home a heartache / Museum Ludwig, Cologne

The second exhibition that opened at Museum Ludwig in Cologne (Germany) in time for Art Cologne 2013 was a solo show of Phil Collins, titled In every dream home a heartache. The exhibition that runs parallel to Andrea Fraser’s retrospective features videos and installations that deal with popular culture.

Phil Collins: In every dream home a heartache / Museum Ludwig, Cologne. Opening reception, April 17, 2013.

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Press text:

Having grown up in the North of England in the 70s and 80s, Phil Collins has always had a passionate interest in music, television and popular culture. In his films, photographs and live events, he investigates the relationship between the camera and its subjects, and the affective potential of various recording media in their everyday context. Collins’ practice is focused on close engagement with people and communities, which over the years have included, amongst others, disco-dancing Palestinians, fans of The Smiths over three continents, and teachers of Marxism-Leninism in the former DDR. The projects are often announced through newspaper ads and poster campaigns, or take the form of castings and press conferences, so as to provide a wide-reaching platform for encounters predicated on high emotional stakes. Throughout, Collins’ work reflects his commitment to myriad forms of experience across the social spectrum, and his belief in the power of intimacy and desire within the public sphere.

For his exhibition at the Museum Ludwig, Collins and his production initiative Shady Lane Productions have realised my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught, a new work in collaboration with guests of GULLIVER, a survival station for the homeless located in the centre of Cologne. There, Collins installed a phone booth with a free line that anyone could use for unlimited international calls on the agreement that the conversations were anonymously recorded. The selected material was then posted to a group of international musicians, serving as the starting point for original new songs presented in the exhibition as 7″ vinyl records in specially designed listening booths which overlook the city’s central station. The project includes contributions by legendary figures such as David Sylvian, Scritti Politti, Lætitia Sadier and Damon & Naomi, the trailblazing experimental and indie acts (Demdike Stare, Planningtorock, Maria Minerva, Heroin In Tahiti, Pye Corner Audio, Peaking Lights), local heroes across different generations (Elektronische Musik aus: Köln, Pluramon, Cologne Tape), and a special guest turn from the original German superstar Julia Hummer.

my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught is a headfirst dive into a city, tuning in to its many unheard stories and facets of its life that are routinely overlooked. Collins is interested in the lyrical and epic potential of the human voice, specifically in relation to a declining landline technology. He looks at the emotional relationship we have with the telephone when it functions as a measure of our social existence. The project brings back into focus the almost forgotten aspects of a telephone conversation: its physicality and romance; its ceremonial and performative nature; its ability to create and counter distance, and to conjure up the poetry of the spoken word – turn of phrase, the longing for someone or somewhere. Structuring it as an opportunity for a bargain, Collins isolates and dramatises the moment of communication as an intimate and ambivalent encounter.

Other works in the exhibition are spawns of the same unholy alliance between pop and politics. They both feature original soundtracks by Welsh musician Gruff Rhys and North Wales surf band Y Niwl. This Unfortunate Thing Between Us (2011) is an installation based on TUTBU.TV, an alternative shopping channel performed and broadcast live on German national television. Hosted by a cast of actors and porn workers (Julia Hummer, Susanne Sachsse, Sharon Smith, Judy Minx, Pau Pappel, Matthias Matschke, Trystan Pütter, Niels Bormann, Christian Kärgel, Marcel Schlutt), TUTBU.TV sold real life experiences in place of mass-produced commodities, offering a tantalising glimpse into what could be the future of consumer television. Conceived on the other side of the world in Malaysia, the short film the meaning of style (2011) is a tropical fantasy featuring a cast of anti-fascist skinheads and exotic butterflies, which provides the frame for a poetic meditation on the relationship between British colonial history and youth subcultures in South-East Asia.

Phil Collins would like to thank all the collaborators and artists who have contributed to this exhibition and who remain a constant and insistent inspiration.

Curator: Anna Brohm



May 10 2013

Cutlog New York Art Fair 2013

After four successful years in Paris, France, Cutlog art fair launches its first New York edition. The fair runs from May 10-13, 2013. Cutlog New York focuses on showing cutting-edge and established galleries that promote the work of contemporary artists. The fair features 45 galleries and curators that present art, installations, performances, talks, and projections. As part of the outdoor projections program that runs from 8pm – Midnight, Cutlog presents New York Close Up Is Now with simultaneous screeings of Art21′s New York Close Up, Noah Becker’s New York Is Now, and VernissageTV’s Around the World in one go.

Cutlog New York is located in a former public school in Manhattan’s Lower East Side (107 Suffolk Street). In this video, we attend the preview of the fair on May 9, 2013. Video by Shimon Azulay.

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Art Beijing 艺术北京 2013 Art Fair

In this video we look back at Art Beijing 艺术北京 2013, the 8th edition of the art fair in Beijing, China. Around 150 art galleries and institutions, mostly from Beijing, participated in Art Beijing 2013. The fair features both a contemporary and classic art section. Among the participating galleries this year were Chinese and international galleries such as ShanghART, Tang Contemporary, Continua, Beijing Commune, Chambers Fine Art, Halcyon Gallery, and Asia Art Center. According to the organizers, more than a third of the galleries have attended Art Beijing for the first time.

Art Beijing 艺术北京 Art Fair 2013, Agricultural Exhibition Center, Beijing, China. Video by Diana Coca.

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Ideas City StreetFest, New Museum, New York

Ideas City is a four-day, biennial festival of conferences, workshops, and an streetfest in New York. Ideas City was founded by the New Museum in 2011. It’s a major collaborative initiative between hundreds of arts, education, and community organizations. Ideas City explores the future of cities around the globe with a focus on arts and culture. The 2013′s theme was Untapped Capital, focusing on resources that are under-recognized or underutilized in our cities. In this video, we attend the Ideas City StreetFest on 4th May, 2013 and have a look at what ideas artists, architects, poets, technologists, and other creative people have to shape their city.

Ideas City StreetFest, New Museum, New York. May 4, 2013. Video by Shimon Azulay.

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May 09 2013

Stefan Müller: Allerliebste Tante Polly / Kölnischer Kunstverein

Stefan Müller presents new paintings in his solo exhibition titled Allerliebste Tante Polly at Koelnischer Kunstverein in Cologne, Germany. The abstract paintings are mounted on a white fence-like wall, referencing the fence in Mark Twain’s novel The Adventures of Tom Sawyer. The exhibition runs until June 30, 2013.

Stefan Müller: Allerliebste Tante Polly / Kölnischer Kunstverein, Cologne (Germany). Opening reception, April 17, 2013.

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May 08 2013

Tracey Emin: I Followed You To The Sun / Lehmann Maupin Gallery, New York

Tracey Emin: I Followed You To The Sun is a solo show and two-part exhibition at Lehmann Maupin Gallery in New York that features over 100 works of art. The show includes series of new bronze sculptures, paintings, drawings, embroideries, and a short film.

A series of seven bronze sculptures is the centerpiece of Tracey Emin’s newest exhibition. The artist created the sculptures over the past year at the Long Island foundry used by Louise Bourgeois, with whom Emin had collaborated before her death in 2010. Each bronze is engraved with the artist’s poetic confessions. Like ancient sarcophagi, are adorned with tiny animal figurines and hand-sculpted human figures.

Tracey Emin: I Followed You To The Sun, Lehmann Maupin Gallery, New York. Opening reception, May 2, 2013. Video by Shimon Azulay.

PS: Watch our coverage of Tracey Emin’s big retrospective at Kunstmuseum Bern, Tracey Emin – 20 Years.

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Press text:

Lehmann Maupin is honored to present Tracey Emin’s fifth solo show in New York from 2 May to 22 June 2013. Tracey Emin: I Followed You To The Sun is a two-part exhibition featuring over 100 works of art, including a series of new bronze sculptures, paintings and drawings, embroideries, and a short film. Lehmann Maupin has published a special artist monograph on the occasion of the exhibition. The gallery will host a book signing with the artist at 201 Chrystie Street on Wednesday, 1 May from 5 to 7 PM. The following evening, on Thursday, 2 May, Tracey Emin will be present for opening receptions at 540 West 26th Street and 201 Chrystie Street from 6 to 8 PM.

Regarded as one of the world’s most significant contemporary artists, Tracey Emin is internationally recognized for her blunt and revealing style, which elicits a broad range of emotions from shock to empathy to self-reflection. Drawing on personal experiences, Emin often reveals emotional situations with brutal honesty and poetic humor in a wide variety of media including painting, drawing, embroidery, neon, installation, sculpture, and film. This sprawling, two-part exhibition covers all aspects of Emin’s creative output and continues to reveal her most intimate internal narratives.

The centerpiece of Emin’s newest exhibition is a series of seven bronze sculptures that she created over the past year at the Long Island foundry used by Louise Bourgeois, with whom Emin had collaborated before her death in 2010. Each bronze is engraved with the artist’s poetic confessions, and like ancient sarcophagi, are adorned with tiny animal figurines and hand-sculpted human figures.

At 201 Chrystie Street the focus is on a very personal collection of gouache on paper drawings entitled Lonely Chair drawings, which are the primary subject of the accompanying exhibition catalogue. In this series of self-portraits, Emin depicts a solitary female figure in her signature gestural style. The images are drawn from photographs Emin took of herself in France and convey poignant emotions of longing and sadness.

The show will also feature a short film entitled “Love Never Wanted Me.” The film follows a wild fox on the grounds of a secluded estate as Emin narrates a haunting account of the pain associated with fleeting love, saying at one point, “The broken heart is a lonely world and this is the love that I know.”

In December 2013, the Museum of Contemporary Art, North Miami, will present the first solo museum exhibition devoted to Emin’s work in the United States. Curated by Bonnie Clearwater, the Museum’s Executive Director, Angel Without You will focus solely on Emin’s use of neon, a medium that she began utilizing in 1997. Since then, Emin’s illuminated confessions rendered in her personal handwriting have become widely regarded for their poignancy and the universality of her message. This past February, Emin debuted her first public project in New York’s Times Square, as part of Midnight Moment organized by s[edition], the Times Square Advertising Coalition, and Times Square Arts. Each night from 11:57 PM to Midnight, six of her most iconic neon messages were screened on the Times Square Jumbotrons in a silent and moving tribute to love.

Tracey Emin (b. 1963, London) was raised in the seaside town of Margate on the English coast. After leaving school at an early age, Emin enrolled at the Maidstone College of Art, Kent, to study printmaking. She continued her studies at the prestigious Royal College of Arts, London, where she earned a Master’s degree in painting. In 1999, Lehmann Maupin presented Tracey Emin’s first solo exhibition in the United States, Every Part of Me’s Bleeding. Following this critically acclaimed exhibition, Emin exhibited her infamous installation “My Bed” at the Tate Gallery, for which she was shortlisted for the Turner Prize. In 2007, she was chosen to represent Great Britain at the Venice Biennale, becoming the second female artist to ever do so. That same year, Emin was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, a Doctor of Letters from the University of Kent and a Doctor of Philosophy from London Metropolitan University. In January 2013, Queen Elizabeth II appointed Emin a Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts.

In recent years, Emin has been the subject of a number of retrospective museum exhibitions around the world, including a major solo show at the Museo de Arte Latinoamericano de Buenos Aires, Argentina, which encompassed a collection of her early films (2012); She Lay Down Deep Beneath the Sea, a solo exhibition at Turner Contemporary in her hometown of Margate (2012); and Tracey Emin: 20 Years, the artist’s first retrospective which originated at Scottish National Gallery of Modern Art, Edinburgh (2008), before traveling to the Centro de Arte Contemporáneo, Málaga (2008) and the Kunstmuseum Bern, Switzerland (2009).

Emin’s work can be found in many of the world’s most prestigious public collections, including the Albright-Knox Gallery, Buffalo; Brooklyn Museum of Art, New York; British Museum, London; Camden Arts Center, London; Centre Georges Pompidou, Paris; Denver Art Museum; Garage Center for Contemporary Culture, Moscow; Hara Museum, Tokyo; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; National Portrait Gallery, London; Neue Nationalgalerie, Berlin; Saatchi Collection, London; San Francisco Museum of Art; Tate Gallery, London; and Walker Art Centre, Minneapolis.

The artist lives and works in London, England.



May 06 2013

The Hunter and the Factory at Fundación / Colección Jumex, Mexico City

The Hunter and the Factory at Fundación / Colección Jumex in Mexico City that brings together works by Doug Aitken, Miguel Calderón, Maurizio Cattelan, Abraham Cruzvillegas, Sam Durant, Olafur Eliasson, Peter Fischli & David Weiss, Rodney Graham, Jonathan Hernández & Alberto Baraya, Roman Ondák, Damián Ortega, Fernando Ortega, Ugo Rondinone, Anri Sala, Wolfgang Tillmans, Danh Vo, among others. The Hunter and the Factory, curated by Magalí Arriola and Juan Gaitán, “is an exhibition comprising a selection of artworks from La Colección Jumex that combined with other artistic proposals generates an allegorical environment pertaining to the relations that arise between urban spaces and nature, as well as the problems that these generate. In addition to broadly engaging with subjects such as the dystopian character of the contemporary city, the consequences of industrialization, or the lack of cultural and public spaces, this group of artworks also leads us to explore and question the role that an institution, such as Fundación/Colección Jumex, can potentially play in its immediate surrounding, in this case, Ecatepec.”

The Hunter and the Factory at Fundación / Colección Jumex in Mexico City, April 11, 2013. Video by Diago García Sotomoro.

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May 03 2013

Andrea Fraser: Wolfgang Hahn Prize 2013 / Retrospective at Museum Ludwig, Cologne

Coinciding with Art Cologne 2013, Museum Ludwig in Cologne (Germany) opened two exhibitions: A solo show of Phil Collins, and a retrospective of Andrea Fraser. The Los Angeles-based artist Andrea Fraser (b. 1965; Billings, Montana) received the Wolfgang Hahn Prize for 2013, awarded annually by the Museum Ludwig’s Gesellschaft für Moderne Kunst. The prize honors contemporary artists whose oeuvre is internationally recognized. Andrea Fraser is seen to have made a vital contribution to current issues in contemporary art. Fraser has produced a wide-ranging ouvre of performances, videos and texts.

After Fraser’s last survey exhibition in Europe in 2003 at the Hamburger Kunstverein, this large presentation at the Museum Ludwig aims to investigate the artist’s new critical direction. The show presents Fraser’s early works, along with her new alignment in recent works. Over and beyond this, the exhibition focuses on Andrea Fraser as a performance artist. She will give the first European performance of her latest full-length piece, Men on the Line, which she premiered in 2012 in Los Angeles. Two slightly older performances have also been staged during the opening by Fraser herself, while May I Help You from 1991 will be performed for the visitors during the exhibition by specially instructed actors.

Andrea Fraser: Wolfgang Hahn Prize 2013 / Retrospective at Museum Ludwig, Cologne. Opening reception and award ceremony, April 20, 2013.

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With the Wolfgang Hahn Prize COLOGNE, the Gesellschaft für Moderne Kunst pays tribute to the work of contemporary artists and purchases a work for Museum Ludwig. The acquisition prize is in memory of Wolfgang Hahn (1924 – 1987), head conservator at the Wallraf-Richartz Museum / Museum Ludwig and a far-sighted Cologne collector. An ongoing line of development in the artist’s creative output and international recognition within professional circles are two of the requirements for the prize, along with the stipulation that the artist’s oeuvre is not yet adequately represented in Museum Ludwig but important for the continuance of the collection. The budget for the prize amounts to a maximum of 100,000 euros per annum. Since 1994, the Wolfgang Hahn Prize COLOGNE has been awarded to: James Lee Byars (1994), Lawrence Weiner (1995), Günther Förg (1996), Cindy Sherman (1997), Franz West (1998), Pipilotti Rist (1999), Hubert Kiecol (2000), Raymond Pettibon (2001), Isa Genzken (2002), Niele Toroni (2003), Rosemarie Trockel (2004), Richard Artschwager (2005), Mike Kelley (2006), Peter Doig (2008), Christopher Wool (2009), and Fischli/Weiss (2010).



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