Lu à propos de l’exposition « The importance of being » à La Havane (Cuba), exposition à laquelle participent Jacques Lizène, Jacques Charlier et Walter Swennen :
Dans HART :
Et dans La Libre :
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Walter Swennen, Those who are from here are from here, 2013
Walter Swennen, Stoled from a zoo, 2013
Walter Swennen et Olivier Foulon participent à l’exposition :
Le Souffleur
Schürmann meets Ludwig
22.03.15–31.01.16
Ludwigforum, Aachen
Where Peter and Irene Ludwig say “Jeff Koons”, Gaby and Wilhelm Schürmann answer “Mike Kelley” or “Christopher Williams”. The major currents in art followed by the Ludwigs were counteracted by the Schürmanns who were drawn to context oriented positions informed by Institutional Critique and political art. In “Le Souffleur” these two different attitudes walk a path together: Wilhelm Schürmann was invited to curate an exhibition with the Ludwig collection in mind. The result is an open and agile conception of art spaces in which works from both collections meet on level footing, an arrangement full of subtleties and interactive comments. Together both collections provide an unusually precise and comprehensive view of contemporary art since 1960. Into the early 1990s Peter and Irene Ludwig continually expanded their collection, guided by an inquiring spirit that seems absolutely unique today. In particular the upheavals impacting on global society in the late 1980s and early 1990s resonated in their collection. And it is precisely here that the collection of Gaby and Wilhelm Schürmann sets a “turning point”, considering the history of art from the perspective of the collector.
The collection Gaby and Wilhelm Schürmann have assembled since the mid-1980s, is today one of the finest of contemporary art worldwide. Their focus is completely different, reflecting that they belong to a younger generation; along with the enormous political and social developments, their interest is how the art of their own and a younger generation have responded to such changes. The notion of world art needs to be explained in their view, and it is in any case very much shaped by its political implications.
Artists featured in the exhibition (selection): Monika Baer, Fiona Banner, Alice Creischer, Lygia Clark, Guerilla Girls, Richard Hamilton, On Kawara, Lee Lozano, Jewyo Rijh, Joelle Tuerlinckx, Walter Swennen, Franz West, Heimo Zobernig, Heinrich Dunst, Anna Oppermann, Chuck Close, Valie Export, and many more.
Olivier Foulon, sans titre (le souffleur 1 & 2), 2012
Walter Swennen, sans titre (les danseurs), 1987
Walter Swennen, Tweed, 2004
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Emilio López-Menchero
Autoportrait adolescent de mon éblouissement jaloux et de mon ébahissement illimité face à l’Histoire de la Peinture ! ( Teenage self-portrait of my jealous bedazzlement and my limitless amazement at the History of Painting ! ), 2011. Vidéo HD, 16:9, son, couleurs 00:09:47, Edition 5/5
Walter Swennen
Le Fanion Rouge, 2003
Oil on canvas, 120 x 100 cm
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La galerie participe à ARCO 2015 Madrid. Pavillon 7, stand A 10
Et montrera des oeuvres de :
Jacques Lizène, Emilio Lopez-Menchero, Jacqueline Mesmaeker, John Murphy et Walter Swennen
Dates and Opening Hours
From 25 February to 1 March 2015. Professional visitors: Wednesday 25 and Thursday 26, from noon to 8 pm.
Open to the public: Friday 27, Saturday 28 and Sunday 1, from noon to 8 pm. Halls 7 and 9 at Feria de Madrid
Jacqueline Mesmaeker
Les Antipodes, 1979-2015
Film super 8 numérisé projeté dans un encadrement doré, couleurs, sans son, 00.12.25 en boucle
Voir la preview du stand sur ARTSY dès le 19 février
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Walter Swennen
Le fanion rouge, 2003
Huile sur toile, 100 x 120 cm
Jacqueline Mesmaeker
L’Androgyne, 1986
2. Avion en phase d’approche
Technique mixte, 161 x 35 cm et 210 x 50 cm
Jacques Lizène
AGCT (1971), sculpture génétique en chromosome X, mettre n’importe quoi sur la tête, en totem, remake 1997. Collages de copies laser, 140 x 58 cm
Olivier Foulon, 2014
Ad Reinhardt in Paris 1953 (2X), 2007 ou 2008 (?)
Diapositives, film plastique, pince
Suchan Kinoshita
Variation sur Tokonoma (musée)
Technique mixte, 2014
Suchan Kinoshita
Archive diagonale, 2014
Technique mixte
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Olivier, Foulon, petits et grands formats
Olivier Foulon, 2014
Ad Reinhardt in Paris 1953 (2X), 2007 ou 2008 (?)
Diapositives, film plastique, pince
Olivier Foulon, 2013
Les Trois Baigneuses » (Courbet), 2008
Diapositives, pince.
Olivier Foulon, 2013
MUSEE/Château de Sourches, 1944 + grotte de Lascaux + carton « redites et ratures » (2 x) + sous verre Frankenheim Alt (3 x) + capsule de bouteille de bière, 2006/2007
diapositives, pince
Suchan Kinoshita, variations sur Tokonoma
Suchan Kinoshita
Variation sur Tokonoma (musée)
Technique mixte, 2014
Suchan Kinoshita
Archive diagonale, 2014
Technique mixte
Walter Swennen
Barque funèbre, 2014
Huile sur toile, 60 x 80 cm
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La galerie a le plaisir de vous annoncer qu’elle participe au nouveau satellite de la FIAC : OFF(icielle) du 22 au 26 octobre, Les Docks, Cité de la Mode et du Design.
OLIVIER FOULON, SUCHAN KINOSHITA, JACQUES LIZÈNE, JACQUELINE MESMAEKER, JOHN MURPHY, VALERIE SONNIER, WALTER SWENNEN
stand / booth A37
Avant-première le mardi 21 octobre de 15 h à 21 h, uniquement sur invitation. Ouverture public du mercredi 22 au dimanche 26 octobre 2014 de 13 h à 20 h. Nocturne le vendredi 24 octobre jusqu’à 21 h.
John Murphy
.. reflecting skin … or painted image 2006
C-print, 150 x 198 cm
Le communiqué de presse
Dessiné par l’architecte Georges Morin-Goustiaux, les Docks – alors appelés les Magasins Généraux – ont été mis en œuvre en 1907 pour participer au développement commercial de Paris. Ce sont les premiers docks parisiens modernes. Leur construction en béton armé témoigne d’une composition radicalement novatrice pour l’époque.
En 2005, les architectes Jakob et MacFarlane ont été sélectionnés pour la réhabilitation du site. Inspiré par le flux de la Seine, le projet interpelle directement les principes fondateurs de ce prototype de l’architecture rationaliste, révélant et magnifiant la structure existante, celle d’un monument historique aux sources de l’architecture moderne.
Les Docks – Cité de la Mode et du Design prolongent les promenades publiques de la Seine et prennent place dans le contexte urbain en tant qu’espace ouvert, espace de vie, véritable concentré de la création à Paris. Les Docks accueillent l’IFM (Institut Français de la Mode), le Nüba, le M.O.B., et le Wanderlust – parmi d’autres résidents – qui sont étroitement associés à (OFF)ICIELLE.
Dans un contexte résolument international regroupant 13 nationalités, une soixantaine de galeries ont été sélectionnées pour participer à (OFF)ICIELLE. Parmi elles, Samy Abraham (Paris), Rod Barton (Londres), Nicelle Beauchene (New York), Brand New Gallery (Milan), The Breeder (Athènes), Lisa Cooley (New York), Eleven Rivington (New York), Green Art Gallery (Dubai), Frutta (Rome), Kavi Gupta (Chicago), Josh Lilley (London), Limoncello (London), Taro Nasu (Tokyo), M+B (Los Angeles), Messen De Clercq (Bruxelles), Sabot (Cluj), Joseph Tang (Paris), Tianrenheyi Art Center (Hangzhou), Schwarz Contemporary (Berlin), Tanya Wagner (Berlin) pour ne citer qu’eux.
Dans un esprit d’ouverture, (OFF)ICIELLE revendique un regard à 360° à l’opposé de la standardisation. Ainsi la sélection d’(OFF)ICIELLE comprend deux galeries spécialisées en art brut : Ritsch-Fisch (Strasbourg) et Christian Berst (Paris, New York), une partie de la création contemporaine trop rarement exposée mais également mise à l’honneur pendant la semaine de la FIAC dans l’exposition de la collection Bruno Decharme à La maison rouge – Fondation Antoine de Galbert, lui-même passionné d’art brut. De la même manière (OFF)ICIELLE présente des galeries tels que Nadja Vilenne (Liège) dont la programmation traduit une vision singulière de l’art contemporain ou encore André Magnin (Paris), spécialiste de l’art contemporain africain.
Axée sur le principe de la découverte, (OFF)ICIELLE participe à la nouvelle maturité de la FIAC.
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Tokonoma I, 2012, détail
MINI/Goethe-Institut Curatorial Residencies Ludlow 38 is pleased to present the exhibition Tokonoma with Olivier Foulon, Joerg Franzbecker, Kris Kimpe, Suchan Kinoshita, Aglaia Konrad, Willem Oorebeek, Eran Schaerf, and Walter Swennen.
A tokonoma is a built-in recessed space in a traditional Japanese room in which items are displayed for artistic appreciation. Derived from the concept of the personal Buddhist altar, it has become a standard domestic feature with a decorative purpose. One only enters this space in order to change the display following a strict etiquette. Toko literally means « raised floor » or « bed », while ma describes the gap, space, or pause between two structural parts. A tokonoma is not created by compositional elements, but rather refers to one’s consciousness of place and awareness of form and non-form. It creates an experiential space emphasizing the interval, the in-between.
Suchan Kinoshita has been using her ongoing, continuously changing series Tokonoma to open similar in-between spaces of thought between the practices of different collaborators since 2012. Tokonoma functions as an open score to be performed by and negotiated with invited interpreters. The only preconditions of the Tokonoma are a set of fragile architectural elements, composed of a diagonal line that is supported by vertical planes. Together, these form an open structure of intervals to be punctuated by works chosen by the respective contributors. This installational setting facilitates a negotiation of the given conditions and positions, while challenging the status and manifestations of artistic media via various transitions: from sculpture to installation, to gesture, to presence and participation. Tokonoma thus opens a microcosm of inquiry into who, where, how, and what is being negotiated while on view—a microcosm for the investigation of how to confront the various realities and materialities of artwork, how to compose its different aspects, and finally of how to present individual works without granting one more importance than the other.
Tokonoma operates as an archive as well as an exhibition, bringing together varying working methods, processes, and works. Beside the notion of collaboration, it allows an approach towards performativity and the timeline of a show beyond singular events. Influenced by her study of musical composition, Suchan Kinoshita has been concerned with the possibilities of integrating time as a structural part of a total entity throughout her career. In relation to other artistic strategies and interpreters, she uses Tokonoma to destabilize claims for completeness via a structural embrace of transformation and change within the course of the presentation.
For Tokonoma at Ludlow 38 in New York, Suchan Kinoshita, Olivier Foulon, Joerg Franzbecker, Kris Kimpe, Aglaia Konrad, Willem Oorebeek, Eran Schaerf, and Walter Swennen—all of whom have collaborated in different constellations in recent years—come together during the month of May to enter a visual and spatial dialogue within a new interpretation of Tokonoma for a second time.
Tokonoma with Olivier Foulon, Joerg Franzbecker, Kris Kimpe, Suchan Kinoshita, Aglaia Konrad, Willem Oorebeek, Eran Schaerf, and Walter Swennen
Opening: Sunday, May 11, 6:00pm
Exhibition
05/12/14 – 06/14/14
MINI/Goethe-Institut Curatorial Residencies Ludlow 38
38 Ludlow Street
New York, NY 10002
MINI/Goethe-Institut Curatorial Residencies Ludlow 38 is the Goethe-Institut New York’s contemporary art space, made possible with the generous support of MINI. Located on Manhattan’s Lower East Side, it has provided for curatorial experimentation in the tradition of the German Kunstverein since 2008. Its mission is to introduce new international perspectives to the downtown art community and to foster dialogue within the greater aesthetic and political context of New York and the United States. In the last three years, the trajectory of exhibitions has been determined by annually rotating curatorial residents from Germany, who bring their own unique perspectives to the art space. Ludlow 38 was initially programmed by a different German Kunstverein each year: Kunstverein München in 2008, followed by the European Kunsthalle Cologne and Künstlerhaus Stuttgart. In 2011, a residency program for young curators from Germany was launched in partnership with MINI. Since then, exhibitions and events have been organized by curatorial residents Tobi Maier (2011), Clara Meister (2012), Jakob Schillinger (2013), and Eva Birkenstock (2014) respectively.
Eva Birkenstock is the 2014 MINI/Goethe-Institut Curatorial Resident at Ludlow 38. Since 2010, she has been Curator of the KUB Arena at Kunsthaus Bregenz, Austria. Previously, she was the Artistic Co-Director of the Halle für Kunst, Lüneburg, Germany. Together with Galit Eilat and Eyal Danon she initiated the Mobile Archive, a growing video archive that has been touring the world since 2007. She has curated and co-curated exhibitions with artists including Yona Friedman, Dani Gal, Dora Garcia, Nick Mauss, Katrin Mayer, Ulrike Müller, Emma Hedditch, Falke Pisano, Tris Vonna-Michell and Ian White. Notable group projects include On Performance, 2010 (curated with Joerg Franzbecker); Nairobi – A State of Mind, 2012; and Beginning Good. All Good. – Actualizations of the Futurist Opera ‘Victory Over the Sun’, 2011 (with Kerstin Stakemeier & Nina Koeller). She most recently co-edited Art and the Critique of Ideology After 1989 and On Performance (2012), both for Kunsthaus Bregenz, as well as the artist books Tris Vonna-Michell (JRP|Ringier, 2011) and Dani Gal – Chanting Down Babylon (Argo, 2009). Birkenstock holds an MA in Art History and Cultural Anthropology from the Freie Universität Berlin
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