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Ida Ekblad, Michel Majerus, Richard Prince et al.

Faithless Pictures (group show)
National Museum, Oslo
9 February - 13 May 2018

Ida Ekblad, Untitled (Grin), 2016. Photo: Vegard Kleven
Ida Ekblad, Untitled (Grin), 2016. Photo: Vegard Kleven

The complex relationship between image and reality has long been one of the most important topics in art.
In this exhibition, the National Museum shows works from the last four decades by more than forty prominent artists. Using a variety of approaches, they all address the surfeit of images we see all around us.
The visual deluge that supposedly represents our lives, our times, our world. News clips, holiday snaps, flickers from the depths of the internet. A fragmented intermediate world, half illusion, half reality. Excerpts and selections. And in the midst of it all: glimpses of truth. Images with the power to change the world.

It is forty years since Cindy Sherman, Richard Prince and the Pictures Generation entered the art scene with their incisive critiques of the clichéd visual culture of television and commercial magazines. A world obsessed with images and illusion.
We are living through a technological revolution. The torrent of images and the balance of power are changing. A smartphone camera in everyone’s pocket. The immediacy and reach of social media. These are new times, and art is posing new questions.

This exhibition presents iconic, pioneering statements alongside entirely new works. Artists conduct their explorations across a broad front. From film and photo to sculpture and painting. On old newspaper and pages from magazines. From Vibeke Tandberg’s staged images of herself as a young bride and Hito Steyerl’s search for her past as a bondage model, to Alfredo Jaar’s non-photo of Osama Bin Laden’s death and Mike Bouchet’s scintillating porn fragments.
The featured artists address the power of the image over reality and our own self-understanding. They expose the illusion, the manipulation, the masks. They play, borrow, steal. Take control of unclaimed images that define the world. And ask: What truth is possible?

National Museum, Oslo


Additional:

Ida Ekblad

Leda Bourgogne | Ida Ekblad (duo show)
Kunstverein Braunschweig, Braunschweig
8 September - 18 November 2018

Ida Ekblad, Painting in windowpanes, 2018. Photo: Vegard Kleven
Ida Ekblad, Painting in windowpanes, 2018. Photo: Vegard Kleven

Richard Prince

Cindy Sherman Richard Prince: Astrup Fearnley Collection (dual exhibition)
Fundación Malba - Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires
28 June - 29 October 2018

An exhibition devoted to two leading figures in contemporary photography, whose work revolutionized the field in the latter half of the 20th century. Divided into two large galleries, the exhibition compares and contrasts the styles of both artists through a selection of 34 photos –most of them large-scale–, from the collection of Oslo's Astrup Fearnley Museum, which, since its founding in 1993, has focused on assembling a vast range of output by leading figures in international contemporary art. The show will include the most representative series in the careers of each artist, from the late '70s to the present day: for Richard Prince, this means Cowboys and Spiritual America –with Brooke Shields–, for Cindy Sherman, the famous self-portraits of Untitled Film Still[s] and History Portraits.

Cindy Sherman and Richard Prince came out of the movement known as the Pictures Generation, which took shape in the New York scene of the mid-1970s, among artists working with the idea of appropriation of images from popular culture and the mass media. Key figures in the movement, Sherman and Prince are masters of social critique and of transformation in the medium of photography.

Fundación Malba - Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires


Ida Ekblad

Expérience Pommery # 14 : L’ESPRIT SOUTERRAIN (group show)
Domaine Pommery, Reims
Mid-September 2018 - 15 June 2019

Ida Ekblad, Untitled, 2015
Ida Ekblad, Untitled, 2015

Michel Majerus

In EUROPE everything appears more serious than in the USA (solo show)
Kunsthalle Bielefeld, Bielefeld
15 June - 9 September 2018

Born in Luxembourg in 1967 the painter Michel Majerus became known for his skillful ”sampling” of a rich repertoire of various painting styles and visual spheres from diverse contexts. In summer 2018 the Kunsthalle Bielefeld will present the exhibition Michel Majerus – In EUROPE Everything Appears More Serious Than in the USA, which focuses on Majerus’s early works that have never been shown before in public. These works allow us to see how early the young artist came into the self-confidence and sense of ease that came to distinguish his later works. Even the early works were executed in the usually large format that later became typical of Majerus.

Michel Majerus studied painting from 1986 to 1992 at the Staatliche Akademie der Bildenden Künste Stuttgart (State Academy of Fine Arts Stuttgart) under such teachers as K.R.H. Sonderburg and Joseph Kosuth. His initially astonishing choice of professors—a painter whose work is expressive and gestural, and a Conceptual Art start—shows the freedom with which Majerus addresses an extremely wide range of artistic expressive means. On one hand, Majerus’s approach to painting is influenced by images outside of the fine arts: comics, advertising, pornography, and music videos; on the other, he is influenced by recognized artists such as Frank Stella, Gerhard Richter, Georg Baselitz, and others. His paintings feature figures from computer games, like Super Mario, as well as expressive brushwork that recalls Willem de Kooning’s painting. Majerus considers the popular iconography of the 1990s, with its logos, symbols, and codes as a signal, in the same way that he sees and makes free use of the stylistic means of art as a signal. He does not shy away from referring to stars of the New York art scenes of the 1960s, 1970s, and 1980s, such as Andy Warhol, Jean-Michel Basquiat, Willem de Kooning, and Frank Stella.
Michel Majerus’s international breakthrough came in 1998, with his contribution to the Manifesta 2 in Luxembourg. In 1999 Harald Szeemann invited Majerus to design the outer façade of the Italian pavilion at the Venice Biennial. He created a text/image collage titled Sun in 10 Different Directions. Majerus died in an airplane crash on November 6, 2002.

Kunsthalle Bielefeld, Bielefeld


Richard Prince

Cowboys: Selected Works from the Collection (solo show)
Espace culturel Louis Vuitton, Beijing
13 April - 2 September 2018

© Richard Prince, all rights reserved © Courtesy Gagosian Gallery, New York
© Richard Prince, all rights reserved © Courtesy Gagosian Gallery, New York

For its third exhibition, the Espace Louis Vuitton Beijing presents Cowboys, an exhibition dedicated to American artist Richard Prince. This exhibition has been produced in the framework of the Fondation Louis Vuitton’s “Hors-les-murs” program, showcasing previously unseen holdings of the Collection at the Espaces Culturels Louis Vuitton in Tokyo, Munich, Venice and Beijing, thus carrying out the Fondation’s intent to realize international projects and make them accessible to a broader public.

Richard Prince belongs to the generation of American artists who grew up in the 1950s at the time of the explosion of mass media (television, cinema, magazines). He appeared on the international scene during the late 1970s alongside Cindy Sherman, Sherrie Levine and Barbara Kruger, as a major proponent of appropriation art. He deconstructed the mechanisms of representation and communication promoted by American popular culture. In 1977 his practice took a radical turn when he started re-using advertising images, which he photographed and appropriated. Cutting out the text logo, he reframed the images, creating blurred effects and emphasising colour. Working largely in series form, his subjects were models, cowboys and women on motorbikes. One of his most well-known series working in this vein is the Cowboys series, appropriating the advertising campaign images of Marlboro cigarettes.

Beginning in the 1950s Marlboro ads featured cowboys riding through the wide open terrain of the Wild West in the United States of America. The cowboy was an instantly recognisable icon, wearing denim, leather chaps, boots, spurs, and Stetson hat. Almost exclusively white, he is portrayed as handsome, weathered, and physically fit. Both a role model and sex symbol, the cowboy appeals to men and women alike. By the mid-1960s the “Marlboro Man”, as this figure became known, was so recognisable and brand-identified that Philip Morris was able to drop all direct references to cigarettes in its ads in favour of subtly alluring smokers to come, and be part of, the epic Western landscape of “Marlboro Country”.

The Espace Louis Vuitton Beijing invites you to experience emblematic works from the Collection of Prince’s Cowboys  series, including: Untitled (Cowboy)  (1994), Mountain Cowboys  (1998-89) and The Blue Cowboys  (1999). Comprised of eight works in total, these photographs exemplify this important and renowned moment in Prince’s oeuvre. Through appropriation by the means of ‘re-photography’, Prince turned the cowboy into an emblematic, complex object, expressing nostalgia for a mythical, foundational period while highlighting the stereotype through “clichés”.

Fondation Louis Vuitton



Ida Ekblad

Ida Ekblad (solo show)
Museo Tamayo, Mexico City
February - March 2019


Michel Majerus

Exhibition #3 (group show)
Sammlung Boros, Berlin
2017 - 2022

Im Bunker werden Werkgruppen aus der Privatsammlung Boros gezeigt.

Folgende Künstler sind in der aktuellen Ausstellung Sammlung Boros #3 zu sehen:
Martin Boyce, Andreas Eriksson, Guan Xiao, He Xiangyu, Uwe Henneken, Yngve Holen, Sergej Jensen, Daniel Josefsohn, Friedrich Kunath, Michel Majerus, Fabian Marti, Kris Martin, Justin Matherly, Paulo Nazareth, Peter Piller, Katja Novitskova, Pamela Rosenkranz, Avery Singer, Johannes Wohnseifer.

Sammlung Boros, Berlin