Theft is Vision (group show)
LUMA Westbau, Zurich
18 November 2017 - 4 February 2018
The notion of Theft establishes a site of investigation. This exhibition examines the desire to appropriate – a fundamental theme in the production of art. Throughout art there are typologies that ensue from the appropriation of motifs or of other works of art. As just one form of aggressive theft, the act of citation was already a cultural strategy long before Appropriation Art manifested itself.
At LUMA Westbau the following questions are posed from a contemporary perspective:
What are the genres established through appropriation today? What does stealing mean for artistic production? Is it an act of removal and subtraction? Or can it be a productive strategy as suggested by the art history of Appropriation Art? In the context of this exhibition, Theft is presented as dialogues and translations between artists. In essence, the exhibition confronts two opposing concepts in appropriation: the desire to appropriate as the idolization of sources or as an attack on and subversion of the established.
LUMA Westbau, Zurich
As Far as the Eye Can See - New Insight into the Würth Collection (group show)
Kunsthalle Würth, Schwäbisch Hall
23 April 2018 - 17 March 2019
The Würth Collection, already rich in diversity and specific features, has nevertheless been enlarged by a wealth of exciting international acquisitions over the past ten years. An opulent selection of almost 200 works dating from the 1960s onwards are now being put on show for the public, many of them for the first time.
The main accesssions have been in the fields of painting and sculpture. The often powerful
formats by Karel Appel, Daniel Buren, Anthony Caro, Tony Cragg, Felix Droese, Antony Gormley, Peter Halley, Johannes Itten, Alex Katz, Martin Kippenberger, Per Kirkeby, Imi Knoebel, Maria Lassnig, Robert Longo, Brian O’Doherty, Albert Oehlen, Sigmar Polke, Arnulf Rainer, Gerhard Richter, Antonio Saura, Sean Scully, Monika Sosnowska, Antoni Tàpies and many others reflect in many ways the complexity as well as the openness of positions in art over the past 60 years.
Whereas the art predominant in the western world in the post-war years was mainly dedicated to art forms that, freed from all figuration, tradition and representational constraints, relied solely on the inspired gesture, now artists emerged who were suspicious of precisely this supposedly ingenious artistic inspiration. While some declared painting to be dead, others took very different approaches towards a “re-vision” of painting and sculpture, which included both provocation and irony.
This did not ultimately involve some kind of empathetic return to the painterly or figurative, but rather a re-negotiation of traditionally conveyed notions of the image and the reproduction. What is more, it is a process which has still not been completed to this very day.
The exhibition is subdivided into several sections that provide exciting insight into a variety of themes ranging from Colour Field to Nature Transformed to Body Communication,
not omitting Staged Conflict Fields or The Grand Gesture. You may well be surprised!
Cows by the Water (solo show)
Palazzo Grassi, Venice
8 April 2018 - 6 January 2019
From Sunday 8 April 2018, Palazzo Grassi presents Cows by the water, a personal exhibition dedicated to German artist Albert Oehlen (1954, Krefeld, Germany) and curated by Caroline Bourgeois.
The exhibition lays out a path dedicated to Albert Oehlen’s production through a selection of approximately 85 works, including some lesser-known ones, created between the 1980's and today. The works brought together come from the Pinault Collection as well as from other major private collections and international museums.
Cows by the water path is not chronological but rather suggests a syncopated rhythm between various genres and periods, thereby underlining the central role played by music in the artist’s practice. Music emerges as a real metaphor of his work method, where contamination and rhythm, improvisation and repetition, density and harmony of sounds become pictorial gestures.
Albert Oehlen (1954, Krefeld, Germany) reveals himself to be a major figure of contemporary painting thanks to his artistic research in constant evolution, dedicated to experiments and to overcoming formal limits rather than to the subject represented.
The artist’s work has already be presented in exhibitions around the world, including at the Museo Nacional de Bellas Artes in Havana in 2017, the Cleveland Museum of Art in 2016, the New Museum in New York in 2015, the Kunstmuseum in Bonn in 2012 and the Musée d’Art Moderne de la Ville de Paris in 2009. 'Cows by the water' in Venice is his largest monographic one to date.
Palazzo Grassi, Venice