|
Glauber Rocha, still from: Terra em Transe, 1967 © trigon-film. |
Cao Guimarães / Rivane Neuenschwander, still from: EPILOGUE [Quarta-Feira de Cinzas], 2006 © the artist, Courtesy Galeria Fortes Vilaca. |
Anna Maria Mailino, still from: In-Out (Athropophagy), 1972/74 © the artist.
Ernesto Neto, O Céu é a Anatomia do meu corpo / The Sky is the Anatomy of my Body, 2000, Sammlung Ursula Blickle © the artist.
Singer and composer Caetano Veloso wearing Oiticica’s Parangolé P4 Cape 1, 1968 © Projeto Hélio Oiticica, Rio de Janeiro, Brazil. |
Kunsthalle Wien What is new today may be dead tomorrow. Down with prejudice. Art and culture are a totality. A new aesthetics. A new morality. Communicate by polemics. We have left the Stone Age behind. We have entered the Age of Throwing Stones. —From the article Marginalia in the magazine O Cruzeiro, 1968 The present moment, the now, is the only tangible reality that still communicates something today. — Lygia Clark Tropicália was born from the spirit of the Manifesto Antropófago (Cannibal Manifesto) written by the modernist poet Oswald de Andrade in the 1920s: it dealt with the devouring of foreign cultures, the critical appropriation of art, music and fashion trends from the “First” World, and a concept of hybridity which forged a specific aesthetical meta-Brazilianism from particles and fragments of cultural artifacts, "Canibalism is the only thing that joins us. Socially. Economically. Philosophically,” wrote de Andrade. Tropicália was a new critical language (of art) which intervened on the level of everyday communication and used the possibilities of modern mass communication. Television allowed singers like Caetano Veloso and Gilberto Gil, who considered themselves part of the movement, to become mouthpieces of an artistic attitude rejecting the “import of a prepacked and ready-for-use consciousness" (de Andrade). “The myth of Tropicalism is much more than just parrots and banana trees,” says Hélio Oiticica, the epoch’s leading Brazilian artist, in one of his numerous programmatic texts. For the people living in precarious situations, the energy and vitality, the pleasure in shrill spectacle, and the opening of the field of cultural activity were — without being explicitly political — mainly directed against the oppressive years of the Brazilian military regime which had made an end to comparatively democratic conditions with a coup in 1964. The cultural activists countered the dictatorship’s monotony and monochromy with the country’s rich cultural diversity, which was reassessed aesthetically in a manifold, often ambiguous manner. The aim was to fight “the silly dream and myth of a second-hand technocracy" with creativity, as the important theater director José Celso Martinez de Correa put it. This anything but pleased the orthodox Left, which saw its wooden world view threatened and rejected Tropicalism as a reactionary, regressive form of art: the artists, musicians, filmmakers, theater people, and poets who identified with the idea, however, did not offer simple ideological solutions, but rather strove to undermine the official version of Brazilian culture, which maintained a unity in diversity that had never existed that way. Haroldo de Campos, a key figure of concrete poetry in Brazil, alleged that Tropicalism was about a “dialogical and dialectical connection with the universal.” Operating across boundaries of genre and style, Tropicalism relied on allegorical impulses, contradictions, and paradoxical juxtapositions that defied a one-dimensional understanding. “I was never interested in drawing after nature,” said Antonio Dias, who also numbered among those who were crucial in making Tropicália what it was, “I was always concerned with the inner being, the psyche, with man’s political nature.” It was above all Hélio Oiticica who proved an important conceptualist and practitioner of an aesthetics directed toward overcoming the separation of art and life. After the formal rigorism of concrete and neo-concrete art prevailing in Brazil in the 1950s, the Tropicalistas established an “anti-art" whch was not focused on representation and the object but on creating situations and contexts for collective behavioral experiments. Art was to be an experimental exercise toward freedom and to transform the individual’s perception through sensory practices. “The avant-garde phenomenon in Brazil is no longer the affair of an isolated elite, but a wide cultural subject with social effects aimed at collective solutions. “ (Hélio Oiticica) With key works such as Hélio Oiticica’s Tropicália or Glauber Rocha’s film Terra em Transe as well as important workgroups by Nelson Leirner, Rubens Gerchman, Antonio Dias, Anna Maria Maiolino, and Lygia Pape, the exhibition presents a historical cross-section of the variety brought forth in that short summer of anarchy in the arts. The show also documents how the creative impulse of Tropicália has continued to exercise its impact on the work of (exiled) Brazilian artists like Ernesto Neto, Rivane Neuenschwander, or Cao Guimarães until today. Curator of the exhibition is Thomas Mießgang. |
Artur Barrio, Situação…………Orhhhhhhhhhh, 1969 © the artist, Courtesy the artist and Galeria Millan, São Paulo. |
Marcel Odenbach, Filmstill from: Niemand ist mehr dort, wo er anfing, 1989/90, Courtesy the artist and Galerie Crone, Berlin © VBK, Wien, 2009. |
|
Erik Bulatov, Perestroika, 1989, Galerie Alex Lachmann, Köln © VBK, Wien, 2009 |
Ilya & Emilia Kabakov, Installation The Big Archive, Stedelijk Museum, 1993, Amsterdam, Photo by Jan Versnel © VBK, Wien, 2009
Chantal Akerman, From the East, 1993/1995, Courtesy of Marian Goodman, New York.
Neo Rauch, Schicht, 1999, © 2009 Neo Rauch, VBK, Wien. Courtesy Galerie EIGEN + ART Leipzig/Berlin und David Zwirner, New York, Foto: Uwe Walter.
Sophie Calle, Neue Wache, aus: Die Entfernung - The Detachment, 1996, Sammlung Ringier, Schweiz © VBK, Wien, 2009.
Alexander Kosolapov, Gorby, 1991, Karl Kostyál Collection, Courtesy Galerie Hussenot, Paris © VBK, Wien, 2009 |
Kunsthalle Wien The “annus mirabilis” 1989 marked a paradigm shift. The breath of history wafted through the collective consciousness, and a cheerful, yet incredulous “Wow!” was on everybody’s lips. 1989 stands for the opening of the Iron Curtain and the fall of the Berlin Wall erected in 1961 as its strongest symbol: extending over a length of 5,000 kilometers, the border between East and West with its barbed wire fences, watchtowers, automatic firing devices, and minefields separated two worldviews from the Baltic to the Adriatic. 700 kilometers of it ran along Austria’s northern and eastern border, which is why the country was strongly affected by what was going on. Its opening brought the end of one of the longest borderlines drawn in the 20th century. Utopias were buried, and new, hitherto undreamt oppression and shortage were followed by a period of ruptures in which the return of various nationalist and religious fundamentalist movements and the present financial crisis nurture doubts concerning the functional efficiency of a socially irresponsible “predatory capitalism.” 1989 is the starting point and key year of the exhibition, which is not aimed at offering a categorization of the period following the end of the bipolar world from a sociorather investigates the ciphers, metaphors, atmospheres, and emotional states connected with a system’s decline and a political upheaval whose consequences are of unbroken relevance today. The title of the exhibition emphasizes that history continues to be written — contrary to the political scientist Francis Fukuyama’s thesis that historical evolution has come to an end with the collapse of Communism and for lack of efficient alternative systems in 1989. Assembling 36 positions from 20 Eastern and Western nations, the exhibition offers a comment on an ongoing process and outlines the facets of individual realities of life as seen through a prism. The show explores such concepts as bureaucracy, treason, surveillance, fear, nostalgia, violence, and religious renaissance, the return of nationalism, manipulation, and irony, analyzing them with artistic means in order to assess their suitability for social self In his video work Niemand ist mehr dort, wo er anfing (1989/90), Marcel Odenbach focuses on the dismantling of the Berlin Wall, confronting pictures of past violence with scenes of cheer and joy. The works of Alighiero Boetti with their historical cartography dominated by the Soviet Union’s red and of Stephan Huber with their new, fictitious geopolitical world orders also center on changes in the sphere of realpolitik. The protesting people’s political power becomes manifest in both the installation by Hans Haacke on Ronald Reagan’s armament policy and in the subtly romantic tribute to Solidarity. 1989, however, was not only the year of a peaceful revolution and the dawn of a post-Communist age, but also saw, as Chen Danqing reminds us of, bloody military measures ordered by the Chinese Communist regime against their own people on Tian’anmen Square, the “Square of Heavenly Peace.” In a film shot exactly 20 years after her escape (1989), Anna Jermolaewa retraces her way from St. Petersburg via Cracow to Vienna against the background of blurring memory images and creeping changes. The story of her reunion with Aleksandra Wysokinska, who helped the artist enormously then, tells a personal, unofficial, but no less crucial story set off against those years’ great upheavals and official historiography. The exhibition also features works by Ilya & Emilia Kabakov, the subtle critics of Soviet everyday life, Johan Grimonprez, and the sisters Jane and Louise Wilson. The Kabakovs will lead the visitor through claustrophobic rooms whose atmosphere will make them feel as if part of the queues subjected to a bureaucratic apparatus paralyzing all life. While Grimonprez, presenting strange pairs and exploring ambiguous negotiations, reveals how “fear as a mass product” has only become possible through Cold War global politics, Jane and Louise Wilson’s impressive video takes of abandoned and lifeless Stasi rooms recall the gray and yet frightening banality of evil and oppression. With their pictures of leisure in Communist times, Boris Mikhailov’s photographs and Marek Piwowski’s film describe how people, banking on pragmatism, their skills, and their irony, made ends meet under the ruling regime. While Mikhailov in a further work titled Case History (1997-1998) impressively captures the social hardships and the human degradation in post-socialist dog-eat-dog capitalism, Martin Parr's photographs reveal the wastefulness and shameless enrichment of Russia’s nouveaux riches. Infiltrating Communist symbols with capitalist trademarks, Alexander Kosolapov’s works thematize the corruption of signs, their reversal, and the changing balance of power. Sophie Calle has preserved names and public insignia doomed to disappear and be replaced in the “new German federal capital” as memory monuments in her twelve photo and text work Die Entfernung (The Detachment, 1996). Drawing on found footage video recordings, Sergei Bugaev Afrika strikingly elucidates the return of nationalism in the form of horrible excesses of violence between Russians and Chechens in his work Stalker 3 (1996/2002). In her film Count on Us (2004) featuring the artist conducting a children’s choir singing “A Hymn to the UN” in Serbo-Croatian as a symbol of understanding among nations, Marina Abramovic counters the Yugoslav war trauma. While Josephine Meckseper analyzes the smooth rampant consumerism’s superficiality and hollowness in her installations, the Norwegian artist Pushwagner’s Soft City (picture novel 1968-1976, film 2006-2008) outlines a capitalist future of man’s standardization and functionalization which in its enforced conformity hardly differs from the Communist past. The show, the catalogue published on its occasion, as well as the comprehensive accompanying program contribute to the continuing discourse on this paradigm shift in the form of critical comments — a shift which manifested itself most visibly 20 years ago, had already been foreshadowed in earlier years, and has still not come to an end. Catalogue: 1989. Ende der Geschichte oder Beginn der Zukunft. Edited by Kunsthalle Wien, Gerald Matt, Cathérine Hug and Thomas Mießgang. With new contributions by Synne Genzmer, Cathérine Hug, Helmut Lethen, Thomas Mießgang, Mikhail Ryklin, and Martin Walkner, interviews with Emilia Kabakov, Barbara Kruger, and Neo Rauch, as well as numerous excerpts of texts by Svetlana Boym, Francis Fukuyama, Boris Groys, Yu Hua, Durs Grünbein, Karl Schlögel, Slavoj Žižek, among others. German. Graphic design: Chris Goennawein. Verlag für moderne Kunst, Nürnberg. 320 pages, ca. 150 illustrations, ISBN 978. |
-1989-Ilya-und-Emilia-Kabakov.jpg)
-1989-Sophie-Calle.jpg)
Mauerfall 1989. Begrüßung einreisender DDR-Bürger am Grenzübergang Helmstedt, © Presse- und Informationsamt der Bundesregierung (Berlin), Heiko Specht (Sammel-bildnachweis). |
|
Andy Warhol, Mercedes-Benz C 111 Trial Car, 1970, © Daimler Art Collection / VBK Wien, 2009. |
 |
Andy Warhol, Mercedes-Benz 300 SL Coupé, 1954, © Daimler Art Collection / VBK Wien, 2009. |
Andy Warhol, Karl Benz and His Commercial Clerk Josef Brecht on the Benz Patent Motorcar, 1886, © Daimler Art Collection / VBK Wien, 2009.
Andy Warhol, © Daimler Art Collection / VBK Wien, 2009.
Robert Longo, Untitled (Black Car), 1996, © Daimler Art Collection. |
Albertina CARS presents works from the Daimler Collection, by artists Andy Warhol, Robert Longo, Sylvie Fleury, and Vincent Szarek. Common to all of the works is their examination of the history, the types, or the design of the Mercedes Benz car. The core of the exhibit are the thirty-five silkscreen paintings of Andy five silkscreen paintings of Andy Warhol’s (1928-1987) series CARS, which employ eight selected types of Mercedes to document the historyof the automobile. This important late series by Warhol remained unfinished and after around twenty years is being shown again complete. Joining this series are drawings and airbrushed paintings by Robert Longo (*1953). Videos by Sylvie Fleury blend the myth of the legendary Mercedes-Benz automobile with some of the most contemporary ideas from the art and fashion worlds. Vincent Szarek (*1973) uses design elements from the Mercedes-Benz SLR as the starting point for his group of sculptures, developed as a modern form of drawing, rendered with 3D programs. Andy Warhol’s CARS series from 1986/87 can be seen as a highlight in the late working phase of the Pop artist. Commissioned on the occasion of the hundredth anniversary of the automobile, it would be the artist’s last series and remained incomplete. Of the 80 planned pictures, intended to use 20 selected Mercedes-Benz models to document the history of the car from the 1886 Daimler Motor Carriage and the Benz Patent Motor Car to 1986, Warhol completed 35 paintings (32 of them belong to the Daimler Art Collection) and 12 large-format drawings showing eight different models. The first eight models were completed by early January 1987, each in two versions: a single and a multiple portrayal. The artist produced the three additional large-format works in the last two weeks before his death on February 22. Between 1988 und 1991, the Warhol CARS serie has been exhibited in museums internationally, starting in the Kunsthalle Tübingen and in the Guggenheim Museum New York as well as in Tokyo, Bern, Madrid und Barcelona. After around twenty years the series is again shown complete. The commission that went to Andy Warhol in 1986 was groundbreaking for the intense cooperation with artists as well as for the early international direction taken by the Art Collection. A second commission went to the New York-based artist Robert Longo in 1995, who created a sequence of five black-and-white automobile “portraits” and a “big-screen” grid profile of a compressor convertible. Vincent Szarek, New York, examined the phenomenon of individualized mass production, using his shiny-painted picture objects to connect the design history of the car with hybrid surfaces from the Baroque to the contemporary wireframe. In 2005, Sylvie Fleury created a series of six three-channel videos for the Mercedes-Benz Center in Paris. These films, which form an outstanding part within Fleury’s multimedia work created since 1990, blend the appeal of legendary Mercedes-Benz automobiles — from the Lightning Benz and the Gullwing to the C 111 — with the latest contemporary ideas from the worlds of art and fashion. Since the 1980s, commissions to design and realize site-specific works have gone to Max Bill, Heinz Mack, François Morellet, Walter De Maria, Nam June Paik, Robert Rauschenberg, Ben Willikens, Tamara K. E., Gerold Miller, Auke de Vries, Pietro Sanguineti, Franz Erhard Walther, Jan van der Ploeg, Nic Hess, Andreas Schmid, Stephane Dafflon, and other artists, who created large sculptures, wall objects, or murals for various company sites. The Daimler Art Collection is one of the most renowned German corporate collections. It focuses on the area of twentieth-century Abstract Art: from the circle of artists around Adolf Hölzel in Stuttgart in the nineteen-tens, Bauhaus, Constructivism, Concrete Art, the European Zero avant-garde, Minimalism, Conceptual tendencies, and Neo Geo, all the way to the most recent contemporary art. There are areas dedicated to photography and media art as well as a total of thirty large public sculptures in Stuttgart, Sindelfingen, and Berlin. In-house exhibitions, at the Daimler Contemporary exhibition space at Potsdamer Platz in Berlin, and at international museums as well as grants awarded to upcoming artists communicate the Daimler Art Collection to a wide audience. |
Andy Warhol, Mercedes-Benz 300 SL Coupé, 1954, © Daimler Art Collection / VBK Wien, 2009. |
|
Maximilien Luce, Notre Dame, View from Quai Saint-Michel, 1901-04, Wallraf-Richartz-Museum & Fondation Corboud, Cologne. |
 |
Vincent Willem van Gogh, Impasse des deux frères, 1887, Van Gogh Museum Amsterdam (Vincent van Gogh Foundation). |
Maxime Maufra, Winter Landscape, 1890, Wallraf-Richartz-Museum & Fondation Corboud, Cologne, © RBA, Köln.
Gustave Caillebotte, Laundry Drying on the Bank of the Seine, circa 1892, Wallraf-Richartz-Museum & Fondation Corboud, Cologne, © RBA, Köln.
Claude Monet, Fishing Boats on the Beach at Étretat, 1883-84, Wallraf-Richartz-Museum & Fondation Corboud, Cologne, © RBA, Köln.
Edouard Manet, Dame mit Fächer, 1862, Szepmuveszeti Muzeum, Budapest. |
Albertina The most conspicuous characteristic of Impressionism was an attempt to accurately and objectively record visual reality in terms of transient effects of light and colour. The movement began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, •Impression, Sunrise (Impression, soleil levant)•, which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari. Characteristics of Impressionist paintings include visible brush strokes, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, the inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature. Comprising 193 works, the exhibition Impressionism. Painting Light unfolds the mesmerizing world of Impressionist and Post-Impressionist painting and is perhaps the most comprehensive show on the subject ever presented in Austria. In addition to 75 paintings from the Wallraf-Richartz-Museum & Fondation Corboud in Cologne, the show includes an enriching range of superb works from the Albertina and the Batliner Collection as well as loans from private collections and international museums. 56 historical objects, painting utensils and gadgets convey an idea of an artist’s daily routine, of how he approached his motifs and prepared and executed his paintings. Didactic materials such as an installation for the explanation of optical phenomena or x-ray and infrared pictures allow the visitor to literally grasp the genesis of Impressionist works. The focus of this extraordinary and ambitious exhibition is on the results of a five-year research project that has provided new, fascinating insights into the development of Impressionism and its techniques and modes of painting. Equal importance has been granted to the history and the technology of art. This approach has yielded fresh answers to such questions as “What is an impression?”, “Inside or outside?”, or “When is a painting finished?” – answers permitting to retell the story of Impressionism from a new perspective based on exemplary works by Courbet, Caillebotte, Manet, Monet, Renoir, Cézanne, Pissarro, Signac and Van Gogh.
Théo van Rysselberghe, Seated Nude, 1905, Albertina, Wien - Sammlung Batliner. Foto: © Fotostudio Heinz Preute, Vaduz. |
Pierre-Auguste Renoir, On the Banks of the Seine at Rueil, 1879, Wallraf-Richartz-Museum & Fondation Corboud, Cologne, © RBA, Köln. |
Claude Monet, View of Vétheuil, 1881, Albertina, Vienna - Batliner Collection. Photo: © Fotostudio Heinz Preute, Vaduz. |
|
Vladislav Mamyshev-Monroe (Russland / Russia), Monroe, 1996, Courtesy XL Gallery, Moscow, © Vladislav Mamyshev-Monroe. |
|
Petra Varl (Slovenia / Slovenien), Zvezda and Odeon, Wallpainting / Wandmalerei, 205 x 137cm, © Petra Varl. |
Marina Abramovic (Serbien / Serbia), Art must be beautiful, artist must be beautiful, 1975, Videoperformance / Video performance, 14:14 min, © Marina Abramovic.
Eva Filova (Slovakei / Slovakia), Without Difference, 2001, Milch Tetrapack / Milk tetra pack, 3 Objekte 16,5 x 9,5 x 6 cm, © Eva Filova.
Wojciech Fangor (Polen / Poland), Figures / Postaci, 1950, Ol auf Leinwand / Oil on canvas, 100 x 125 cm, Muzeum Sztuki/Museum of Art in Lodz, Courtesy of Museum of Art in Lodz, © Wojcieh Fangor.
Veronika Bromova (Czech Republic / Tschechien), Girls too / Mädchen auch, 1994, Digitally altered Color Duratrans, in Light box / Farb Duratrans Print, 90 x 120 cm, © Veronika Bromova.
Rovena Agolli (Albania), In All My Dreams, it Never is Quite as it Seems / In all meinen Träumen ist es niemals so wie es scheint, 2002, Digital print / Digitaldruck, 80 x 60 cm, © Rovena Agolli.
Galina Petrova (Lithuania / Litauen), Women, Cleaning Fish / Frauen, Fische waschend, 1969, Synthetic tempera on canvas / Synthetische Tempera auf Leinwand, 150 x 140 cm, Courtesy Lithuanian Art Museum, © Galina Petrova. |
MUMOK Gender Check is the first comprehensive exhibition featuring art from Eastern Europe since the 1960s based on the theme of gender roles. 20 years after the fall of the Berlin Wall, the curator Bojana Pejic, along with a team of experts from 24 different countries, has put together a selection of over 400 works including paintings, sculpture, installations, photography, posters, films and videos. With over 200 artists, the exhibition paints an exceptionally diverse picture of a chapter in art history that until recently had been largely unknown and that could also act as an important addition to contemporary gender discourse. Gender Check follows the changes in the representation of male and female role models in art — especially as they develop under different socio-political conditions. The exhibition, initiated and supported by the ERSTE Foundation, shows the interrelationship between art and history following both a chronological and thematic approach: Into the 1960s, heroic male and female workers were dominant figures in the socialist realist tradition of art. The intended reality — a transforming program of a “sexless society” propagated by the state was met with irony and unmasked by unofficial art at the time. Following the period of collective state utopian aesthetics, different individual and more open tendencies could be found on a local level — periodically provoking a hostile response — that created independent spaces for nonconformist art. Beginning in the 1970s, ideals of femininity and masculinity were reexamined beyond propagandist clichés of the past: Self-portraits and representations of the body and subjectivity began to hint at a newfound self-confidence also reflected in openly displayed sexuality, calling into question heterosexual standards and heroic ideals. Even many of the abstract pieces worked with anthropomorphic forms and the relationship between the sexes within society. The emancipation from role models went along with an emancipation from traditional means of expression, as new media and art forms like photography, film, video and performance became increasingly important. At the same time, more and more female artists began to gain in prominence. With the fall of the wall in 1989 and the end of socialist regimes, new challenges became evident in the face of rising nationalism and neoliberal influences from the west. The newly won freedoms came hand in hand with neoconservative role constraints that soon also became the topic of artworks. A critique of chauvinist, militaristic, misogynist and xenophobic ideologies were expressed in the context of feminist theory. Homosexuality began to be brought up. Clichés about motherhood and traditional religious-inspired ideals of femininity and patriarchal power structures came under critique. To underline the political and public significance of female identity, allusions came to be made to historical allegories of femininity. A Short List of the Artists:
Tanja Ostojic (Serbia), Looking for a Husband with EU passport / Suche nach einem Ehemann mit EU Pass
Kriszta Nagy (Hungary / Ungarn) |
Katarzyna Kozyra (Polen / Poland), Olympia / Olimpia, 1996, 3 Fotos, Video am Monitor / 3 photos, video on monitor, National Museum in Krakow, © Katarzyna Kozyra. |
Michails Korneckis (Latvia / Lettland) |
 |
Zoe Leonard, Frontal View, Geoffrey Beene Fashion Show, 1990, Silbergelatine-Abzug, 124,1 x 96,8 cm, © Zoe Leonard und Galerie Gisela Capitain, Köln. |
|
Zoe Leonard, Image from Analogue, 1998-2009, 412 C-prints + gelatine silver prints, 28 x 28 cm, Courtesy die Künstlerin und Galerie Gisela Capitain, Köln, © Zoe Leonard.
Zoe Leonard, Image from Analogue, 1998-2009, 412 C-prints + gelatine silver prints, 28 x 28 cm, Courtesy die Künstlerin und Galerie Gisela Capitain, Köln, © Zoe Leonard.
Zoe Leonard, Image from Analogue, 1998-2009, 412 C-prints + gelatine silver prints, 28 x 28 cm, Courtesy die Künstlerin und Galerie Gisela Capitain, Köln, © Zoe Leonard. |
MUMOK "For me photography is intrinsically about observation. It’s about being present in and having a certain perspective on the world around me. It’s not so much about creating, or my imagination — as drawing. It’s more about responding." Zoe Leonard is usually familiar with the places where she takes her pictures. She photographs in nature and on city streets and also in places where objects are on display: in museums of natural sciences or museums of art, in shop windows or at fashion shows.
Zoe Leonard, Anatomical Model of a Woman's Head Crying, 1993, Silbergelatine-Abzug, 42,8 x 30,2 cm, © Zoe Leonard und Galerie Gisela Capitain, Köln.
Zoe Leonard, Mirror no. 2 (Metropolitan Museum), 1990, Silbergelatine-Abzug, 105,4 x 71,7 cm, © Zoe Leonard und Galerie Gisela Capitain, Köln. |
Zoe Leonard, American flag sweater, 2001/06, Aus der Serie Analogue, 1998-2007, Ca. 400 C-Prints + Silbergelatine-Abzüge, 28 x 28 cm, © Zoe Leonard und Galerie Gisela Capitain, Köln. |
 |
Doug Aitken (1968), Untitled (Shopping Cart), 2000, C-print, 121 x 143 x 3 cm, © Doug Aitken. |
|
Gabriel Orozco (1962), Satellite Ball, 1998, C-print, 31,6 x 47,3 cm (sin marco), 55 x 71 x 3,7 cm (con marco), © Gabriel Orozco.
Moris (Israel Meza Moreno, 1978), Hermoso Paisaje #5 (el baldio), 2008, Mixed Variable, © Moris.
Peter Fischli (1952) & David Weiss (1946), Airport (1) (Rio – Air France) 1989 – 1998, 2000, C-print, 124 x 185,5 cm, © Peter Fischli & David Weiss.
Minerva Cuevas (1975), Target Shell, 2007, Acrylfarbe matt (Grün und Gelb), Acrylfarbe glänzend (Rot und Blau) und eine altmodische, Insektengiftpumpe / Acrylic-matt paint (green and yellow), acrylic-bright paint (red and blue) on wall and vintage insecticide pump, Paint on wall: 110 x 234 cm, Pump: 9 x 12 x 35 cm, © Minerva Cuevas.
Doug Aitken (1968), Diamond Sea (Installation), 1997, Videoinstallation / Video installation, Variable, Approximative time: 11 min. 26 sec., © Doug Aitken. |
MUMOK Drawing from the scope of La Colección Jumex — one of the most important holding of contemporary art in Latin America — the exhibition Interstices presents works by 19 international artists that deal directly or obliquely with the precarious conditions of life in an economically motivated and mediated globalized world. Erratic and unpredictable violence are the central theme in Miguel Calderón’s Serie Historia Artificial #3 (1995). Mark Dion and Minerva Cuevas reference man’s ignorance and his reckless, power-driven interventions in nature. |
_1989-1998+2000.jpg)
Jeff Wall (1946), Overpass, 2001, Cibachrome transparency, aluminium lightbox, fluorescent bulbs, 230 x 300 x 26 cm, © Jeff Wall. |
 |