Author: artworldtoday

Frieze London

Screen Shot 2017-10-05 at 14.13.40.pngKate MacGarry
Booth A12

With Patricia Treib

Screen Shot 2017-10-05 at 14.39.40.pngPilar Corrias gallery
Booth B1

With Mary Reid Kelley and Patrick Kelley

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Peres Projects
Booth B11

With Donna Huanca and Beth Letain

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Gavin Browns enterprise
Booth C2

With Arthur Jafa, Thomas Bayrie, Jonathan Horowitz, Mark Leckey, Sturtevant, and Alex Katz and Joan Jonas

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Stephen Friedman Gallery
Booth C5

With Melvin Edwards

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Fons Welters gallery
Booth G22

With Jennifer Tee and Evelyn Taocheng Wang

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The Sunday Painter
Booth H30

With Emma Hart

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Richard Saulton Gallery
Booth S7

Renate Bertlmann

 

 

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Campaigns against racism affect cultural institutions too.

‘Witte de With’ center for contemporary art in Rotterdam is going to change it’s name. The names literal translation is “White the White”. It was named after the street it is housed on. The streets name comes from the name of a controversial 17th century Dutch naval officer. Witte Corneliszoon de With led violent expeditions into India and Indonesia for the Dutch East India Company. After recent protests from ethnic minority groups the board decided to get rid of the name. The core of the criticism seems to be that; a white art institution can not be relevant to black people and black artists. By coping with that critique Witte de With attempts to immunize itself. The black discourse is absorbed by white majority bureaucracy people in such a setting and thus rendered harmless. But it is not enough to merely ‘welcome’ such institutional criticisms. Apologies, name changes and the optics of renewed attention to diversity do not suffice, if there is no actual systemic decisive radical action. The extent to which they submit to enjoin in a black revolutionary agenda cognizant of the value of diversity will prove its relevance to the liberation of black and other oppressed people. If they do not, Witte de With under any other name will remain an institution appearing to, if not overtly, “condone colonial violence”, then at least appear to those with a deep sense of the continuing reality of such issues in our cultures, be blind to the legacy represented by such a myopic understanding of what historically based names directly infer.
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It’s not the first time that a largely white cultural institution has to deal with the criticism of Black and Non-Black People of Color. Indeed many Dutch institutions for contemporary art are intertwined with the troubling colonial history. Other institutions may have to change their names soon or change staff or policy. Institutions funded by a country or a city, that has become rich in colonial times, are effected too. It also applies to all cities with streets named after naval “hero’s” or merchants who made their money in the slave trade. One Dutch museum that is dealing with it’s past is the Rijksmuseum in Amsterdam. It recently was in the news for altering racially insensitive titles and descriptions of works in its collection. In 2020, it will devote a large exhibition to slavery. The museum advertised for a ‘Junior Curator of Slavery’. He or she must develop ideas on how the Rijksmuseum could become a platform for the debate about slavery.
Hollandse_koopman_met_slaven_in_heuvellandschap,_anoniem,_1700_-_1725_-_Rijksmuseum.jpg It is important to look at our past and acknowledge the dark sides of history, but we also have to see these things as being of their time. The Royal Academy in London and the MoMA have recently put on exhibitions of the Russian Revolution. There was some criticism at the time but if they had put on a large exhibition of the national socialist accepted art from Hitler’s Germany, there would rightly be an uproar. So why is it then ok to show communist art when Stalin and Mao both where responsible for more people being killed each than Hitler. Do we have to constantly adjust our perspectives and opinions on history or do some understandings stay the same for ever?
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The Whitney Museum in New York got criticism for displaying Dana Schutz’s ‘painting ‘Open Casket’ Based on a 1955 photo of the dead Emmett Till, a black teen murdered because he was accused of flirting with a white woman.
The letter to the Conservators of the Whitney Biennial objecting to this painting, was widely circulated.
Hannah Black writes:
“I am writing to ask you to remove Dana Schutz’s painting Open Casket with the urgent recommendation that the painting be destroyed and not entered into any market or museum. … it is not acceptable for a white person to transmute Black suffering into profit and fun, though the practice has been normalized for a long time.”
The painting has never been offered for sale. If it would sell or if entry fees are asked for exhibitions where it is shown should the money go to a good cause? Does the artist have the right to choose a particular topic. Or do opponents have the right to block the display.
Hannah Black goes on to say:
“The subject matter is not Schutz’s; white free speech and white creative freedom have been founded on the constraint of others, and are not natural rights.”
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Does this mean that white western people are not allowed to comment on any matters of black suffering. But where does one draw the line. Do critics or  Do people who support this kind of aesthetic political judgement not create a new type of aesthetic or creative censorship akin to segregation here? Do all art institutions have to be be run by a politicized aware proportional representation of the population. Well, that would be ideal but is it feasible? Female representation is clearly improving in the art world. More and more mature museums, galleries and collections are directed by a woman. The work on display is frequently made and curated by women. We are not fully there yet, but we are getting there. However it took generations. To reach the top you need bigger representation at the start of the chain. Art schools, Curatorial and Art history courses are still mainly populated by white students and tutors.
Lets start by trying to see if we can get more black and ethnic minority people into art education.

Art week Berlin

Berlin has a new art fair; first there was Art Forum Berlin then ABC and now there is the Berlin Art fair. The perpetual question is can a high end contemporary art fair be profitable in Berlin. The people behind Art Cologne are the latest ones to try. Other fairs in the city are Positions and Berliner Liste. After the abolition of Art Forum, Liste is the oldest and largest art fair in the capital. However the standard of galleries is very questionable in my humble opinion. The first edition took place in 2004. Positions has been going for four years before that there was Preview which started in 2005. The work on show is of mixed quality. It seems to me they should be more selective in their acceptance of galleries.

Berlin Art Fair

IMG_2081Galleri Magnus Karlsson
Booth 2.E02

With Sara-Vide Ericson, Marcel Dzama and Klara Kristalova

IMG_2095Paul Stolper Gallery
Booth 2.C02

With Brian Eno, Damien Hirst

IMG_2084Galerie Karin Guenther
Booth 1.F02

With Gunter Reski

reinhardhauffGalerie Reinhard Hauff
Booth: 1.D04

With Tim Berresheim, Marc Bijl, Anne-Lise Coste, Wolfgang Flad, Jörg Immendorff, Thomas Locher, Josephine Meckseper, Julio Rondo and Stephen Willats

IMG_2090.jpgGalerie Kai Erdmann
Booth 3.A02

With Carola Ernst, Andrew Gilbert, Jonas Hofrichter and Stefan Pfeiffer

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Booth 1.B13

With Belu-Simion Fainaru, Ciprian Muresan, Serban Savu and Achraf Touloub

IMG_2079.jpgEsther Schipper
Booth 2A01

With AA Bronson

Screen Shot 2017-09-16 at 12.48.29.pngTobias Naehring
Booth 1.B02.

With Sebastian Burger, Eva Grubinger, Wilhelm Klotzek, Sophie Reinhold

Positions

Untitled_Panorama1Galerie Leuenroth
Booth C13

With Daniel Behrendt and Heinrich Mauersberger

IMG_2072Galerie Drei ringe
booth D05

With David Eagermaher, Martin Böttger, Luise Von Rohden, Siegfried Füreder

55 Limited Gallery55 Limited Gallery
Booth E03

Jonathan McFaddenGalen GibsonIMG_2078

CK Gallery Berlin
Booth A06

Andreas Amrhein

Elsewhere in Berlin

Re- Imagining Europe‘Re: Imagining Europe’ in Box Freiraum

Agniesz Kapolska, Milena Dragicevic, Nikosas Lanidis, Luisa Kasalicky, Mark Manders, Michael Markwick, Ida Lindgren, Tessa Verder, Maria Capelo, Monika Sosnowska, Pauline Curnier Jardin

Screen Shot 2017-09-16 at 12.41.37.pngHamburger Bahnhof

Festival of Future Nows

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Christopher Füllemann and Leonhard Hurzlmeier

IMG_2100.jpgMe Collectors Room

Portrait of a Nation
Contemporary Art from the United Arab Emirates
Featuring works from the ADMAF Art Collection

Art on Paper, Brussels gallery weekend and Antwerp shows

Antwerp

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Tim Van Laere Gallery
Rinus Van de Velde

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Zeno X Gallery
Michaël Borremans

 

Art on Paper @ BOZARIMG_1920.jpg

Albert Baronian
Robert Devriendt

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Paper gallery
Ilona Kiss

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Galerie Zink
Javi Calleja

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Martin Kudlek Gallery
Frans Burkardt

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Betts Project
Pier Vittorio Aureli

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Galerie Maurits Van de Laar
Dirk Zoete

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Meessen De Clercq
Nicolas Lamas
Winner of the SOFAM Prize for Best Solo Show

 

Gallery weekend BrusselsIMG_1934

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Daniel Boccato

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Supportico Lopez at Independent Régence
Charlie Billingham

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Dauwens & Beernaert Gallery
Marco De Sanctis

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Xavier Hufkens
Tracey Emin

Code Art Fair

21200510_1948362332109223_6582666644143812422_o.jpgSexauer Gallery
Booth 49

With Carla Chan and Jay Gard

Screen Shot 2017-09-03 at 14.05.44.pngHans & Fritz
Booth 32

With Nils Nova and Wieteke Heldens

Screen Shot 2017-09-03 at 13.23.08 copy.pngWestern Exhibitions & Andrew Rafacz Gallery
Joint booth 45

With Cody Hudson and Ryan Travis Christian

CodeArtFair2017-Agency.idoart.dk-153-2000.jpgVersus Art Projects
Booth 88

With Metehan Özcan, Ömer Pekin and Serkan Taycan

Screen Shot 2017-09-03 at 13.34.08 copy.pngPilar Corrias Gallery
Booth 12

With Gerasimos Floratos, Keren Cytter, Leigh Ledare and Tala Madani

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Booth 81

With Nick Fox

Screen Shot 2017-09-03 at 13.51.48.pngDürst Britt & Mayhew
Booth 31

With Wieske Wester, Paul Beumer en Jacqueline de Jong

Contemporary Printmaking

Like drawing, printmaking seems to be experiencing a renaissance. Young artists are not just interested in technique but are clearly focused just as much on content. That this development coincides with the continued rise of digital media is, in my opinion, not at all a coincidence. Artists are looking for a handmade product that can be reproduced and which shows the flaws and variations between one formal mode and the other; as if each copy is a new original.

Here are some exiting artists working in this medium.

Emily Lombardo

Makes conceptual, personal art as she investigates archetypes of cultural identity. Her series of prints The Caprichos’ is based on the classic works of the same name made by Francisco de Goya in 1799.

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Melanie Yazzie

Is a Navajo artist that deals with indigenous cultures and post-colonial dilemmas. Her work often shows strong women taking the lead.

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Dolores De Sade

My work is interested in memory, nostalgia and archetype. Depicting forgotten places in the contemporary landscape. Comparing them with illustrations of past centuries.  memory, nostalgia and archetype.
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Jan Brokof

Makes work that revolves around the formative power of the urban environment and his East German youth. He makes reconstructions in 3D using woodcuts.

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Benjie Torrado Cabrera

Has a unique visual style influenced by the cosmos. He veers between traditional and contemporary art. His work consists of geometric shapes and spheres and lines.

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Frédéric Coché

Questions the ambiguity of human nature and refers to art history. His work is characterized by an opposition between formal aesthetics and the gravity of the subjects it deals with.

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Katherine Jones

Investigates the tension between vulnerability, security, danger and safety. Childhood play and experiment are a central focus of her work.

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B.C. Epker

Represents a current situation while reflecting on cultural heritage, philosophy, mythology and religion. Regularly his work consists of rural landscapes with figures.

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Katie Baldwin

Shows several stages of both manufactured and natural scenery. She work is narrative and sometimes includes text.

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Claas Gutsche

Displays mostly (east) German suburban buildings that have a dark history. His work investigates the unsafety of domestic living.

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Rob Voerman

Depicts the beauty of dystopian wreckage. He fabricates a world with fantastical architecture and responds to social and environmental matters.
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Stephen Hobbs

Has is interested in the impact of town planning and architecture on the behavior of people. His work also tackles apartheid in Johannesburg.

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Thomas Kilpper

Makes wood- and lino-cuts by carving directly into the floor of a building. He takes inspiration from the history of the building.

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Christoph Ruckhäberle

Grants balanced consideration to figures and patterns created with bold intense colors. His work is open to interpretation like a theatrical drama.
With his girlfriend Henriette Weber he runs the publishing house LUBOK.

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Inez Odijk

Makes portraits and 3D puppets, like real people her works are unique yet the same. Where context is missing rhythm gives the work a structure.

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Tom Liesegang

Confronts age old themes like sexuality, death, and religion as well as present day concerns. Some of his work consists of semi abstracted observations of nature.

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Churches turned into art spaces

They say museums are the new churches, but many old churches are now used as spaces for contemporary art.  With Christianity in decline, church buildings are converted for other purposes. Many former places of worship function as studio’s, artist residencies, cultural community centers, museums or galleries. Here are just a view examples of former churches and chapels that used as exhibition spaces.

Untitled_Panorama2.jpgThe Zabludowicz Collection housed in a 19th-century Methodist chapel in Chalk Farm, north London. It presents Chaim “Poju” Zabludowicz’ collection, as well as new commissions by artists linked to it. Offense was caused when a miniature statue of Jesus with an erection was displayed.

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In 2011 Johann König acquired St. Agnes Church in Berlin as an addition to his gallery in the Dessauer Straße. He hired architect Arno Brandlhuber to convert the Brutalist Church in Kreuzberg, into a gallery space. The church is a listed building designed in 1967 by German architect Werner Düttmann. It was in desperate need of repair. König spend around three million euros for the renovations.

lowere1_optimized.jpgThe Nikolaj Kunsthal is a contemporary art center. It is a former early thirteenth century Church in central Copenhagen, Denmark. It is a landmark with one of the tallest towers in the city. It exhibits Danish and international contemporary art.

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Art Chapel Amsterdam is a new art gallery in the south of the city. Maarten Bertheux, former conservator of the Stedelijk Museum Amsterdam is the artistic director. Amsterdams Oude Kerk (old Church) and Nieuwe Kerk (New Church) both show contemporary art too

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Christopher Henry Gallery is in a renovated church in Manhattan. It shows work by early- and mid-career artists, as well as big name pop icons. It wants to challenge the idea of what a gallery is.

SW1111Slideshow-Montreal01.jpgThe Montreal Museum of Fine Arts repurposed a Romanesque revival church into a Canadian art pavilion. This allowed the museum to double its display surface. The building has Tiffany stained glass, dating to the 19th century. Provencher Roy + Associes Architectes were responsible for the renovation.