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DTSTART;VALUE=DATE:20220211
DTEND;VALUE=DATE:20220626
DTSTAMP:20220405T125914Z
CREATED:20220328T212005Z
LAST-MODIFIED:20220405T125914Z
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SUMMARY:still voices
DESCRIPTION:still voices \nExtending over an entire floor\, the exhibition is dedicated to a wide survey of video works by world-renowned artist Adrian Paci\, starting with his earliest work from 1997 and concluding with two world premieres of his recent works from 2021. Paci is one of the most prominent and influential contemporary artists\, who over two decades has been sensitively commenting on current political and social upheavals\, while maintaining a unique humanistic voice. His art focuses on the individual\, on singular human beings living within a collective\, whose voices\, facial expressions\, and bodily movements are explored in his videos as in portraiture. From a close examination of specific people and unique situations\, Paci zooms out to reflect on universal concepts and feelings such as loss and the struggle to overcome it. \nPaci was born in Shkodër\, Albania\, and immigrated to Italy in 1997. His work addresses the state of liminality: of being between places\, times\, and cultures. The gaps and intervals explored in his work are all but empty: they are crowded with memories and desires that cannot be fully expressed. Stillness\, silence\, pauses\, fragmented texts\, and inconclusive narratives are the major elements of his works. Via sensitive aesthetic research of the medium of video\, Paci fills the textual and audio voids with images that articulate what words fail to communicate. They convey the desire to heal\, to overcome trauma\, to achieve a sense of belonging and hold onto loved ones.
URL:https://kaufmannrepetto.com/exhibition/still-voices/
LOCATION:Haifa Museum of Art
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220516
DTSTAMP:20220223T144604Z
CREATED:20220223T144604Z
LAST-MODIFIED:20220223T144604Z
UID:13770-1644019200-1652659199@kaufmannrepetto.com
SUMMARY:To record and testify
DESCRIPTION:to record and testify \nFor her first personal exhibition in France\, Thea Djordjadze gathers more than sixty works created since 1993 with which she delivers an intuitive experience within the Museum building. \nArtist Thea Djordjadze’s work has spanned for more than twenty years through sculptures and their installation\, in a perceptible relationship to space and the architecture of the place hosting them. Made of plaster\, foam\, textile\, wood\, or glass\, found\, modified\, augmented objects stand alongside pieces that resemble display systems and architectural elements — railings\, vitrines\, shelves — that lost their functionality.Other sculptures are made from steel or aluminum\, hinting at a fragment of a modernist building or rendering shapes reminiscent of the Georgian alphabet into three-dimensional space. Harmoniously arranged here and there\, the artworks constitute a long poem where materials communicate in layers\, peer into a past and appear in a new light in this exhibition space. \nTo this Georgian artist working in Berlin since 2009\, each exhibition stands as a reconfiguration\, reinterpretation or rearrangement of new and older works in response to a given space. Her installations place within a new context objects\, buildings\, furniture\, techniques and traditional crafts bearing with them the historical remnants of territories\, languages and traditions of a broadened notion of Europe. \nIn the early 2000s\, Thea Djordjadze decided that painting\, directing the viewer’s eye toward a single spot\, was not enough to embrace the world. Installation therefore allows her to offer a freer experience\, based on the immediate perception of resonances between the staged objects\, the volume of space\, light\, the views from a room to another\, the dialogues between the materials and the architecture of the place. All in all\, the viewer is in the artwork. \nIn Saint-Étienne\, notwithstanding the supposedly neutral and affectless “white cube” aspect of the MAMC+ space given to her — with its five rooms\, its 650 m²\, and its heights of more than 8 meters — a sense of fragility is conveyed. The sixty or so artworks\, produced between 1993 and 2021\, meet a form of “urgency” that guides her choice to display a rolled-up carpet\, a large metal screen or polished aluminium mirrored walls. Conceiving the exhibition entirely on site\,in a kind of bow to impermanence\, to Thea Djordjadze the act of installation is about activating the physicality of materials\, awakening a memory of the objects through subtle gestures\, and generating an energy unique to the site in Saint-Etienne.
URL:https://kaufmannrepetto.com/exhibition/to-record-and-testify/
LOCATION:Musée d’art Moderne et Contemporain\, Sainte-étienne Métropole
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220129
DTEND;VALUE=DATE:20220704
DTSTAMP:20260423T161514Z
CREATED:20260423T161514Z
LAST-MODIFIED:20260423T161514Z
UID:28885-1643414400-1656892799@kaufmannrepetto.com
SUMMARY:Vivian Suter: Worm in a Water Glass
DESCRIPTION:vivian suter: worm in a water glass \n\n\n\nWe dared\, we went and selected 89 paintings for Vivian Suter’s show at Vleeshal\, which we dedicated to the worm in the water glass. It is impossible to consider the paintings of Swiss-Argentinian artist Vivian Suter without discussing where and how she lives and works. Since 1983\, Suter has resided on the grounds of a former coffee plantation just outside Panajachel\, Guatemala. This small village is situated along the shores of the breath-taking and incredibly deep Lake Atitlán\, which is enclosed by volcanoes. Here\, in her own refuge just outside the village\, the incredibly productive Suter paints whenever she can\, in a life guided by recurring rituals. Each day\, for example\, she decides where to paint: down by the mango tree\, which is covered by the shade of tall tropical greenery\, or in and around her studio further up the hill. From up there\, you could once admire an incredible vista of Atitlán and the surrounding mountain range. In the present\, you can only see a dense labyrinth of branches and foliage from trees that the artist planted on the slope of the mountain. Over the years\, Suter observed how the view gradually changed\, letting it happen\, and enjoying every stage of the process equally. \nThis approach also characterizes Suter’s work. The natural environment\, her direct surroundings\, have become part of the painterly process. Tropical rains wash away new brushstrokes\, leaves and mud stick to drying paint\, and her three beloved dogs leave their footprints on the canvases\, whether she likes it or not. For Suter\, life and making art are not only intertwined\, but also possess a certain inevitability. \nThere is a risk of exotisizing and romanticizing Vivian Suter’s life-work in Guatemala. A repeated version of this story goes as follows: by leaving the vibrant Basel art scene in the 1980s\, Suter chose a reclusive life in Panajachel\, turning her back on the rest of the world to focus solely on her art. In many ways\, however\, Suter is in fact very much connected with the world. She exists at an intersection where countless axes of global displacement and struggle come together — be it her family history shaped by migration\, recurring natural disasters in the tropics\, or histories of colonialism and civil war that determine her conditions in the present. But above all\, Vivian Suter is in a constant and reciprocal relationship with her surroundings\, being as near to them as possible\, by attempting to put them into her paintings\, as they exist for her in that very moment. Painting is a liberating act for Suter. At the same time\, however\, it is also a necessary one. \nConsidering the above\, it is not surprising that Suter has no interest in linear chronology. When her paintings are made\, they continue to live. Nature continuously intervenes as co-author\, during the painting itself but also in the different stages of piling\, hanging\, drying\, moving and nailing. Most importantly\, Vivian’s works do not exist as individual entities. Each time she installs her paintings together in a space\, collectively\, they \n\n\n\n\n\n\nestablish a new work of art\, formulating other relationships\, meanings and perspectives in that present. An exhibition by Suter is much like a unique ecosystem\, made up of climatic\, sensorial and emotive experiences that are all interconnected. \nWorm in a Water Glass is an echo of the specific context in which Suter makes her paintings. At the same time\, it enters into a dialogue with Vleeshal’s exhibition space. While painting is a solitary act for Suter\, installing an exhibition is a collaborative one. The artist and curator spent days at Vleeshal to select the right places for her canvases. Slowly but surely\, a cosmos of panoramamic views\, a painting corridor\, and different colourful confrontations arose. This exhibition invites to explore new and familiar emotions\, to get lost in this cosmos and find recurring motifs such as the plants from Suter’s garden\, the veranda at her studio\, and her three dogs. As Nabila Abdel Nabi has once written: “Entering the universe of Vivian Suter’s paintings shifts one’s sense of being in time.”
URL:https://kaufmannrepetto.com/exhibition/vivian-suter-worm-in-a-water-glass/
LOCATION:Vleeshal Center for Contemporary Art\, Middelburg
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220114
DTEND;VALUE=DATE:20220425
DTSTAMP:20251011T164140Z
CREATED:20251011T160208Z
LAST-MODIFIED:20251011T164140Z
UID:26095-1642118400-1650844799@kaufmannrepetto.com
SUMMARY:Bice Lazzari: Modernist Pioneer
DESCRIPTION:Born in 1900 in Venice\, Bice Lazzari studied music before moving on to focus on painting as an adolescent. Initially working largely in landscape\, as was the fashion in Venice at the time\, Lazzari made her first abstract compositions in the late 1920s\, inspired by an interest in applied and decorative arts. Lazzari left Venice in 1935 and moved to Rome\, where she remained until her death in 1981\, initially supporting herself by collaborating with architects and decorators on abstract designs for clients. It was not until after the Second World War that Lazzari was able to devote herself to painting. Her work explores the formal aspects of painting and drawing\, and her mark making was often inspired by music. Graphics\, painting and decoration were inseparable elements of her highly individual artistic activity\, which took the form of continuous annotations\, an ongoing visual diary. \nExploring the aesthetics of Art Informel\, minimalism and hard-edged abstraction\, her paintings made a significant contribution to twentieth-century Italian art\, yet have remained largely unknown outside her native country. \nOrganised in collaboration with the Archivio Bice Lazzari\, Rome\, this exhibition features some 40 works highlighting the artist’s lyrical and highly original interpretation of abstract art.
URL:https://kaufmannrepetto.com/exhibition/bice-lazzari-modernist-pioneer/
LOCATION:Estorick Collection of Modern Italian Art\, London
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220107
DTEND;VALUE=DATE:20220220
DTSTAMP:20220513T155900Z
CREATED:20211215T182941Z
LAST-MODIFIED:20220513T155900Z
UID:12933-1641513600-1645315199@kaufmannrepetto.com
SUMMARY:fret scapes
DESCRIPTION:FRET\, acronym for the Forecast Reference Evapotranspiration Report\, is a report generated by climate scientists to measure the rate at which water that falls to the ground will evaporate to the sky. \nThe poem “FRET” is comprised of seventeen screen compositions that are written with the WET LETTER alphabet\, a holdover from my 2019 show WET WORDS IN A HOT FIELD. The alphabet was constructed with a set of paper letters approximately the size of an outstretched hand. To photograph the letters\, I pasted them to the inside of a building with water. Handling the wet letters was a delicate act. By the time I would get from A-Z the letters would dry and fall to the ground. Sometimes a corner or edge might keep its grip\, but most would succumb to gravity quickly\, leaving the photographed environment looking like an alphabetic field in disarray\, a vanishing act of language. And so the process went like this\, a series of water intrusions enacted for a camera on a paper alphabet. Thin and pliable\, not quite typographically black\, more like photographically ashen\, the alphabet became weakened by the laborious process of its rising and falling under the spell of the camera’s steady lens. \nIn the context of this exhibition\, I think of the poem as a weather event that is facing off with a group of images that are forecasting the social world — pictures that are reflecting\, deflecting\, depicting and reassembling signs and messages whose whereabouts in time and space are directionally unclear. \n— Shannon Ebner
URL:https://kaufmannrepetto.com/exhibition/fret-scapes/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211126
DTEND;VALUE=DATE:20220307
DTSTAMP:20220205T154513Z
CREATED:20211216T154144Z
LAST-MODIFIED:20220205T154513Z
UID:12940-1637884800-1646611199@kaufmannrepetto.com
SUMMARY:john stezaker
DESCRIPTION:john stezaker\n\n\n\n\n\n  \nThe Fondazione Morra Greco is pleased to announce a major solo exhibition of the work of British artist John Stezaker. \nConceived and selected before the pandemic\, the exhibition also incorporates work produced throughout lockdown\, during a period of intense creativity for the artist. The exhibition brings together more than eighty works\, from the late 1970s to the present day. \nFor over 40 years Stezaker has been using found photographs\, film stills\, postcards\, magazines\, books and other printed material to create a range of works including collages\, image-fragments\, films\, bookworks and silkscreen prints on canvas. He does not consider his found objects and images as appropriations but sees them as “finding him” in a psychoanalytic sense\, following the Surrealist\, rather than the Duchampian/Pop approach of 80s appropriation art. The works in the show are inspired by and reference the work of Joseph Cornell and the meta-narratives of Italo Calvino. \nMuch of Stezaker’s collage work combines images from different historical epochs: turn-of-the-century postcards\, 1940s film stills\, 1930s & 40s mannequin hands etc. The work further abounds with references to other periods of art and culture. In the bookworks\, Metamorphosis and Observatory series\, Baroque architecture is used to project an image of a contemporary observatory (a reference to Calvino’s Mr. Palomar).  There is always a sense of time travel in Stezaker’s work and he uses the architectural space of the Palazzo Caracciolo to fully exploit the implicit historical strata of the exhibition space. \nThe exhibition opens in the basement with a cinematic work\, Train\, one of the first film-loops Stezaker conceived. It is a successor to his first loop\, Horse\, but has only recently been completed for this exhibition. Horse\, referring to the origins of cinema in Muybridge’s photographs of horses in action\, consists of identically formatted pictures of several thousand racehorses. Trainsimilarly makes reference to cinematic origins in referring to the Lumière brother’s first public film showing. Train\, which consists of a multiplicity of images of different trains\, is projected onto a screen\, behind which the hidden arch of the Palazzo Caracciolo’s ancient Greek foundations “opens” onto a sealed underworld\, the discovery of which has arrested the contemporary urban development of the Neapolitan underground railway. Stezaker’s projection of a train is of a ghost of an abandoned project and became\, for him\, a metaphor for his own art (as an art of interruption) and as the inspiration for the spacial and temporal stratifications which are a part of both the exhibition as whole and of his work in general as well as in the building which houses it. \nBetween the references to an underworld in the basement and to the celestial blues of the overworld and sky imagery of the collages on the top floor\, the two intervening floors of silkscreens on canvas and bookworks in different ways represent intermediary realms\, the Observatory and World pieces suggesting remote vision\, looking from one realm and another. The silkscreens\, by contrast\,  employ the close-up to create a spectral sense of presence. \nWhilst the lower three floors are dedicated to Stezaker’s image fragments\, bookworks\, films etc.\, the top floor houses Stezaker’s most familiar work\, his collages. On show are two new series: Star and Dis-Astro from 2017-18 and Double Shadow from 2019-21\, both\, in different ways\, referring to the celestial. The former series exploit the ambiguity between the idea of the film star and its metaphorical counterpart\, in the figure of the sky god. The Double Shadows are recent adaptations (doublings) of earlier collage series\, the Dark Stars and\, in particular\, of the Father Sky collage from the 1970s and 80s\, examples of which are also on show. Combining double cut-out coloured backgrounds from 1950s and 60s film star portraits\, the Double Shadow collages exploit the power of the silhouette to evoke the uncanny and the unworldly\, as well as making reference to the mythic origins of painting in the fixing of shadows. The Double Shadows are mutant combinations of the shadows of cinema\, which create\, out of the familiar contours of star portraiture\, figures which seem to belong to an otherworld of myth and fairytale. Inspired by early cinema (eg. The Student of Prague) and other-turn-of-the-century figurations of the uncanny and horrific aspect of the doppelgänger and shadow mythologies\, the Double Shadow collages negotiate the space between images as a limbo somehow outside time where “nothing is left but looking\, an obsession in which real time is suspended while\, as we sometimes feel in dreams\, the dead\, the living and still unborn come together on the same plane”*. \n*G. Sebald\, Kafka goes to the Movies\, quoted in Margaret Iversen’s John Stezaker: Doubles and Shadows. \nJohn Stezaker \nJohn Stezaker was born in England in 1949\, and currently lives and works in London and St Leonards on Sea. He studied at the Slade School of Fine Art in London in the 1960s\, and has since taught at Central Saint Martins School of Art and the Royal College of Art. In September 2012\, he was awarded the Deutsche Börse photography prize. \nStezaker’s work has been exhibited internationally since the 1990s and is held in museum and public collections around the world\, including the Museum of Modern Art\, New York; the Tate\, London; Los Angeles County Museum of Art; Los Angeles\, Frans Hals Museum\, Haarlem\, The Netherlands; and the Art Gallery of New South Wales\, Sydney\, Australia\, among others.
URL:https://kaufmannrepetto.com/exhibition/john-stezaker/
LOCATION:Fondazione Morra Greco\, Naples
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211120
DTEND;VALUE=DATE:20220227
DTSTAMP:20230626T130202Z
CREATED:20211123T115148Z
LAST-MODIFIED:20230626T130202Z
UID:12544-1637366400-1645919999@kaufmannrepetto.com
SUMMARY:Talia Chetrit
DESCRIPTION:kaufmann repetto Milan is pleased to announce a solo exhibition by Talia Chetrit. \nChetrit’s selection of photographs for her sixth show with the gallery maps out a new perspective by shifting the focus from a predominantly auto-referential practice to a more contemplative authorial agency. Deeply reflective of the ubiquity of images in the digital age\, Chetrit looks at the relationship between photographer and subject\, and investigates the impact of time on the narrative properties of an image. \nThe show presents sixteen works\, divided between black-and-white and color photographs. While most of the color images are dated from 2021 or shortly before\, the majority of the black-and-white photographs were taken during the 1990s\, when the artist was still a teenager. Though Chetrit has shuffled photographs from her archives in past exhibitions\, here she selects from 27 years of image making with a new approach\, collapsing time with less constraints. Some are early examples of Chetrit’s staged photography – like Murder Picture #6 or the still life Butterfly – while others are experimentations in portraiture as in Angel and Raver and Hippie. Although retrieving the material from her archive\, Chetrit edited\, cropped and printed these works for this exhibition. The deliberate choices and interventions re-activate the images and make them available for the artist’s current concerns which are not bound to any timeline. People closest to her – family\, partners\, friends (that already characterized in Chetrit’s early works) resurface in the recent photographs. The primary colors blue and red intriguingly pervade the color photographs: in the Bathroom interior snapshot\, in the portraits of her mother clad in an ambiguous outfit as well as in the stunning surrealist composition of Coat Rack. Only in two images of the exhibition do photographer and subject coincide: in the Teenager/Self-portrait from 1996 and in New\, a close-up picture of Chetrit’s lower abdomen\, showing the bandage following a C-section which the artist underwent in 2019 to give birth to her son. Time is also addressed in Daphne Nails\, here captured as a child\, but whom we have met before as a teenager in past exhibitions of Chetrit. \nThe significance of Chetrit’s teenage works has changed over time\, as the work is recontextualized. Bringing together images spanning over two decades suggests that the reading is not limited to the moment of image making but is allowed to unfold in the liminal space of atemporality. \nWhat Chetrit is asking you is to look at photography.  \nTalia Chetrit was born in 1982 in Washington DC. She now lives and works in New York. Chetrit’s recent exhibitions include Look! Exposing Art and Fashion\, Marta Herford\, Herford (2021); FRIEDL KUBELKA VOM GRÖLLER. Songs of Experience\, MACRO – Museum of Contemporary Art of Rome (2021); Ecce Homo: L’incontro fra il divino e l’umano per una diversa antropologia\, Villa d’Este\, Museum of Contemporary Art\, Tivoli\, (2021)\, Dickering\, Hannah Hoffman\, Los Angeles (2021)\, Corey\, Donna\, Jane\, Daphne\, Giuliana\, Ever\, Jochem\, Eric\, Chris\, unknown\, and myself\, Sies + Höke\, Düsseldorf (2019);  MAXXI BVLGARI PRIZE\, MAXXI\, Rome (2018); Showcaller\, Kölnischer Kunstverein\, Cologne (2018); POSER\, Sies + Höke\, Düsseldorf (2017); AIMIA | Ago Photography Prize\, AGO – Art Gallery of Ontario\, Toronto (2016). Chetrit’s work has been exhibited nationally and internationally at such institutions as the Whitney Museum of American Art\, New York; Palais de Tokyo\, Paris; Sculpture Center\, New York; LACMA\, Los Angeles and The Museum of Contemporary Art\, Miami among others. Chetrit’s work is held in the collections of the Whitney Museum of American Art\, New York\, the Jewish Museum\, New York and LACMA\, Los Angeles. \n  \n  \nkaufmann repetto è lieta di presentare una mostra personale di Talia Chetrit.  \nLa selezione delle fotografie per la sua sesta mostra con la galleria indica una nuova prospettiva: il passaggio da una pratica perlopiù autoreferenziale a un più contemplativo intervento autoriale. Riflettendo con attenzione sull’onnipresenza delle immagini nell’epoca digitale\, Chetrit indaga la relazione tra fotografo e soggetto\, e l’impatto del tempo sulle qualità narrative di un’opera.   \nIn mostra sedici opere\, suddivise in fotografie in bianco e nero e a colori. Se quest’ultime sono state realizzate nel 2021 o poco tempo prima\, quasi tutte le fotografie in bianco e nero risalgono agli anni Novanta\, all’adolescenza dell’artista. Sebbene immagini d’archivio siano già apparse in mostre precedenti\, questa volta Chetrit compie la sua selezione con un nuovo approccio\, passando in rassegna ventisette anni di produzione di immagini\, comprimendo  il tempo senza costrizioni. Alcune costituiscono i primi esempi della sua staged photography (come Murder Picture #6 o la natura morta Butterfly)\, altre sperimentano con la ritrattistica\, come Angel e Raver and Hippie. Dopo aver recuperato questi materiali d’archivio\, l’artista ha editato\, modificato e stampato le opere in vista della mostra. Gli interventi intenzionali fatti sui materiali riattivano le immagini in modo che possano esprimere le tematiche oggi più significative per l’artista. Persone a lei vicine – familiari\, compagni e amici (già presenti nelle prime opere di Chetrit) – riemergono anche nelle immagini più recenti. Due colori primari – il rosso e il blu – pervadono tutte le fotografie a colori in maniera intrigante: nello scatto d’interno Bathroom\, nei ritratti della madre che sfoggia un outfit ambiguo\, nella splendida composizione surrealista di Coat Rack. Fotografa e soggetto coincidono soltanto in due delle immagini in mostra: nel ritratto Teenager/Self-portrait (1996) e in New\, un primo piano del basso ventre dell’artista che rivela una cicatrice medicata\, risultato del parto cesareo affrontato da Chetrit nel 2019 per dare alla luce suo figlio. Il tema del tempo viene argomentato anche in Daphne Nails\, qui rappresentata come bambina\, mentre in mostre precedenti dell’artista l’abbiamo vista ritratta come teenager. \nIl significato delle opere realizzate da un’adolescente Chetrit è cambiato nel corso del tempo\, attraverso la ricontestualizzazione del lavoro. Riunire immagini fatte nel corso di più di due decenni indica che l’interpretazione non si limita al momento in cui l’immagine è stata fatta\, ma che è anche possibile un suo svelarsi nello spazio liminale dell’atemporalità. \nCiò che Talia Chetrit ci chiede è di guardare la fotografia. \nTalia Chetrit nasce nel 1982 a Washington DC. Vive e lavora a New York. Le più recenti mostre dell’artista includono Look! Exposing Art and Fashion\, Marta Herford\, Herford (2021); FRIEDL KUBELKA VOM GRÖLLER. Songs of Experience\, MACRO – Museo d’arte contemporanea Roma\, Roma (2021); Ecce Homo: L’incontro fra il divino e l’umano per una diversa antropologia\, Villa d’Este\, Tivoli\, (2021);  Dickering\, Hannah Hoffman\, Los Angeles (2021); Corey\, Donna\, Jane\, Daphne\, Giuliana\, Ever\, Jochem\, Eric\, Chris\, unknown\, and myself\, Sies + Höke\, Düsseldorf (2019);  MAXXI BVLGARI PRIZE\, MAXXI\, Roma (2018); Showcaller\, Kölnischer Kunstverein\, Colonia (2018); POSER\, Sies + Höke\, Düsseldorf (2017); AIMIA | Ago Photography Prize\, AGO – Art Gallery of Ontario\, Toronto (2016). Le opere di Talia Chetrit sono state esposte a livello internazionale in istituzioni quali Whitney Museum of American Art\, New York; Palais de Tokyo\, Parigi; Sculpture Center\, New York; LACMA\, Los Angeles e The Museum of Contemporary Art\, Miami. Le opere di Chetrit si trovano nelle collezioni del Whitney Museum of American Art\, New York; il Jewish Museum\, New York e il LACMA\, Los Angeles.
URL:https://kaufmannrepetto.com/exhibition/talia-chetrit-3/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211120
DTEND;VALUE=DATE:20220328
DTSTAMP:20220409T162642Z
CREATED:20211209T115147Z
LAST-MODIFIED:20220409T162642Z
UID:12795-1637366400-1648425599@kaufmannrepetto.com
SUMMARY:Andrea Bowers
DESCRIPTION:andrea bowers \n\nFor over thirty years\, multidisciplinary visual artist Andrea Bowers (American\, b. 1965) has made art that activates. Bowers works in a variety of mediums\, from video to colored pencil to installation art\, and explores pressing national and international issues. Her work combines an artistic practice with activism and advocacy\, speaking to deeply entrenched social and political inequities as well as the generations of activists working to create a fairer and more just world. \nBorn in Wilmington\, Ohio\, Bowers received her MFA from the California Institute of the Arts in 1992 and currently lives and works in Los Angeles. She built an international reputation as a chronicler of contemporary history\, documenting activism as it unfolds and collecting research on the frontlines of protest through an empathetic and labor-intensive practice. Her subject matter contends with issues like immigration rights\, workers’ rights\, climate justice\, women’s rights\, and more\, illustrating the shared pursuit of justice that connects these issues. \nThis is the first museum retrospective surveying over two decades of Bowers’s practice. Highlights of the exhibition include Memorial to Arcadia Woodlands Clear-Cut (2013) and My Name Means Future (2020). These two works\, both focused on issues related to environmental justice\, highlight the range of mediums employed by the artist. The former is a large-scale sculpture based on her involvement with tree-sitting activists protesting the destruction of old-growth trees in California; the latter is a video that features Tokata Iron Eyes\, a young Indigenous rights activist whose ancestral lands have been threatened by the Dakota Access Pipeline project. \nAndrea Bowers is co-organized by Michael Darling\, former James W. Alsdorf Chief Curator at the MCA\, and Connie Butler\, Chief Curator at The Hammer Museum. It is presented in the Griffin Galleries of Contemporary Art on the museum’s fourth floor. \n\n\nPartners\nThis exhibition includes contributions from two Chicago-based organizations\, Centro Sin Fronteras and A Long Walk Home. \n\nCentro Sin Fronteras\nIn 2007\, Andrea Bowers documented and spent time with Elvira Arellano and Pastor Emma Lozano\, two Chicago activists who worked with Centro Sin Fronteras\, of a Chicago-based grassroots activist organization located in Humboldt Park. Bowers ultimately made a series of artworks based on their work with Arellano. The organization’s goal is to bring attention and justice to workers who were treated unfairly due to a lack of formal representation within the justice system. \nWithin the Andrea Bowers exhibition\, Centro Sin Fronteras is presenting objects selected from their archive and a history of their work. \n\n\nA Long Walk Home\nWhile planning this exhibition\, Andrea Bowers met with the Teen Creative Agency (TCA)\, the MCA’s cultural leadership program for Chicago teens. She invited them to offer a gallery space to important activists working in Chicago today. TCA chose an organization called A Long Walk Home\, and to bring awareness to the issue of missing and murdered Black young women and girls. A Long Walk Home is a national\, Chicago-based art organization that advocates for racial and gender equity and an end to violence against all women and girls. \nWithin the Andrea Bowers exhibition\, A Long Walk Home is presenting The Black Girlhood Altar\, a sacred site assembled by Black girls in Chicago for Black girls and young women who have gone missing or been murdered. \n\nPlaylist\nA Long Walk Home curated this playlist to accompany their MCA installation of The Black Girlhood Altar on the occasion of the exhibition Andrea Bowers.
URL:https://kaufmannrepetto.com/exhibition/andrea-bowers/
LOCATION:Museum of Contemporary Art\, Chicago
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211120
DTEND;VALUE=DATE:20220211
DTSTAMP:20220418T095616Z
CREATED:20211123T161209Z
LAST-MODIFIED:20220418T095616Z
UID:12615-1637366400-1644537599@kaufmannrepetto.com
SUMMARY:drawings
DESCRIPTION:On the occasion of the newest exhibition of Magdalena Suarez Frimkess’ exhibition\, Irina Zucca Alessandrelli\, curator of Collezione Ramo interviews Magdalena Suarez Frimkess about her drawings: \nWhat is your relation with drawing? Can we talk of a daily practice? When was your first exhibition of drawings? \nI started drawing when I was seven years old. I was in school and the nuns found out that I have facility to draw. So\, that was then\, when I was a girl in Venezuela\, I started taking classes for drawing\, you know\, still life and the landscape. And then I got married\, went to Chile and I found a good teacher who came from Yale University. I don’t know if you heard of Josef Albers. So\, he was a great teacher for me too\, he even taught color theory. \nSo\, I guess I tried to draw all my life when I could\, but I was raising kids. I married in Chile. So\, I was busy being a mother\, but in between I could sneak in drawing when I could. I guess I was born to do that. That’s what I can say. And then I came here with a scholarship and then\, well my soap opera\, my life got broken there. So\, I came to the United States and married Michael [Frimkess]. And Michael is an artist too. I didn’t know anything about ceramics until Michael\, but the drawing came first. \nThen Michael would make the ceramics and I would draw on them. But drawing\, it’s faster. The ceramic is a slow process. So\, sometimes I can do the ideas faster with the pencil. So\, that’s the only reason. I have an idea and I right away draw it. \nHave you ever considered Italian art of last century as inspirational of your work? \nWell\, I know that one of my ancestors\, one is a poet. He was named Portantini. I don’t know if it’s related\, poetry with art. My family was wondering where I got the facility because they couldn’t find anybody in my family who was a painter or anything. So\, they were puzzled about it. They discovered that my great-great-grandfather was Portantini. He was Italian. \nWhy did you choose this late drawing by Carla Accardi? Did you already know this artist? \nI picked one but without even looking at it twice or anything\, just picked it at random. Like how I pick which subjects to draw everyday\, just at random\, without paying too much attention. \nBorn in 1929 in Caracas\, Venezuela\, Magdalena Suarez Frimkess has lived and worked in Venice Beach\, California since the 1960s. Her work has featured at MAK Center for Art and Architecture at the Schindler House (2017); White Columns\, New York (2014)\, and in the 2014 Hammer Museum Biennial\, “Made in Los Angeles”. Suarez Frimkess’ work is held in the collections of the Hammer Museum of Art\, Los Angeles\, the Huntington Library\, Art Collections\, and Botanical Gardens\, San Marino\, the Los Angeles County Museum of Art (LACMA)\, and the Museum of Arts and Design\, New York\, among others. In 2023\, her work will be the subject of a career retrospective at LACMA\, Los Angeles. \nDrawings from this exhibition will be featured in a forthcoming Marni collection\, continuing a previous collaboration that started in Spring/Summer 2018\, with Suarez’ works underscoring men’s and women’s ready-to-wear. \nIn occasione della nuova mostra di Magdalena Suarez Frikess\, Irina Zucca Alessandrelli\, curatrice della Collezione Ramo intervista l’artista riguardo i suoi disegni: \nQual è la tua relazione con il disegno? Possiamo considerarlo come una tua pratica quotidiana? \nHo iniziato a disegnare all’età di sette anni. Ero a scuola e le suore si accorsero che ero molto abile. Quindi da ragazza in Venezuela ho iniziato a prendere lezioni di disegno\, principalmente nature morte e paesaggi. Poi mi sono sposata e trasferita in Cile\, dove ho trovato un buon maestro\, che arrivava dalla Yale University. Non so se hai mai sentito parlare di Josef Albers. Lui è stato un grande maestro anche per me\, insegnava anche teoria del colore. \nDirei che ho provato a disegnare durante tutta la mia vita quando ne avevo la possibilità\, ma avevo anche i bambini da crescere. Mi sono sposata in Cile: ero impegnata a fare la mamma\, cercavo sempre però di dedicarmi anche al disegno. Mi viene da dire che sono nata per questo. Poi sono arrivata negli Stati Uniti grazie a una borsa di studio e dopo di che iniziò la mia soap opera: la mia vita là\, in Cile\, si è interrotta. Sono venuta negli Stati Uniti e mi sono sposata con Michael [Frimkess]\, anche lui artista. Non sapevo niente di ceramiche prima di Michael\, quindi il disegno è arrivato prima. \nLui realizzava le ceramiche e io ci disegnavo sopra. Il disegno è più veloce\, invece la ceramica richiede un processo lento. Per questo a volte riesco a sviluppare le idee più velocemente con la penna. Questo è il motivo per cui disegno: ho un’idea e la metto giù immediatamente. \nHai mai guardato l’arte Italiana dell’ultimo secolo come fonte d’ispirazione del tuo lavoro? \nBeh\, so che uno dei miei antenati è stato un poeta e si chiamava Portantini. Non so se c’è una connessione tra la poesia e l’arte. La mia famiglia si chiedeva da dove arrivassero le mie abilità\, non c’era nessuno che fosse un pittore. Quindi erano un po’ perplessi a riguardo\, poi hanno scoperto che il mio bis-bis-nonno si chiamava Portantini: era italiano. \nCome mai hai scelto questo disegno di Carla Accardi? Conoscevi già l’artista? \nNe ho scelto uno ma senza nemmeno pensarci due volte\, per caso. Come scelgo i soggetti da disegnare ogni giorno\, casualmente: senza prestare troppa attenzione. \nNata a Caracas (Venezuela)\, nel 1929\, Magdalena Suarez Frimkess vive e lavora dagli anni Sessanta a Venice Beach\, in California. Le sue opere sono state esposte al MAK Center for Art and Architecture alla Schindler House (2017); White Columns\, New York (2014) e nel 2014 all’Hammer Museum Biennial\, “Made in Los Angeles”. I lavori di Suarez Frimkess sono inclusi\, tra le altre\, nelle collezioni Hammer Museum of Art\, Los Angeles; Huntington Library\, Art Collections; Botanical Gardens\, San Marino; Los Angeles County Museum of Art (LACMA) e Museum of Arts and Design\, New York. Nel 2023 sarà protagonista di una grande retrospettiva al LACMA di Los Angeles. \nAlcuni disegni di questa mostra saranno utilizzati nella prossima collezione di Marni\, in continuità con una precedente collaborazione iniziata nella primavera/estate 2018\, con opere di Suarez Frimkess per il ready-to-wear uomo e donna.
URL:https://kaufmannrepetto.com/exhibition/magdalena-suarez-frimkess-3/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211106
DTEND;VALUE=DATE:20220203
DTSTAMP:20260423T161733Z
CREATED:20260423T161733Z
LAST-MODIFIED:20260423T161733Z
UID:28927-1636156800-1643846399@kaufmannrepetto.com
SUMMARY:Vivian suter: Vivian Suter
DESCRIPTION:vivian suter: vivian suter \n\n\n\nThe Argentine-Swiss artist Vivian Suter (*1949) has been exhibited all over the world in the most prestigious museums following her presence at documenta 14 in 2017. However\, attention is being focussed mainly on her most recent work: the artist presents loose canvases hanging freely from the ceiling in dense installations. The visitors stride through her painting and experience an atmospherically concentrated work involving form\, colour\, abstraction and traces of the effect of weather conditions. \nToday Vivian Suter lives and works in Guatemala. She was actively involved in the Basel art scene up to the 1980s\, but once she had moved away from Basel her work received scarcely any more attention in Switzerland until her exhibition 2014 in the Kunsthalle Basel. The retrospective gathers together early drawings\, painterly wall reliefs from the 1980s and the latest airy installations\, because one of the nicest tasks of an art museum is to take a close look\, communicate art-historical contexts and co-author art history. The aim is to ensure that the reception of this artist’s work is lasting in Switzerland too.
URL:https://kaufmannrepetto.com/exhibition/vivian-suter-vivian-suter/
LOCATION:Kunstmuseum\, Luzern
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211105
DTEND;VALUE=DATE:20211219
DTSTAMP:20220125T151847Z
CREATED:20210930T170752Z
LAST-MODIFIED:20220125T151847Z
UID:12019-1636070400-1639871999@kaufmannrepetto.com
SUMMARY:an ego of her own | new york
DESCRIPTION:kaufmann repetto is pleased to present an ego of her own\, a group exhibition curated by Amanda Schmitt\, taking place in both our Milan and New York galleries\, featuring the work of Emma Amos\, Mamma Andersson\, Maximiliane Baumgartner\, Ann Craven\, Aria Dean\, Elisa Filomena\, Anthea Hamilton\, Brook Hsu\, Hayv Kahraman\, Jordan Kasey\, Marie Laurencin\, Alissa McKendrick\, Birgit Megerle\, Jeanette Mundt\, Aliza Nisenbaum\, Paulina Olowska\, Silke Otto-Knapp\, Marcia Schvartz\, Katja Seib\, and Issy Wood. The exhibition continues a series of group shows at kaufmann repetto that draw attention to themes of femininity and gender-related issues\, topics that have been fundamental in the gallery’s navigation since its establishment in 2000.\n\n“La femme est le contraire du Dandy. Donc elle doit faire horreur. La femme a faim\, et elle veut manger; soif\, et elle veut boire. Elle est en rut\, et elle veut être foutue… Le beau merite! La femme est naturelle\, c’est-a- dire abominable”*.\n\nThis exhibition reclaims the position of the dandy for women. The title derives from a recently translated version of Viennese theoretician Oswald Wiener’s 1982 text\, Eine Art Einzige**\, which was elected for re-publication in the Fall 2019 issue of the October*** journal. Though literally meaning (in translation) “A sort of unique one” or “A sort of singular being”\, the translation here has surmised the meaning to be “An Ego of Her Own\,” attributing a female clause to a genderless preposition. While the task here isn’t necessarily to analyze the translator’s decision to insert the “ego” into the title\, nor Wiener’s absence in discussing gender in relation to the dandy\, the re-publishing of this essay in English catalyzed an opportunity to postulate the existence of a female dandy\, a sort of antithesis to the traditional [male] dandy. The timing of this translation happened to coincide with a developing aesthetic trend\, a particularly romantic\, sincere\, and feminine approach to painting and other media whose stylistic ubiquity has become increasingly palpable in the last decade\, representing a distinct re-routing from the cool\, mechanical\, and dandy-ist approach which rose to popularity in Europe and the US at the turn of the millenium.\n\nThe dandy-ist philosophy is originally a Eurocentric one: Charles Baudelaire is perhaps the most recognized to have written frequently and prolifically on the concept of the dandy\, a (mostly) male figure who occupied certain social and cultural milieus at turn of the 18th and 19th centuries\, notably in cosmopolitan cities like London or Paris. Among many characteristics\, be it in terms of class\, behavior\, aesthetics\, and lifestyle —or a melange of these— Baudelaire claims that a dandy must “live and sleep in front of a mirror”. This here highlights the cybernetic tools necessary for a dandy to thrive: a dandy must receive constant feedback\, for a dandy’s subjectivity is defined by what they observe and what is reflected back to them. It is here that Wiener elaborates upon the dandy as a cybernetic organism; if the dandy doesn’t like what they see around them\, or it doesn’t befit their perceived reflection\, they escape a situation by manipulating one’s own perception of it. The dandy is highly in touch with their ego\, which is responsible for reality-testing. In the translator Jakob Schillinger’s introduction to the Wiener text****\, he remarks that in “observing how the other observes\, the dandy renders observation reflexive”. In other words\, the act of gaining information about the other is what in fact defines the observer. This cybernetic cycle is the core behavioristic tool of the dandy.\n\nThe point here however is not to commend the dandy as a male phenom of the 18th and 19th centuries\, but to attempt to shape a new definition of la dandie and the space she occupies in the 21st century (and in this exhibition\, the emerging depictions of this female figure as depicted by women artists). The female dandy co-opts the strategy of the male dandy who in turn co-opts the female strategy of being observed\, being seen. This is a double reversal\, and essentially\, a parasitic strategy OF liberation. It is a double-mirror situation. A dandy defines themselves based on the reflection of those around them\, whereas the female dandy defines themselves not solely via the gaze of others\, but from within. Baudelaire was then right in saying “woman is the opposite of the dandy” (if only that)\, but for the wrong reasons.\n\nThe women portrayed in the paintings of this exhibition together depict the image of the female dandy: a 21st century woman who -unlike a “traditional” male dandy (who is made in the image of those whom he observes)- is made in their own sovereign image\, resistant to the cybernetic feedback of the others’ gaze be it male\, media\, or societal.\n\n* Baudelaire\, Charles (1821-1867): Mon coeur mis à nu: journal intime\, 1887.\n** Oswald Wiener: Eine Art Einzige (1982). In: Verena von der Heyden-Rynsch (Hg.): Riten der Selbstauflösung. München: Matthes & Seitz 1982: pp. 35–78.\n*** October\, Fall 2019\, issue 170\, Oswald Wiener\, An Ego of Her Own: pp. 69–94.\n**** October\, Fall 2019\, issue 170\, Jakob Schillinger: Oswald Wiener on Dandyism: pp. 31–50.\n  \n  \n\n\n\nkaufmann repetto è lieta di presentare an ego of her own\, una mostra collettiva curata da Amanda Schmitt\, sviluppata nei due spazi di Milano e New York\, che include opere di Emma Amos\, Mamma Andersson\, Maximiliane Baumgartner\, Ann Craven\, Aria Dean\, Elisa Filomena\, Anthea Hamilton\, Brook Hsu\, Hayv Kahraman\, Jordan Kasey\, Marie Laurencin\, Alissa McKendrick\, Birgit Megerle\, Jeanette Mundt\, Aliza Nisenbaum\, Paulina Olowska\, Silke Otto-Knapp\, Marcia Schvartz\, Katja Seib e Issy Wood. an ego of her own è la prosecuzione di una serie di mostre collettive incentrate su tematiche come la ricerca al femminile e le questioni legate al genere\, temi che sono stati fondamentali per la galleria fin dai suoi inizi nel 2000.\n\n“La femme est le contraire du Dandy. Donc elle doit faire horreur. La femme a faim\, et elle veut manger; soif\, et elle veut boire. Elle est en rut\, et elle veut être foutue… Le beau merite! La femme est naturelle\, c’est-a- dire abominable”.*\n\nLa mostra intende rivendicare alle donne la figura del Dandy. Il titolo siriferisce a una recente traduzione di un testo scritto dal teorico vienneseOswald Wiener nel 1982\, Eine Art Einzige**\, ripubblicato sulla rivista October**** nel 2019. Sebbene il titolo originale significhi letteralmente “unica nel suo genere” o meglio\, “una sorta di essere unico”\, la traduzione viene risolta con “An Ego of Her Own”\, attribuendo il genere femminile ad una preposizione neutra. Nonostante l’obiettivo non sia di analizzare le ragioni del traduttore nell’inserire la parola “ego”\, né l’intento di Wiener di discutere la figura del dandy in relazione al genere\, la ripubblicazione di questo saggio in inglese ha piuttosto suscitato l’idea dell’esistenza di una figura femminile di dandy\, una sorta di antitesi alla convenzionale figura (maschile) a noi universalmente nota. La traduzione è coincisa con lo svilupparsi di una determinata sensibilità estetica\, un approccio romantico\, sincero e di stampo femminile\, sempre più tangibile in pittura e in altri media nel corso dell’ultimo decennio\, un cambio di rotta rispetto all’approccio algido\, meccanico e dandista diffuso in Europa e negli Stati Uniti alla fine del millennio.\n\nLa filosofia del dandismo è eurocentrica: Charles Baudelaire è forse la figura di maggior rilievo ad avere scritto in modo frequente e prolifico sulla fenomenologia del dandy\, una figura (perlopiù) maschile che ha dominato certimilieu sociali tra il diciottesimo e diciannovesimo secolo\, specialmente in città cosmopolite come Londra o Parigi. Tra le diverse caratteristiche\, in termini di classe\, comportamento\, estetica e stile di vita\, Baudelaireaffermava che un dandy dovesse “vivere e dormire di fronte ad uno specchio”. Da qui si evidenzia la necessità di strumenti cibernetici per svilupparsi: il dandy ha bisogno di ricevere feedback costanti\, poiché la sua soggettività è dettata dall’osservazione dell’altro e da come si riflette su di esso. Ed è qui che Wiener elabora il concetto di dandy come un organismo cibernetico; se non apprezza ciò che lo circonda o non si addice alla percezione di se stesso\, allora fugge da una situazione manipolandone la propria percezione. Il dandy è in stretta correlazione con il proprio ego\, dal quale deriva la sua percezione della realtà.\n\nNella prefazione al testo di Wiener\, il traduttore Jakob Schillinger**** sostiene che “nell’osservare come l’altro osserva\, il dandy rende l’osservazione riflessiva”. In altre parole\, l’atto di acquisire informazioni sull’altro definisce l’osservatore stesso. Questo ciclo cibernetico è alla base del comportamento del dandy.\n\nIl punto non è comunque di definire il dandy come fenomeno maschile del diciottesimo e diciannovesimo secolo\, ma di tentare di dare una nuova definizione alla figura della Dandy\, e lo spazio che occupa nel ventunesimo secolo (e\, in questa mostra\, le raffigurazioni di questa figura femminile sono eseguite da artiste donne). La Dandy assume la strategia del dandy che a sua volta coopta la strategia femminile dell’essere osservato\, visto. Questo doppio capovolgimento è\, essenzialmente\, una strategia parassita di liberazione. E’ un doppio specchio. Il dandy definisce se stesso in base al riflesso in coloro che lo circondano\, di contro la Dandy si auto definisce non soltanto attraverso lo sguardo degli altri\, ma anche del proprio. Aveva ragione Baudelaire nel dire che “la donna è l’opposto del dandy” (fosse solo questo)\, ma per le ragioni sbagliate.\n\nLe donne raffigurate nei lavori in mostra compongono insieme la figura della Dandy: una donna del ventunesimo secolo che\, a differenza della figura “tradizionale” del dandy (che è l’immagine di chi l’osserva)\, si forma nellapropria individualità\, indifferente ai feedback cibernetici dati dallo sguardo altrui sia esso maschile\, mediatico o sociale.\n\n* Baudelaire\, Charles (1821-1867): Mon coeur mis à nu: journal intime\, 1887.\n** Oswald Wiener: Eine Art Einzige (1982). In: Verena von der Heyden-Rynsch (Hg.): Riten der Selbstauflösung. München: Matthes & Seitz 1982: pp. 35–78.\n*** October\, Fall 2019\, issue 170\, Oswald Wiener\, An Ego of Her Own: pp. 69–94.\n**** October\, Fall 2019\, issue 170\, Jakob Schillinger: Oswald Wiener on Dandyism: pp. 31–50.
URL:https://kaufmannrepetto.com/exhibition/an-ego-of-her-own-new-york/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211015
DTEND;VALUE=DATE:20220214
DTSTAMP:20211203T172037Z
CREATED:20211104T103426Z
LAST-MODIFIED:20211203T172037Z
UID:12376-1634256000-1644796799@kaufmannrepetto.com
SUMMARY:NOTHING IS LOST. ART AND MATTER IN TRANSFORMATION
DESCRIPTION:NOTHING IS LOST. ART AND MATTER IN TRANSFORMATION \n\nGAMeC presents Nothing is Lost. Art and Matter in Transformation\, curated by Anna Daneri and Lorenzo Giusti. The show is the second chapter in the Trilogy of Matter\, a long-term exhibition project begun in October 2018 with the exhibition Black Hole. Art and Materiality from Informal to Invisible.  \nThe project involves art historians\, curators\, philosophers\, and scientists\, and addresses a transversal debate around the theme of matter\, while at the same time activating a dialogue with the history of scientific discoveries and drawing a comparison with the development of aesthetic theories. The program foresees a cycle of three exhibitions\, accompanied by as many publications\, featuring the presence of artists and works of various generations. “Rien ne se perd” (“nothing is lost”) is the opening to the famous maxim attributed to Lavoisier\, with which the French chemist explained the general sense of his law of the conservation of mass\, which stated that over the course of a chemical reaction\, the sum of the mass of the reactants is equal to the sum of the masses of the substances. Matter\, in other words\, cannot be created and cannot be destroyed.  \nThe new Meru Art*Science Research Program will support the creation of a site-specific project for the museum. As part of Nothing is Lost\, the Swedish-born artist Nina Canell presents Muscle Memory\, a new environmental installation designed to investigate the interface between the organic and inorganic dimensions\, amid living and inert material\, consisting of twelve tons of seashells covering the floor of GAMec’s Spazio Zero. \n“Our built environment is an acceleration of material stress that is difficult to grasp. My intention with covering the gallery floor with seashells in its original recognisable form is to tap into that incomprehensibility. [..] Material and duration literally condense under our feet\, and in doing so\, momentarily connects our bodies with deep geological time in a single haptic crunch. There is something both tender and brutal in the act of walking and trampling into the seashells\, yet\, materially speaking\, the difference between walking on calcium carbonate invertebrates or a concrete gallery floor is very slight. We know that the crushing and shuffling  of lime and silica caused by humans could be scaled up into incomprehensible numbers. Around half a trillion metric tonnes of concrete have so far been cast for human use\, enough to spread \na kilogram layer across every square metre of the earth’s surface\, half of it produced in the last 20 years. The industrial approach to mineral processing produces a view to material as mechanistic and passive. I want to detach materiality from the realm of indifference by making a bodily connection; from bones to bones. A sounding fracture reminding us of the ineffable amount of bodies and relations that hold us up”* \nNina Canell \n\n* excerpt from an interview with the artist\, published in the exhibition catalogue\, 2021
URL:https://kaufmannrepetto.com/exhibition/nothing-is-lost-art-and-matter-in-transformation/
LOCATION:GAMeC\, Bergamo
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211007
DTEND;VALUE=DATE:20211114
DTSTAMP:20220125T151838Z
CREATED:20210930T171127Z
LAST-MODIFIED:20220125T151838Z
UID:12017-1633564800-1636847999@kaufmannrepetto.com
SUMMARY:an ego of her own | milan
DESCRIPTION:kaufmann repetto is pleased to present an ego of her own\, a group exhibition curated by Amanda Schmitt\, taking place in both our Milan and New York galleries\, featuring the work of Emma Amos\, Mamma Andersson\, Maximiliane Baumgartner\, Ann Craven\, Aria Dean\, Elisa Filomena\, Anthea Hamilton\, Brook Hsu\, Hayv Kahraman\, Jordan Kasey\, Marie Laurencin\, Alissa McKendrick\, Birgit Megerle\, Jeanette Mundt\, Aliza Nisenbaum\, Paulina Olowska\, Silke Otto-Knapp\, Marcia Schvartz\, Katja Seib\, and Issy Wood. The exhibition continues a series of group shows at kaufmann repetto that draw attention to themes of femininity and gender-related issues\, topics that have been fundamental in the gallery’s navigation since its establishment in 2000.\n\n“La femme est le contraire du Dandy. Donc elle doit faire horreur. La femme a faim\, et elle veut manger; soif\, et elle veut boire. Elle est en rut\, et elle veut être foutue… Le beau merite! La femme est naturelle\, c’est-a- dire abominable”*.\n\nThis exhibition reclaims the position of the dandy for women. The title derives from a recently translated version of Viennese theoretician Oswald Wiener’s 1982 text\, Eine Art Einzige**\, which was elected for re-publication in the Fall 2019 issue of the October*** journal. Though literally meaning (in translation) “A sort of unique one” or “A sort of singular being”\, the translation here has surmised the meaning to be “An Ego of Her Own\,” attributing a female clause to a genderless preposition. While the task here isn’t necessarily to analyze the translator’s decision to insert the “ego” into the title\, nor Wiener’s absence in discussing gender in relation to the dandy\, the re-publishing of this essay in English catalyzed an opportunity to postulate the existence of a female dandy\, a sort of antithesis to the traditional [male] dandy. The timing of this translation happened to coincide with a developing aesthetic trend\, a particularly romantic\, sincere\, and feminine approach to painting and other media whose stylistic ubiquity has become increasingly palpable in the last decade\, representing a distinct re-routing from the cool\, mechanical\, and dandy-ist approach which rose to popularity in Europe and the US at the turn of the millenium.\n\nThe dandy-ist philosophy is originally a Eurocentric one: Charles Baudelaire is perhaps the most recognized to have written frequently and prolifically on the concept of the dandy\, a (mostly) male figure who occupied certain social and cultural milieus at turn of the 18th and 19th centuries\, notably in cosmopolitan cities like London or Paris. Among many characteristics\, be it in terms of class\, behavior\, aesthetics\, and lifestyle —or a melange of these— Baudelaire claims that a dandy must “live and sleep in front of a mirror”. This here highlights the cybernetic tools necessary for a dandy to thrive: a dandy must receive constant feedback\, for a dandy’s subjectivity is defined by what they observe and what is reflected back to them. It is here that Wiener elaborates upon the dandy as a cybernetic organism; if the dandy doesn’t like what they see around them\, or it doesn’t befit their perceived reflection\, they escape a situation by manipulating one’s own perception of it. The dandy is highly in touch with their ego\, which is responsible for reality-testing. In the translator Jakob Schillinger’s introduction to the Wiener text****\, he remarks that in “observing how the other observes\, the dandy renders observation reflexive”. In other words\, the act of gaining information about the other is what in fact defines the observer. This cybernetic cycle is the core behavioristic tool of the dandy.\n\nThe point here however is not to commend the dandy as a male phenom of the 18th and 19th centuries\, but to attempt to shape a new definition of la dandie and the space she occupies in the 21st century (and in this exhibition\, the emerging depictions of this female figure as depicted by women artists). The female dandy co-opts the strategy of the male dandy who in turn co-opts the female strategy of being observed\, being seen. This is a double reversal\, and essentially\, a parasitic strategy OF liberation. It is a double-mirror situation. A dandy defines themselves based on the reflection of those around them\, whereas the female dandy defines themselves not solely via the gaze of others\, but from within. Baudelaire was then right in saying “woman is the opposite of the dandy” (if only that)\, but for the wrong reasons.\n\nThe women portrayed in the paintings of this exhibition together depict the image of the female dandy: a 21st century woman who -unlike a “traditional” male dandy (who is made in the image of those whom he observes)- is made in their own sovereign image\, resistant to the cybernetic feedback of the others’ gaze be it male\, media\, or societal.\n\n* Baudelaire\, Charles (1821-1867): Mon coeur mis à nu: journal intime\, 1887.\n** Oswald Wiener: Eine Art Einzige (1982). In: Verena von der Heyden-Rynsch (Hg.): Riten der Selbstauflösung. München: Matthes & Seitz 1982: pp. 35–78.\n*** October\, Fall 2019\, issue 170\, Oswald Wiener\, An Ego of Her Own: pp. 69–94.\n**** October\, Fall 2019\, issue 170\, Jakob Schillinger: Oswald Wiener on Dandyism: pp. 31–50.\n  \n  \n\n\n\nkaufmann repetto è lieta di presentare an ego of her own\, una mostra collettiva curata da Amanda Schmitt\, sviluppata nei due spazi di Milano e New York\, che include opere di Emma Amos\, Mamma Andersson\, Maximiliane Baumgartner\, Ann Craven\, Aria Dean\, Elisa Filomena\, Anthea Hamilton\, Brook Hsu\, Hayv Kahraman\, Jordan Kasey\, Marie Laurencin\, Alissa McKendrick\, Birgit Megerle\, Jeanette Mundt\, Aliza Nisenbaum\, Paulina Olowska\, Silke Otto-Knapp\, Marcia Schvartz\, Katja Seib e Issy Wood. an ego of her own è la prosecuzione di una serie di mostre collettive incentrate su tematiche come la ricerca al femminile e le questioni legate al genere\, temi che sono stati fondamentali per la galleria fin dai suoi inizi nel 2000.\n\n“La femme est le contraire du Dandy. Donc elle doit faire horreur. La femme a faim\, et elle veut manger; soif\, et elle veut boire. Elle est en rut\, et elle veut être foutue… Le beau merite! La femme est naturelle\, c’est-a- dire abominable”.*\n\nLa mostra intende rivendicare alle donne la figura del Dandy. Il titolo siriferisce a una recente traduzione di un testo scritto dal teorico vienneseOswald Wiener nel 1982\, Eine Art Einzige**\, ripubblicato sulla rivista October**** nel 2019. Sebbene il titolo originale significhi letteralmente “unica nel suo genere” o meglio\, “una sorta di essere unico”\, la traduzione viene risolta con “An Ego of Her Own”\, attribuendo il genere femminile ad una preposizione neutra. Nonostante l’obiettivo non sia di analizzare le ragioni del traduttore nell’inserire la parola “ego”\, né l’intento di Wiener di discutere la figura del dandy in relazione al genere\, la ripubblicazione di questo saggio in inglese ha piuttosto suscitato l’idea dell’esistenza di una figura femminile di dandy\, una sorta di antitesi alla convenzionale figura (maschile) a noi universalmente nota. La traduzione è coincisa con lo svilupparsi di una determinata sensibilità estetica\, un approccio romantico\, sincero e di stampo femminile\, sempre più tangibile in pittura e in altri media nel corso dell’ultimo decennio\, un cambio di rotta rispetto all’approccio algido\, meccanico e dandista diffuso in Europa e negli Stati Uniti alla fine del millennio.\n\nLa filosofia del dandismo è eurocentrica: Charles Baudelaire è forse la figura di maggior rilievo ad avere scritto in modo frequente e prolifico sulla fenomenologia del dandy\, una figura (perlopiù) maschile che ha dominato certimilieu sociali tra il diciottesimo e diciannovesimo secolo\, specialmente in città cosmopolite come Londra o Parigi. Tra le diverse caratteristiche\, in termini di classe\, comportamento\, estetica e stile di vita\, Baudelaireaffermava che un dandy dovesse “vivere e dormire di fronte ad uno specchio”. Da qui si evidenzia la necessità di strumenti cibernetici per svilupparsi: il dandy ha bisogno di ricevere feedback costanti\, poiché la sua soggettività è dettata dall’osservazione dell’altro e da come si riflette su di esso. Ed è qui che Wiener elabora il concetto di dandy come un organismo cibernetico; se non apprezza ciò che lo circonda o non si addice alla percezione di se stesso\, allora fugge da una situazione manipolandone la propria percezione. Il dandy è in stretta correlazione con il proprio ego\, dal quale deriva la sua percezione della realtà.\n\nNella prefazione al testo di Wiener\, il traduttore Jakob Schillinger**** sostiene che “nell’osservare come l’altro osserva\, il dandy rende l’osservazione riflessiva”. In altre parole\, l’atto di acquisire informazioni sull’altro definisce l’osservatore stesso. Questo ciclo cibernetico è alla base del comportamento del dandy.\n\nIl punto non è comunque di definire il dandy come fenomeno maschile del diciottesimo e diciannovesimo secolo\, ma di tentare di dare una nuova definizione alla figura della Dandy\, e lo spazio che occupa nel ventunesimo secolo (e\, in questa mostra\, le raffigurazioni di questa figura femminile sono eseguite da artiste donne). La Dandy assume la strategia del dandy che a sua volta coopta la strategia femminile dell’essere osservato\, visto. Questo doppio capovolgimento è\, essenzialmente\, una strategia parassita di liberazione. E’ un doppio specchio. Il dandy definisce se stesso in base al riflesso in coloro che lo circondano\, di contro la Dandy si auto definisce non soltanto attraverso lo sguardo degli altri\, ma anche del proprio. Aveva ragione Baudelaire nel dire che “la donna è l’opposto del dandy” (fosse solo questo)\, ma per le ragioni sbagliate.\n\nLe donne raffigurate nei lavori in mostra compongono insieme la figura della Dandy: una donna del ventunesimo secolo che\, a differenza della figura “tradizionale” del dandy (che è l’immagine di chi l’osserva)\, si forma nellapropria individualità\, indifferente ai feedback cibernetici dati dallo sguardo altrui sia esso maschile\, mediatico o sociale.\n\n* Baudelaire\, Charles (1821-1867): Mon coeur mis à nu: journal intime\, 1887.\n** Oswald Wiener: Eine Art Einzige (1982). In: Verena von der Heyden-Rynsch (Hg.): Riten der Selbstauflösung. München: Matthes & Seitz 1982: pp. 35–78.\n*** October\, Fall 2019\, issue 170\, Oswald Wiener\, An Ego of Her Own: pp. 69–94.\n**** October\, Fall 2019\, issue 170\, Jakob Schillinger: Oswald Wiener on Dandyism: pp. 31–50.
URL:https://kaufmannrepetto.com/exhibition/an-ego-of-her-own-milan/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211001
DTEND;VALUE=DATE:20220131
DTSTAMP:20220222T113741Z
CREATED:20220222T113625Z
LAST-MODIFIED:20220222T113741Z
UID:13708-1633046400-1643587199@kaufmannrepetto.com
SUMMARY:When Nature Was Young
DESCRIPTION:when nature was young \nThe sensation of nature and landscape is a central theme in the works of the Italian artist Gianni Caravaggio (b. 1968). His poetic sculptures and installations awaken memories of emotions evoked by experiences of nature. They aim at the essential unity of humans and nature\, at the ‘pure sensation’ (Malevich) of something genuinely natural. \nCaravaggio’s works are timeless and have no reference to the social present\, past\, or future. Instead\, they result from concrete relationships between matter\, space\, time\, and the acting subject and could therefore also be described as four-dimensional sculpture. The combination of typical materials – bronze\, marble\, or wood – with everyday materials such as talcum powder\, fishing line\, salt\, or sugar\, as well as the reduced staging of the sculptures directly on the floor\, creates a special attraction that at times recalls the Arte Povera of the twentieth century.
URL:https://kaufmannrepetto.com/exhibition/when-nature-was-young/
LOCATION:Kunstmuseum Reutlingen\, Reutlingen
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210924
DTEND;VALUE=DATE:20221001
DTSTAMP:20211217T170446Z
CREATED:20211217T170253Z
LAST-MODIFIED:20211217T170446Z
UID:12962-1632441600-1664582399@kaufmannrepetto.com
SUMMARY:Story Line
DESCRIPTION:Story Line\nIstituto Svizzero presents Story Line (2021)\, a site-specific installation by artist Latifa Echakhch that will be hosted in the garden of Villa Maraini.\nThe art piece was inaugurated on the occasion of “September Calling”\, the evening of presentation of 2021/2022 Fellows. \nLatifa Echakhch’s installation Story Line evokes memories\, perhaps even a sort of nostalgia. Made out of conventional metal structures used in the construction of concert stages\, it tells of a night of debauchery: we think back to the open-air concerts of our youth\, all-night dances at festivals with few hours of sleep in a cheap tent on a damp ground. Not by chance\, the inauguration of the work coincided with the autumn concert that takes place every September in the garden of Istituto Svizzero in Rome. In the fall of 2021\, Latifa Echakhch’s work takes on an additional connotation: the months of the pandemic were (and are) accompanied by a thoroughly nostalgic reminiscence of those nights with music\, with dancing and sweating bodies. The hope that soon this will be possible again is great.ISwi
URL:https://kaufmannrepetto.com/exhibition/story-line/
LOCATION:Istituto Svizzero\, Rome
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210924
DTEND;VALUE=DATE:20211224
DTSTAMP:20211211T145118Z
CREATED:20211211T145118Z
LAST-MODIFIED:20211211T145118Z
UID:12899-1632441600-1640303999@kaufmannrepetto.com
SUMMARY:Diedrick Brackens and Katherine Bradford
DESCRIPTION:diedrick brackens and katherine bradford\n  \nThe Carpenter Center for the Visual Arts is pleased to present a two-person exhibition of tapestries by Diedrick Brackens and paintings by Katherine Bradford. Brackens and Bradford’s works resonate within our moment of heightened emotion\, isolation\, and introspection in the midst of profound change to our social\, economic\, and public health realities. Both artists create dreamlike scenes that snap back and forth between the symbolic and the specific. Details speak to lived experiences as well as collective histories and memories. With parallel interests in materiality and the act of making\, both artists use the specific physical and chromatic qualities of their chosen mediums—paint and yarn—to create ambiguous pictorial spaces that frame relationships between bodies. Their scenes seem to exist both outside and deeply embedded within this uncertain time\, evoking cautions\, questions\, and desires about our bodies in relation to each other. \nDiedrick Brackens makes figurative and abstract tapestries using techniques drawn from West African weaving\, quilting traditions of the American South\, and European tapestry-making. With an interest in allegory and symbolism\, he combines autobiographical narrative with imagery that evokes broader histories of Black and queer identities. Silhouetted figures\, plants\, and animals move against optically charged passages of pattern and saturated color. Brackens uses traditional techniques to hand-dye cotton yarn\, a material that can summon histories of enslavement. Each weaving renders an iconic\, tactile\, and tender presentation of experiences that feel at once personal and historical. \nKatherine Bradford sets characters from her imagination against vast expanses like outer space and the ocean\, or within closely cropped\, abstract fields defined by her paint’s materiality and color. She creates her characters with an economy of painterly marks; they often lack facial features and are partially clothed. Nonetheless\, they announce recognizable character traits in their gestures\, body language\, and physical relationships. Without the traditional markers of gender\, her groups of people exist in collective fluidity\, fitting together like indeterminant puzzle pieces. Against color fields that recall the luminous surfaces of midcentury abstraction\, her figures play out scenes of adventure\, solitude\, collectivity\, and intimacy.
URL:https://kaufmannrepetto.com/exhibition/diedrick-brackens-and-katherine-bradford/
LOCATION:Harvard Carpenter Center for the Visual Arts\, Cambridge
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210923
DTEND;VALUE=DATE:20230101
DTSTAMP:20211023T170218Z
CREATED:20211015T125833Z
LAST-MODIFIED:20211023T170218Z
UID:12218-1632355200-1672531199@kaufmannrepetto.com
SUMMARY:Queens of the Night
DESCRIPTION:queens of the night\n  \nKatherine Bradford’s “Queens of the Night” (2021) at the 1st Av (L) station in Manhattan\, was officially unveiled during an #MTA press event this morning. Reflecting the community of people who use the 1 Av-14 St station\, vibrant compositions totaling about 400 sq ft of glass mosaic\, fabricated by Mayer of Munich\, are installed throughout the station. \n“I’m pleased to have my work featured on the 1st Avenue stop on the L subway line\, which is the train I take to my studio each day\,” shared Katherine Bradford. “Hopefully\, ‘Queens of the Night’ will transport train takers elsewhere\, a brief moment of otherworldliness in the hustle and bustle of their day.“ \nThe intriguing\, ethereal figures seen in the mosaic panels represent the riders of the L train\, which transports creative folk pursuing their dreams and the real-life heroes who provide essential services. In New York\, these riders are dressed most often in black\, which the artist believes is “merely a cloak over an inner life that is wildly colorful and unconventional”. This group of figures expresses the energy of camaraderie when people are gathered together and inspires viewers to consider the outward expression of one’s own interior vivacity. \nIn the 1st Av north mezzanine\, figures in lime green\, aquamarine blue\, and rosy pinks gather in a group (as riders do on subway platforms) and are depicted under the glow of a massive moon. Two characters from this assembly are also seen in the Avenue A north east staircase. Caped heroes\, a recurrent image in Bradford’s body of work\, guide riders in and out of the new north west and south east stairs at Avenue A entrance in two panels subtitled “Superhero Responds.” In the 1st Av south mezzanine\, riders are greeted by a dusky blue individual donning a gown in a field of flowers.
URL:https://kaufmannrepetto.com/exhibition/queens-of-the-night/
LOCATION:MTA Arts & Design\, New York
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210921
DTEND;VALUE=DATE:20220516
DTSTAMP:20211008T163952Z
CREATED:20211008T163609Z
LAST-MODIFIED:20211008T163952Z
UID:12081-1632182400-1652659199@kaufmannrepetto.com
SUMMARY:Finding a Way
DESCRIPTION:Simone Fattal: Finding a Way\nFor her first solo presentation in the UK\, internationally acclaimed artist\, Simone Fattal leads us on a journey of transformation. Imagining the large\, brick-lined gallery to be a giant kiln\, Fattal fills the space with a procession of her characteristic ceramic figures who are embarking on a spiritual and physical metamorphosis. Elements of an ancient landscape appear throughout the space; a delicate ceramic ladder\, a series of carved architectural stele and a Mesopotamian ziggurat temple – connecting earth to heaven – inspire ideas around ascension and emancipation. A series of black and white etchings\, drawn from Fattal’s memories of Damascus\, as a garden paradise\, appear as maps or windows for the voyagers.\nFattal’s work – watercolours and collages as well as sculptures made from clay and bronze – exists between figuration and abstraction. She draws on sources ranging from war and conflict\, to landscape painting\, ancient religions and mythologies\, Sufi poetry and the fragility of the human form. She explores the impact of displacement and migration as well as the politics of archaeology and excavation. Using frequently recurring motifs and forms\, and just enough detail to make her characters discernable\, her works construct worlds that feel as though they have emerged – temporarily – from history and memory.
URL:https://kaufmannrepetto.com/exhibition/finding-a-way/
LOCATION:Whitechapel Gallery\, London
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210918
DTEND;VALUE=DATE:20220401
DTSTAMP:20220119T181033Z
CREATED:20211027T133455Z
LAST-MODIFIED:20220119T181033Z
UID:12355-1631923200-1648771199@kaufmannrepetto.com
SUMMARY:Draw the Curtain
DESCRIPTION:Nicolas Party: Draw The Curatin\n  \nThe exterior of the Hirshhorn’s iconic cylindrical building is the site of internationally renowned Swiss artist Nicolas Party’s newest artwork. Draw the Curtain (2021) wraps 360 degrees around the temporary scaffolding that encases the Museum building and spans a circumference of 829 feet\, becoming the artist’s largest work to date. An original pastel painting digitally collaged and printed onto scrim\, the site-specific commission transforms the Hirshhorn’s façade into a monumental canvas that stands out against the landscape of predominantly neoclassical buildings on the National Mall. The work will be on view through spring 2022 while the building’s envelope undergoes critical repairs. \nDraw the Curtain comprises several anonymous faces partially hidden by draped curtains\, gazing directly at the viewer no matter their vantage point around the building. Known for his unique visual language that simultaneously celebrates and challenges conventions of representational painting\, Party steeps this work in art-historical technique and symbolism. The featured portraits\, painted in black and white\, are based on classical sculpture\, while the curtains\, painted in shades of green\, blue\, yellow\, and red\, are sampled mostly from 17th-century Dutch paintings. Painted in the tradition of trompe l’oeil\, the work addresses themes of dupery and illusion and conjures a scenographic set. It invites passersby to peek backstage behind the “curtain” on the National Mall and examine both the collections housed within the Smithsonian and the contents of the distinctive government buildings dotting the surrounding landscape. Draw the Curtain reminds the viewer of the opacity of these spaces\, while inviting them to consider what lies behind the façades of the buildings in the nation’s capital. \nDraw the Curtain marks the second time Party’s artwork has been shown in Washington; the Hirshhorn hosted the artist’s Washington debut in 2017 with his solo exhibition sunrise\, sunset.
URL:https://kaufmannrepetto.com/exhibition/draw-the-curtain/
LOCATION:Hirshhorn Museum\, Washington
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210918
DTEND;VALUE=DATE:20220131
DTSTAMP:20211201T171103Z
CREATED:20211201T165340Z
LAST-MODIFIED:20211201T171103Z
UID:12668-1631923200-1643587199@kaufmannrepetto.com
SUMMARY:crip time
DESCRIPTION:crip map \n“You don’t need to be fixed\, my queens—it’s the world that needs the fixing.”\n—Johanna Hedva \nIn a world that builds on unceasing bodily functionality\, mobility\, availability\, and their constant expansion\, every form of dysfunctionality leads to immediate exclusion or is declared in need of treatment. The violence inherent to normative conceptions of the body\, and thus to education\, labor\, architecture\, medicine\, and pharmacology\, is fatal. Human beings are constantly restricted and disabled by social barriers. Accessibility\, however\, is the basis for participation and justice. Sickness is not an individual but a collective societal matter. Health is not only a medical but also a political terrain on which social power relations play out. \nIndividual autonomy is a myth. Recognition of our mutual dependence\, however\, can help us rethink society. Rather than constant availability\, the term crip time is based on the idea of multiple needs. Changed temporalities can come about\, new forms of care and connection can develop\, and a different way of thinking and perceiving can take hold. \nThe order of the day is to understand the vulnerability of our bodies as something constitutive. It is our vulnerability that makes us sensitive\, perceptive\, and different from one another.
URL:https://kaufmannrepetto.com/exhibition/crip-time/
LOCATION:MMK\, Frankfurt
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210918
DTEND;VALUE=DATE:20220117
DTSTAMP:20220108T182332Z
CREATED:20220108T182332Z
LAST-MODIFIED:20220108T182332Z
UID:13095-1631923200-1642377599@kaufmannrepetto.com
SUMMARY:Thea Djordjadze: all building as making
DESCRIPTION:Thea Djordjadze: all building as making\n  \n\nInfluenced in equal measure by historical artefacts and concepts of modern art and architecture\, Thea Djordjadze’s sculptural works are characterised by formal ruptures and an idiosyncratic material aesthetic. By combining materials such as plaster\, metal\, foam\, textiles\, wood or papier-mâché\, Djordjadze creates fragmentary spatial settings in which she reformulates the classic display – vitrine\, plinth\, framing and pedestal – as a recurrent theme in her work. Starting on 18 September 2021\, the Gropius Bau will present an extensive exhibition of Djordjadze’s work in its spaces\, among them the so-called Schliemann Saal\, once home to Heinrich Schliemann’s excavated archaeological findings between 1881 and 1885. Existing and newly created works will engage in a dialogue with these historical spaces and past archaeological exhibitions at the Gropius Bau. \nCurated by Julienne Lorz
URL:https://kaufmannrepetto.com/exhibition/thea-djordjadze-all-building-as-making/
LOCATION:Gropius Bau\, Berlin
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210912
DTEND;VALUE=DATE:20220110
DTSTAMP:20220119T181008Z
CREATED:20210923T112339Z
LAST-MODIFIED:20220119T181008Z
UID:11986-1631404800-1641772799@kaufmannrepetto.com
SUMMARY:Nicolas Party: Stage Fright
DESCRIPTION:Nicolas Party: Stage Fright\n  \nThe artist Nicolas Party (* 1980 in Lausanne\, Switzerland) has created a work that examines painting and its history and reception down to the smallest detail: How is light generated? How do colors or brushstrokes work together? In the exhibition Stage Fright\, he will extend his painting across the entire exhibition space with a monumental\, site-specific installation: Party will paint the walls and ceiling of the large domed hall and create a spectacular green grotto. His immersive mural refers to countless art-historical predecessors that depict underground caves. At the same time\, it becomes a breathtaking and atmospheric spatial experience for visitors. In addition\, the Kestner Gesellschaft will present a new series of nine portraits for the first time. The portraits use painting to pose currently relevant questions. Party’s fairytale-like\, surreal imagery exists between the poles of likeness and representation\, depiction and abstraction\, observation and imagination. \nArt-historical influences — Nicolas Party’s pictures make their art-historical influences implicitly visible\, from medieval art to the Italian pastel painter Rosalba Carriera (1673–1757) to 19th- and 20th-century painters such as Ferdinand Hodler (1853–1918)\, and René Magritte (1898–1967): “If you decide to paint an apple\, you enter into a dialogue with everyone who has ever painted an apple\, and there are many\,” says Party. These art-historical references can also be found in the subject of the cave: From Giotto’s (1267–1337) frescoes in Assisi to Gustave Courbet’s (1819–1877) The Source of the Loue (1864) to The Grotto of Manacor (ca. 1901) by the Belgian painter William Degouve de Nuncques (1867–1935)\, depictions of underground caves conjure up a wealth of historical and philosophical connotations. Nicolas Party translates this motif into a holistic spatial concept that was specially developed for the Kestner Gesellschaft. \nNew Portraits — Nicolas Party’s portraits also show clear references to the history of art. For example\, his latest work Portrait with Curtains (2021) is reminiscent of Surrealist paintings by René Magritte\, which often include curtains. Party completely dispenses with personality traits\, which gives the figures a strangely detached and mask-like appearance. He also leaves the current question of gender categories unanswered. \nHis most recent portraits include the characteristic face of Marlene Dietrich. Here\, too\, Party reduces the person to basic elements in order to test the limits of what is still recognizable as “Marlene.” In the 1930s\, the actress corresponded to the type of a garçonne\, the androgynous female type of the time\, and was one of its most famous examples. The artist thus explores the spaces between person and representation\, reality and fiction\, and fundamentally questions the claim to depict reality.
URL:https://kaufmannrepetto.com/exhibition/nicolas-party-stage-fright/
LOCATION:Kestner Gesellschaft\, Hannover
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210908
DTEND;VALUE=DATE:20220110
DTSTAMP:20230704T122921Z
CREATED:20210923T143101Z
LAST-MODIFIED:20230704T122921Z
UID:11999-1631059200-1641772799@kaufmannrepetto.com
SUMMARY:Simone Fattal: A breeze over the Mediterranean
DESCRIPTION:Simone Fattal: A breeze over the Mediterranean\n\nFondazione ICA Milano in collaboration with Pompeii Commitment. Archaeological Matters presents the exhibition A breeze over the Mediterranean\, first solo show in Italy dedicated to Simone Fattal (Damascus\, 1942).\nFondazione ICA Milano in collaboration with Pompeii Commitment. Archaeological Matters presents the exhibition A breeze over the Mediterranean\, first solo show in Italy dedicated to Simone Fattal (Damascus\, 1942). One of the most important contemporary artists\, Simone Fattal was born in Syria and grew up in Lebanon. She left the country in 1980 with the outbreak of the civil war and she settled first in the United States and later in France\, where she currently lives and works. Fattal has developed and established her artistic research and practice particularly over the last decades\, including different expressive media such as drawing\, painting and\, since 1988 (when she attended the Art Institute of San Francisco)\, ceramics. In her works\, the artist draws forms out of natural and living matter such as clay – forms that evoke the union between the carnal and mystical dimensions\, reality and imagination. Fattal shapes figures that return the deepest intimacy of our feelings and thoughts connecting them to both historical and cultural dimensions to express the value and\, at the same time\, the care and fragility of human life.\nIn early 2020\, at the invitation of Fondazione ICA Milano and Pompeii Commitment. Archaeological Matters\, Fattal visited the Archaeological Park of Pompeii in order to study in person the site and the archaeological storages – a research that later led to the reflections and the sculptural representations of A breeze over the Mediterranean. Fattal observed the universal history and the multiple individual stories of Pompeii\, taking inspiration from the Pompeian artefacts and their cultural\, religious\, social and historical archetypes. The artist is interested in their interconnected existence between the mineral\, vegetal and animal elements\, of which they were originally composed\, and the cultural functions they covered before becoming fragments in which any distinction between life and death\, myth and history\, natural and cultural\, human and non-human vanishes.\nThe several works in the exhibition\, all realized in ceramic\, have been created by Fattal in 2021 in Italy\, at the renown Officine Gatti of Faenza. “Unlike all the other archaeological sites”\, stated Fattal upon first sharing her research on the portal and research center pompeiicommitment.org\,“we can say that Pompeii gives a reconstruction in itself. For the place has not been destroyed by time\, but by a moment. Ruins in the world can be read on many levels\, but there are fragments of all period mingled together\, or on top of each other; you have to reconstruct the influences\, the sequence in time. In Pompeii\, it’s a fixed image”. The Pompeian “fixed image” proposed by Fattal sheds a light on the coexistence of intense and mutual influences of a time when\, always according to her words\, in Pompeii “Egypt is present\, but also Syria\, and Asia Minor. But with all this diversity and differences\, it seems that all lived together in harmony”. Fattal evokes then\, through the works exhibited\, not only a city in ruin but a palimpsest where the multiple meanings and the possible interpretations correspond to an archetype. In such a narration historia and fabula match\, and the different Mediterranean cultures coexist\, merging with each other and with their ecosystem\, fixed in an apparent eternal present available to our gaze\, which crosses them with surprise.\nThe exhibition is part of the yearly program Ceramics. Ideated by Fondazione ICA Milano\, the project surveys the use of ceramics as an artistic medium\, presenting a selection of research across the 20th century through to our contemporary time. In conjunction with the collaboration with Fondazione ICA Milano on the occasion of A breeze over the Mediterranean\, the Archaeological Park of Pompeii inaugurates its new collection of contemporary art (Collectio) in the context of Pompeii Commitment. Archaeological Matters. The sculpture titled Hermes (2 021) by Simone Fattal directly inspired by the artist’s field trip to Pompeii is being acquired by the Archaeological Park\, becoming the founding work of its new collection.\nWe thank the kaufmann repetto Milano – New York for supporting the project. We are grateful to Nicoletta Fiorucci Russo and Fondazione Sandretto Re Rebaudengo\, Team Partners of the Partners Committee\, experimental model of cultural partnership conceived by the Archaeological Park of Pompeii for the project Pompeii Commitment. Archaeological Matters.
URL:https://kaufmannrepetto.com/exhibition/simone-fattal-a-breeze-over-the-mediterranean/
LOCATION:ICA Milano\, Milan
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210714
DTEND;VALUE=DATE:20210908
DTSTAMP:20220125T151757Z
CREATED:20210628T130632Z
LAST-MODIFIED:20220125T151757Z
UID:11150-1626220800-1631059199@kaufmannrepetto.com
SUMMARY:marcia schvartz: Works\, 1976 – 2018
DESCRIPTION:55 Walker (Bortolami\, kaufmann repetto\, and Andrew Kreps Gallery) is pleased to announce the first survey exhibition in the United States of Marcia Schvartz (b. 1955\, Argentina). The exhibition spans across five decades of the artist’s practice\, from the 1970s to today\, and will be accompanied by a full text by art historian Lucy Hunter\, supported by the Institute for Studies on Latin American Art (ISLAA). \nMarcia Schvartz’s practice is grounded in the expressive yet rigorous rendering of the human figure\, working with painting\, ceramic\, textile\, sculpture\, assemblage\, and performance. She is best recognized for her figurative paintings that depict the complexity of cosmopolitan social dynamics. Illustrating the political history of Argentina through personal and populist terms\, Schvartz’s work has a recurrent focus on female figures which she represents in a radical anti-patriarchal and decolonial manner. \nIn 1970\, she entered the Escuela de Bellas Artes Manuel Belgrano\, where she studied under renowned Argentinian artists Luis Falcini\, Luis Felipe Noé\, and most influentially for Schvartz\, Aída Carballo. However in 1976 —during Schvartz’s early development as a young artist— a right-wing coup overthrew Isabel Perón as President of Argentina and a military junta was installed\, leading to a 7-year period of state terror led by a military dictatorship (adjoined to the larger Operation Condor campaign in South America) that resulted in their murder of an estimated 30\,000 civilians. Schvartz herself was a target\, not only for being a militant and uncompromisingly outspoken artist\, but also because her family was the owner of Fausto\, a prominent bookstore known for disseminating progressive ideas and theories\, and publishing radical literature. Because of this\, Schvartz self-exiled to Spain in order to continue making her art (and later Brazil)\, before returning to Argentina in 1983. The loss of so many friends disappeared and murdered at the hands of the junta\, combined with the rise of deaths due to the HIV/AIDS pandemic in the 1980s\, became the painful source of inspiration for many works by Schvartz during this period and still today. \nAlthough Schvartz has deployed caricaturesque depictions of public figures such as the Peróns and other political subjects\, the works in this exhibition focus on people that belong to the Buenos Aires neighborhood where Schvartz lives\, works\, and teaches —San Telmo. A historically marginal neighborhood near the city’s harbor\, San Telmo was later repurposed by artists and the city’s vibrant intelligentsia\, creating a radical post- dictatorial underground scene in the 1980s. In the portraits on view\, Schvartz depicts her neighbors including shop-owners\, taxi and bus drivers\, sex workers\, bartenders\, musicians\, other artists\, activists\, and football fans\, among others. While the people in her immediate community are among the most represented in her work\, Schvartz has also been creating detailed self-portraits for decades. In the 1990s\, her practice expanded to include a dynamic mythical element\, incorporating scenes that depict the native people of Argentina without colonial influences (and the subsequent class subjugation experienced by their descendants)\, alongside powerful\, animistic depictions of the country’s flora and landscapes. \n\n\n\n\n  \n  \nMarcia Schvartz has exhibited extensively through South America and Spain and was most recently featured in the traveling exhibition “Radical Women: Latin American Art\, 1960-1985” at the Hammer Museum\, Los Angeles\, Pinacoteca de Sao Paulo\, and the Brooklyn\, Museum\, 2017-2018. She has received awards and accolades such as the Gran Premio de Honor from the Banco Central de la República Argentina\, Buenos Aires\, 2015; the Primer Premio at the Salón Hugo Del Carril\, Museo de Arte Moderno de Buenos Aires\, 1996; and the Primer Premio in the 37th Salón Municipal de Artes Plásticas Manuel Belgrano\, 1992. Her work is included in public collections throughout the world\, including the Museo Nacional de Bellas Artes\, Buenos Aires; Museo Nacional Centro de Arte Reina Sofía\, Madrid; and the Bronx Museum of Arts\, among others.
URL:https://kaufmannrepetto.com/exhibition/marcia-schvartz/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210707
DTEND;VALUE=DATE:20220110
DTSTAMP:20211211T142409Z
CREATED:20211211T142156Z
LAST-MODIFIED:20211211T142409Z
UID:12820-1625616000-1641772799@kaufmannrepetto.com
SUMMARY:Boilly
DESCRIPTION:boilly\nNicolas Party (b. 1980\, Lausanne) is a Swiss artist. He majored in graphic design and film at the ECAL in Lausanne before studying fine arts at the Glasgow School of Art. He lives and works in New York and Brussels. \nA multidisciplinary artist mostly known as a figurative painter\, he has chosen pastel as his main medium\, an original and distinctive choice in the art of the 21st century. Most notably\, he has used pastel to create large murals and installations in bright saturated warm colors. Far from restricting his art to this sole medium\, he has also produced sculptures\, ceramics and artworks in pietra dura (inlaid marble pieces). If the scale of his productions vary from modest-sized artworks to monumental immersive installations\, Nicolas Party also plays with contrasts between materials and colors to create landscapes\, portraits\, and disconcerting busts that are as much inspired by Classical Antiquity as by the landscapes of his childhood and Swiss artists like Félix Vallotton\, Ferdinand Hodler\, Cuno Amiet and Hans Emmenegger. \nParty has developed an aesthetic that is set deliberately apart from fashionable theoretical trends\, choosing instead to explore a dreamlike\, fantastical universe influenced by his deep knowledge of art history. His influences include artists such as David Hockney\, Fernand Léger and René Magritte but also outsider and folk art\, as well as the art and architecture of the Renaissance. Party\, who for a time earned a living in 3D design\, is also fully aware of belonging to the post-internet generation and to an era where images and references spread exponentially\, randomly and uncontrollably. Far from limiting himself to an “Instagram-ready” superficial aesthetic in which everyone can pick up and choose anything they like\, Party’s practice on the contrary thoughtfully inscribes itself within a genuine art historical genealogy that is constitutive of his work. The resulting artworks create with their eerie and hieratic appearance a seductive and poetic universe that borders on the uncanny in its treatment of landscapes\, objects and characters situated outside of conventional representation. \nHis exhibition at the Consortium Museum is titled Boilly\, after the prolific French artist Louis-Léopold Boilly (1761-1845)\, a painter\, engraver and miniaturist known for his portraits\, genre scenes\, fêtes galantes and caricatures. For this exhibition\, Party has created a series of murals inspired by Boilly’s works and most specifically his caricatures\, such as Réunion de 35 têtes d’expression (1825) or Objets Divers (1785).  Their monumentality serves as a setting for Party’s pastels on canvas and his large-scale polychromic sculptures. \nWith this new exhibition at the Consortium Museum\, Party continues to explore a dialogue between traditional artworks and contemporary art\, in a desire to close the gap between sometimes obscure classic genres and a more immediately accessible current aesthetic.
URL:https://kaufmannrepetto.com/exhibition/boilly/
LOCATION:Le Consortium\, Dijon
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210703
DTEND;VALUE=DATE:20210815
DTSTAMP:20210823T152652Z
CREATED:20210823T152652Z
LAST-MODIFIED:20210823T152652Z
UID:11873-1625270400-1628985599@kaufmannrepetto.com
SUMMARY:billy sullivan: flowers & birds
DESCRIPTION:Billy Sullivan: Flowers & Birds\nBilly Sullivan: Flowers & Birds features nine still-life paintings and drawings\, most of which were completed within the past year — a time of profound upheaval that has nevertheless seemed intractably stilled\, indefinitely paused. Billy Sullivan has described his work as “basically a diary of my life\,” and these recent works\, predominantly floral\, are marked by brief moments of focus and oblique clues. One outlier\, Bob’s Vase cites Madoo itself\, presenting a mysterious object from Robert Dash’s collection. The antique-looking\, bulging glass vessel with verdigris brass handles somehow manages to hold its own against the scrawled red walls of the summer house living room.\nBilly Sullivan has exhibited nationally and internationally since 1971. His work is in the collections of the Museum of Modern Art\, the Metropolitan Museum of Art\, the Parrish Art Museum\, Guild Hall of East Hampton\, as well as many other collections\, both public and private. He lives and works in New York City and East Hampton.The Madoo Conservancy\, New YorkThe Madoo Conservancy\, New YorkThe Madoo Conservancy\, New York
URL:https://kaufmannrepetto.com/exhibition/billy-sullivan-flowers-birds/
LOCATION:The Madoo Conservancy\, New York
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210701
DTEND;VALUE=DATE:20211101
DTSTAMP:20251029T105749Z
CREATED:20251029T105653Z
LAST-MODIFIED:20251029T105749Z
UID:26421-1625097600-1635724799@kaufmannrepetto.com
SUMMARY:Clarissa Tossin: Circumnavigation Towards Exhaustion
DESCRIPTION:Clarissa Tossin: Circumnavigation Towards Exhaustion \n  \nIn summer 2019\, fires raged across the Amazon. Later that year and on through the Southern Hemisphere summer\, more than 180\,000 square kilometers burned in Australia. Early in 2020\, the French National Forests Office reported that of the 9\,343 forests it manages\, 45.1% had been impacted by drought in 2019\, particularly in Eastern France. Planet Earth is in a state of panic as a direct consequence of the industrialized\, profit-driven\, globally interconnected world created by humans. Our unwavering faith in progress has guided the industrial developments of the past three centuries. Today\, as the world burns\, we must rethink the course ahead. \nFor Clarissa Tossin\, there is no turning back\, nor is the world we have wrought in the 21st century an acceptable foundation for the future. We are the products of consumer society\, and the artist demonstrates this lineage while confronting us with the perverse absurdity of the world we are building and leaving to posterity. Through her sculptures\, photographs\, and installations\, Tossin reflects on humans as the main agents in the global industrial complex—a system humans alone have brought about\, for which humanity bears sole responsibility. We will leave our traces\, the refuse of a civilization that has produced and consumed a great many artificial materials. Plastic and transformed metals will remain long after we are gone. Future archaeologists will judge our actions and methods. \nCircumnavigation Towards Exhaustion meditates on the ubiquitous materialism and greed currently driving Earth’s living organisms to potential extinction. The central work in the exhibition\, Death by Heat Wave (Acer pseudoplatanus\, Mulhouse Forest)\, contemplates the imminent global demise of all life through the death of a single tree. A skin-like silicone cast of a dead Sycamore Maple from the Mulhouse forest highlights the death of Sycamores across the region in recent years\, due to rising summer temperatures; aerial views reveal clusters of dead trees throughout the forest. The sculpture captures the tree in a state of decomposition\, its embodied presence in the exhibition measuring the breakneck pace of human economic activity against the deep\, slow-moving cycles of natural decay and regeneration. \nFrom emerging waste recycling and reforestation efforts to fictional responses provoked by the global calamity\, Tossin contemplates the day\, not far off\, when we exhaust this planet’s resources and flee to Mars to begin anew\, as an extra-terrestrial civilization with no choice but to continue elsewhere or perish. In Circumnavigation Towards Exhaustion\, Clarissa Tossin tackles issues which\, like the economy of materials and ideas\, encompass the entire globe\, affecting every one of us in our daily lives. The extensive overseas expeditions that began in the early modern period and charted Earth’s land masses have now culminated in the pervasive material\, economic\, physical\, and emotional exhaustion we face today—a world crying out for a paradigm shift. \n– Sandrine Wymann
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-circumnavigation-towards-exhaustion/
LOCATION:Kunsthalle Mulhouse\, Mulhouse
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210701
DTEND;VALUE=DATE:20211003
DTSTAMP:20220125T151829Z
CREATED:20210609T104842Z
LAST-MODIFIED:20220125T151829Z
UID:10686-1625097600-1633219199@kaufmannrepetto.com
SUMMARY:Lifeguards
DESCRIPTION:kaufmann repetto is happy to present Lifeguards\, Katherine Bradford’s first solo exhibition with the gallery. \nKatherine Bradford’s mesmerizing yet rigorous visual language freely traverses the relationship between nonobjective and representational painting\, allowing potential narratives to unfold and interweave with the investigation of form and color. \n\n\n\nIn Bradford’s exhibition\, Lifeguards\, we find ourselves immersed in a world of vast expanses of color depicting water and sky\, populated by bathers and swimmers. Shades of blue ranging from cobalt to azure\, and ultramarine to turquoise\, divide the canvas into distinct horizontal planes\, while the variations in saturation and tone evoke an elusive yet palpable atmosphere. Lighter and darker hues are interchangeable and used without functional or hierarchical distinction. Subtle modulations of pale lavender and warm purple represent beaches\, to then resurface in other works depicting body limbs. An indigo-blue firmament merges into an equally saturated body of sapphire-colored water\, as if the two elements were soaking into each other by mutual consent. The compositional strategy is diversified; some paintings are limited to two dominating color fields\, while in others the presence of red\, white or yellow stripes introduces additional spatial elements such as the seafloor or the pool deck. These nearly monochromatic backgrounds are occupied by an array of swimmers who float in the air or plunge into the water\, while others are gathered ashore. Their androgynous\, featureless bodies are roughly sketched in bold colors representing their sun-tanned skins\, which vary from pale rosy to pink\, from glowing salmon to cool purple. Often the positions of these figures are fantastical and absurd\, an effect reinforced by erratic manipulations of the pictorial perspective. We encounter two swimmers hovering majestically in horizontal expanses of washy blue in the upper half of the canvas; others are captured in the moment of jumping\, head first\, into the water\, immortalized in awkward angular body postures. In contrast to these whimsical—almost funny—poses\, the lifeguards who give the show its title\, are sitting on or standing next to their towers\, whose three-dimensional verticality interrupts the otherwise predominantly flat image compositions. Two guards are depicted while performing life-saving measures: a man is pulling a swimmer out of the water\, grasping him vigorously by the legs\, while a female lifeguard carries the body of a rescued person—a motionless silhouette of unnatural bluish pallor— in her arms. Art historical references are strongly resonant in these figure groups\, evoking biblical subject matters such as Saint John the Baptist and the Pietà. Further\, the dual nature of the title of the show\, “life” and “guard”\, is literal in these works\, alluding to the lifeguard’s task of taking care of other human beings\, or the lifeguard as savior. \n\n\n\nWhile the oscillation between abstract and figurative elements captures and ensnares the viewer\, giving way to multiple readings\, it is also a key to the wider scope of Bradford’s artistic research. Focused on abstract painting in the early phase of her career\, over the past two decades the artist has opened her practice to depiction\, without losing focus on her abiding interest in the [more abstract nature] of the color-field. Her love for the painterly comes across clearly; however\, driven by an unbiased curiosity\, she allows her imagery to acquire a porous malleability where a pictorial sign becomes a signifier. The first brusquely painted marks that manifested themselves as objects within the realm of colors were ships\, planets and UFOs. Human beings floating in horizontal position\, in the guise of gravity-defying superheroes and swimmers\, soon appeared on the scene: suspended in the fathomless depth of oceans and starry nights\, these quirky characters seem to oscillate between unrestrained freedom and melancholic solipsism. Over the past couple of years\, the weight of the harsh political situation and\, lately\, the impact of the Covid pandemic\, prompted the artist to deepen themes of social relations among human beings\, a concern that also reflects her long-standing commitment to artists’ communities in New York and Maine. The investigation of more complex figure groups is at the center of her most recent bodies of work\, with Mother\, the exhibition at Canada Gallery in New York\, and the current Lifeguards show in Milano. “I’m doing people\, but I’m really emphasizing a universality”\, says the artist\, “I feel that’s important\, that I’m exploring who we are\, how we fit in\, how we fit in together visually\, how we all stand next to each other.” \n\n\n\nInsouciant vis-à-vis the formal constraints of cultural production for a long part of her career\, Bradford has honed her practice over four decades\, maturing into a nonacademic\, creative freedom that resonates deeply with the aesthetic and socio-political concerns of our time. Her position seems to epitomize the “liquid modernity” theorized by the sociologist Zygmunt Bauman\, who advocates that after the dissolution of the ‘solid’ axioms of modernism—such as rationality and the chase of perfection—we have arrived in a more ‘light’ and ‘liquid’ modernity\, where “change is the only permanence\, and uncertainty the only certainty”. It is the commitment to dynamic change and to the fluid state of human togetherness that Bradford—with a small wink and a large dose of humor—so poignantly expresses in her radiant liquid fields. \n\n\n\n\n\nKatherine Bradford (b. 1942\, New York) lives and works in New York. She started painting at the age of 30 while living in Maine and was among a group of artists who moved to Williamsburg\, Brooklyn in the 1980’s. Her work has been exhibited internationally at the Tang Teaching Museum\, Skidmore College\, New York (2020); Crystal Bridges Museum of American Art\, in Bentonville (2019); The Brooklyn Museum\, New York; the Modern Art Museum in Fort Worth\, Texas (2017); MoMA P.S. 1 (2007) and at the Ogden Museum in Prospect.4: the New Orleans Biennial. Her work is included in collections such as The Metropolitan Museum of Art\, The Brooklyn Museum\, The Dallas Museum of Art\, The Menil Collection in Houston\, The Nerman Museum of Contemporary Art in Overland Park and the Portland Museum of Art. Bradford is the recipient of a Guggenheim Fellowship and a Joan Mitchell Grant. She has taught at institutions such as the Yale School of Art\, Skowhegan School of Painting and Sculpture\, and the Pennsylvania Academy of the Fine Arts\, Philadelphia. In 2022\, Bradford will be the subject of a touring survey show organized by the Portland Museum of Art\, Maine. \n\n\n\n\n\n\n\n\n  \n\n  \n\nkaufmann repetto è lieta di presentare Lifeguards\, la prima personale di Katherine Bradford con la galleria. \nIpnotico e al contempo rigoroso\, il linguaggio visivo di Katherine Bradford si muove liberamente attraverso il confine fra pittura non oggettiva e figurativa\, rivelando narrazioni potenziali che si intrecciano all’indagine di forma e colore. \nNella mostra Lifeguards ci troviamo immersi in un mondo composto da ampie campiture di colore che rappresentano cielo e distese d’acqua\, popolati da bagnanti e nuotatori. Sfumature di blu che spaziano dal cobalto all’azzurro\, e dall’oltremare al turchese\, suddividono la tela in piani orizzontali ben definiti\, mentre le variazioni di saturazione e tono evocano un’atmosfera sfuggente e insieme tangibile. Le tonalità più chiare e più scure sono intercambiabili\, e utilizzate senza una distinzione funzionale o gerarchica. Delicate modulazioni del lavanda chiaro e del viola intenso rappresentano le spiagge\, e riaffiorano in altre opere per raffigurare parti del corpo. Un firmamento color indaco si fonde in uno specchio d’acqua zaffiro\, altrettanto saturato\, come se i due elementi si compenetrassero di comune accordo. La strategia compositiva è variegata: alcuni dipinti si limitano a due campiture dominanti\, in altri la presenza di strisce rosse\, bianche o gialle introducono ulteriori elementi spaziali come il fondale marino o il bordo di una piscina. Questi sfondi quasi monocromatici sono occupati da numerosi nuotatori sospesi in aria o intenti a tuffarsi\, mentre altri sono riuniti a riva. I loro corpi androgini e privi di lineamenti sono abbozzati con colori audaci che ne rappresentano la pelle abbronzata\, tinta di rosa pallido o intenso\, di salmone o viola acceso. Spesso assumono posizioni fantastiche e assurde\, effetto amplificato dalle manipolazioni imprevedibili della prospettiva pittorica. Nella metà superiore della tela incontriamo due nuotatori che fluttuano maestosi sopra distese orizzontali di azzurro slavato; altri sono bloccati nel momento del tuffo\, di testa\, e immortalati in angolazioni bizzarre. In contrasto con tali pose stravaganti\, quasi buffe\, i bagnini che danno il titolo alla mostra sono seduti o in piedi accanto alle torrette\, la cui verticalità tridimensionale spezza le composizioni predominanti. Due bagnini sono impegnati in misure di salvataggio: l’uomo tira fuori dall’acqua un nuotatore\, afferrandolo con forza dalle gambe\, mentre la donna stringe fra le braccia il corpo di una persona appena soccorsa\, una silhouette immobile dall’innaturale pallore bluastro. In questi gruppi di figure sono evidenti i rimandi alla storia dell’arte\, che evocano soggetti biblici come Giovanni Battista e la Pietà. La natura duplice del titolo della mostra\, “life” (“vita”) e “guard” (“guardia”\, “guardiano”)\, inoltre\, emerge in modo letterale in questi quadri\, che alludono al compito del bagnino che sorveglia altri esseri umani o al suo ruolo di “salvatore”. \n\n\n\n\n  \nSe l’oscillazione fra elementi astratti e figurativi cattura e intrappola lo spettatore offrendo molteplici interpretazioni\, è anche una chiave per comprendere la portata più ampia della ricerca artistica di Bradford. L’artista\, che nella prima fase della sua carriera si è concentrata sulla pittura astratta\, da vent’anni ha aperto la propria pratica alla figurazione\, senza però dimenticare il profondo interesse per [la natura più astratta dei] campi di colore. Il suo amore per il pittorico emerge con chiarezza; tuttavia Bradford\, guidata da una curiosità imparziale\, lascia che il suo immaginario acquisisca una malleabilità porosa in cui un segno pittorico diventa un significante. Le prime tracce\, dipinte bruscamente\, che si sono manifestate come oggetti nell’universo del colore erano navi\, pianeti e ufo. Esseri umani che fluttuavano in posizione orizzontale\, sotto forma di supereroi e nuotatori che sfidavano la gravità\, sono comparsi sulla scena poco dopo: sospesi sulle profondità insondabili di oceani e cieli stellati\, questi personaggi peculiari sembrano dividersi tra una libertà assoluta e un solipsismo malinconico. Negli ultimi anni\, il peso della difficile situazione politica e\, più di recente\, l’impatto della pandemia causata dal Covid hanno spinto l’artista ad approfondire tematiche legate ai rapporti sociali fra esseri umani\, interesse che riflette inoltre il suo impegno di lunga data verso le comunità artistiche a New York e nel Maine. L’indagine di gruppi di figure più complessi è al centro delle sue opere più recenti\, esposte nella mostra Mother alla Canada Gallery di New York e nell’attuale mostra Lifeguards a Milano. “Raffiguro persone\, ma in realtà sottolineo un aspetto universale” dice l’artista. “Sento che è importante esplorare chi siamo\, come ci adattiamo\, come ci adattiamo insieme a livello visivo\, come stiamo gli uni accanto agli altri.” \nBradford\, per buona parte della sua carriera indifferente ai vincoli formali della produzione culturale\, ha affinato la propria pratica per oltre quarant’anni\, maturando fino a raggiungere una libertà non accademica e creativa che rispecchia appieno le riflessioni estetiche e sociopolitiche dell’epoca in cui viviamo. La sua posizione sembra incarnare la “modernità liquida” teorizzata dal sociologo Zygmunt Bauman\, secondo cui\, dopo la dissoluzione degli assiomi “solidi” del modernismo (come la razionalità e la ricerca della perfezione)\, siamo giunti a una modernità più “leggera” e “liquida”\, in cui “il cambiamento è l’unica cosa permanente\, e l’incertezza è l’unica certezza”. È la dedizione al cambiamento dinamico e allo stato fluido dell’unione fra gli uomini che Bradford – con una strizzatina d’occhio e una buona dose di umorismo – esprime in modo cosi incisivo nei suoi campi liquidi e raggianti. \n\n\n\n\nKatherine Bradford (New York\, 1942) vive e lavora a New York. Ha iniziato a dipingere a trent’anni\, quando viveva nel Maine\, e negli anni Ottanta si è trasferita a Williamsburg\, Brooklyn\, con un gruppo di artisti. Le sue opere sono state esposte in tutto il mondo\, al Tang Teaching Museum\, Skidmore College\, New York (2020); Crystal Bridges Museum of American Art\, Bentonville (2019); Brooklyn Museum\, New York; Modern Art Museum in Fort Worth\, Texas (2017); MoMA P.S. 1 (2007) e all’Ogden Museum in Prospect.4: the New Orleans Biennial. I suoi quadri fanno parte di varie collezioni\, tra cui quelle del Metropolitan Museum of Art\, Brooklyn Museum\, Dallas Museum of Art\, della Menil Collection di Houston\, del Nerman Museum of Contemporary Art di Overland Park e del Portland Museum of Art. Bradford ha ricevuto una Guggenheim Fellowship e un Joan Mitchell Grant. Ha insegnato in istituzioni come la Yale School of Art\, Skowhegan School of Painting and Sculpture e Pennsylvania Academy of the Fine Arts\, Philadelphia. Nel 2022\, le sarà dedicata un’antologica itinerante organizzata dal Portland Museum of Art\, Maine.
URL:https://kaufmannrepetto.com/exhibition/lifeguards/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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DTSTART;VALUE=DATE:20210627
DTEND;VALUE=DATE:20220110
DTSTAMP:20211211T170846Z
CREATED:20211211T144021Z
LAST-MODIFIED:20211211T170846Z
UID:12878-1624752000-1641772799@kaufmannrepetto.com
SUMMARY:Rovine
DESCRIPTION:rovine \nFrom 27 June 2021 to 9 January 2022\, the Museo d’arte della Svizzera italiana presents “Rovine” (Ruins)\, the first major monographic exhibition of Nicolas Party (Lausanne\, 1980) ever to be displayed in a museum in Europe. This immersive project allows the artist to give life to a rather uncanny universe\, complete with bold contrasts of colour\, enveloping architectural forms\, and startling trompe l’oeil decorations. Against this backdrop\, his magnetic artworks are staged: large site-specific murals\, intriguing polychrome sculptures and luminous pastel paintings. \nThis ambitious exhibition is in fact a project conceived by the artist\, on the basis of the specific structure of MASI largest exhibition hall. Here\, on an imposing scale\, his soaring\, centrally planned architecture\, is divided into five distinct environments\, each dedicated to a recurring motif in Nicolas Party’s work: still life\, portrait\, rocky views\, caves\, and landscape. \nOn the outside of this structure\, Party has created four large pastel murals\, inspired by four works produced by Swiss painter Arnold Böcklin (1827-1901)\, a leading representative of symbolism\, all depicting enigmatic views of the decaying buildings evoked in the title of the exhibition. These monochromatic\, decadent scenarios usher visitors into an environment that contrasts sharply with the chromatic explosion of the works and environments that feature inside the architectural space itself. As is the norm for the artist\, Party has further transformed the exhibition space with backgrounds painted in contrasting colours and polychrome marble trompe l’oeil decorations\, created in collaboration with Sarah Margnetti. Indeed\, this manner of displaying his work is at the core of Party’s belief: exhibitions always represent an opportunity to stage his paintings and sculptures in an environment capable of sparking further possible interpretations of his art\, by placing his pieces not simply in relation to one another\, but also within their setting.
URL:https://kaufmannrepetto.com/exhibition/rovine/
LOCATION:MASI\, Lugano
CATEGORIES:Museum Exhibitions
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DTSTART;VALUE=DATE:20210625
DTEND;VALUE=DATE:20220503
DTSTAMP:20260423T161801Z
CREATED:20260423T161801Z
LAST-MODIFIED:20260423T161801Z
UID:28915-1624579200-1651535999@kaufmannrepetto.com
SUMMARY:Vivian Suter: Vivian Suter
DESCRIPTION:vivian suter: vivian suter \n\n\n\nAcross her career\, Argentinian-Swiss artist Vivian Suter (Buenos Aires\, 1949) has never strayed too far from the Basel art scene\, from the city that was her home between 1962 and 1982 before she settled permanently in the middle of the Guatemalan rainforest. From her studio in Panajachel\, on the land of an old coffee plantation surrounding Lake Atitlán\, her work has evolved in an ever-closer exchange with the natural environment\, reflected in frameless colourist canvases that flow profoundly with the tropical landscape immersing her place of work. \nThis relationship became more organic and procedural after Hurricane Stan\, in 2005\, and Hurricane Agatha\, in 2010\, with many of her pictures becoming mud-soddened\, giving rise to pictorial series completed through the randomness of nature. From this point on\, nature would intervene like a co-author in her works\, which straddle the introspection inside her studio and the outside\, permeated by wind\, rain\, mud and even small organisms from the surrounding jungle. \nEach canvas retains its own autonomy as an artwork while maintaining a close connection with the rest of the pieces\, amounting to a kind of evocative ecosystem of climatic\, sensorial and emotive experiences. Thus\, Suter’s paintings hang\, with no stretcher\, in sites which search for an immediate relationship with the architectural and natural space\, at the same time as they inevitably refer to the environment in which they were created. \nHer career shows most notably include those held at Kunstmuseum Olten (2004)\, Kunsthalle Basel (2014)\, the São Paulo Biennial (2014)\, documenta 14\, Kassel and Athens (2017)\, the Taipei Biennial (2018)\, and more recently in The Power Plant\, Toronto (2018)\, the Art Institute of Chicago (2019)\, the ICA in Boston (2019) and Camden Art Centre\, London (2020).
URL:https://kaufmannrepetto.com/exhibition/vivian-suter-vivian-suter/
LOCATION:Museo reina Sofia\, Madrid
CATEGORIES:Museum Exhibitions
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