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DTSTART;VALUE=DATE:20180907
DTEND;VALUE=DATE:20180919
DTSTAMP:20210604T143744Z
CREATED:20210604T143744Z
LAST-MODIFIED:20210604T143744Z
UID:10543-1536278400-1537315199@kaufmannrepetto.com
SUMMARY:Climate Change is Real
DESCRIPTION:climate change is real\nLos Angeles–based feminist artist and activist Andrea Bowers believes that everything is political. In her neon works\, beauty and activism come together with vernacular signage to deliver direct statements\, often involving slogans that are widely circulated.\nClimate Change is Real is a project commissioned by YBCA with support from Bloomberg Philanthropies for the Global Climate Action Summit\, called by Governor Jerry Brown hours after President Trump withdrew the United States from the 2015 Paris Climate Agreement in July 2017. During his address\, Brown stated: “We in California and in states all across America believe it’s time to act\, it’s time to join together\, and that’s why at this Climate Action Summit we’re going to get it done.”\nFor Bowers\, creating public artworks that address crucial issues in heightened political moments is one of the most rewarding aspects of her work as an artist. She believes President Trump and his government have opted to embrace “alternative facts” and all but eliminate the role of scientists in creating environmental policy\, spurning the application of science as a tool for determining objective reality. Bowers offers a powerful response to the anti-science bias exemplified by some conservative media in the United States today. As we face a coordinated effort to fracture reality and render a unified opposition impossible\, the work offers an affirmative\, positive statement.
URL:https://kaufmannrepetto.com/exhibition/climate-change-is-real/
LOCATION:Yerba Buena Center for the Arts\, San Francisco
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180906
DTEND;VALUE=DATE:20181021
DTSTAMP:20220126T182516Z
CREATED:20201010T102944Z
LAST-MODIFIED:20220126T182516Z
UID:6293-1536192000-1540079999@kaufmannrepetto.com
SUMMARY:the bfg
DESCRIPTION:kaufmann repetto is pleased to present The BFG\, a group exhibition comprised of works by Robert Breer\, Franco Mazzucchelli\, Shimabuku\, and Franz Erhard Walther. The exhibition is titled after Roald Dahl’s 1982 novel of the same name\, an acronym for ‘The Big Friendly Giant’. The artists within the exhibition work in ways that distort and contradict conventions of the monumental\, be it through sheer physicality or by evoking a sense of wonder through shifts in everyday perspectives and phenomena. \nRather than imposing a static\, monolithic presence\, the works on view deny durability and identification with a concrete form and position. Instead\, these works relate to the environment as they adapt to it\, instilling a sense of familiarity that transforms the viewer’s relationship with the site itself. \nThe works on view within The BFG subvert authoritarian themes of control and conditioning by offering viewers opportunities of engagement and participation\, whereby an awareness of not fitting in serves as reminder to appreciate\, embrace and consider even the most improbable of everyday encounters. \n  \nRobert Breer (b. 1926\, Detroit\, MI – 2011\, Tucson\, AZ) was an experimental filmmaker and artist who worked in a multidisciplinary manner utilizing painting\, sculpture\, and installation-based practices. Both his films and his sculptures disrupted the concepts of linear narratives in art-making and ideas about figure-ground relationships. His mechanized Floats are considered to have tested these conventions of fixed sculptural works and their relationships to the laws of space. Breer was interested in the ways in which these works behaved independently to outside control; when prohibited of navigating in one direction\, the works redirect themselves in the opposite. Retrospectives and solo exhibitions of Breer’s works have been held at the Museum of Modern Art\, New York; Whitney Museum of American Art\, New York; Baltic Centre for Contemporary Art\, Gateshead; CAPC\, Bordeaux; and Musée National d’Art Moderne\, Paris; among others. A Float by Robert Breer is currently installed within MoMA’s sculpture garden. \nFranco Mazzucchelli (b. 1939\, Milan\, IT) lives and works in Milan. Since the 1970’s\, Mazzucchelli has been creating inflatable sculptures\, like the one on view\, typically with the intentions to place and abandon the works in public\, outdoor environments. These unannounced works would shift the familiarities with the given site by various passersby; often calling to attention and into action the intervention of various societal roles – the police may destroy the piece\, while children may play upon it; others may take them away\, stray from their typical paths in avoidance of the strange and potentially threatening object\, while others may simply marvel it. What typically remains thereafter\, in the sculpture’s absence\, are photographs and videos captured by the artist\, serving as evidence of the altered\, inhabited environment\, as it once was and as it is now. Mazzucchelli’s works have been included in historical exhibitions including the 15th Milan Triennale (1973)\, the 37th Venice Biennale (1976) and the 11th Rome Quadrennial (1986). Earlier this year (2018)\, the Museo del Novecento\, Milan\, presented an exhibition of Mazzucchelli’s works conceived between the mid 1960’s and the end of the 1970’s. Mazzucchelli was professor of Techniques of Sculpture at the Brera Academy of Fine Arts in Milan. \n\n\n\n\nShimabuku (b. 1969\, Kobe\, Japan) lives and works in Okinawa. His works frequently engage nature in an often-humorous yet poetic allusion to and projection of the wonder and potential in what surrounds us. In his work on view\, Something that Floats / Something that Sinks\, fruits and vegetables encircle each other\, in a pas de deux of sorts\, demonstrating an odd natural phenomenon of the differential densities in similar bodies. Solo exhibitions of Shimabuku’s work have been held at Kunsthalle Bern\, CH; Kunstverein Lübeck\, DE; Whitechapel Gallery\, London; CAPC Musée d’art Contemporain de Bordeaux\, FR; The National Museum of Art\, Osaka; and Vancouver Contemporary Art Gallery; among others. Recently his work has been included within the 57th Venice Biennial (2017) and the Okayama Art Summit curated by Liam Gillick (2016). His work is a part of numerous public collections\, such as the Louis Vuitton Foundation\, Paris; FRAC Ile de France\, Paris; FRAC Corse\, Corte\, France; Centre Pompidou\, Paris; Noveau Musee National de Monaco\, Monaco; and Kunstmuseum Bern\, Switzerland. (2017) and the Okayama Art Summit curated by Liam Gillick (2016). His work is a part of numerous public collections\, such as the Louis Vuitton Foundation\, Paris; FRAC Ile de France\, Paris; FRAC Corse\, Corte\, France; Centre Pompidou\, Paris; Noveau Musee National de Monaco\, Monaco; and Kunstmuseum Bern\, Switzerland. \n\n\n\n\nFranz Erhard Walther (b. 1939\, Fulda\, DE) lives and works in Fulda. His canvas-based works that incorporate the activation by the viewer’s own perceptions and physical body were devised as a means to “leave art history and discover new materials”. These works are presented in two modes\, Lagerform/Storage Situations or Handlungsform/Action Situations. In Storage Situations\, the work is packed away\, embodying the shape of its potential\, while viewers are encouraged to formulate their ideas about the piece through looking and envisioning the possibilities of its form. In Action Situations\, the works exist as fragments until the viewer’s own body is incorporated. When the artwork is completed via the involvement of the human figure\, it remains in a fragmentary form for the viewer experiencing the artwork\, as the image of the work’s completeness can only be conceived via imagination. Major solo exhibitions and retrospectives of Walther’s work have been held at Dia Art Foundation\, Dia:Beacon\, New York; Hamburger Kunsthalle; Fundación Jumex Arte Contemporáneo\, Mexico City; Museum of Modern and Contemporary Art\, Geneva; Museo Nacional Centro de Arte\, Reina Sofia\, Madrid; The Power Plant\, Toronto; MUDAM\, Luxembourg; Wiels Contemporary Art Centre\, Brussels; CAPC Musée d’Art Contemporain de Bordeaux\, FR; Städel Museum\, Frankfurt am Main; Stedelijk Van Abbemuseum\, Eindhoven; and the The Museum of Modern Art\, New York; among many others. His works have been included in numerousbiennials and institutional exhibitions such as the 57th Venice Biennale\, Arsenale; Manifesta 11\, Zürich; La Biennale di Venezzia\, When Attitudes Become Form: Bern 1969/ Venice 2013\, Fondazione Prada\, Venice; 30th Bienal de Sao Paolo; and Documenta 5\, 6\, 7\, and 8\, Kassel; among many others. From 1971 though 2005 he held a chair at the Hochschule für Bildende Künste Hamburg (class for sculpture).
URL:https://kaufmannrepetto.com/exhibition/the-bfg/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180825
DTEND;VALUE=DATE:20180826
DTSTAMP:20260424T094129Z
CREATED:20260424T094129Z
LAST-MODIFIED:20260424T094129Z
UID:28959-1535155200-1535241599@kaufmannrepetto.com
SUMMARY:Vivian Suter: el bosque interior
DESCRIPTION:vivian suter: el bosque interior \n\n\n\nVivian Suter (Argentine-Swiss\, born 1949) installs her large-scale abstract paintings as immersive interiors that mirror the exterior of her home: the Guatemalan rainforest. For the past 30 years\, Suter has lived and worked in a remote studio on a former coffee plantation in Panajachel\, Guatemala\, over 100 miles from Guatemala City. Much like the porous architecture of the Central American rainforest\, Suter’s colorful paintings on untreated canvases are exposed to the rainforest\, absorbing elements of the environment along the way. Monsoons\, hurricanes\, bright equatorial sun\, and plant and animal life leave their marks on the paintings and contribute to the generative life of the work. \nSuter explains her method of painting as a profoundly sensory experience: \n“I allow my consciousness to permeate the moment of painting\, enabling all of my senses to simultaneously influence the canvas in front me: how I feel about myself and others; the noises of the village in the distance; my natural surroundings\, light\, temperature\, sun\, rain\, and trees all intermingle to inspire me. The seasons highly affect my paintings. At the moment\, it is rain season in Guatemala\, so my work is impacted by the rainfall and thunderstorms. I use the rainwater to wet my pigments\, oils\, acrylics\, and fish glue\, and the mud finds its way onto the canvases.” \nSuter embraces the inevitability of her work’s natural decay\, underscoring the cycles of life of which they are a part and\, ultimately\, their mortality as organic objects. Her approach to the installation of her work expands from the ecology of its production. While each painting retains its independence\, the works are closely associated\, together forming an ecosystem of related parts. \nFor el bosque interior\, a suite of Suter’s paintings populates the Modern Wing’s Griffin Court. Configured in response to the space\, the assemblage creates an interior in which the various elements are at once autonomous and congruent\, harmonious and dissonant.
URL:https://kaufmannrepetto.com/exhibition/vivian-suter-el-bosque-interior/
LOCATION:Art Institute of Chicago\, Chicago
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180824
DTEND;VALUE=DATE:20181126
DTSTAMP:20221130T153502Z
CREATED:20221130T153502Z
LAST-MODIFIED:20221130T153502Z
UID:15384-1535068800-1543190399@kaufmannrepetto.com
SUMMARY:Reflexologies
DESCRIPTION:nina canell: reflexologies \n\n\n\nCable cuts\, energetics\, and gunk.\n\nNina Canell explores the potential of inconspicuous or hidden objects and materials. Cut-open power and fiber optic cables\, unwound wire spools\, and exposed electrical lines demonstrate her interest in technical advances\, physical properties\, and their imperceptible processes. \nThe artist makes use of found items and used objects and transforms them into sculptural arrangements. Her processual works evoke a sense of stored knowledge and simultaneously refer to the invisible\, immaterial transfer of data. By revealing hidden things and incorporating them into sometimes complex\, sometimes simple installations\, she questions our everyday experience in a way that is both serious and ironic.
URL:https://kaufmannrepetto.com/exhibition/reflexologies/
LOCATION:Kunstmuseum St. Gallen\, St. Gallen
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180714
DTEND;VALUE=DATE:20181029
DTSTAMP:20210708T164227Z
CREATED:20210708T160848Z
LAST-MODIFIED:20210708T164227Z
UID:11270-1531526400-1540771199@kaufmannrepetto.com
SUMMARY:Beautiful world\, where are you?
DESCRIPTION:Beautiful world\, where are you?\n\n\n\nInformed by various modes of reading\, writing and poetics\, Ebner’s work deri- ves from a combination of sources including poetry\, experimental writing and found language. Building letters and phrases from vernacular materials such as cardboard\, concrete blocks\, electronic message boards and found typography\, she highlights how language communicates as a material form. Ebner works in photo- graphy\, sculpture\, video and artist publications. Her projects are often realised through installation.\nShannon Ebner has developed a photographic work for Bluecoat\, with a related sound piece in the gallery’s courtyard. Tailored to its environment\, this com- mission connects to Ebner’s series STRAY (2017)\, which comprises photographs and readings by the American poets Susan Howe and Nathaniel Mackey. The new work further explores Ebner’s forays into expanded forms of image-making\, drawing viewers’ attention to the sonic\, phonic and tonal medium of sound in relation to the various graphic tones of photography.
URL:https://kaufmannrepetto.com/exhibition/beautiful-world-where-are-you/
LOCATION:Liverpool Biennial\, Liverpool
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180713
DTEND;VALUE=DATE:20181001
DTSTAMP:20251029T111236Z
CREATED:20251029T111023Z
LAST-MODIFIED:20251029T111236Z
UID:26451-1531440000-1538351999@kaufmannrepetto.com
SUMMARY:Clarissa Tossin: Pacha\, Llaqta\, Wasichay: Indigenous Space\, Modern Architecture\, New Art
DESCRIPTION:Clarissa Tossin: Pacha\, Llaqta\, Wasichay: Indigenous Space\, Modern Architecture\, New Art \n  \nPacha\, Llaqta\, Wasichay: Indigenous Space\, Modern Architecture\, New Art investigates contemporary art practices that preserve and foreground Indigenous American notions of the built environment and natural world. The three words in the exhibition’s title are Quechua\, the Indigenous language most spoken in the Americas. Each holds more than one meaning: pacha denotes universe\, time\, space\, nature\, or world; llaqta signifies place\, country\, community\, or town; and wasichay means to build or to construct a house. Influenced by the richness of these concepts\, the artworks explore the conceptual frameworks inherited from\, and also still alive in\, Indigenous groups in Mexico and South America that include the Quechua\, Aymara\, Maya\, Aztec\, and Taíno\, among others.  \nThe show features the work of seven emerging Latinx artists based in the United States and Puerto Rico: william cordova\, Livia Corona Benjamin\, Jorge González\, Guadalupe Maravilla\, Claudia Peña Salinas\, Ronny Quevedo\, and Clarissa Tossin. Their works investigate the complex relationship that indigenous and vernacular notions of construction\, land\, space\, and cosmology have had in the history of modern and contemporary art and architecture in the Americas. \nThis exhibition is organized by Marcela Guerrero\, assistant curator\, with Alana Hernandez\, curatorial project assistant.
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-pacha-llaqta-wasichay-indigenous-space-modern-architecture-new-art/
LOCATION:Whitney Museum of American Art\, New York
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180623
DTEND;VALUE=DATE:20180903
DTSTAMP:20221130T153609Z
CREATED:20221130T153609Z
LAST-MODIFIED:20221130T153609Z
UID:15394-1529712000-1535932799@kaufmannrepetto.com
SUMMARY:Energy Budget
DESCRIPTION:nina canell: energy budget \n\n\n\nNina Canell’s sculpture transcends the quiet and static. Her artistic practice does not revolve around the finished art object but the surprising\, movable and inexhaustible capacities of the matter it contains. Throughout the sculptural process\, this potential of energy is being managed\, placed\, moved\, distributed\, lost and regained\, but never fully controlled. \nCanell’s sculptures and installations are the result of both chance encounters and careful observations. They generate dynamic connections between solid objects and elusive phenomena that together testify to what has happened or is happening. This mediation between stuff\, substances and structures always leaves traces: from the distance that they travelled\, the things they bumped into\, or the time that passed through them. Canell incorporates such residues as integral aspects of her work. Her plastic experiments are not an attempt to explain the world to us but to densify it with the impurities of process\, the impact of experience and the unexpected directions in which they send our attention. \nIn her exhibition at S.M.A.K.\, Nina Canell integrates the museum’s architecture\, light and relationship with the outside environment\, which influences the location of the sculptures and determines the transformation they undergo on site. The arrangements of objects\, with their individual characteristics\, in turn create a specific atmosphere by which the space is undeniably affected. In the only darkened space of the exhibition\, a collaborative video reveals in razor-sharp detail the intoxicating complication of movement and stasis of a leopard slug and a number of dragon holes.
URL:https://kaufmannrepetto.com/exhibition/energy-budget/
LOCATION:S.M.A.K\, Ghent
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180609
DTEND;VALUE=DATE:20181001
DTSTAMP:20210322T160519Z
CREATED:20210317T125532Z
LAST-MODIFIED:20210322T160519Z
UID:7422-1528502400-1538351999@kaufmannrepetto.com
SUMMARY:Sensory Space 14
DESCRIPTION:sensory space 14\n  \nLatifa Echakhch presents a new installation for the fourteenth edition of Sensory Spaces in Museum Boijmans Van Beuningen. It is the first time this internationally renowned artist – winner of the 2013 Marcel Duchamp Prize and the 2015 Zurich Art Prize – will have a solo exhibition in the Netherlands. Especially for the Willem van der Vorm Galerij\, Echakhch creates a dramatic scene with clothes drenched in black ink. On the floor are the traces left by the clothes as they were dragged across it. Walking through the room visitors will discover that the traces form meaningful patterns.\nLatifa Echakhch describes herself as a romantic at heart. Born in Morocco\, she grew up in France\, in Aix-les Bains on the banks of Lac du Bourget\, a romantic landscape par excellence. Nowadays she lives and works in Martigny in the equally charming surroundings of the Swiss Alps. She draws the inspiration for her work from memories of her childhood and from political events\, literature and poetry.\nArt history too\, in particular the art of the nineteen-sixties and seventies\, is a reference point for her aesthetic vocabulary. Echakhch makes works\, often in the form of compositions with existing objects\, which have a strongly emotional\, melancholic and sometimes even violent expressive power. At the same time her work is characterized by a minimalist pictorial idiom\, with an acute sense of form and an economy of means. Echakhch excels in eliminating the superfluous and maintaining a balance between form and content.\nVisitors who see her work often witness the fallout from an action: coloured\nglass shards from smashed teacups (Erratum\, 2009)\, the scratched-out remains of a mural (Cross Fade\, 2017) or prayer mats where the middles have been cut out so that only the fringed edges remain\, like empty frames (Frame\, 2008). Visitors only see what is left\, so they must call upon their powers of imagination.\nThe notion of absence plays a major role in Echakhch’s oeuvre. Something that is absent or intangible – a homeland\, a national identity – can have a huge and lasting impact. Yet it would be too easy to reduce her work to a melancholy reflection of ostensibly lost cultural roots. Concepts like ‘identity’\, ‘origin’ and ‘belonging’ do play a role in her work\, but are deconstructed rather than empowered. She uses objects\, motifs and materials that are supposedly ‘Arabic’ or ‘oriental’\, and thus supposed to define her culturally\, but then she hollows them out or smashes them to bits – like the Moroccan teacups which are just as exotic to her as to everyone else.\nAnother example is the work Stoning (2010)\, a collection of loose stones that the artist threw forcibly against the walls of a gallery. The work inexorably conjures up the image of a stoning and is a silent indictment of this method of capital punishment\, with a long history in Christian iconography and still in use in some Islamic countries . At the same time\, the work holds echoes from recent art history\, for example the minimalist sculptures by Richard Long and the performance Stoning the Refrigerator (1996) by Jimmie Durham. Echakhch feels a strong need to undermine preconceived ideas about identity\, nationality and cultural tradition. Although this is sometimes accompanied by a violent force\, the political content of her work is never frontal or one-dimensional\, but rather subtle and poetic.\ncurated by Nina Folkersma
URL:https://kaufmannrepetto.com/exhibition/sensory-space-14/
LOCATION:Museum Boijmans
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180607
DTEND;VALUE=DATE:20180908
DTSTAMP:20220126T182556Z
CREATED:20191218T135007Z
LAST-MODIFIED:20220126T182556Z
UID:1617-1528329600-1536364799@kaufmannrepetto.com
SUMMARY:a is for and\, am\, anxious\, apple\, adore...
DESCRIPTION:kaufmann repetto is pleased to announce the first solo exhibition in Italy by Anthea Hamilton. \nAnthea Hamilton’s work weaves complex symbols and narratives\, bringing together references from architecture and design history to personal themes via fashion and popular culture. Her sculptures and immersive installations\, such as the one currently on view at Tate Britain for the Duveens Commission\, are often animated by performances that involve and activate the public as much as the space. \nThe exhibition presents a new body of work that expands recurring themes in Hamilton’s oeuvre. The “wavy boot”\, one of Hamilton’s leitmotivs\, appears in varying versions: sinuous and oversized to the artist’s own height; chunky and made of concrete\, with window-like cavities; colorful and tiered\, held together by the boot’s own lacing; or transparent and secured by locks. Both individually and collectively\, these works cling to the notion of accessory as a futile concern\, but also as a fetish\, an object of both erotic and consumerist desire. Each accessory\, in turn\, is dressed in additional ornaments and accoutrement\, creating a recursive analyzation of its own principles and form. \nThe body is a recurring subject matter in Hamilton’s practice\, who often utilizes her own as a matrix for her works. The second space is animated by a series of three-dimensional arrangements that include acrylic cut-outs of the artist’s own legs. These tableaux\, which act like 3D collages\, incorporate both common and unexpected elements\, chosen both for their tactile or evocative qualities. \nThe works are positioned against a wallpaper depicting a scrambled view of the sky\, more reminiscent of a desktop than of an idyllic landscape. Destabilizing the boundaries of the gallery’s physical space\, it calls into question the ideological constructs of the gallery as an organization\, while at the same time eliciting notions of a contrived ideal that is both virtual and almost dreamlike\, suspended by an air of humor and lightness. \nAnthea Hamilton (b. 1978\, London) is based in London\, UK. She was one of four shortlisted artists for the 2016 Turner Prize. Recent solo shows include: The Squash\, Tate Britain\, London; Anthea Hamilton Reimagines Kettle’s Yard\, Hepworth Wake eld\, UK; LICHEN! LIBIDO! CHASTITY! at Sculpture Center\, New York; Sorry I’m Late\, Firstsite\, Colchester\, UK; Les Modules\, Foundation Pierre Bergé–Yves Saint Laurent\, Palais de Tokyo\, Paris. Her work has been presented as part of the British Art Show 8 and in numerous international venues\, such as at the Schinkel Pavillon\, Berlin\, (with Nicholas Byrne)\, the 13th Lyon Biennale and the 1th Gwangju Biennale. A solo exhibition of Hamilton’s work will be hold at Secession\, Vienna\, in September 2018. \n  \nkaufmann repetto è lieta di presentare la prima mostra personale in Italia di Anthea Hamilton (UK\, 1978). \nIl lavoro di Anthea Hamilton intreccia simboli e narrative complesse\, mettendo insieme riferimenti che vanno dall’ architettura e storia del design al femminismo e temi personali\, passando attraverso moda e cultura popolare.\nLe sue sculture e installazioni immersive -come quella attualmente presente alla Tate Britain di Londra per la Duveens Commission- sono spesso animate da performance che coinvolgono e attivano il pubblico\, tanto quanto lo spazio che le accoglie. \nLa mostra presenta un nuovo corpo di opere che espande temi ricorrenti nella pratica di Hamilton. Lo “stivale ondulato”\, un letimotiv della sua ricerca\, appare qui in diverse versioni: sinuoso e sovradimensionato\, alto quanto l’artista; tozzo\, di cemento e con aperture simili a finestre; colorato e a più strati\, tenuti insieme da lacci; trasparente e assicurato al suo stesso plinto da lucchetti. Sia singolarmente che nel loro insieme\, questi lavori ammiccano all’idea di accessorio come futile preoccupazione\, ma anche come feticcio\, oggetto del desiderio sia erotico che consumistico. \nIl corpo è un tema scandagliato costantemente nel lavoro di Hamilton\, che spesso utilizza il proprio come matrice per le sue opere. La mostra include una serie di assemblaggi realizzati a partire da sagome in perspex delle gambe dell’artista. Questi tableaux\, simili a collage in tre dimensioni\, incorporano elementi strani e disparati\, scelti per le loro qualità tattili o evocative. \nLe opere si stagliano sullo sfondo di una carta da parati raffigurante un cielo scomposto\, più simile ad un desktop che ad un paesaggio idilliaco. Destabilizzando i confini fisici dello spazio della galleria\, sembra volerne mettere in discussione anche i costrutti ideologici\, evocando un ideale artificioso ma allo stesso tempo virtuale e onirico\, sospeso da un’aria di umorismo e leggerezza. \nAnthea Hamilton (n. 1978\, Londra) vive e lavora a Londra. E’ stata finalista del Turner Prize nel 2016. Le sue mostre personali recenti includono: The Squash\, Tate Britain\, Londra\, UK; Anthea Hamilton Reimagines Kettle’s Yard\, Hepworth Wakefield\, UK; LICHEN! LIBIDO! CHASTITY!\, Sculpture Center\, New York\, US; Sorry I’m Late\, Firstsite\, Colchester\, UK; Les Modules\, Foundation Pierre Bergé–Yves Saint Laurent\, Palais de Tokyo\, Parigi\, FR. Il suo lavoro è stato inoltre presentato nella mostra itinerante British Art Show 8 ed in numerosi contesti internazionali\, come lo Schinkel Pavillon\, Berlino (with Nicholas Byrne)\, la 13ma Biennale di Lione e la 1ma Biennale di Gwangju. Hamilton avrà una mostra personale presso la Secessione di Vienna nel settembre 2018.
URL:https://kaufmannrepetto.com/exhibition/a-is-for-and-am-anxious-apple-adore/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180601
DTEND;VALUE=DATE:20181029
DTSTAMP:20210709T154543Z
CREATED:20210709T154346Z
LAST-MODIFIED:20210709T154543Z
UID:11423-1527811200-1540771199@kaufmannrepetto.com
SUMMARY:Amateur
DESCRIPTION:Amateur\nEstablished with the aim to promote the growth of the younger generation of artists\, the 2018 Premio MAXXI has now reached its ninth edition as it evolves into the MAXXI BVLGARI PRIZE. Several changes have been introduced this year\, starting from the remarkable partnership with maison Bvlgari\, which works side by side with the museum in its outstand- ing efforts to support and promote emerging artists\, investing in culture and the future of art. With an eye on both theItalian and the international scenario\, for the first time ever candidates for the award may include artists from outside of Italy. The choice of the finalists and the winner is up to a jury that includes some of the most influential names in the field of contemporary art: David Elliott\, Independent Curator\, Yuko Hasegawa\, Artistic Director\, Museum of Contemporary Art\, Tokyo\, Hans Ulrich Obrist\, Artistic Director of Serpentine Galleries\, London\, Bartolomeo Pietromarchi\, Director MAXXI Arte\, and Hou Hanru\, Artistic Director of Fondazione MAXXI. An honorary committee including Giovanna Melandri\, President of Fondazione MAXXI\, Jean Christophe Babin\, CEO for the Bulgari Group\, the Oscar-winning filmmaker Giuseppe Tornatore will contribute to valorizing the image of this prize in the world.\n\n\n\nThe artists who are in the running for the MAXXI BVLGARI PRIZE 2018 are TaliaChetrit (Washington\, D.C.\, 1982)\, Invernomuto (Simone Bertuzzi\, Piacenza\, 1983\, Simone Trabucchi\, Piacenza\, 1982)\, and Diego Marcon (Busto Arsizio\, 1985). In Galleria 4\, the exhibition is mounted so that it is fluid and immersive\, leading to the discovery of the finalists’ unpublished or recently produced works.\n\n\n\nThe exhibition opens with the immersion in the work of Invernomuto\, whose workincludes a film\, a sound installation\, a sculpture and a fragrance\, for a mixture of languages that characterizes their artistic research. In a space cloaked in semi-darkness the focal point is a large shaped screen on which the filmCalendoola: SURUS (2018) is projected in a loop. The room is also filled with high and low frequencies\, a fragrance reminiscent of the Far East\, and Z0a\, a work made out of the original 1990 Replicante by Mimmo Rotella. Moving along a deliberately essential path\, the exhibition continues with Ludwig (2018) by Diego Marcon. The first work by the artist consisting entirely of CGI (computer- generated imagery)\, the film is set inside a ship tossed by a storm at sea. Belowthe deck\, at the mercy of a storm\, a child wearing a blue sweater and a yellow polo is holding a lighted match\, and singing a song that is interrupted as soonas the flame starts to burn his fingers.\nThe scene arouses a feeling of empathy\, annoyance\, and irony vis-à-vis the young protagonist’s suffering\, recalling the spirit of our time. Depending on the path chosen by the visitor\, Amateur(2018)\, the group of photographs and video presented by Talia Chetrit\, eitheropens or closes the MAXXI BVLGARI PRIZE exhibition with a project arranged in three rooms. By exploring themes like the spontaneity of the subject before thecamera\, the boundary between public and private sphere\, Chetrit is often herselfthe protagonist of these representations\, just as her partner\, friends\, and family members are the subject here. A study of the control mechanisms and the alteration in the reality inherent to the photographic medium is at the heart of the research of this artist\, who experiences its power on her body\, choosing how much to show of her own intimate and private dimension.\n\n\n\nThe winner of the ninth edition will be announced on October 13\, 2018\, and on the occasion of the Awards Ceremony an exhibition catalogue dedicated to the three finalists will be presented as well. The work made by the winner will be acquiredby MAXXI\, joining its permanent collection.
URL:https://kaufmannrepetto.com/exhibition/amateur/
LOCATION:MAXXI BVLGARI PRIZE\, MAXXI\, Rome
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180519
DTEND;VALUE=DATE:20181029
DTSTAMP:20210428T111523Z
CREATED:20210331T125837Z
LAST-MODIFIED:20210428T111523Z
UID:8743-1526688000-1540771199@kaufmannrepetto.com
SUMMARY:Magritte Parti
DESCRIPTION:Nicolas party: magritte parti\nSeveral works by René Magritte are exceptionally crossing the ocean\, for the exhibition “René Magritte: The Fifth Season” at the prestigious San Francisco Museum of Modern Arts (SF MoMA) from 19 May until 28 October 2018.\nDuring this period\, the Magritte Museum presents works of the contemporary artist Nicolas Party\, who created a unique dialogue with Magritte’s fascinating universe. Nicolas Party’s playful and colorful creations – exclusively made for the Magritte Museum – will turn the place upside down!Nic\nToday Nicolas Party\, born in Lausanne in 1980\, is recognized for his electrically sensitive pastels that feed on a make-believe world that is at once gentle and ironic. At the Museum\, he engage in dialogue with René Magritte\, a painter who has made a deep and lastingly impression on him. Looking at these pastels with their new sensuality\, the two artists meet in certain aspects. First among these is a striking sense of mystery and the resurgence of the marvellous. Both artists are keen to show the “beautiful side of things” as well as to re-enchant an over-morose and utilitarian reality. Next to more than twenty pastels and sculptures\, Nicolas Party also created a large mural in context of this project.
URL:https://kaufmannrepetto.com/exhibition/magritte-parti/
LOCATION:Magritte Museum – Bruxelles
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180517
DTEND;VALUE=DATE:20180704
DTSTAMP:20220126T182605Z
CREATED:20191216T165226Z
LAST-MODIFIED:20220126T182605Z
UID:900-1526515200-1530662399@kaufmannrepetto.com
SUMMARY:Works: 1930 - 1996
DESCRIPTION:kaufmann repetto in collaboration with Andrew Kreps Gallery\, is pleased to announce the first survey exhibition in the United States of Bruno Munari’s (b. 1907\, Milan\, d. 1998\, Milan) work\, curated by Alberto Salvadori. \nBruno Munari described himself as an “artist\, writer\, inventor\, designer\, architect\, and illustrator\,” a list that is nowhere near exhaustive. He began his career at an early age during the second wave of Italian Futurists\, exhibiting his work for the first time in 1927 at Galleria Pesaro\, Milan. Simultaneously he pursued activities as an art-director\, curator\, and illustrator. In the years following\, he progressively moved away from the influence of Futurism\, developing an extremely personal and singular project over the course of 60 years. In 1930\, he produced the Aerial Machine\, from which came his Macchine Inutili (Useless Machines)\, anticipating his interest in the deconstruction of the traditional work of art. Much of Munari’s work is characterized by a pedagogic interest and a radical vision of expanding man’s understanding of the world through the development of new forms of visual communication. Prolific in output throughout his life\, and tirelessly inventive\, his work includes some of the earliest experiments in what Munari himself would term “programmed art”\, as well as light art\, installation art\, projection-based art\, and photocopy art. Throughout his work\, Munari viewed technology as a democratizing force within Art\, citing the potential for an “art by all”\, and the destabilization of the idea of the singular artistic genius. \nThe exhibition\, which will occupy both kaufmann repetto’s and Andrew Kreps Gallery’s 537 and 535 West 22nd Street locations\, will include seminal works from key moments within Munari’s oeuvre. Beginning with his turn to abstraction and Macchine Inutili in the 1930s\, the exhibition will highlight themes that remained constant throughout his career. These include his interest in dynamism or the study of the fluidity of signs and shapes that first brought Munari to programmed art; his engagement with the machine\, displayed through his use of the photocopier\, experiments with light\, and the creation of fossils for the future; and poetics and wit through his use of found objects\, research into language and the human face\, and theoretical reconstructions of imaginary objects. The majority of the works to be exhibited have not previously been shown in the United States. \nBruno Munari’s work is currently the subject of an exhibition on view at the Museum of Modern Art\, Hayama\, Japan\, which will travel to the Kitakyushu Municipal Museum of Art\, Iwate Museum of Art\, and the Setagaya Art Museum\, Tokyo (all 2018). His work is also included in Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943\, curated by Germano Celant at Fondazione Prada\, Milan\, on view through June 25. Other recent exhibitions include Museo Ettore Fico\, Turin\, 2017\, and the Estorick Collection of Italian Modern Art\, London\, 2012. Munari exhibited extensively throughout his lifetime\, participating in major international exhibitions that include Documenta 3\, Kassel\, 1964\, Documenta 4\, Kassel\, 1968\, and nine editions of the Venice Biennale. In 1955\, he had a two-person exhibition with Alvin Lustig at the Museum of Modern Art\, New York\, and in 1966\, had a solo exhibition at the at the Museum of Modern Art\, New York\, and in 1966\, had a solo exhibition at the Howard Wise Gallery\, New York. His work has also been exhibited at institutions that include the Museum Fridericianum\, Kassel\, Hayward Art Gallery\, London\, the Walker Art Center\, Minneapolis\, Stedelijk Museum\, Amsterdam\, Van Abbemuseum\, Eindhoven. Munari’s works are held in the permanent collections of the Museum of Modern Art\, New York\, Centre Pompidou\, Paris\, Moderna Museet\, Stockholm\, Museo del Novecento\, Milan\, and the Walker Art Center\, Minneapolis\, among others. A reader will accompany the exhibition at Andrew Kreps Gallery with newly translated texts\, as well a new essay by Alberto Salvadori. A new iteration of the exhibition will open at kaufmann repetto\, Milan in fall 2018. \nAlberto Salvadori is an art historian based in Florence\, graduated from the University of Pisa. Between 2009 and 2016\, Salvadori was the director of Museo Marino Marini in Florence. Selected projects include exhibitions of the work of Marino Marini\, Fausto Melotti\, Giò Ponti\, James Lee Byars\, Lynn Chadwick\, Francesco Lo Savio\, Andrea Zittel\, João Maria Gusmão & Pedro Paiva\, Yuri Ancarani\, Matthew Brannon\, Jonathas De Andrade\, Silke Otto Knapp\, Tony Lewis\, and Fredrik Vaerslev. \nThe gallery would like to thank Repetto Gallery\, London for their collaboration in the organization of the exhibition.
URL:https://kaufmannrepetto.com/exhibition/bruno-murari/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180514
DTEND;VALUE=DATE:20180917
DTSTAMP:20211201T175152Z
CREATED:20211201T174551Z
LAST-MODIFIED:20211201T175152Z
UID:12682-1526256000-1537142399@kaufmannrepetto.com
SUMMARY:Garden of Memory
DESCRIPTION:garden of memory \nThis exhibition has been conceived as a conversation between three artists: Etel Adnan\, Simone Fattal and Robert Wilson. It was inspired by their shared experiences\, whether in Morocco\, Lebanon\, California or Paris. Etel Adnan and Simone Fattal spent their lives between Beirut\, Sausalito (California) and Paris. Both artists visited Morocco numerous times in the 1970s and 1980s\, and contributed considerably to the artistic scene of the country. Etel Adnan and Robert Wilson became friends in 1972 before working together. Etel Adnan wrote the French text for Robert Wilson’s legendary 1984 opera The CIVIL warS. The close friendship between Pierre Bergé and Robert Wilson\, as well as their shared vision\, led to the creation of many important works by the stage director. \nThe exhibition is based on a succession of these shared memories and experiences. Garden of Memory reveals itself as a non-linear narrative\, a mental landscape\, a choreography combining poetry\, sound and sculpture. The thrust behind it all is a poem by Etel Adnan\, “Conversation with my soul (III)\,” read by Robert Wilson over music by Michael Galasso. In turn\, Simone Fattal responds to the poem by manifesting the profound coherence between the various creative elements. Her sculptures — stelae\, figures and angels – discretely exalt the capacity for listening and perceiving.
URL:https://kaufmannrepetto.com/exhibition/garden-of-memory/
LOCATION:Musée Yves Saint Laurent\, Marrakech
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180509
DTEND;VALUE=DATE:20181231
DTSTAMP:20210428T154019Z
CREATED:20210428T154019Z
LAST-MODIFIED:20210428T154019Z
UID:9468-1525824000-1546214399@kaufmannrepetto.com
SUMMARY:OUT
DESCRIPTION:Judith hopf: out\n\nHow do everyday objects\, architecture and technology affect the human body\, human behaviour and inter-human relationships? Berlin-based artist Judith Hopf explores these issues in art where humour is also a main factor. ‘Art shouldn’t be too serious\,’ she says. Judith Hopf’s works are on display at SMK – National Gallery of Denmark from 10 May.\nGiant pears have been carved out of solid cubes built out of red bricks. The inherently illogical nature of producing pear-shaped sculptures out of square bricks is typical of the artist Judith Hopf (b. 1969). By having such easily bruised\, perishable fruits shaped out of solid\, durable bricks and scaling up the almost cartoonish pear shapes to form monumental sculptures\, Hopf challenges our habitual views of the world.\n‘”Out” is an interesting word because it can have positive or negative connotations. On the one hand\, being deemed “out” would be horrific within the world of fashion – and this applies within the world of art\, too. No-one wants to be “out”! On the other hand\, if you don’t “come out” in terms of your political ideas or sexual preferences\, you won’t feel free and fulfilled as a human being. So there’s also a very positive side to the term “out”\,’ explains Judith Hopf.\nShe is interested in the marginalised\, in what falls outside the norm\, in what is situated on the peripheries. From this outsider position\, her works challenge what is expected\, habitual and conformist.\nThe exhibition includes the video work bearing the same name: OUT. In this video\, Hopf makes a reference to the American architect John Hejduk. In the 1980s\, Hejduk proposed the construction of a new neighbourhood along Friedrichstrasse on the western side of the Berlin Wall: Berlin Masque. The project was never realised\, but in 1988 Hejduk had a fragment of the original plan built in the Kreuzberg area of the city in the form of the distinctive postmodernist building complex known as the Kreuzberg Tower and Wings.\nThe facades of the two side wings look like faces or masks: the windows are eyes lidded by awnings. At first\, we are led to believe that Hopf filmed the actual building in Berlin. But when the house is seen to move in a later sequence\, it turns out to be a scaled-down mock-up worn like a costume: the person inside lifts up the house and walks out of the picture. Here\, Hopf puts an added spin on her original source of inspiration\, but like Hejduk\, she is keenly interested in the urban space as a living organism that affects and regulates our sense of community.
URL:https://kaufmannrepetto.com/exhibition/out/
LOCATION:SMK – National Gallery of Denmark\, Copenaghen
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180422
DTEND;VALUE=DATE:20180616
DTSTAMP:20210322T160539Z
CREATED:20210317T130551Z
LAST-MODIFIED:20210322T160539Z
UID:7454-1524355200-1529107199@kaufmannrepetto.com
SUMMARY:Falling\, lovely and beautiful
DESCRIPTION:falling\, lovely and beautiful\n  \nFalling\, lovely and beautiful is a new set of works by the French-Morrocan artist Latifa Echakhch presented in KIOSK. An installation involving bronze bells\, a performative video and a series of drawings in ink. For these works\, the objects or texts have been stripped of their original meanings and contexts in order to make new interpretations possible. Driven by the necessity to counter certain prejudices\, contradictions and stereotypes in our society\, she isolates and questions materials that are symbolic for these phenomena. By giving them a new setting or a different space\, new meanings or unexpected characteristics may arise.\nAll this applies to the exposition Falling\, lovely and beautiful as well\, with the title freely referring to the Nick Cave song As I sat sadly by her side.\nThe monumental shattered bronze bells under the central dome\, are exact replicas of the church bells from the destroyed church Lübeck\, a German city bombed in 1942. While the church is now fully restored\, the bells are left lying exactly where they hit the ground at the time.\nWhile the pieces of fallen bells emphasise silence in terms of stilled notes or muted violence\, in the side room piano notes resound amidst huge noise. For this video\, Echakhch simultaneously evokes an act of creation and destruction by making someone play the piano while\, at the same time\, someone else splits the instrument to pieces with a sledgehammer.\nIn a similar way\, Echakhch’s series of ink drawings deconstructs Arabic poetry. On sheets of newspaper she ‘transcribed’ the original texts\, but only copying the punctuation or vowels. Traditionally and linguistically though in Arabic poetry\, exactly these ‘auxiliary signs’ essentially define the meaning for the whole sentence or the poem. Here\, the sheets of newspaper are largely left blank\, the signs as mere unreadable connotations. The text\, in other words\, becomes an abstract drawing\, bearing within it the possibility of a whole new reading.
URL:https://kaufmannrepetto.com/exhibition/falling-lovely-and-beautiful/
LOCATION:Kiosk\, Ghent
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180419
DTEND;VALUE=DATE:20180625
DTSTAMP:20210611T172728Z
CREATED:20210611T172618Z
LAST-MODIFIED:20210611T172728Z
UID:11100-1524096000-1529884799@kaufmannrepetto.com
SUMMARY:Sleep Rock
DESCRIPTION:Sleep Rock\n\n\n\nSleep Rock is the first solo exhibition in the UK by New York-based artistSadie Benning. The exhibition’s title evokes a dream state where perception is blurred by the merging of memory\, vision and association.\nInstalled sequentially in the galleries\, this new body of work reads with a filmic register – frame by frame – as pictures are apprehended from a distance\, or seen in detail close-up. An important operation of scale is brought into play\, both in the varying sizes of the panels and in Benning’s use of images. Fragments are enlarged or brought closer\, photographs dissolve into painterly abstraction and images remain mutable\, reflecting an indexical relationship to the multiplicity of meanings projected onto them.\nSleep Rock includes a series made with a completely new approach to materials: transparencies\, analogue photos and digital prints are embedded within layers of resin\, enamel and spray paint on wall-based panels. In other works\, Benning cuts large panels into pieces\, layering the components with aqua-resin before re-assembling them to create works that hover between painting and sculpture. Benning’s approach to images\, materials and installation reveals a hybridapproach that actively resists categorisation and fixity. This in-between quality reflects decades of enquiry into the operation and influence of culturalmaterial\, beginning with Benning’s earliest video works made in the late 1980s and subsequent explorations in drawing\, painting and music production. The process of amassing\, recontextualising\, editing\, sequencing\, and destabilising both found and original content continues to propel Benning’s current practice.
URL:https://kaufmannrepetto.com/exhibition/sleep-rock/
LOCATION:Camden Arts Center\, London
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180411
DTEND;VALUE=DATE:20180601
DTSTAMP:20220126T182614Z
CREATED:20191121T162232Z
LAST-MODIFIED:20220126T182614Z
UID:220-1523404800-1527811199@kaufmannrepetto.com
SUMMARY:disrupting and resisting
DESCRIPTION:kaufmann repetto is pleased to announce Disrupting and Resisting\, Andrea Bowers’ second solo exhibition with the gallery. \nThe foundation of the show is a new video that records the protests and marches on the first two days of the Trump presidency in Washington D.C. The video focuses on two different activist groups\, #DisruptJ20 and the Women’s March. It is the artist’s goal to memorialize these activist groups and their actions around the Trump inauguration as important moments of descent in support of democracy\, freedom of speech\, social justice and the right of the people to peaceably assemble. As the activist named Future of Black Lives Matter is recorded proclaiming in the video\, “Coalitions aren’t meant to be permanent. Sometimes they are fragile and they are temporary but we have got to build them. This\, these next four years\, we have got to find each other in this movement… We have got to find each other in this.” Forming political alliances and understanding intersectionality is the consistent theme of the exhibition. \nThe first room of kaufmann repetto Milan includes Disrupting and Resisting\, J20 & J21\, an hour and a half documentary video that honors the work of two activist groups whose founding principles are similar. #DisruptJ20 is a collective of activists who came together for a series of mass protests to shut down the inauguration ceremonies. The video documents actions\, beginning in the early morning\, as activists linked arms at security checkpoints attempting to block the entry into the inaugural parade route and the commencement ceremony followed by a nonviolent\, celebratory parade to McPherson Square that is suddenly and violently dispersed by riot police using tear gas\, rubber bullets and pepper spray. The footage continues into the night as DisruptJ20 members are arrested for protesting the inaugural galas. #DisruptJ20 coalition included: The Future is Feminist\, Movement for Black Lives\, Climate Justice\, Labor Justice\, Queer rights\, Racial Justice and Communities Under Attack. \nThe second day of video was shot on January 21\, 2017 and records the Women’s March on Washington\, the largest single-day protest in U.S. history\, which was aimed at Donald Trump and his anti-women or otherwise offensive positions and statements. The women-led movement brought together people of all genders\, races\, cultures\, sexual orientations\, political affiliations\, disabilities and backgrounds to affirm a shared humanity and pronounce a bold message of resistance and self-determination. Bowers purposely unites these two groups and days of action to highlight a strong and diverse alliance fighting against white supremacy\, patriarchy and the suppression of freedom. \nWords are power\, especially in a country committed to free speech in its constitution. Installed within the same space as the video is Forbidden Words Illuminated\, a new neon piece\, that puts the Trump administration’s recently banned words in flashing lights: vulnerable\, entitlement\, diversity\, transgender\, fetus\, evidence-based and science-based. The Washington Post first reported on December 15\, 2017 that the Trump administration was prohibiting the Center for Disease Control (CDC)\, the United States’s top public health agency\, from using a list of seven words and phrases in official budget documents. After immediate\, intense and viral response from medical groups calling these measures censorship and “Orwellian”\, spokespersons for the Department of Health and Human Resources described not a ban or prohibition on use of the words but rather suggestions of avoiding these words. \nThe second room focuses primarily on feminist issues borrowed from the Women’s March. Bowers includes a grouping of four from her series of colorful cardboard collage drawings\, each of which illustrate powerful women. The images originate from the history of political graphics\, but have been reworked to represent contemporary feminist issues such as diversity\, immigration\, intersectionality\, trans liberation and the #metoo movement. Along with these works is a playful LED sign made of cardboard that flashes the slogan\, Fight Like A Girl\, a prominent slogan seen throughout the Women’s March. The third\, smaller space in the gallery has a wall installation of spray painted fans revealing slogans she collected from the first and second Women’s March. \nAndrea Bowers’ recent solo exhibitions include: Hammer Projects – Bureau of Feminism\, The Hammer Museum\, Los Angeles (2017); Womxn Workers of the World Unite!\, Contemporary Arts Center\, Cincinnati (2017); Andrea Bowers: Sanctuary\, Bronx Museum\, New York (2016); In Situ 1 – Andrea Bowers\, Espace Culturel Louis Vuitton\, Paris (2014); #sweetjane\, Pomona and Pitzer College Museum of Art\, Claremont\, (2014); The Weight of Relevance\, Wiener Secession\, Vienna\, traveled to The Power Plant\, Toronto (2007). Among her recent group exhibitions: Agora\, The High Line\, New York (2018); Power to the People. Political Art Now\, Schirn Kunsthalle Franfurt (2018); Documenta 14\, Fridericianum\, Kassel (2017); La Terra Inquieta\, Triennale di Milano\, Milan (2017); The Revolution Will Not Be Gray\, Aspen Art Museum\, Aspen (2016); Drawing Now\, Albertina\, Vienna (2015). Bowers’ work is held is the collections of The Hammer Museum of Art\, Los Angeles\, MoMA\, New York\, The Whitney Museum of American Art\, New York\, The Hirshhorn Museum and Sculpture Center\, Washington DC\, The Museum of Contemporary Art\, Los Angeles\, and Museum Abteiberg\, Moenchengladbach\, Germany\, among others.
URL:https://kaufmannrepetto.com/exhibition/disrupting-and-resisting/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180401
DTEND;VALUE=DATE:20180402
DTSTAMP:20210322T160600Z
CREATED:20210316T132328Z
LAST-MODIFIED:20210322T160600Z
UID:7381-1522540800-1522627199@kaufmannrepetto.com
SUMMARY:Le jardin mécanique
DESCRIPTION:Le jardin mécanique\n  \nLatifa Echakhch is presenting a new wide installation conceived for the Nouveau Musée National de Monaco and created specifically for Villa Sauber. Curated by Célia Bernasconi\, it combines references to the development of modern Monte-Carlo – such as the construction of the Opéra Garnier and the luxuriant gardens of exotic plants – with her own impressions and childhood memories.\nHaving delved into the paper set models made by Alphonse Visconti\, the decorator at the Opéra de Monte-Carlo from 1903 to 1938\, Latifa Echakhch has created a landscape as artificial as fantasized\, composed of fragments of sets built for Pompeii\, Rigoletto\, Masques et Bergamasques\, and other stage productions\, which offer a distant echo of the poems composed by Lamartine on the shore of Lake Bourget.\nThis landscape\, suspended from the cables of imaginary theatrical machinery\, is closely linked with the tradition of automata\, from which the artist took inspiration to create a mechanical garden in the rooms of the museum.\nStimulated by the setting of this emblematic residence of the Belle Époque and its rose garden\, it is in the renewal of this tradition of romantic landscape and its associated topos – the contemplation of ruins – that Latifa Echakhch has conceived this last exhibition at Villa Sauber before it shuts for works.
URL:https://kaufmannrepetto.com/exhibition/le-jardin-mecanique/
LOCATION:NMNM – Villa Sauber
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180322
DTEND;VALUE=DATE:20181008
DTSTAMP:20210712T141154Z
CREATED:20210712T141154Z
LAST-MODIFIED:20210712T141154Z
UID:11532-1521676800-1538956799@kaufmannrepetto.com
SUMMARY:The Squash
DESCRIPTION:the squash\n\n\n\nTate Britain today unveils The Squash\, an immersive installation combining performance and sculpture by 2016 Turner Prize nominee Anthea Hamilton. The Squash has been created for the annual Tate Britain Commission\, supported by Sotheby’s.\nAnthea Hamilton has transformed the heart of Tate Britain into an elaborate stage for the continuous 6-month performance of a single character\, dressed in a colourful squash-like costume. Over 7\,000 white floor tiles have been laid to span the length of the Duveens and encase a series of large structures that serve as podiums for a number of works of art from Tate’s collection\, chosen by Hamilton for their organic forms and colours. The tiles create an immersive new environment within the neoclassical galleries.\nThe artist is influenced by the early 20th century French writer and dramatist Antonin Artaud and his call for the ‘physical knowledge of images’\, it is this bodily response to an idea or an image that she wishes to examine in The Squash. Each element of the work has evolved from Hamilton’s interest in a found photograph\, for which the original source has since been lost. The viewer must imagine its history and intention and it is here the artist brings together tiles\, structures\, sculptures and costumes\, inviting the performer to explore their own interpretation of the image. Hamilton has designed seven costumes in collaboration with Creative Director Jonathan Anderson at the fashion house LOEWE\, that incorporate the colours and shapes of varieties of squash or pumpkin. Performers will select a costume each day\, informing and reflecting their individual presentation of the character as they inhabit the space.\nAnthea Hamilton is renowned for her bold\, often humorous works which incorporate references from the worlds of art\, design\, fashion and popular culture. She has exhibited widely with recent large-scale\, site-specific installations including her Turner Prize nominated exhibition Lichen! Libido! Chastity! at the SculptureCenter in New York\, re-staged at Tate Britain in 2016\, and Anthea Hamilton Reimagines Kettle’s Yard at The Hepworth Wakefield.
URL:https://kaufmannrepetto.com/exhibition/the-squash/
LOCATION:Tate Britain\, London
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180303
DTEND;VALUE=DATE:20180401
DTSTAMP:20220126T182622Z
CREATED:20200109T102736Z
LAST-MODIFIED:20220126T182622Z
UID:2314-1520035200-1522540799@kaufmannrepetto.com
SUMMARY:hubris pubis scatis
DESCRIPTION:kaufmann repetto is pleased to announce Dianna Molzan’s exhibition Hubris Pubis Scatis. \nThe paintings in this show may not obviously sign to our current political situation but they have everything to do with it. Unlike past shows\, where the paintings supported or complimented one another\, often with a unifying theme\, no attempt was made to harmonize the works in Hubris Pubis Scatis. These are six solos sounding at once\, brought together through the time and space of their making. Each is unapologetically its own thing with different material agendas and internal logic. \nEven so\, there are a few reoccurring elements found in the work; heavily bordered and contained spaces; paint acting as residual gunk and grime; blocked and confusing compositions; sagging or overtaken forms. All of these creative impulses\, along with the title Hubris Pubis Scatis\, express a deep concern about the current threat to our civil liberties and public institutions. \n  \nDianna Molzan (B. 1972\, Tacoma\, WA) lives and works in Los Angeles\, CA. Molzan’s work is currently a part of The Conscientious Objector curated by Lauren Mackler and Francesca Bertolotti-Bailey at MAK Center for Art and Architecture\, Los Angeles. Solo exhibitions include those at the ICA Boston (2012) and the Whitney Museum of American Art\, NY (2011). Her work has been included in exhibtiions at the Museum of Modern Art\, NY (2014); ICA Boston (2013); Walker Art Center\, Minneapolis (2013); and the Hammer Museum\, Los Angeles (2011); among others. Her work is a part of numerous public collections including the Hammer Museum\, Los Angeles; ICA Boston; San Francisco Museum of Modern Art; Whitney Museum of American Art\, NY; Walker Arts Center\, Minneapolis; University of Chicago; and the Los Angeles County Museum of Art; among others.
URL:https://kaufmannrepetto.com/exhibition/hubris-pubis-scatis/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180220
DTEND;VALUE=DATE:20180820
DTSTAMP:20210521T114211Z
CREATED:20210521T114211Z
LAST-MODIFIED:20210521T114211Z
UID:10044-1519084800-1534723199@kaufmannrepetto.com
SUMMARY:Huh
DESCRIPTION:Huh\nSCAD Museum of Art presents “Huh\,” an exhibition by Dutch artist Lily van der Stokker. Her multifarious approach to artmaking embraces the joys and foibles of domesticity and relationships. Through painting\, sculpture and installation\, as well as a blurring of these distinct disciplines\, van der Stokker immerses viewers in an environment of saccharine happiness. In the exhibition\, the artist explores constructed ideas of femininity and the body though an exuberant embrace of pinks\, and motifs like flowers and curlicues.\nSuggestions of the body are found in cartoonish forms; two large wall paintings pair short sayings like “nice being here on the left side\,” “nice being here on the right side” or “laying here together” with lumpy anthropomorphic twosomes. While these wall paintings tower over viewers\, they are inviting and pleasant. Their limp bodies are adorned in floral elements and painted in the style of a doodle\, evoking friendly cartoon giants. Text in other sculptures and paintings is similarly affable\, innocuous or passive\, like “Best Regards” or the exhibition’s namesake “Huh.”\nVan der Stokker’s sculptures and paintings explore traditional ideas and clichés of femininity\, while radically turning them on their heads through ownership and assertion. All of the works in “Huh” are executed in shades of pink. The color\, culturally assigned to young girls\, has come to represent youth\, girlishness or frivolity. Through the enthusiastic\, brazen embrace of pink\, van der Stokker questions this coding. The artist flips the idea of optimistic color as unintelligent and employs happiness and optimism as her greatest strengths.\nIn addition to color\, nods to tidiness and cleanliness in the domestic space are referenced in select sculptures with small shelves holding toilet paper rolls\, precisely placed and untouched. The toilet paper rolls bring another element of low cultural status to the exhibition. While pleasant and tidy\, they encapsulate the endeavors of the artist to present viewers with harmless imagery\, while ultimately critiquing traditional roles of women.\nThis exhibition is part of SCAD deFINE ART 2018\, held Feb. 20–23 at university locations in Savannah and Atlanta\, Georgia\, and Hong Kong. SCAD deFINE ART is an annual program of exhibitions\, lectures\, performances and public events that highlights emerging and established artists and visionaries.
URL:https://kaufmannrepetto.com/exhibition/huh/
LOCATION:SCAD Museum of Art\, Savannah
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180217
DTEND;VALUE=DATE:20180326
DTSTAMP:20210709T161542Z
CREATED:20210709T161330Z
LAST-MODIFIED:20210709T161542Z
UID:11439-1518825600-1522022399@kaufmannrepetto.com
SUMMARY:Showcaller
DESCRIPTION:Showcaller\n\n\n\nThe photographic work of Talia Chetrit (B. 1982\, Washington D.C.) is characteri- zed by a remarkable compositional sophistication and visual power\, accompanied by a stringent programmatic objective. Her work includes self-portraits\, portraits of family members\, lovers\, and friends\, nudes\, still lifes\, and cityscapes that continuously reveal various intentional references to art history. Chetrit oc- casionally draws from photographs taken during her youth and re-contextualizes these images by inserting them into her current practice through a selective editing process.\nRegardless of the respective subject matter or approach to the development of each image\, her interest resides in researching and disclosing the basic social\, conceptual\, and technical conditions of the genre of photography. As a result\, her work is imbued with the desire to control the physical and historical li- mitations of the camera\, to follow its manipulative potential\, and to call the relationship between the photographer and the image into question.\n\n\n\nThe exhibition Showcaller\, which Chetrit conceived especially for the Kölnischer Kunstverein\, comprises a group of predominately new and revisited works that give exemplary insight into her practice. The presentation includes an extensive se- ries of pictures titled Streets\, which depict lively and inhabited views of New York City. Through the use of tight cropping of grainy negatives\, the city and its people become an unknowing and abstracted network of bodies over which Che- trit can command her own manipulated narratives. Taken from afar and through the windows of various buildings\, the distance between Chetrit’s pervasive lens and her unwitting subjects’ anonymity is further emphasized.\nIn the context of the exhibition\, this series of works is juxtaposed with photo- graphs that convey an alternative perspective\, and instead instill a pronounced sense of intimacy through the conspicuous disclosure of private moments. A lar- ge-format diptych\, for example\, depicts the artist and her partner having sex. Imaged against a blooming landscape\, neither of the subjects seem aware of the camera’s austere gaze. The viewer is tethered to the scene by the twisting cord of the camera’s cable release\, in such a way that we are reminded\, once again\, of our own position in the construction of images.
URL:https://kaufmannrepetto.com/exhibition/showcaller/
LOCATION:Kölnischer Kunstverein\, Köln
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180212
DTEND;VALUE=DATE:20180619
DTSTAMP:20250130T150557Z
CREATED:20250130T150557Z
LAST-MODIFIED:20250130T150557Z
UID:23201-1518393600-1529366399@kaufmannrepetto.com
SUMMARY:Womxn Workers of the World Unite
DESCRIPTION:public space. The exhibition takes its name from the ancient Greek word referring to the square—the public gathering area that was the core of commercial\, artistic\, political\, and spiritual life in old city-states like Athens. For centuries\, artists have used public locations and the public in general—as the heart of for their work. By transforming public places into theaters and arenas for performances and collective actions\, artists mobilize a kind of collective voice of the people. By manipulating our expectations of what does and does not belong in these ostensibly collectively owned spaces\, artists challenge what public spaces are\, how they’re made\, and who they’re made for. The forms of artists’ works in public space vary widely in scale\, volume\, and form\, from single speaker’s corners to sprawling protests; from grand parades and processions to secret\, intimate performances; from bronze historical equestrian statues to initials etched in pavement; and from WPA murals to graffiti tags. However\, across time they share common themes\, challenging why and how public space\, life\, and activities are separated from private ones; how boundaries are drawn\, built\, and transgressed; and who is allowed to stand and speak\, and where. \nThe exhibition looks at the power of art to change society\, the role of art in public space\, and whether art can be a form of protest. Artists working in public often take a political tone\, mobilizing the public for social and political change\, and for the possibility of realizing an alternate future. On the High Line—a public space and a natural platform—nine artists share their experiences inhabiting\, speaking out of\, and challenging the assumed boundaries of public space\, where different voices can be heard\, addressing important topics such as women’s rights\, mass incarceration\, the environment\, and immigration. \n 
URL:https://kaufmannrepetto.com/exhibition/womxn-workers-of-the-world-unite/
LOCATION:Contemporary Arts Center\, Cincinnati
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180212
DTEND;VALUE=DATE:20180331
DTSTAMP:20220126T182733Z
CREATED:20200110T144152Z
LAST-MODIFIED:20220126T182733Z
UID:3316-1518393600-1522454399@kaufmannrepetto.com
SUMMARY:pietra dura
DESCRIPTION:kaufmann repetto is pleased to announce Pietra Dura\, Nicolas Party’s second solo exhibition with the gallery. \nThe series of works realized on the occasion of this show\, sees Party working through new materials and techniques. Pietra Dura includes wall paintings\, inlaid marble works\, and tromp l’oeil wooden panels are in dialogue\, transforming the spaces of the gallery. \nWithin Pietra Dura\, still lifes\, landscapes and portraiture\, recurring themes in Nicolas Party’s practice\, are re-contexualized via the influence of diverse cultural connotations. Eight stacked masks create a totem-like structure\, while also alluding to eastern forms and subject matter\, such as Japanese noh theater. A cylindrical mustard vase\, cought between a domestic and a sacred dimension\, is in dialogue with traditional European iconography\, like that of Saint Sebastian. \nThe monumental doorways made of wood panels\, painted to emulate marble\, wood and precious stones\, refer to various cultures\, distant both in space and in time. Milanese doors are accompanied by others of middle-eastern tradition\, drawing simultaneously from the architecture of ancient civilizations but also of modernized appropriations. \nTime itself is at the basis of Nicolas Party’s works. The desire to connect different cultures within a cohesive yet diversified environment is suggestive of an advocacy for a universal art. By choosing wood and marble\, materials that have been used decoratively and functionally for millennia\, as the subject matter of numerous works and wallpaintings themselves\, Party redistributes discourses of temporality\, the ephemeral versus the permanent. These wallpaintings\, which are inherently transient in nature become as enduring as the stones that they represent; their presence within the space is sequentially concealed yet integrated with each new layer of paint applied thereafter. \nSuch paradoxes remain recurring motifs within Nicolas Party’s work: marble\, most traditionally bound to the history of sculpture\, is translated through painting\, simultaneously straddling pure décor and supportive elements. Wallpaintings\, framed by faux marble archways\, concurrently allude to elevated interiors\, like those of Roman descent as discovered in Pompeii and Herculaneum and which still exist today\, but also to everyday examples exposed throughout the streets of present-day cities. The artist creates a visual oxymoron where the poeticity of the content opposes the solemnity of its medium. Party’s works conflate traditional categorization of art making practices and deny its hierarchies. \nPietra Dura mediates the symbolic codes of visual language\, be it via geometrical forms or cultural motifs\, as we consider these gateways as portals linking the inheritance of the past and the prospects of the future. \n\n  \n\nkaufmann repetto è lieta di annunciare Pietra Dura\, la seconda mostra personale di Nicolas Party in galleria. \nLa nuova serie di lavori realizzata per kaufmann repetto vede Nicolas Party cimentarsi con materiali e tecniche di lavorazione differenti. Nella mostra wallpaintings\, marmi e lavori trompe-l’oeil su pannelli lignei dialogano l’uno con l’altro trasformando gli spazi della galleria. \nIn Pietra Dura nature morte\, paesaggi\, nudi e ritratti\, temi ricorrenti nella produzione artistica di Nicolas Party\, si affiancano a nuove iconografie. Otto maschere del teatro noh giapponese\, sovrapposte a formare una struttura totemica\, aprono la mostra a influenze orientaliste\, così come il vaso cilindrico color senape\, in bilico tra dimensione domestica e sacra\, dialoga con immagini radicate nella tradizione iconografica europea\, prima tra tutti\, quella del San Sebastiano. \nI portoni monumentali\, pannelli di legno dipinti a emulare marmi\, legni e pietre pregiate\, sono cornici e al contempo opere a sé stanti\, e citano anch’essi culture differenti\, distanti geograficamente e temporalmente. Le architetture milanesi si affiancano così ad altre di derivazione orientale e medio-orientale\, traendo spunto tanto dall’archeologia quanto dall’età moderna. \nIl tempo stesso è alla base del lavoro di Nicolas Party. Il desiderio di connettere luoghi e culture diverse è intimamente legato alla volontà di creare un’arte universale\, accessibile da un pubblico eterogeneo. La scelta del legno e del marmo\, materiali di tradizione millenaria\, così come degli stessi murales\, assume un significato preciso. I wall-paintings\, in particolare\, apparentemente effimeri perché realizzati con la consapevolezza di essere presto rimossi\, sono concepiti invece come lavori eterni\, come le rocce che raffigurano: fatti per rimanere tra le mura della galleria\, eventualmente sepolti sotto una nuova pittura\, comunque presenti. \nIl paradosso è un elemento caratterizzante l’arte di Nicolas Party: il marmo\, tipicamente legato alla storia della scultura\, prende il posto della pittura\, mentre quest’ultima diventa elemento di supporto e decorativo. Il wall-painting invece\, incorniciato in riquadri di finto marmo a citare quelli romani di Ercolano e Pompei\, è innalzato ad opera museale\, abbandonando la sua dimensione di strada. Nicolas Party crea un ossimoro visivo in cui la poeticità dei soggetti rappresentati contrasta con la solennità del loro medium. Per questo l’arte di Nicolas Party è anche politica: essa sfida le categorie tradizionali dell’arte e ne rifiuta le gerarchie. \n\n  \n\nnicolas party: biografia\, selezione di mostre istituzionali e collezioni pubbliche\n  \nbiografia\n  \nnato nel 1980 in svizzera. vive e lavora tra new york e brussels. \nnicolas party reinterpreta la storia dell’arte comunicando attraverso il suo linguaggio personale con motivi ricorrenti come le nature morte\, i paesaggi e i ritratti\, nei suoi wall paintings\, pastelli\, disegni\, marmi e installazioni. utilizzando forme canoniche e tecniche classiche in maniera contemporanea e a volte effimera\, come affrescando e posizionando i suoi dipinti sul wall painting\, la sua pratica sfida le gerarchie e suggerisce un’arte universale che sfida l’aura del tempo. \n  \nselezione di mostre istituzionali\n  \nle recenti mostre personali di nicolas party includono: nicolas party: pastel\, curata da nicolas party\, the flag art foundation\, new york (2019); arches\, m woods\, beijing\, cina (2018-2019); magritte parti\, magritte museum\, brussels (2018); nicolas party: speakers\, modern art\, oxford\, united kingdom (2017); sunrise\, sunset\, hirshhorn museum and sculpture garden\, washington dc (2017); hammer museum\, los angeles (2016); dallas museum of art\, dallas\, (2016); three elephant’s day\, bonner kunstverein\, bonn (2014); landscape\, kunsthall stavanger\, norvegia (2014); still life\, stones and elephants\, swiss institute\, new york (2012) e molte altre. nicolas party avrà una retrospettiva al masi\, lugano nel 2020. \nnicolas party ha partecipato alla biennale di pittura presso il museo dhondt-dhaenens\, deurle\, belgio (2018). \ntra le mostre collettive di nicolas party possiamo menzionare: frac lorraine\, metz; fondazione vincent van gogh\, arles; s.m.a.k.\, ghent; inverleith house\, royal botanic garden\, edimburgo; himalayas museum\, shanghai; museum folkwang\, essen e molte altre. \n  \ncollezioni pubbliche\n  \nle opere di nicolas party sono presenti in molte collezioni pubbliche\, tra cui: david roberts art foundation\, londra; museum folkwang\, essen; royal museums of fine arts of belgium\, brussels; sifang art museum\, nanjing; kunsthall stavanger; kunsthaus zurich; masi lugano; migros museum für gegenwartskunst\, zurigo; mwoods\, beijing; westfälischer kunstverein\, munster; hammer museum\, los angeles; fiorucci art trust\, londra; fondazione fiera milano; fondazione sandretto re rebaudengo\, torino; julius baer art collection; jupiter artland\, edinburgh; marciano foundation\, los angeles; roche art collections; rubell family collection\, miami; swiss re art collection\, zurigo; ubs art collection e zurich insurance art collection.
URL:https://kaufmannrepetto.com/exhibition/pietra-dura/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180209
DTEND;VALUE=DATE:20180416
DTSTAMP:20210428T162446Z
CREATED:20210428T162446Z
LAST-MODIFIED:20210428T162446Z
UID:9490-1518134400-1523836799@kaufmannrepetto.com
SUMMARY:Stepping Stairs
DESCRIPTION:stepping stairs\nSince the 1990s\, Judith Hopf (born 1969 in Karlsruhe\, DE) has been developing an independent artistic language that has consistently managed to stake out new ground over the years\, be it in the form of sculpture\, film\, drawing\, performance or even stage design. Her works are deeply rooted in the use of everyday materials\, like brick\, concrete\, glass\, packaging\, and plausible manufacturing processes.\nThey speak of the things\, which form and influence us in our everyday lives\, while also reacting to what could be described as a contemporary condition. Her works draws references to the effects that developments in economics and technology have had on our bodily and mental composition. For her exhibition at KW Institute for Contemporary Art\, Hopf will continue her engagement with the materiality of bricks. The masoned brick works succinctly occupy an intermediary position that fluctuates between sculpture and (exhibition) architecture\, both dividing and augmenting the exhibition space. These pieces will be contrasted with older bodies of work in KW\, including a reworked version of Hopf’s laptop sculptures. Here\, the artist makes a humorous reference to the way we interact with computers and the growing tendency to perceive them as part of our bodies. Whereas at the same time we as a species rely on implants and prostheses more than ever before.\nAlongside these sculptural works\, the exhibition at KW will include a new film as well as an ambitious commission for the facade in KW’s courtyard. In these works\, two historic artists have served as immediate sources of inspiration: on one hand the American architect and architectural theorist John Hejduk (1929–2000)\, on the other the German artist Annette Wehrmann (1961–2010). An installation of the Serpentine Streamer Texts by Annette Wehrmann alongside an audio recording of her reading of the texts will be presented on the 3rd floor at KW from February 10th until March 11th\, 2018.\nA comprehensive publication will be produced parallel to the exhibition\, which compiles new and already existing texts by Hopf as well as by the central companions of her work.
URL:https://kaufmannrepetto.com/exhibition/stepping-stairs/
LOCATION:KW Institute for Contemporary Art\, Berlin
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180203
DTEND;VALUE=DATE:20180416
DTSTAMP:20210611T110056Z
CREATED:20210611T110056Z
LAST-MODIFIED:20210611T110056Z
UID:10912-1517616000-1523836799@kaufmannrepetto.com
SUMMARY:Public Fiction: The Conscientious Objector
DESCRIPTION:Public Fiction: The Conscientious Objector \nPublic Fiction’s The Conscientious Objector was a multifaceted endeavor that unfurled in parts from February to April 2018. It comprised a publication\, a series of artist-made commercials for television\, an exhibition of artworks activated by performances\, and public programs. \nSet in West Hollywood\, The Conscientious Objector considered how art and culture can establish acts of resilience through ‘non-participation’ and elliptical routes\, in contrast to more blatantly socio-political forms of resistance\, as well as the ways in which they might use the tropes and platforms of entertainment\, advertising and mass culture to reach its audiences.that is\, without making any assumptions about who these audiences were. \nThe overall project was an exploration of different modes or degrees of ‘public address’ – most obviously through a live confrontation with actors in the exhibition\, at a step removed via TV commercials\, more obliquely via individual artworks\, and in the longer term through the publication. \nabout the exhibition \nThe Conscientious Objector at the Schindler House presented new and existing works by Sam Gilliam\, Anthea Hamilton\, Lucy McKenzie\, Dianna Molzan\, and Suki Seokyeong Kang\, plus a new durational performance delivered by professional actors and directed by Todd Gray. Each artist inhabited a different room of the Schindler House\, which was progressively activated by a performance that employed the publication as script and prop.
URL:https://kaufmannrepetto.com/exhibition/public-fiction-the-conscientious-objector/
LOCATION:MAK Center for Art and Architecture\, Los Angeles
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180202
DTEND;VALUE=DATE:20180522
DTSTAMP:20210428T111818Z
CREATED:20210413T153251Z
LAST-MODIFIED:20210428T111818Z
UID:8875-1517529600-1526947199@kaufmannrepetto.com
SUMMARY:Splendeurs du Pastel de la Renaissance à Nos Jours
DESCRIPTION:Nicolas Party – Splendeurs du Pastel de la Renaissance à Nos Jours\n\n\n\nIn the spring of 2018 the Fondation de l’Hermitage will present a major exhibition on the art of pastel down the centuries. Around a hundred works from private and public collections in Switzerland will be shown\, offering a history of this fascinating technique from the early masters of the Renaissance to contemporary works\, taking in the 18th century portrait artists\, the landscapes of the Romantics\, the Barbizon School and avant- garde explorations of the late 19th century.\nThe exhibition will showcase dazzling masterpieces housed in Swiss collections. Starting with the remarkable group of pastels preserved at the Hermitage – including the well known Danseuses au repos by Edgar Degas – it will include exceptional works by Federico Barocci\, Jacopo Bassano\, Rosalba Carriera\, Jean-Etienne Liotard\, Maurice Quentin de la Tour\, Jean- Baptiste Perronneau\, Jean-Siméon Chardin\, Eugène Delacroix\, Jean-François Millet\, Eugène Boudin\, Claude Monet\, Alfred Sisley\, Edouard Manet\, Berthe Morisot\, Mary Cassatt\, Odilon Redon\, Fernand Khnopff\, Ker-Xavier Roussel\, Maurice Denis\, Alexandre-Théophile Steinlen\, Egon Schiele\, Ernst Ludwig Kirchner\, Kees van Dongen\, Augusto Giacometti\, Pablo Picasso\, Paul Klee\, Balthus\, Sean Scully and Nicolas Party.\nThrough this unusual selection of the highest quality\, the Fondation de l’Hermitage will offer visitors an exclusive opportunity to discover works that are seldom put on public show\, still less as a group\, and to explore a medium that has been used in experiments of all kinds\, in which the power of pure colour is expressed with lightness and grace.
URL:https://kaufmannrepetto.com/exhibition/splendeurs-du-pastel-de-la-renaissance-a-nos-jours/
LOCATION:Fondation de l’Hermitage\, Lausanne
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180118
DTEND;VALUE=DATE:20180225
DTSTAMP:20220126T182741Z
CREATED:20201009T143505Z
LAST-MODIFIED:20220126T182741Z
UID:6255-1516233600-1519516799@kaufmannrepetto.com
SUMMARY:Women are very good at crying and they should be getting paid for it
DESCRIPTION:kaufmann repetto is pleased to present Women are very good at crying and they should be getting paid for it\, a group exhibition comprised of works by Bas Jan Ader; Gee’s Bend Quiltmakers: Mary Lee Bendolph\, Loretta Pettway Bennett\, and Marlene Bennett Jones; Kazuko Miyamoto; Christina Ramberg; and Lily van der Stokker. The exhibition is the third in a series initiated at kaufmann repetto Milan in 2013\, drawing attention to themes of femininity\, gender-related issues\, and equity for under-represented voices. \nThe title of the exhibition is taken from a quote by Lily van der Stokker. It not only leans into an exaggeration of gendered stereotypes as a means of ownership\, but it also expresses value in the emotional sphere as a tool of cultural enrichment. In an essay included within Yayoi Kusama’s 2009 monograph\, Mirrored Eyes\, the artist writes\, “art is not above the sexes. A woman’s psyche is different\, her mind and temperament is different. When women are not holding back in their expression\, we see artworks that are so different they can repulse and confuse us. Women are new in the field of art and bring a whole new range of subject matter to us. I think that there still is a world of undeveloped material. Women can be sweet\, sentimental\, sensual\, communicative\, decorative\, weak…emotional and what else?….they are very good at crying……So much yet to come.” \nThe artists within this exhibition each\, in their own way\, examine the emboldened complexities of vulnerability and its ability to generate conditions of change and progress. The artworks on view warp the connotations of what has historically been relegated as inferior or unambitious – be it the domestic and intimate\, like in Lily van der Stokker’s and Bas Jan Ader’s works\, or ‘craft’\, as in the works of the Gee’s Bend Quiltmakers\, a group of women quilting in an isolated region of Alabama for over four generations. As one of the few female artists partaking in minimalist conversations in 1960’s-70’s New York\, Kazuko Miyamoto expanded beyond the practice’s limitations by inserting her personal and cultural narratives into the work\, often empshaizing the individuality of the handwrought. Christina Ramberg’s paintings draw from forms of restrictive undergarments\, such as corsets\, girdles\, and bras\, revealing the unnantural\, contorted ideals of female beauty and simultaneously celebrating female sexuality. These works coalesce within the exhibition as a means to defy these constraints of bias and use them instead as affirmations of autonomy. \nBas Jan Ader was born in 1942\, Netherlands and lost at sea during his performance In Search of the Miraculous in 1975. His work is characterized by an ongoing investigation of sensitivity\, romanticism\, and vulnerability. These qualities set his work apart from his male contemporaries\, whose practices at the time largely tended to utilize ‘macho’ vocabularies and approaches. One year prior to Chris Burden’s performance in which he filmed himself taking a bullet\, Bas Jan Ader sat before a video camera sobbing in his work I’m too sad to tell you (1971). Though Ader’s life and career were brief\, his contributions are widely respected. Solo exhibitions of his work have been held at Museo d’Arte Moderna di Bologna\, IT (2013); Kunsthalle Basel\, CH (2007); Museum Boijmans Van Beuningen\, Rotterdam\, NL and Camden Arts Center\, London\, UK (2006); Portikus\, Dusseldorf\, DE (2003); Bonner Kunstverein and Kunstverein Braunschweig\, DE (2000); Stedelijk Museum\, Amsterdam\, NL (1988); among others. \n\n\n\n\nThe Gee’s Bend Quiltmakers have been quilting for over four generations. The name of the group is defined by the geographical location where the quilters’ ancestors lived\, primarily on the Pettway plantation\, along an isolated bend of the Alabama River. Their quilts are recognized as among the most important African American cultural contributions in the United States. It is often considered due to their isolation\, working with the materials available\, that the quilter’s developed a distinctive improvisational and almost minimal approach to quilting; one that deviated from the ordered patterns of Euro-American quiltmaking\, and instead\, created an innovative language entirely their own. Often passed down from mother to daughter as a familial inheritance\, quilting has historically provided women a vehicle of creativity\, expression\, and a symbol of matriarchal legacy. As a collective\, the Gee’s Bend Quiltmakers’ have exhibited institutionally including at the Philadelphia Museum of Art\, PA (2008); Museum of Fine Arts Boston\, MA (2005); Whitney Museum of American Art\, New York\, NY (2003); and Museum of Fine Arts Houston\, TX (2002); among others. Works by Mary Lee Bendolph (B. 1935)\, as well as a collaboration with her daughter\, Essie B. Pettway (B. 1956); Loretta Pettway Bennett (B. 1960); and Marlene Bennett Jones are included within the current exhibition at kaufmann repetto New York. \nKazuko Miyamoto (B. 1942\, Tokyo) has lived and worked in New York since the early 1960’s. Her first studio was located on Hester Street in the same building as Adrian Piper and Sol LeWitt\, who she would go on to work with as his first studio assistant. Miyamoto’s work was included within historical exhibitions\, such as 13 Women Artists (1972)\, initiated by female artists in protest of the lack of representation of minorities in art institutions\, collections\, and arts periodicals. In 1974 she joined A.I.R. gallery whom she would remain affiliated with for nearly a decade. She opened her own gallery Onetwentyeight in 1986\, which is now the longest running gallery on the Lower East Side\, supporting the work of her peers and creating an open community regardless of race or gender. Recently\, her works have exhibited at L’ISELP Contemporary Art Center\, Brussel\, curated by Florence Cheval (2016); the Japan Foundation\, Delhi (2015); and Kunsthalle Krems\, Austria (2008); among others. \nChristina Ramberg (B. 1946\, Fort Campbell\, KY – 1995\, Chicago\, IL) was a part of the Chicago Imagists\, a group of artists living in Chicago in the 1960’s\, whose works were linked byillustrative and figurative motifs and via an intentional distinction from the New York and European art scenes. The imagists sourced much of their subject matter from imagery readily available in everyday life\, often gravitating towards the ‘awkward’\, ‘outsider’\, and ‘garish’. Ramberg herself culled much of her material from romance comics and lingerie catalogues. While she did experience a fair amount of support during her lifetime\, her works have begun to receive wider acclaim and international notoriety posthumously. In 2013\, her works were presented in a solo exhibition at the Institute of Contemporary Art\, Boston\, MA. Her work has recently been included in exhibitions at the Fondazione Prada\, Milan\, IT (2017); Museum of Contemporary Art Chicago\, IL (2017); Whitney Museum of American Art\, New York\, NY (2015); Jewish Museum\, New York\, NY (2015); and the Liverpool Biennial\, UK (2014); among others. \nLily van der Stokker (B. 1954\, Hertogenbosch\, NL) lives and works between Amsterdam and New York. Her works on view were included within an installation at the Hammer Museum\, Los Angeles in 2015. van der Stokker’s disarming and colorful wall paintings and installations address the decorative\, the domestic and the sentimental as a way to challenge stereotypes of femininity. Recent solo exhibitions include the New Museum (lobby)\, New York\, NY (2013); Van Abbemuseum\, Eindhoven\, NL (2010); Museum Bojimans van Beuningen\, Rotterdam\, NL (2010); Tate St. Ives\, Cornwall (2010); Aspen Art Museum\, CO (2007); Bonnefanten Museum\, Maastricht\, NL (2004); Museum Ludwig\, Koln\, DE (2003); and Le Consortium\, Dijon\, FR (2002); among others. In 2018\, van der Stokker will have solo exhibitions at SCAD in Savannah\, GA and the Stedelijk Museu in Amsterdam\, NL.
URL:https://kaufmannrepetto.com/exhibition/women-are-very-good-at-crying-and-they-should-be-getting-paid-for-it/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180113
DTEND;VALUE=DATE:20180702
DTSTAMP:20251029T112835Z
CREATED:20251029T111935Z
LAST-MODIFIED:20251029T112835Z
UID:26461-1515801600-1530489599@kaufmannrepetto.com
SUMMARY:Clarissa Tossin: Encontro das Águas (Meeting of Waters)
DESCRIPTION:Clarissa Tossin: Encontro das Águas (Meeting of Waters) \n  \nThe title of Clarissa Tossin’s (Brazil\, 1973) new body of work is taken from the confluence of the Rio Negro and Amazon Rivers\, where the two bodies of water\, each very different in color\, converge but remain separate. Her exhibition in the Blanton’s Contemporary Project space will feature the artist’s sculptures\, including a large\, woven tapestry that depicts the stretch of the Amazon River between the river’s mouth in the Atlantic Ocean and the city of Manaus–the exact stretch that cargo ships traverse to access the Free Trade Zone. Taking two identical prints of a satellite image\, she has cut and woven them together\, positioning the photographs in opposite directions to mimic the route of goods\, materials\, and people on the river. \nTossin became interested in the Amazonian city of Manaus\, the central site of the Brazilian rubber boom in the late 1800s. The boom ended abruptly in 1912\, leaving the city impoverished. In the 1950s\, in an effort to stimulate development\, the Brazilian government designated 6\,200 square miles of Manaus as a Free Trade Zone. Manaus is now home to production plants for Apple\, Sony\, LG\, Coca-Cola\, Honda motorcycles\, Harley Davidson\, and other multinational companies. Confronted with the complexities of mass production in the Amazon\, she began researching the traditional ways of making practiced by the indigenous communities in the region\, furthering her interest in material culture\, labor\, and the body. \nOrganized by Beverly Adams\, Curator of Latin American Art\, Blanton Museum of Art
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-encontro-das-aguas-meeting-of-waters/
LOCATION:Blanton Museum of Art\, Austin
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180101
DTEND;VALUE=DATE:20210501
DTSTAMP:20210429T133307Z
CREATED:20210429T133307Z
LAST-MODIFIED:20210429T133307Z
UID:9518-1514764800-1619827199@kaufmannrepetto.com
SUMMARY:Hand and Foot for Milan
DESCRIPTION:the work is a permanent installation\nhand and foot for Milan\n\n\n\nArtLine Milano is a public art commission of the Milan City Council\, an open air collection in the public park of CityLife.\nThe artworks constitute a permanent exhibition\, fully integrated with the architectures of Zaha Hadid\, Arata Isozaki and Daniel Libeskind\, and with the natural evolution of the park of CityLife\, designed by the studio of architects Gustafson Porter.\nJudith Hopf’s Hand and Foot for Milan (2018) consists of two sculptures located at a short distance from one another: a hand emerging from the ground as if simulating a greeting and a foot placed onto the lawn. The two large elements are made of moulded and oversized bricks\, manufactured especially for this project. These two enlarged shapes of human anatomy\, built with one of the most basic construction materials\, establish a dialogue with a highly connoted architectural context.
URL:https://kaufmannrepetto.com/exhibition/hand-and-foot-for-milan/
LOCATION:ArtLine Park of Contemporary Art\, Milan
CATEGORIES:Museum Exhibitions
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