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DTSTART;VALUE=DATE:20151029
DTEND;VALUE=DATE:20160201
DTSTAMP:20210322T160804Z
CREATED:20210318T151222Z
LAST-MODIFIED:20210322T160804Z
UID:7580-1446076800-1454284799@kaufmannrepetto.com
SUMMARY:Screen shot
DESCRIPTION:screen shot\n  \nHaus Konstruktiv and Zurich Insurance Group are delighted to honor this year’s winner of the “Zurich Art Prize”\, Latifa Echakhch (b. 1974 in El Khnansa\, Morocco). Latifa Echakhch\, who grew up in France and now lives in Fully\, Switzerland\, attracted the attention of the international artworld with\, among other things\, her work “Fantasia” at the 2011 Venice Biennale: this comprised a series of tilted white flagpoles that lined the path to padiglione Centrale.\nLatifa Echakhch’s works are characterized by the use of simple\, but always impressive\, gestures and materials. In a focused\, accurate manner\, this artist turns her attention to issues regarding individual and cultural identity\, to personal and collective histories\, and to sociopolitical changes that pose new challenges for our society. Recently\, affected by the current migration and humanitarian dramas\, she presented an installation at a Protocinema space in Istanbul\, with two video works that thematize the sea as a bearer of hope. The images of dramas involving refugees also played a major role in the conception of her exhibition at Museum haus konstruktiv: In “Screen Shot” on the 2nd floor\, folding screens based on the artist’s height and arranged like a labyrinth are draped with clothes that have been immersed in ink. These coverings with nobody inside them are reminiscent of wet clothing that has been lost on the run. They leave behind thin rivulets of dark color on the folding screens.\nFlowing trails of ink already appeared in Echakhch’s 2007 work “For Each Stencil a Revolution”\, the title of which refers back to a Yasser Arafat quote about the revolutionarily eventful late 1960s. Back then\, blue carbon paper was often used for disseminating political proclamations; Echakhch had affixed such paper to the wall and treated it with a solution that caused the ink within it to run out\, much like many a political idea that trickles away like ink and fades into oblivion.
URL:https://kaufmannrepetto.com/exhibition/screen-shot/
LOCATION:Haus Konstruktiv\, Zurich
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151024
DTEND;VALUE=DATE:20160125
DTSTAMP:20210323T121950Z
CREATED:20210323T114334Z
LAST-MODIFIED:20210323T121950Z
UID:8266-1445644800-1453679999@kaufmannrepetto.com
SUMMARY:Command-Shift-4
DESCRIPTION:command-shift-4\n \n\nFor Command-Shift-4\, Pae White engages architectural space as her material\, reimagining the open volume of the Henry’s large Gwathmey-Siegel designed gallery. Painted graphics and a matrix of multi-colored acrylic yarn—attached to walls\, the ceiling\, and the floor —create a three-dimensional drawing for us to navigate visually and physically.\nPerception shifts depending on where we place our bodies inside White’s provisional structure—density gives way to diffusion; shapes\, letterforms\, and numbers appear and then dissolve from the networks of yarn; and forms reflect and multiply in a large\, mirrored surface\, playfully linking what we see to how we move through the gallery.\nKnown for working across the disciplines of fine and applied arts\, architecture\, and design\, White found inspiration for Command-Shift-4 in the buildings at The Sea Ranch\, a visionary housing development on the coast of northern California\, first designed beginning in 1963. In Command-Shift-4\, White reinterprets spatial qualities of the community’s early structures\, which were characterized by austere exteriors opening into animated interiors of layered volumes\, and the kinetic dynamism of supergraphics—bold\, colorful geometric shapes and letterforms painted across built surfaces—enlivening the experience of enclosed space and creating optical ambiguities that confound the physical limits of the architecture.\nWhite’s work often tells a story of its making\, and here the title Command-Shift-4 refers to an image-capture function on a Mac computer that White regularly used during her online research of The Sea Ranch. Translating her virtual experience of this place from images—as well as her memories of time spent at the Ranch—into the displaced context of the Henry\, White creates an interplay of here and there\, an homage to the Ranch that evokes the tangled ways we experience\, come to know\, and remember places and the past.\nPae White (U.S.\, born 1963) is a Los Angeles-based artist who has exhibited throughout the United States and internationally. Hover\, a 2003 Henry exhibition\, featured one of White’s mobiles—made of colored paper pieces floating on strings suspended from the ceiling—that prefigured the elaborate linear construction and spatial play of her current installation. Read as a type of deconstructed textile\, Command Shift-4 expands upon a technique White previously explored in text-based supergraphic projects at The Fabric Workshop and Museum\, Philadelphia\, Pennsylvania (2012) and the South London Gallery (2013). Additional\, recent solo exhibitions include those at The Power Plant\, Toronto\, Canada (2010) and the Austrian Museum of Applied Arts/Contemporary Art (MAK)\, Vienna (2013). White was also included as part of the 2009 Venice Biennale and 2010 Whitney Biennial.
URL:https://kaufmannrepetto.com/exhibition/command-shift-4/
LOCATION:Henry Art Gallery\, Seattle
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151016
DTEND;VALUE=DATE:20160229
DTSTAMP:20210429T144400Z
CREATED:20210429T144400Z
LAST-MODIFIED:20210429T144400Z
UID:9636-1444953600-1456703999@kaufmannrepetto.com
SUMMARY:More
DESCRIPTION:more\n  \n\n\n\nThe exhibition presents current works by the documenta participant Judith Hopf. The artist questions social structures and constraints with fine irony. An important theme of her new works is the need for an overview in the face of an unmanageable reality. The change in digital technology also fundamentally changes our relationship to information and news\, which the artist describes as a new quality of distances: »Distances in the sense of the distance and the accessibility of news or the information that can be accessed as an individual ‘. And those distances\, in the sense of the emotional\, psychological or even political ‘reception possibilities’ of the subject\, in relation to this very information and broadcasts that reach you and that are followed by other possibilities «. Judith Hopf tries in an experimental way to weave these observations and considerations into her aesthetic work. She uses different media – from installation and sculpture\, to film and graphics – and develops an aesthetic that is as subtle as it is weird and bizarre. Works specially developed for the exhibition in the Neue Galerie will also be on view for the first time.\nIn addition to dOCUMENTA (13)\, Judith Hopf (* 1969\, Karlsruhe) took part in other international group exhibitions in 2012\, including the Liverpool Biennale in 2014 and the Museum of Contemporary Art in Basel in 2013. She had solo exhibitions at the Grazer Kunstverein and Portikus in Frankfurt a. M. and in the Vienna Secession. Her work has also been presented at film festivals such as the Oberhausen International Short Film Festival (2007). Judith Hopf is the first recipient of the Ruth Baumgarte Art Prize for 2014. Since 2008 she has been a professor at the Städelschule\, Frankfurt a. M. inside. The artist lives and works in Berlin.
URL:https://kaufmannrepetto.com/exhibition/more/
LOCATION:Neue Galerie\, Kassel
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151008
DTEND;VALUE=DATE:20160118
DTSTAMP:20210709T134712Z
CREATED:20210709T134712Z
LAST-MODIFIED:20210709T134712Z
UID:11290-1444262400-1453075199@kaufmannrepetto.com
SUMMARY:A Public Character
DESCRIPTION:A Public Character\n\n\n\n“A Public Character” marks the first major museum presentation of work by ShannonEbner comprising photography\, sculpture\, installation and video. The exhibitionunderscores Ebner’s self-reflexive approach to the image through language and ar- chitecture.\nThe exhibition includes a dramatic presentation of works from Ebner’s ongoing series “Black Box Collision A” which\, since 2012\, has seen the artist photograph the letter “A” mined from the vestiges of signs\, advertisements\, messages\, andother modes of visual communication. As the first museum exhibition to survey Eb- ner’s “Black Box Collision A” series\, “A Public Character” demonstrates the ar-tist’s efforts to build a catalogue of images\, and reflect on the unstable natureof such an archive.\nThe exhibition also traces the artist’s efforts to re-insert her typographical imagery into the public realm\, notably through A HUDSON YARD\, a collaborative project with David Reinfurt. A PUBLIC CHARACTER\, a new video by the artist\, edi- ted by Erika Vogt and scored by Alex Waterman\, creates a physical and optical experience of those images’ dynamic lives amidst the Chelsea and Meatpacking Di- strict neighborhoods of New York as they rapidly develop. Ebner’s physical con- structions of language are made physically manifest by a new sculpture depicting the letter “A.”\nShannon Ebner (b. 1971\, Englewood\, New Jersey) earned her BA from Bard College in 1993 and her MFA from Yale University in 2000. Solo exhibitions include kaufmann repetto\, Milan (2010); Altman Siegel\, San Francisco (2010); Wallspace\, New York (2009\, 2007\, 2005); P.S.1 Contemporary Art Center\, Long Island City (2007). The lives and works in Los Angeles\, where she teaches at USC’s Roski School of Fine Arts.
URL:https://kaufmannrepetto.com/exhibition/a-public-character/
LOCATION:Institute of Contemporary Art (ICA)\, Miami
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151002
DTEND;VALUE=DATE:20151130
DTSTAMP:20221130T155529Z
CREATED:20221130T155529Z
LAST-MODIFIED:20221130T155529Z
UID:15783-1443744000-1448841599@kaufmannrepetto.com
SUMMARY:Ma Sa i a ly e a se – de
DESCRIPTION:Thea Djordjadze: Ma Sa i a ly e a se – de \n\n\n\nFor her solo exhibition at the South London Gallery\, Thea Djordjadze has created an entirely new sculptural installation in direct response to the main gallery space. It represents the latest step in her practice which she approaches as a continuous process of reconfiguring earlier works into fresh iterations\, combined with entirely new sculptures made from materials accumulated in her studio. Here\, however\, for the first time all the components in the exhibition have been newly made\, but in an evolution of thought that is inextricably linked with her previous methodology. \nDjordjadze spends time in the spaces she works\, absorbing their particular character then subtly transforming them into installations which defy definitive categorisation\, hinting at domestic and functional potential but ultimately remaining resolutely sculptural. Using materials she has found in and around the South London Gallery building – planks of wood\, an old staircase\, floorboards\, sheets of plexi-glass\, plaster and paint – supplemented by others inspired by the material and atmospheric qualities of the space observed in the course of making the work\, Djordjadze has created an installation which gently but thoroughly infiltrates our reading and negotiation of the room. \nInspired by traditional village dwellings in West Georgia\, in which raised wooden platforms delineated the area where most domestic activity took place\, a low\, broad structure spans the entire 20 metre length of the gallery. This gesture alone gently shifts our perspective on the space\, simultaneously prompting the question of how\, if at all\, it should be used. Elsewhere\, painted panels of wood inject shots of colour onto the whiteness of the space\, indicative of an underlying enquiry into painterly composition but equally meddling with expectations around materials\, function and form. Djordjadze genuinely extends the language of sculpture\, testing the scope of the very specifically selected materials she employs to generate new formal structures laden with unexpected potential.
URL:https://kaufmannrepetto.com/exhibition/ma-sa-i-a-ly-e-a-se-de/
LOCATION:South London Gallery\, London
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150920
DTEND;VALUE=DATE:20160105
DTSTAMP:20210712T155756Z
CREATED:20210712T155756Z
LAST-MODIFIED:20210712T155756Z
UID:11599-1442707200-1451951999@kaufmannrepetto.com
SUMMARY:Anthea Hamilton: Lichen! Libido! Chastity!
DESCRIPTION:Anthea Hamilton: Lichen! Libido! Chastity!\nAnthea Hamilton was nominated for the 2016 Turner Prize for her first solo museum exhibition in the United States\, Lichen! Libido! Chastity! at SculptureCenter\, which featured new and existing works. Investigating cultural appropriation and pop culture\, Hamilton mines countercultures in music\, fashion\, and design (such as disco in the 1970s) and their entrance into the mainstream. Hamilton questions the representation of cultural phenomena through popular media in her sculptures and videos.\nA centerpiece of the exhibition\, Project for door (After Gaetano Pesce)\, was a new commission inspired by a model made by Italian designer Gaetano Pesce in 1972. Originally intended to be a doorway for a Manhattan skyscraper\, the work was never realized. Comprised of a man’s naked bottom\, people would pass between his legs\, which framed a doorway. In Hamilton’s version\, she reinterpreted the model\, creating a large-scale sculpture that referred to Pesce’s original idea but within a new context.\nAvant-garde design\, niche products\, fandom\, and expertise inspired Hamilton’s exhibition. Verging on the absurd\, the works articulated perverse fantasies\, intimately binding the body to products and things. In her works\, desire is on the brink of obsession\, conjuring the simultaneous discomfort of striving and potential for satisfaction inherent to a fixation on a particular thing. In Hamilton’s exhibition\, objects that aspire to elegance and luxury were expressed through pleasure as well as constraint.\nHamilton (born 1978 in London\, UK) is based in London and has had solo exhibitions at firstsite in Colchester\, UK (2012); the Tanks at Tate Modern\, London\, UK (2012); and the Chisenhale\, London\, UK (2009). Recent group exhibitions include Don’t You Know Who I Am? – Art After Identity Politics at MuKHA\, Antwerp (2014); the 10th Gwangju Biennale (2014); the Glasgow International (2014); and Better Homes (2013) at SculptureCenter.\nThe exhibition was curated by SculptureCenter Curator Ruba Katrib.\nAnthea Hamilton: Lichen! Libido! Chastity! was supported in part by a grant from The Henry Moore Foundation and using public funding through the Artists’ International Development fund\, which is jointly funded by the British Council and Arts Council England. Project for door (After Gaetano Pesce) (2015) was commissioned by SculptureCenter and fully supported by Valeria Napoleone.
URL:https://kaufmannrepetto.com/exhibition/anthea-hamilton-lichen-libido-chastity/
LOCATION:SculptureCenter\, New York
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150917
DTEND;VALUE=DATE:20151125
DTSTAMP:20220126T183342Z
CREATED:20200109T101700Z
LAST-MODIFIED:20220126T183342Z
UID:2267-1442448000-1448409599@kaufmannrepetto.com
SUMMARY:earthquake weather
DESCRIPTION:kaufmann repetto is happy to announce Earthquake Weather\, Dianna Molzan’s first solo painting show at the gallery. \nIn Dianna Molzan’s work\, paint\, canvas and wood are the starting point for a deeper investigation of the medium that both upends and embraces traditional forms of painting as a means to speak about larger cultural norms and customs. \nWith an additive approach that is concerned with style as much as formal experimentation\, Molzan’s paintings – often referred to as painting-objects –create unexpected visual experiences that are essentially abstract and yet often deadpan in their depiction of everyday objects. Coins\, fringe\, stuffed pillows\, as well as art historical references ranging from genre floral still life painting to postminimalism\, are reoccurring elements found in Molzan’s work. \nEarthquake Weather is a show about many things\, but mostly it is about inherited belief systems and structures\, handed down and perpetuated over centuries of human activity that continue to guide our present cultural climate. For instance\, many people in the world eat with forks\, knives and spoons\, and though they come in different shapes and styles (akin to type fonts) and are made from disposable plastic to the best sterling silver\, the why and when of their invention is trivia for the curious\, but not necessarily for the everyday user. Sitting at a table to eat\, much like putting paint on a smooth surface for others to contemplate\, is a designed experience developed over many centuries with each generation slightly altering and refining the parameters. \nThe title of the show came from a casual conversation the artist had with a stranger in passing. It is not uncommon for people in Los Angeles\, where Molzan lives\, to observe\, “Looks like earthquake weather today.” Despite a lack of scientific evidence showing a connection between the two (maybe one of the few calamities unaffected by global warming)\, some continue to believe that a certain type of weather can predict earthquakes. It is of course also much discussed how a portion of the population does not believe global warming is a problem caused by human activity\, despite overwhelming evidence to the contrary. That so much of what we do or believe or value seems highly pre-determined yet also arbitrary was the guiding idea for the work in Earthquake Weather. \nDianna Molzan (b. 1972\, Tacoma) lives and works in Los Angeles. Her recent solo shows include Grand Tourist\, ICA Boston\, Boston (2012); Bologna Meissen\, Whitney Museum of American Art\, New York (2011). Amongst the various group shows\, Dianna Molzan’s work has also been featured in The Forever Now: Painting in the New Millennium\, MoMA\, New York (2014); Variations: Conversations in and Around Painting\, LACMA\, Los Angles (2014); Painter Painter\, Walker Art Center\, Minneapolis (2013); All of this and nothing\, Hammer Museum\, Los Angeles (2011). Her works are included\, among others\, in the collection of the Hammer Museum\, Los Angeles; the Institute of Contemporary Art\, Boston; Los Angeles County Museum of Art\, Los Angeles; Rubell Family Collection/Contemporary Arts Foundation\, Miami; San Francisco Museum of Modern Art\, San Francisco; University of Chicago\, Booth School of Business\, Chicago; Walker Arts Center\, Minneapolis; Whitney Museum of American Art\, New York. \nkaufmann repetto è lieta di annunciare Earthquake Weather\, la prima mostra personale di Dianna Molzan negli spazi della galleria. \nNei lavori di Dianna Molzan\, il colore\, la tela e il legno sono i punti di partenza per un’indagine profonda sul medium artistico. Sovvertendo e al tempo stesso appropriandosi delle forme tradizionali della pittura\, l’artista riflette sui nostri modelli culturali e sulle nostre consuetudini. \nUtilizzando un approccio additivo\, che tiene conto di elementi come lo stile e la sperimentazione formale\, i dipinti di Dianna Molzan – che possono essere intesi anche come oggetti pittorici – generano inaspettate esperienze visive\, ma anche dissacranti rappresentazioni di oggetti quotidiani. Monete\, frangie\, cuscini imbottiti e reti sono elementi ricorrenti nel lavoro di Dianna Molzan\, così come i riferimenti alla storia dell’arte e ai generi pittorici: dalle composizioni floreali alle nature morte\, fino al post-minimalismo. \nEarthquake Weather tratta argomenti diversi\, ma soprattutto guarda alle strutture e ai sistemi di valori che si sono formati e perpetuati attraverso secoli di attività umana\, e che\, a tutt’oggi\, continuano a influenzare il nostro humus culturale. Ad esempio\, molte persone nel mondo mangiano utilizzando forchette\, coltelli e cucchiai. Nonostante queste vengano realizzate in diverse forme e stili (al pari di font grafici) e prodotte in diversi materiali\, dalla plastica usa e getta all’argenteria\, quest’usanza è raramente oggetto di analisi ed è comunemente ignorata da coloro che utilizzano questi strumenti quotidianamente. Sedersi ad un tavolo per mangiare\, così come l’atto di stendere il colore su una superficie affinché altri possano contemplarlo\, sono entrambe esperienze delineatesi e definitesi nel tempo\, e ogni generazione ha\, di volta in volta\, tentato di alterarne i parametri. \nIl titolo della mostra è ispirato ad una conversazione casuale tra l’artista e uno sconosciuto. A Los Angeles\, città dove vive l’artista\, non è raro per le persone dire “C’è un tempo da terremoto”. Nonostante la mancanza di un’evidenza scientifica che provi la connessione tra i due fenomeni (i terremoti sono tra le poche calamità naturali che non sono una conseguenza diretta del surriscaldamento globale)\, c’è chi ancora crede che le condizioni metereologiche siano in grado di presagire i terremoti. Dall’altra parte c’è anche chi\, a scapito dell’evidenza\, afferma che il surriscaldamento globale non sia una conseguenza diretta dell’attività umana. Il fatto che ciò che facciamo\, crediamo\, o ciò a cui diamo valore sembri predeterminato e al tempo stesso arbitrario\, è l’idea sulla quale si è sviluppata Earthquake Weather. \nDianna Molzan (1972\, Tacoma) vive e lavora Los Angeles. Tra le sue mostre personali: Grand Tourist\, ICA Boston\, Boston (2012); Bologna Meissen\, Whitney Museum of American Art\, New York (2011). Tra le sue recenti mostre collettive si ricordano: The Forever Now: Painting in the New Millennium\, MoMA\, New York (2014); Variations: Conversations in and Around Painting\, LACMA\, Los Angles (2014); Painter Painter\, Walker Art Center\, Minneapolis (2013); All of this and nothing\, Hammer Museum\, Los Angeles (2011). I lavori di Dianna Molzan fanno inoltre parte di diverse collezioni pubbliche e private\, tra cui: Hammer Museum\, Los Angeles; the Institute of Contemporary Art\, Boston; Los Angeles County Museum of Art\, Los Angeles; Rubell Family Collection/Contemporary Arts Foundation\, Miami; San Francisco Museum of Modern Art\, San Francisco; University of Chicago\, Booth School of Business\, Chicago; Walker Arts Center\, Minneapolis; Whitney Museum of American Art\, New York.
URL:https://kaufmannrepetto.com/exhibition/earthquake-weather/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150917
DTEND;VALUE=DATE:20151125
DTSTAMP:20220126T183358Z
CREATED:20200110T143207Z
LAST-MODIFIED:20220126T183358Z
UID:3159-1442448000-1448409599@kaufmannrepetto.com
SUMMARY:snails' chapel
DESCRIPTION:For Snails’ Chapel\, Nicolas Party has transformed the project room of the gallery into a frescoed chapel\, creating a site specific mural that responds to the intimate architecture of the room. \nThrough applying colour to a variety of surfaces – paper\, canvas\, walls and objects – Nicolas Party’s work explores the inherent possibilities of paint as a medium\, both creatively and conceptually. Painting still lifes and landscapes from imagination\, Party incorporates a vocabulary of recurring figurative elements – pots\, food\, mountains and trees – which are appropriated from the history of art and design and reimagined by the artist in a critical\, playful way. Not merely a quotation\, this process of appropriation aims to subvert the established paradigms of art history\, often employing and mixing different aesthetic registers. \nThe title of the work\, Snails’ Chapel\, refers to a painting by an early-Renaissance painter of the School of Ferrara\, Francesco del Cossa. In his Annunciation dated 1467\, a disproportionate snail is depicted on the lower edge of the painting\, as a boundary between the illusory space of the art work and the real space from which the viewer observes it. Similarly\, the interiors of Party’s chapel are marked with numerous snails\, crawling around the the elements inhabiting the space: fruits\, bottles\, sticks and pots. The room’s windows seem not to open out to the world\, but onto a symbolized and slighlty exaggerated representation of reality. Rather than a solemn\, richly decorated temple\, Nicholas Party’s chapel resembles a naive and clumsy environment\, something in between a rural church and an italian restaurant. \nPer Snails’ Chapel\, Nicolas Party ha trasformato la project room della galleria in una cappella affrescata\, creando un ambiente che risponde direttamente all’architettura intima della stanza. \nUtilizzando diverse tecniche pittoriche sulle superfici più disparate – carta\, tela\, muri e oggetti – il lavoro di Nicolas Party esplora le possibilità inerenti alla pittura come medium\, sia a livello creativo che concettuale. I suoi ritratti\, le nature morte e i paesaggi immaginari sono punteggiati da un vocabolario di elementi figurativi ricorrenti – vasi\, cibo\, montagne e alberi – mutuati dalla storia dell’arte e reimmaginati dall’artista in maniera critica e irriverente. Più che una semplice citazione\, questo processo di appropriazione mira a sovvertire i canoni della storia dell’arte\, impiegando e mescolando diversi registri estetici. \nIl titolo Snails’ Chapel fa riferimento ad un’opera di Francesco del Cossa. Nella sua Annunciazione\, datata 1467\, una lumaca dalle proporzioni irreali è raffigurata sul margine inferiore del quadro\, come a segnare il confine tra lo spazio illusorio dell’opera d’arte e quello reale da cui lo spettatore osserva. \nAllo stesso modo\, l’interno della cappella di Nicolas Party è invaso da una moltitudine di lumache che strisciano sui muri e sugli altri elementi che lo popolano: frutta\, bottiglie\, bastoni e vasi. Tutta la stanza è una rappresentazione simbolica e lievemente esagerata del mondo esterno. Più che un tempio riccamente decorato\, essa ricorda un ambiente goffo e naive\, a metà strada tra una chiesetta di campagna e un ristorante nostrano.
URL:https://kaufmannrepetto.com/exhibition/snails-chapel/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150916
DTEND;VALUE=DATE:20151109
DTSTAMP:20210721T165955Z
CREATED:20210721T165955Z
LAST-MODIFIED:20210721T165955Z
UID:11731-1442361600-1447027199@kaufmannrepetto.com
SUMMARY:Take Me (I’m Yours)
DESCRIPTION:Take Me (I’m Yours) \n\n\n\nTwenty-one years after its huge success at the Serpentine Gallery\, the exhibition conceived by Christian Boltanski and Hans Ulrich Obrist\, Take Me (I’m Yours)\, is recreated. Visitors are invited\, even encouraged\, to touch\, use\, and take away objects and ideas from the show.\nThe exhibition curators\, Christian Boltanski and Hans Ulrich Obrist\, have revisited this founding principle and renewed it. Chiara Parisi\, the director of the Monnaie de Paris cultural programs\, has joined them on this occasion to offer a fresh perspective on the show. With more than thirty projects\, the Paris exhibition is greater in magnitude and scope.\nDisplayed on the walls of the last factory in the centre of Paris\, the exhibition is an invitation to revisit the myth of the singularity of an artwork and question its modes of production. Like coins\, works of art are destined to be disseminated. This exhibition\, designed as a place for interaction between visitors and artists\, is characterised by its open form which evolves in time. When it ends\, the pieces will disappear\, having been distributed in their entirety. Challenging conventional economic channels\, Take Me (I’m Yours) presents a model based on exchange and sharing\, and thus raises questions about the exchange value of art\, an issue intimately linked to Monnaie de Paris.
URL:https://kaufmannrepetto.com/exhibition/take-me-im-yours/
LOCATION:Monnaie de Paris\, Paris
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150910
DTEND;VALUE=DATE:20160104
DTSTAMP:20210712T160812Z
CREATED:20210712T160812Z
LAST-MODIFIED:20210712T160812Z
UID:11614-1441843200-1451865599@kaufmannrepetto.com
SUMMARY:La Vie Moderne
DESCRIPTION:La Vie Moderne \nAnthea Hamilton’s works oscillate between kitsch and sublime\, between sculpture and installation\, between scenery and performance. The artist describes his works as “performative sculptures” that are characterized by a certain theatricality\, fruit of the space of the works and the juxtaposition of atmospheres and effects of surprise\, masks and pretense. \nAnthea Hamilton develops a real staging: both sculptures and pieces of furniture\, its Fruity seats (chairs fruity) invite relaxation as well as the lascivious feminine silhouettes on a colored background which they are adorned. If Anthea Hamilton’s works oscillate between kitsch and sublime\, the sets she sets are intended to accommodate what the artist calls “performative sculptures”. \nAnthea Hamilton also creates a performance called Kar-a-utra\, echoing the car prototype with the evocative name designed by the designer Mario Bellini in 1972 – which consisted of a mobile environment where it was possible to “sleep\, smile\, talk head-to-head\, get up\, admire the sun\, take pictures\, play cards\, drink and eat\, make love\, buy a horse and a piano on the way “… Played throughout the Biennale in the exhibition spaces by a small group disguised as mimes\, Kar- a-sutrais a conversation aloud from an eminently political question: “What are your requirements for a shared living space? “. As a result of Bellini’s “utopian mobile space”\, members of the group imagine they are living in this potential environment – and then develop a set of shared gestures as a way of communicating their ideas and responses.
URL:https://kaufmannrepetto.com/exhibition/la-vie-moderne/
LOCATION:13th Biennale de Lyon\, Lyon
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150831
DTEND;VALUE=DATE:20151025
DTSTAMP:20210322T160827Z
CREATED:20210318T103747Z
LAST-MODIFIED:20210322T160827Z
UID:7526-1440979200-1445731199@kaufmannrepetto.com
SUMMARY:All those moments will be lost in time\, like tears in rain
DESCRIPTION:all those moments will be lost in time\, like tears in rain\n  \nProtocinema presents an exhibition of work by Latifa Echakhch titled: All those moments will be lost in time\, like tears in rain. The exhibition includes two videos\, one made in Istanbul\, and a new floor work\, in a forgotten building in the center of the Karaköy port neighborhood. This selection of works touches on temporality\, loss of young people and hope\, in this world that became a platform of departure for a war.\nThe exhibition title is one of the final spoken lines of the film Blade runner\,1982\, the American science fiction film adapted from the novel do Androids dream of Electric Sheep? 1968\, by Philip K. Dick. In this last scene\, Roy Batty\, the last replicant\, is about to die and during his system-shut-down process he begins to express himself. His sentences of poetry are both a naïve and beautiful way for a soldier/machine to think. “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time\, like tears in rain. Time to die.”\nyhe new video waiting for dolphins\, 2015\, was made by the side of the Bosphorus\, at the approximate place where Echahkch saw a group dolphins sailing and jumping in the water during a previous visit. “It was such a beautiful moment\, that I want to go back there\, sit on the water’s edge and wait for these dolphins again. They may never come again\, but I want to wait and to wish for this special moment.” the floor installation\, inspired by Chinese calligraphers in public parks\, is of a text written with a long-handled brush and water directly on the floor. It too\, is temporary and dries in the sunlight. The text is in english painted daily\, of poetry mixed with quotes of messages from different kinds of goodbye letters.\nEchakhch’s second video is titled Jadid\, Arabic for “new\,”. “The name is taken from Al Jadid\, a port city on the Moroccan shore where these images were taken. Local youngsters play at dive jumping from fortified walls\, jumping one by one in succession for hours on end. Their jumps\, several meters high\, are risky\, yet they brave the danger and perform them with blind innocence. As we watch them hurl themselves one by one into the void\, we are overcome by mixed feelings of joy and fear boarding on euphoria. One would gladly join them if it hadn’t been for the caution and diminishing courage that comes with age.”
URL:https://kaufmannrepetto.com/exhibition/all-those-moments-will-be-lost-in-time-like-tears-in-rain/
LOCATION:Protocinema\, Istanbul
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/03/latifa_echakhch-kaufmann_repetto-protocinema-istanbul-all_those_moments_will_be_lost_in_time_like_tears_in_rain-2015-06-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150701
DTEND;VALUE=DATE:20150702
DTSTAMP:20210323T150343Z
CREATED:20210323T123643Z
LAST-MODIFIED:20210323T150343Z
UID:8316-1435708800-1435795199@kaufmannrepetto.com
SUMMARY:Tom Bradley International Terminal at LAX
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/%cf%83lax/
LOCATION:Tom Bradley Internarional Terminal LAX
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/03/pae_white-kaufmann_repetto-tom_bradley_international_terminal_at_LAX-los_angeles-2014-01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150629
DTEND;VALUE=DATE:20151026
DTSTAMP:20221130T164426Z
CREATED:20220621T102601Z
LAST-MODIFIED:20221130T164426Z
UID:15272-1435536000-1445817599@kaufmannrepetto.com
SUMMARY:Lustwarande ‘15 – rapture & pain
DESCRIPTION:Eva ROTHSCHILD: lustwarande ‘15 – rapture & pain
URL:https://kaufmannrepetto.com/exhibition/lustwarande-15-rapture-pain/
LOCATION:Lustwarande\, Tilburg
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150621
DTEND;VALUE=DATE:20150922
DTSTAMP:20210529T160844Z
CREATED:20210529T160844Z
LAST-MODIFIED:20210529T160844Z
UID:10143-1434844800-1442879999@kaufmannrepetto.com
SUMMARY:Green Checkered House
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/green-checkered-house/
LOCATION:Beaufort Triennial\, Oostende
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/05/lily_van_der_stokker-kaufmann_repetto-beaufort_triennal-oostende-the_green_chequered_house-2015-02.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150619
DTEND;VALUE=DATE:20150727
DTSTAMP:20210428T112221Z
CREATED:20210422T141212Z
LAST-MODIFIED:20210428T112221Z
UID:9132-1434672000-1437955199@kaufmannrepetto.com
SUMMARY:Panorama
DESCRIPTION:panorama\n\n\n\nSALTS is pleased to present PANORAMA\, the first institutional exhibition in Swit- zerland by Brussels-based Swiss artist Nicolas Party. Party’s installation takes inspiration from the history of the panorama\, a 19th century phenomenon that preceded cinema and served in many Western cities as an entertainment device.\nOften a large-scale painting depicting an extensive and detailed view of a particu- lar subject\, a panorama would typically show natural landscapes\, military or histori- cal scenes on a circular or semi-circular board.\nFrom 1880 the official standard size was 114 meters circumference by 14 to 15 meters height. Such an endeavour would require a custom-made architectural en- vironment to be effectively displayed. Today only few of the originals remain intact. Lucerne’s Bourbaki Panorama (1881)\, painted by Edouard Castres with the help of many others\, including Ferdinand Hodler\, is a prime example of such a technique\, and considered Swiss cultural heritage.\nFor SALTS\, Party transformed the outdoor exhibition boxes into a single large- scale cube\, where the new construction takes the shape of a four-sided canvas allowing for a 360-degree outdoor painting. Similar to a cinema set design\, the new structure is a trompe l’oeil comprised of painted wood panels that entirely mask the existing exhibition space.\nServing as a background for the night of the opening\, Party’s new take on the pan- orama changes its fundamental principle\, insofar as the viewer can only achieve\na partial sight of the work from any vantage point. One has to walk around the square structure to see each of the four sides and understand the whole. Work- ing site-specifically\, Party reacts to SALTS’ garden and outdoors with great ease; his long interest in graffiti and large-scale wall paintings and low-fi technique is merged here with the highbrow aesthetics of a classical portrait gallery.\nCharacter- istic of his trademark formal humour\, Party turns the gallery inside out\, blasting the walls full of his iconography\, while leaving the inner exhibition space untouched. On view are a series of caricatures of the typical faces and figures that populate the artist’s pictural world. Further pushing odd dichotomies\, Party’s monochromat- ic panorama simultaneously refers to the Grisailles technique and Hergé’s Tintin inside covers\, where all of the characters are portrayed in varied tones of blue.\nGenerating a landscape out of his own practice\, Party expands his usual motives —the teapot\, the genderless face\, the fruits—to produce a complex layering of genres and styles\, which offers an opportunity to re-evaluate the medium of paint- ing from both a formal and historical point of view.
URL:https://kaufmannrepetto.com/exhibition/panorama/
LOCATION:SALTS\, Basel
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150614
DTEND;VALUE=DATE:20151012
DTSTAMP:20210610T152842Z
CREATED:20210610T152842Z
LAST-MODIFIED:20210610T152842Z
UID:10795-1434240000-1444607999@kaufmannrepetto.com
SUMMARY:Someday Is Now: The Art of Corita Kent
DESCRIPTION:someday is now: the art of Corita kent\n\n\n\nSomeday is Now: The Art of Corita Kent is the first full-scale survey ofmore than thirty years of work by Corita Kent (1918-1986). A teacher at Immaculate Heart College in Los Angeles and a civil rights\, feminist\, and anti-war activist\, Corita\, as she is commonly referred to\, was one of themost popular American graphic artists of the 1960s and 1970s. Throughouther rich and varied career\, she made thousands of posters\, murals\, and signature serigraphs that combine her passions for faith and politics.Reflecting larger questions and concerns of the 1960s\, her images remainiconic symbols of that turbulent time. Corita’s earnest\, collaborativeapproach to art-making—combining faith\, politics\, and teaching with messages of acceptance and hope—continues to be a potent influence for manyartists working today.\nA Sister of the Immaculate Heart of Mary\, Corita taught at the Art Departmentat Immaculate Heart College from 1947 through 1968. At IHC\, she developedher own version of Pop art\, mixing bright\, bold imagery with provocative texts pulled from a range of secular and religious sources\, including street signs\, scripture\, poetry\, philosophy\, advertising\, and pop song lyrics. She used printmaking as a populist medium to communicate with the world\, and her avant-garde designs appeared widely as billboards\, book jackets\, illustrations\, and posters. Together with her students\, Corita sought out revelation in the everyday\, exploring grocery stores\, car dealerships\, and the streets of Hollywood for inspiration. As Corita’s friend\, theologian Harvey Cox\, noted\, “Like a priest\, a shaman\, a magician\, she could passher hands over the commonest of the everyday\, the superficial\, the oh-so-ordinary\, and make it a vehicle of the luminous\, the only\, and the hopefilled.”\nThe first major museum exhibition to survey Corita’s entire career\, Somedayis Now features over 200 serigraph prints including early abstractions andtext pieces as well as more lyrical works made in the 1970s and 1980s. Inaddition\, the exhibition presents rarely exhibited drawings and photographs Corita used for teaching and documentary purposes. These works provide a telling and visually stimulating record of 1960s politics\, visual styles\, and pop culture.\n\n\n\n\n\n\nAn extensive catalogue co-published by DelMonico–Prestel will accompanythe exhibition\, bringing together for the first time three decades of Kentʼs energetic\, colorful artwork with a selection of her legendaryassignments\, excerpts from her own writing\, and statements from formerstudents\, collaborators\, and contemporary artists and designers influencedby her art and spirit.
URL:https://kaufmannrepetto.com/exhibition/someday-is-now-the-art-of-corita-kent/
LOCATION:Pasadena Museum of California Art\, Pasadena
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150520
DTEND;VALUE=DATE:20150810
DTSTAMP:20221130T152901Z
CREATED:20221130T152901Z
LAST-MODIFIED:20221130T152901Z
UID:15342-1432080000-1439164799@kaufmannrepetto.com
SUMMARY:Satin Icons
DESCRIPTION:For her first solo exhibition in Asia\, Canell made research into the production and distribution of fiber optic sheaths in the outskirts of Seoul\, where cable mounds are sorted according to colour and eventually remoulded into the synthetic circumferences of future relations. \nContextualized by both recent and earlier works\, the exhibition considers sculpture as a medium of storage\, transmission and reception.
URL:https://kaufmannrepetto.com/exhibition/satin-icons/
LOCATION:Arko Art Centre\, Seoul
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150509
DTEND;VALUE=DATE:20151123
DTSTAMP:20221130T162705Z
CREATED:20221130T162705Z
LAST-MODIFIED:20221130T162705Z
UID:15749-1431129600-1448236799@kaufmannrepetto.com
SUMMARY:all the world’s futures
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/all-the-worlds-futures/
LOCATION:Biennale di Venezia\, Venice
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150502
DTEND;VALUE=DATE:20150622
DTSTAMP:20210428T112249Z
CREATED:20210422T142500Z
LAST-MODIFIED:20210428T112249Z
UID:9137-1430524800-1434931199@kaufmannrepetto.com
SUMMARY:Boys and Pastel
DESCRIPTION:nicolas party\nInverleith House is delighted to present Nicolas Party\, Boys and Pastel\, the first major solo exhibition in a UK public gallery by the Swiss artist (b.1980\, Lausanne. Lives and works in Brussels\, Belgium).\nFor Boys and Pastel\, Nicolas Party has transformed the formal Georgian interior of Inverleith House into a contemporary ‘gesamtkunstwerk’ with the most expansive installation of his decorative wall paintings to date\, spanning every available inch of the seven gallery spaces\, and also encompassing the stairwells and corridors of the House. These patterned murals act as a framing device and wondrous stage set for a new series of pastel compositions and charcoal drawings delivered in Party’s unique aesthetic language. Party will also present a selection of rarely seen short films.\nThrough Party’s gregarious\, distinctive and stylistically dexterous paintings and drawings\, the total environment created by Boys and Pastel directly responds to the interior architecture and mirrors the surrounding botanical context of Inverleith House\, ushering in elements of the Garden to animate the stillness of the gallery space. Each room takes on its own thematic discourse\, like chapters in an absurdist narrative whole and whether full\, immersive tableaus or repeating designs\, Party’s artwork continuously oscillates between abstraction and figuration.\nSometimes there are thick swathes of solid\, flat colour suggesting primal\, rocky landscapes and scorched earth; other times bucolic scenes are evoked by clumsy-looking vertical lines coursing up the walls\, appearing to sway as if growing towards the light; whilst at other times still\, clashing shades and ice-cream daubs produce fantastical\, almost psychedelic scenes. Elsewhere there are dense charcoal forests\, idiosyncratic yet repeating motifs – perhaps a branch\, perhaps a teapot – or recurring marks that appear to have been rendered by some lo-fi computer programme. These arresting environments hold a visual immediacy that cannot help but elicit a visceral response.\nHowever energetic and untroubled by the anxieties of painting these tableaus may first appear\, they nonetheless belie Party’s continuous meta-investigation into the very nature of painting itself; its conventions\, traditions\, veiled hierarchies\, prejudices and interior classification systems. Party’s work can be read as a rich collage of referents and signifiers carefully appropriated from the history of art\, design and craft. Borrowing from canonical art historical subjects such as nudes\, portraiture\, still life and landscape\, Party selects and reimagines familiar\, even hackneyed motifs – fruit arrangements\, pastoral scenes\, the coffee pot – reusing them in his work in a parodic and irreverent way\, as can be seen in his anthropomorphic still lives of fruit.\nThrough the appropriation of certain themes and gestures\, broad influences can be identified\, with landscapes deriving from David Hockney; colour palettes borrowed from the Fauves\, or perhaps Pierre Bonnard; painted collage referencing Matisse’s cut-outs; or else a Picasso figure. Party’s work is therefore at once homage\, quotation and reappropriation\, demonstrating a deep respect for\, but also a critical attitude to the history of art. In this way\, Party seeks to deconstruct prevalent artistic tropes and question the established paradigms of art history\, challenging taste and taking ownership of the canon for his own means.\nThis process of appropriation also points to contemporary anxieties regarding authenticity\, image reproduction and a culture mediated through the computer screen. This is made explicit in the recurring marks in Party’s work which overtly emulate the digital ‘brushstrokes’ of creative computer programmes such as Photoshop and even MS Paint. These inelegant ‘worms’ course the walls of Inverleith House in varied colours shapes and thicknesses\, taking an angular\, juddering\, artificial line.\, Many of these shapes appear pixelated as if rendered on-screen\, suggestive of computer agency in authoring the work. This subtle convention shifts the focus from the act of painting itself to the tools of contemporary artistic production\, transforming the wall into a substitute for the depthless surface of the computer screen – a comment on the work of art in the digital age.\nBoys and Pastel exists within a liminal space somewhere between the digital screen and the art history lesson. With this exhibition\, Party has captured the contemporary zeitgeist\, but also delves much deeper than that\, suggesting a future for painting that conflates the physical and immaterial world.
URL:https://kaufmannrepetto.com/exhibition/boys-and-pastel/
LOCATION:Inverleith House\, Royal Botanic Garden\, Edinburgh
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150428
DTEND;VALUE=DATE:20150902
DTSTAMP:20220126T183413Z
CREATED:20191125T141532Z
LAST-MODIFIED:20220126T183413Z
UID:431-1430179200-1441151999@kaufmannrepetto.com
SUMMARY:there's tears
DESCRIPTION:In Latifa Echakhch’s work\, ink appears in diverse forms: solidified in hats that seem discarded\, absorbed into large raw canvases\, dripped onto the windows of a museum. \nInk’s capability to channel a message is replaced by a different kind of expressiveness\, non-verbal but still poignant. \nLatifa Echakhch’s exhibition in the gallery appears as a sober and off-scale drawing\, in which the feelings and the messages are conveyed through two apparently antithetical series. The two groups of works weave together the historical and concrete reality with representation\, shifting memory to a timeless dimension. \nthere’s tears consists of a series of canvases covered with newspaper made illegible. As often happens with Echakhch’s works\, the neutrality of a minimal approach implodes at the hand of the simple use of object imbued with a sociological and cultural charge. \nThe act of erasure and the dissolve of the printed texts result in what appears to be a reaction to the newspapers arduous content. Through a gesture that is both poetic and conceptual\, the canvas becomes a window that frames reality\, a reality no longer controlled by reason\, and therefore tragically crude. The loss of meaning transforms into a feeling of mourning. \nAs counterparts to the works on canvas – a sort of CMYK interpretation of the watercolour technique- are solid black groups of clouds\, hung from the ceiling\, dropped almost to touch the ground. The clouds can be seen as the remnants of a theater performance\, abandoned vestiges of a seemingly innocent representation. At the same time\, the clouds position and color introduce an opposite feeling to the scenery\, evoking a sense of loss and an imminent threat. \nIn Latifa Echakhch’s exhibition\, subversion and mourning are intertwined with the apparently antithetical sense of memory and hope\, mirroring life complexity and inevitable ambivalence. \n  \n  \nNel lavoro di Latifa Echakhch l’inchiostro appare in forme diverse: solidificato in cappelli che sembrano abbandonati\, assorbito da grandi tele grezze fino a formare dei paesaggi\, colato sui vetri di un museo. \nLa capacità dell’inchiostro di veicolare un messaggio viene sostituita da un’espressività non verbale\, ma non per questo meno potente. \nLa mostra di Latifa Echakhch negli spazi della galleria appare come un disegno sobrio e fuori scala\, dove gli umori e i messaggi sono modulati in due serie di lavori apparentemente antitetiche. I due gruppi di opere intrecciano la realtà storica e concreta alla rappresentazione\, traghettando la memoria in una dimensione atemporale. \nthere’s tears consiste in una serie di tele ricoperte da carta di giornale resa illeggibile. Come spesso accade nel lavoro di Latifa Echackhch\, la neutralità di un approccio apparentemente minimale viene fatta implodere attraverso il semplice uso di oggetti dalla forte carica socio-culturale. \nL’atto della cancellazione e l’eliminazione del messaggio stampato appare come una reazione ai dolorosi contenuti dei giornali. \nAttraverso un gesto insieme poetico e concettuale\, le tele diventano finestre che incorniciano la realtà\, una realtà non più controllata dalla ragione\, e per questo tragicamente cruda. La perdita di significato si trasforma in un sentimento di lutto. \nA fare da controcanto ai lavori su tela – che possono essere intesi come una rielaborazione in quadricromia della tecnica dell’acquarello – sono dei solidi gruppi di nuvole nere appese al soffitto\, calati fino quasi a toccare il pavimento. Le nuvole appaiono come i resti di una performance teatrale\, le vestigia abbandonate di una rappresentazione all’apparenza innocente. \nAllo stesso tempo\, la posizione delle nuvole e il colore introducono un sentimento opposto\, evocando un senso di perdita e minaccia imminente. \nNella mostra di Latifa Echakhch\, sovversione e lutto sono intrecciati con la memoria e un senso di speranza\, rispecchiando la complessità della vita e la sua inevitabile ambivalenza.
URL:https://kaufmannrepetto.com/exhibition/theres-tears/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150428
DTEND;VALUE=DATE:20150902
DTSTAMP:20220126T183422Z
CREATED:20200109T113625Z
LAST-MODIFIED:20220126T183422Z
UID:2434-1430179200-1441151999@kaufmannrepetto.com
SUMMARY:middle temple
DESCRIPTION:Eva Rothschild creates sculptures and two-dimensional objects whose aesthetics oscillate between minimalist austerity and votive offerings. The artist experiments with materials she gathers\, ranging from glass beads to leather\, wood\, steel and aluminum\, elaborating an increasingly varied sculptural vocabulary. Her work draws upon references to art of the 1960s and 1970s\, with a particular relationship to Minimalism. \nEva Rothschild’s hybrid visual language offers a broad range of potential interpretations. The meaning in her work is activated by the dynamic relationship between the object and the searching eye of the viewer. \nFor her new project at the gallery\, the artist creates a modular sculpture in aluminum\, titled Middle Temple. The sculpture is designed as two sets of screens\, that mimic the shape of an open laptop\, one of the most ubiquitous of contemporary objects. Placed in the center of the courtyard\, the screens interrupt each other’s presence forming an open but complex internal space. The central section of each screen is crossed with a generic geometric form\, whose internal faces are painted in three recurring colors that confuse the eye as it travels around and through the structure. \nEva Rothschild approaches and challenges the idea of the object\, and the projections placed upon it that come from our experience and relationship with the object itself. Middle Temple\, with its inner spaces\, creates a new environment that coexists with the outdoor space of the gallery. \nThe artist is interested in how objects are fetishized and loaded with significance and potency that exceed their material reality. She states: “I’m interested in the ways of looking that go with concepts of faith and in how things are invested with a power above and beyond their materiality\, the transference of spirituality onto objects”. \n  \n  \nEva Rothschild crea sculture e oggetti bidimensionali la cui estetica sembra essere in bilico tra austerità minimalista e offerta votiva. L’artista sperimenta un’ampia gamma di materiali\, che variano da perline di vetro a cuoio\, legno\, acciaio e alluminio\, elaborando un vocabolario scultoreo diversificato. Il suo lavoro affonda le proprie radici nelle esperienze artistiche degli anni 60’ e 70’\, ed e’ spesso in una personale relazione con il Minimalismo. \nL’ibrido linguaggio di Eva Rothschild offre differenti possibili interpretazioni: nelle sue opere il significato è attivato dalla relazione dinamica tra l’oggetto e l’occhio di chi osserva. \nPer il suo nuovo progetto in galleria\, Eva Rothschild crea una struttura modulare in alluminio\, intitolata Middle Temple. La scultura è concepita come due coppie di schermi\, che mimano la forma di un computer portatile aperto\, uno degli oggetti contemporanei più diffusi. Posizionati al centro del cortile\, gli schermi interrompono uno la presenza dell’altro\, creando uno spazio interno aperto ma complesso. La sezione centrale di ogni schermo è attraversata da generiche forme geometriche\, i cui lati interni sono dipinti in tre colori ricorrenti nel lavoro dell’artista\, che confondono l’occhio nell’atto di esplorare la struttura. \nEva Rothschild affronta e mette in discussione l’idea di oggetto\, le proiezioni ad esso associato provenienti dalla nostra esperienza e la nostra relazione con l’oggetto stesso. Middle Temple\, con i suoi spazi interiori\, crea un nuovo ambiente che convive con lo spazio esterno della galleria\, includendolo. \nL’artista è interessata a come gli oggetti sono feticizzati e caricati di significato e forza\, eccedendo la loro realtà materiale. Eva Rothschild afferma: “Sono interessata alle modalità di osservazione associate al concetto di fede\, e a come gli oggetti sono investiti di un potere superiore che va oltre la loro materialità e che trasferisce la spiritualità sull’oggetto”.
URL:https://kaufmannrepetto.com/exhibition/middle-temple/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150402
DTEND;VALUE=DATE:20150608
DTSTAMP:20220119T183111Z
CREATED:20220119T183111Z
LAST-MODIFIED:20220119T183111Z
UID:13218-1427932800-1433721599@kaufmannrepetto.com
SUMMARY:Sue Proprie Mani
DESCRIPTION:sue proprie mani \nAt the end of the Second World War\, about 24\,000 Italian citizens traveled to Albania to escape the Fascist occupation in Italy. Following Enver Hoxha authoritarian rise to power\, these refugees were trapped in a foreign country\, unable to get back home\, treated as pawns in a political game that would last until 1949\, when Italy and Albania established diplomatic relations. \nAt the end of the 2000s\, the State Archive of Albania announced the discovery in its stores of two jute sacks labelled “Correspondence of Italian Citizens in Albania”. Hundreds of letters were found\, mostly written between 1945 and 1946 by Italians awaiting repatriation\, and by their relatives in Italy. Those letters never reached their destinations. \nAdrian Paci’s and Roland Sejko’s installation Sue Proprie Mani is a meditation on history read through dramatic personal experiences\, inspired by an event that would normally get lost in the folds of History. Filmed in the former palace of King Zog in Durazzo\, Sue Proprie Mani comprises of five videos projected on large scale screens. The camera seeks\, discovers and caresses six characters\, each one holding a letter. Perhaps addressees\, perhaps senders\, perhaps only witnesses\, they appear and disappear\, while in the background we can hear fragments of those unread letters. \n“Dear mother\, three years have already gone by since we last saw each other\, and sixteen months since I last received your news”. “After months and months since I last had your news about your arrival\, I can no longer hide the truth\, your father passed away eight months ago.” \nRevealing messages that have never been read\, Sue Proprie Mani brings a true story to light\, elaborating its emotional and historical weight. The work investigates the universal nature of loss\, incommunicability\, and the eruption of historic events in personal fates. \nAlong with the video installation\, prints of the letters are exhibited\, creating an eloquent map of the traces of an interrupted communication.
URL:https://kaufmannrepetto.com/exhibition/sue-proprie-mani/
LOCATION:MAXXI – Museo nazionale delle arti del XXI secolo\, Rome
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150313
DTEND;VALUE=DATE:20150601
DTSTAMP:20210322T160848Z
CREATED:20210318T145951Z
LAST-MODIFIED:20210322T160848Z
UID:7558-1426204800-1433116799@kaufmannrepetto.com
SUMMARY:Restart
DESCRIPTION:restart\n  \nTransformation and memory are the key themes that inform Latifa Echakhch’s oeuvre. As part of the consistent pursuit of her approach\, the artist has combined in this exhibition three work groups and individual objects\, all dealing with deconstruction and change.\nwall texts that have partially become detached appear alongside imposing paintings featuring networks of tangled lines and scenery flats\, disillusioningly seen from behind: fading memories of an individual self\, whose unfulfilled hopes have outlasted youthful simplicity\, attempts to break free from ascribed identities\, and the seemingly endless multitude of definitions of one’s own personality are all simultaneously represented here.\nIn her work\, the artist calls into question the symbolic significance of objects. She experiments with that significance by bringing all sorts of national\, cultural\,(socio)political and personal influences to bear on the objects and by changing their context\, which results in a new freedom of thinking about them. Her own story as a Frenchwoman with Moroccan roots living in Switzerland forms the backdrop for themes that concern all of us.\nLatifa Echakhch (b. 1974)\, who was awarded the Prix Marcel Duchamp in 2013 and the zurich Art prize in 2015\, will have her first museum exhibition in Austria at the LENTOS.
URL:https://kaufmannrepetto.com/exhibition/restart/
LOCATION:Lentos Kunstmuseum Linz
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150312
DTEND;VALUE=DATE:20150421
DTSTAMP:20220126T183430Z
CREATED:20200109T102027Z
LAST-MODIFIED:20220126T183430Z
UID:2292-1426118400-1429574399@kaufmannrepetto.com
SUMMARY:limoz
DESCRIPTION:kaufmann repetto è lieta di annunciare la prima mostra personale di Dianna Molzan in galleria. \nCapita di essere invitati ad un grande ballo e per mesi pensi a quanto sarà glamorous ed eccitante. {…} Poi vai al ballo e quando ci ripensi un paio di mesi più tardi\, quello che ricordi è forse il viaggio in auto verso il ballo\, ma non riesci a ricordare nulla della festa. {…} Per mesi avrei dovuto sognare il tragitto in auto per andare al ballo e prepararmi per la corsa in auto e comprare un biglietto per l’Europa\, così avrei potuto fare un giro in macchina.” \n– Andy Warhol da The Philosophy of Andy Warhol \nÈ come ci si arriva – il percorso\, non l’arrivo. Ci sono molti sistemi di consegna e di supporto che superano l’obiettivo prefissato\, che diventano parti essenziali e durature dell’esperienza. Rullo di tamburi per favore. Grandiose scalinate. Fondali di scena. O un altro aspetto da ricordare è che la messa in scena\, e non l’oggetto\, rende qualcosa davvero speciale. Cos’è un regalo di Tiffany senza la scatola azzurra? E conservare la scatola originale di qualunque oggetto collezionabile è sempre una buona idea\, in caso di rivendita. Se si è interessati a collezionare miniature Limoge non è mai veramente necessario mettere qualcosa dentro la scatola\, non ha nessuna importanza. E se stai girando con gli amici in una party Limo\, perché scendere? \n– Dianna Molzan \nDianna Molzan (b. 1972\, Tacoma) vive e lavora a Los Angeles. Le sue mostre personali includono Grand Tourist\, ICA Boston\, Boston (2012); Bologna Meissen\, Whitney Museum of American Art\, New York (2011). Le sue opere saranno esposte in Variations: Conversations in and Around Abstract Painting Los Angeles County Museum of Arts. Tra le varie group shows:The Forever Now: Painting in the New Millennium\, MoMA\, curated by Laura Hoptman with Margaret Ewing\, New York (2014); Expanding the Field of Painting\, ICA Boston\, Boston (2013); Painter Painter\, Walker Art Center\, Minneapolis (2013); All of this and nothing\, Hammer Museum\, Los Angeles (2011). Le opere di Dianna Molzan sono incluse nelle seguenti pubbliche: Hammer Museum\, Los Angeles; Institute of Contemporary Art\, Boston; Los Angeles County Museum of Art\, Los Angeles; Rubell Family Collection/Contemporary Arts Foundation\, Miami; San Francisco Museum of Modern Art\, San Francisco; University of Chicago\, Booth School of Business\, Chicago; Walker Arts Center\, Minneapolis; Whitney Museum of American Art\, New York. \nkaufmann repetto is happy to announce Dianna Molzan’s first exhibition at the gallery. \n“Sometimes you’re invited to a big ball and for months you think about how glamorous and exciting it’s going to be. {…} you go to the ball and when you think back on it a couple months later what you remember is maybe the car ride to the ball\, you can’t remember the ball at all. {…} I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride\, and buying my ticket to Europe so I could take the car ride.” – Andy Warhol from The Philosophy of Andy Warhol  \nIt’s how you get there – the lead up\, not the arrival. There are many delivery and support systems that trump the intended end purpose\, that become the essential and lasting part of the experience. Drum roll please. Grand staircase. Back drops. Foreplay. Or another aspect is to say that it is the staging not the stuff that makes something special. What is a Tiffany gift without the blue box? And saving the original box of any collectible is always a good idea\, for re-sale value. If one is into collecting Limoge miniatures you never have to actually put anything inside the lidded boxes\, that’s beside the point. And if you are riding around with friends in a party Limo\, why get out? \n– Dianna Molzan \nDianna Molzan (b. 1972\, Tacoma) lives and works in Los Angeles. Her solo shows included Grand Tourist\, ICA Boston\, Boston (2012); Bologna Meissen\, Whitney Museum of American Art\, New York (2011). Her work will be presented in Variations: Conversations in and Around Abstract Painting Los Angeles County Museum of Arts\, Los Angeles (2015). Amongst the various group shows\, Dianna Molzan’s work has also been featured in The Forever Now: Painting in the New Millennium\, MoMA\, curated by Laura Hoptman with Margaret Ewing\, New York (2014); Expanding the Field of Painting\, ICA Boston\, Boston (2013); Painter Painter\, Walker Art Center\, Minneapolis (2013); All of this and nothing\, Hammer Museum\, Los Angeles (2011). Her work is included in the following public collections: Hammer Museum\, Los Angeles; Institute of Contemporary Art\, Boston; Los Angeles County Museum of Art\, Los Angeles; Rubell Family Collection/Contemporary Arts Foundation\, Miami; San Francisco Museum of Modern Art\, San Francisco; University of Chicago\, Booth School of Business\, Chicago; Walker Arts Center\, Minneapolis; Whitney Museum of American Art\, New York.
URL:https://kaufmannrepetto.com/exhibition/limoz/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150312
DTEND;VALUE=DATE:20150421
DTSTAMP:20220126T183437Z
CREATED:20200110T143616Z
LAST-MODIFIED:20220126T183437Z
UID:3297-1426118400-1429574399@kaufmannrepetto.com
SUMMARY:two naked women
DESCRIPTION:kaufmann repetto is happy to announce Nicolas Party’s first exhibition at the gallery. \nNicolas Party’s interest in the historical precedents of painting is mixed\, throughout his production\, with the artist’s inquisitive energy: his meticulously crafted oil paintings and wall drawings – often depicting familiar still life subjects such as flowers or pots – are made alive by a glow of lively\, luminous color. \nFor his exhibition at kaufmann repetto milano\, the Swiss born\, Brussels based artist will respond to the dual structure of the gallery\, taking it as an opportunity to explore the shape-shifting physicality of color: two large-scale black and white charcoal wall drawings presenting classical nudes of women will be drawn on the end walls of the gallery\, creating a link between the two spaces and a striking formal contrast to the vividly-coloured landscapes pastels on the side walls. \nFrom the pastel on canvas to the charcoal wall drawings\, the visitor will experience a journey from the liveliness of colors to the most primal of mark-making materials. Charcoal’s primary nature will create an immediate\, tactile connection with the wall’s surface\, that provides the ground for a sort of trompe-l’œil illusion. \nThe show at kaufmann repetto will also feature a series of new pastels depicting imaginary landscapes\, spaced out by sculptural ceramic teapot beaks sticking out from the walls. While coffee pots and tableware are recurring subjects in Nicolas Party’s work that may recall historical painters such as Giorgio Morandi\, Party’s paintings and pastels\, with their often improbable proportions and unrepresentative\, vivid colors\, create a sense of painting as something deeply contemporary and tangible. \nIn Nicolas Party’s work\, we assist to the capacity of color to alterate\, transform and activate surfaces\, from canvases to walls\, declining art-historical concerns in a way deeply entrenched in the now. \n  \n  \nkaufmann repetto è lieta di annunciare la prima mostra personale di Nicolas Party in galleria. \nL’interesse di Nicola Party nei confronti dei precedenti storici della pittura convive\, all’interno della sua produzione\, con la natura energica e curiosa dell’artista: i suoi dipinti a olio e disegni murali\, spesso ritraenti soggetti familiari alla tradizione della natura morta come fiori e ceramiche\, sono portati in vita da sfumature di colori brillanti e vitali. \nPer la sua mostra nella sede milanese della galleria\, l’artista svizzero di stanza a Bruxelles risponderà alla struttura bipartita dello spazio\, sfruttandola come un’opportunità per esplorare la capacità del colore di modellare gli ambienti: due grandi disegni murali in bianco e nero realizzati a carboncino\, raffiguranti nudi di donne classicheggianti\, saranno realizzati sulle pareti finali della galleria\, creando una connessione tra i due spazi e un drammatico contrasto formale con i colori intensi delle tele sulle pareti laterali. \nDai pastelli su tela ai disegni murali a carboncino\, il visitatore verrà condotto dalla vivacità del colore al più primitivo dei materiali per il disegno. La natura primaria del carboncino creerà una connessione immediata\, quasi tattile\, con la superficie muraria\, che in questo caso offre il terreno per un’illusione trompe-l’œil. \nLa mostra in galleria includerà anche una serie di nuovi pastelli su tela raffiguranti paesaggi immaginari\, intervallati da scultorei becchi di teiera che fuoriescono dalle pareti. Nonostante ceramiche e stoviglie siano soggetti ricorrenti nella produzione artistica di Nicolas Party che possono richiamare alla memoria pittori storici come Giorgio Morandi\, i dipinti e pastelli dell’artista\, con le loro proporzioni spesso improbabili e i loro colori vividi e poco rappresentativi\, creano una percezione della pittura come di un qualcosa profondamente contemporaneo e tangibile. \nNell’opera di Nicolas Party\, assistiamo alla capacità del colore di alterare\, trasformare e attivare le superfici\, dalla tela alle pareti\, declinando questioni pittoriche intrinseche a questo medium con uno stile profondamente radicato nel presente.
URL:https://kaufmannrepetto.com/exhibition/two-naked-woman/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150228
DTEND;VALUE=DATE:20150426
DTSTAMP:20220126T183445Z
CREATED:20191213T144551Z
LAST-MODIFIED:20220126T183445Z
UID:647-1425081600-1430006399@kaufmannrepetto.com
SUMMARY:treatment
DESCRIPTION:I do think an artist and a psychoanalyst do the same thing\, in a way. They’re presented with an official version of reality\, and then they say\, ‘Okay\, but what’s underneath that? What are the hidden factors driving it?’ We’re both fascinated by the human condition in general – we want to know what’s really going on. \nTreatment\, a new dual-channel installation by Candice Breitz\, brings an original soundtrack to three key scenes from The Brood (1979)\, a film that David Cronenberg has often described as his version of Robert Benton’s Kramer vs. Kramer (also released in 1979). The Brood’s heavily autobiographical script explores the emotional and psychological strain experienced by a couple as their marriage dissolves\, and a custody battle for their five-year-old daughter Candice Carveth ensues. Himself fighting for custody of a young daughter at the time of writing The Brood\, Cronenberg has admitted that Samantha Eggar—the actress cast as Nola Carveth—“looked a little like my ex-wife\,” while Art Hindle (the actor chosen to play her husband\, Frank Carveth)\, in the director’s opinion\, looked somewhat like himself. Having created—in the plot of The Brood—“a reasonable movie facsimile” of the harrowing situation he was facing in his own family life at the time\, Cronenberg Brood’s—throughout much of the unfolding narrative of the film—on a series of dysfunctional parent-child relationships\, observing the havoc that these wreak across three generations of the Carveth family. \nIn a state of emotional distress following the collapse of her marriage\, young Candice’s mother Nola Carveth effectively spends the film in treatment. Held in limbo in a fortressed clinic under the supervision of renegade psychotherapist Dr Hal Raglan (played by Oliver Reed)\, Nola is both the daughter of an abusive mother and the mother of a daughter that she abuses\, embodying Cronenberg’s interest in the self-perpetuating psychological horror that lies potential in family relationships: \nThe Brood is the most classic horror film I’ve done: the circular structure\, generation unto generation; the idea that you think it’s over and then suddenly you realise that it’s just starting again. That’s classic horror-movie structure.  \nDr Raglan’s experimental techniques require patients to re-enact family relationships as a means of working through their trauma. His treatment involves intensive bouts of therapeutic role-play during which the doctor typically plays his patients’ abusive parents or maltreated children. As the matrix for her dual-channel projection Treatment\, Breitz isolates three such scenes from The Brood. Each of the scenes—now severed from the plot of the original film— invites us to voyeuristically observe a therapeutic exchange between Dr Raglan and one of his patients. Collectively\, the scenes conjure up a series of scenarios—between father and son\, between mother and daughter\, between father and daughter—that are the stuff of family nightmares. A series of transferences and cross-transferences come into play across the three sessions as Raglan shifts nimbly in role from father to mother to daughter\, while his patients accordingly oscillate between child and adult versions of themselves.\nIn removing these vignettes portraying therapeutic sessions from their service to the plot of The Brood\, Treatment allows them to exist independently of the film’s fictional narrative\, such that the potential horror lurking within family psychology now resonates as their primary subject. \nIn Breitz’s installation\, the three scenes are projected one after the next on a gallery wall\, in a constant rotation that evokes the looping repetition that is endemic to inner life. The scenes are stripped silent of the film’s original soundtrack\, instead receiving their vocal content from the soundtrack of a second projection of the same size\, which mirrors the original footage on the opposite wall of the gallery\, making simultaneous viewing of both projections impossible. To watch either\, one must turn one’s back on the other. In compensation\, Breitz’s freshly recorded soundtrack does double duty\, making Siamese twins of the two projections as it binds them to one another aurally\, giving voice to both. The second projection consists of a sparse visual documentation of the making of the soundtrack: set in a professional sound studio\, the footage cuts between four individuals\, each seated at a microphone\, each labouring to project his/her voice convincingly into the body of one of the actors appearing in the original scenes projected on the opposite wall. \nThe credits of the work reveal the identities of the dubbing team: the artist invited her de facto psychotherapist Dr Renate Becker to synchronise the voice of Dr Raglan across all three scenes\, while the voices of the three patients undergoing treatment are painstakingly recreated by the artist’s mother\, father and the artist herself. The move is consistent with Cronenberg’s view of cinema as a space in which to “rehearse the difficult things of life\,” and points strongly to Breitz and Cronenberg’s shared interest in the overlap between cinematic- and psychological analysis. In asking her parents and therapist to vocally re-articulate the domineering Dr Raglan and his long-suffering patients\, Breitz literally loops Cronenberg’s cinematic analysis of the psychological wounds that parents inflict on their children through her own mother and father\, bringing full circle a fictionalised study of trauma that originally grew out of Cronenberg’s processing of his own family horror story. \nAs with Cronenberg’s Brood\, Breitz’s Treatment resists indulging concrete autobiographical information\, denying onlookers voyeuristic access to her actual relationships with her parents and therapist. Treatment instead directs our thoughts to the circular nature of the relationship between real life and reel life; the ability of film to give voice to the stuff of life in the guise of fiction\, but also the alchemy via which cinematic fiction in turn becomes ‘real’ for its viewers as it vocalises their actual or imagined experience. \nIn focusing on the family trauma at the heart of The Brood\, Breitz pays tribute to Cronenberg’s ability to draw audiences into psychological identification with his characters\, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg’s family narrative into that of the fictional Carveth family. Staging an analogy between cinematic role-play and therapeutic role-play\, The Brood and Treatment share—with their directors—a deep-seated interest in the formative nature of family relationships\, a serious investment in the analytical potential of the moving image\, and an absolute conviction in the potential of fiction to delve beneath the surface of things.
URL:https://kaufmannrepetto.com/exhibition/treatment-2/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150207
DTEND;VALUE=DATE:20170604
DTSTAMP:20210521T132109Z
CREATED:20210521T132109Z
LAST-MODIFIED:20210521T132109Z
UID:10084-1423267200-1496534399@kaufmannrepetto.com
SUMMARY:Hammer Projects
DESCRIPTION:hammer projects: lily van der stokker\nDutch artist Lily van der Stokker has been making bold\, colorful large-scale wall paintings for more than twenty years. The artist applies colors ranging from soft pastels to bright fluorescents—sometimes in playful and visually arresting plaid patterns or all-over flower motifs—to amorphous soft-edged forms that inhabit the space like friendly oversized visitors. Witty texts added alongside van der Stokker’s forms complicate their first impression as the cartoony doodles of an adolescent or mere decorative ornamentation. Invoking the platitudes of polite society with expressions like “Best regards” or “Wonderful” or touching upon the realities that impact all our lives\, from love to money to aging\, with phrases like “Transfer the money to me” or “Only yelling older women in here\, nothing to sell\,” van der Stokker makes evident the power dynamics at work within seemingly innocuous spaces. Van der Stokker argues for the role of pleasure in aesthetic experience\, finding alliances between beauty and intellect\, playfulness and criticality.\nHammer Projects: Lily van der Stokker is organized by senior curator\, Anne Ellegood with MacKenzie Stevens\, curatorial assistant.
URL:https://kaufmannrepetto.com/exhibition/hammer-projects-4/
LOCATION:Hammer Museum\, Los Angeles
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150116
DTEND;VALUE=DATE:20150427
DTSTAMP:20251029T112624Z
CREATED:20251029T112624Z
LAST-MODIFIED:20251029T112624Z
UID:26470-1421366400-1430092799@kaufmannrepetto.com
SUMMARY:clarissa tossin: streamlined: belterra\, amazônia / alberta\, michigan
DESCRIPTION:clarissa tossin: Streamlined: Belterra\, Amazônia / Alberta\, Michigan \n  \nClarissa Tossin structures her installation Streamlined: Belterra\, Amazônia/Alberta\, Michigan around the two towns created by Henry Ford. Her artwork is not concerned with the detailed reconstitution of the history of each place\, nor the didactic transmission of information about the economic and social dimensions of these projects. Instead\, the work \nfollows her investigations regarding concrete manifestations of the idea of modernity in various contexts. This research includes the untimely ruin of some of those buildings—not only in physical terms\, but also in relation to the promises and convictions they contained and represented\, which were also abandoned. To this end\, she brings together and compares \nBelterra and Alberta many decades after they were disassociated from the international world of automobile production. She seeks out the similarities and differences between the two communities\, specific locations that were inscribed within a movement that tied together such dissimilar global locations by means of a shared purpose and an entrepreneurial utopia. She uses images\, she uses sounds\, she uses empty and full spaces to create the sensation of a movement that existed and then exhausted itself within the very format in which it had been conceptualized. In seeking out and recording the traces of each place\, she evokes a time which no longer exists\, contributing to an archaeology of the modern—an archaeology that does not look for transparency in its findings\, but recognizes and assumes that the subject of its investigation is opaque. \nThe installation’s central elements are two projections\, one on each side of a wall placed in the middle of the exhibition space. On one side of the wall\, moving images of Belterra are projected; on the other side\, moving images of Alberta. Clarissa Tossin recorded both situations in our time\, a time when Belterra and Alberta no longer operate according to the \nlogic of their original conception. Nevertheless\, these places bear the marks of their shared past. The images on view cannot be seen simultaneously: one can only view the two projected films alternately. Therefore\, comparison between them is mediated by the viewer’s memory of watching first one\, and then the other\, narrative. What they recollect reveals resemblances between the ways each town is presented. There is an immediate similarity between the highlighted subjects: the careful examination of the wooden dwellings—in wide shots and in telling details; the search for traces of the original functions of the places; the movement of people and cars in the few streets; the life being lived by their current inhabitants\, seen at work and at play; and the relaxed meeting-places that are provided by the benches\, set in front of nearly all the houses in Belterra. \nThus formalized\, Clarissa Tossin’s installation seeks to excavate evidence of a form of work and life that remains from a past that was once modern\, and that currently belongs only to the time of now. The artist acts as an “interpreter” of what remains of these two towns invented by Henry Ford—slowly transformed ever since their creation\, discarding or incorporating things and meanings—to offer her own interpretation of those changes\, through images\, for public debate. Thus\, her practice belongs to the order of the “forensic aesthetic” proposed by architect Eyal Weizman as “the mode of appearance of things in forums—the gestures\, techniques\, and technologies of demonstration; methods of theatricality\, narrative\, and dramatization; image enhancement and technologies of projection; the creation and demolition of reputation\, credibility\, and competence”.2 In the architecture of those places\, Clarissa Tossin’s work seeks out traces of a way of life that no longer dominates the order of things\, a way of life that nevertheless contributes to our understanding of where we have been and where we are now. \n– Moacir dos Anjos
URL:https://kaufmannrepetto.com/exhibition/clarissa-tossin-streamlined-belterra-amazonia-alberta-michigan/
LOCATION:Museum of Latin American Art\, Long Beach
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2025/10/1-CT_MOLAA-080_comp-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150116
DTEND;VALUE=DATE:20150216
DTSTAMP:20210428T112317Z
CREATED:20210422T145513Z
LAST-MODIFIED:20210428T112317Z
UID:9148-1421366400-1424044799@kaufmannrepetto.com
SUMMARY:Pastel et Nu
DESCRIPTION:pastel et nu\nThe esthetic of the compositions created by Nicolas Party (born in 1980\, lives and works in Brus‐ sels) is both effective and singular. It blends a contemporary visual culture\, originating in graffiti in particular\, with classic subjects\, still lifes and portraits painted by masters in the late nineteenth and early twentieth centuries. For the courtyard gallery\, Party has reinterpreted in charcoal Félix Vallotton’s Four Torsos (1916)\, but has done so as repeated deconstructed motifs.\nColored and framed landscapes are superimposed on large nudes depicted from behind. The artist has also worked with the large door that leads to the CCS courtyard\, creating a composition that com‐ bines the same picture by Vallotton and a face that is characteristic of his own style of painting.
URL:https://kaufmannrepetto.com/exhibition/pastel-et-nu/
LOCATION:Centre Culturel Suisse de Paris
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/04/nicolas_party-kaufmann_repetto-centre_culturel_suisse_de_paris-pastel_et_nu-2015-04-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150111
DTEND;VALUE=DATE:20150301
DTSTAMP:20220126T183454Z
CREATED:20191217T173002Z
LAST-MODIFIED:20220126T183454Z
UID:1478-1420934400-1425167999@kaufmannrepetto.com
SUMMARY:self-determination
DESCRIPTION:kaufmann repetto is happy to announce “Self-determination”\, Andrea Bowers’ first solo exhibition at the gallery. \n“I live on occupied land in a State\, in a country where the imbalance of power still remains between cultures that have been colonized and the ex-colonizers. A two-hour drive South from my home is the U.S. Mexican border fence that privileges freedom of movement to those with U.S. passports. The lands of California\, Utah\, Arizona\, New Mexico and Texas were taken from people whose descendants still experience injustices today. These injustices include: lack of fair housing\, impossibility to move freely across borders\, denial of citizenship\, police brutality\, inability to celebrate cultural customs and unsafe working conditions. These are just some of the contemporary abusive results of colonialism. \nThis project expands a body of work begun in 2007 that documented those activists and movements with a political commitment to fight for the right of migrating people and particularly to end the unjust border policies in the United States. Archival materials\, photographs and drawings included in this exhibition come from my participation in several local activist movements\, such as the Fight for $15 campaign\, the Dream Act and Immigrant Justice. This exhibition specifically focuses on archives from the Chicano Brown Beret movement from 1968 to 1970 juxtaposed with current political posters\, fliers and photographs of marches from the last five years in the Los Angeles area. \nThe exhibition includes a video interview from 2012 with Carlos Montes\, one of the founders of the Brown Berets\, who has dedicated his life to human rights and the anti-war movement. I interviewed him just after the FBI raided his home where he was arrested and charged with six felonies for a student action that took place around forty years earlier. He tells the compelling trajectory of his activism and the under-told history of the Brown Beret movement. \nMontes best described the Brown Berets in Fight Back News! : “We were a group of young Chicano revolutionaries from the barrios of the Southwest fighting for the self-determination of our people. We organized in our barrios\, published the newspaper La Causa\, ran a free clinic and fought against police brutality as well as against the U.S. war in Vietnam. We evolved from civic participation and assimilation to revolutionary nationalism. The brown beret was a symbol of the pride in our culture\, race and history. It also symbolized our anger and militancy and fight against the long history of injustice against the Chicano people in the U.S.\, especially the Southwest. We claimed the Southwest as Aztlan\, the original homeland of the indigenous Aztec ancestors and founders of Tenochtitlan\, now Mexico City. We were from poor working class families growing up with the racism and police abuse.” \nAt the time of our interview\, Carlos Montes gave me access to his archives including photos and newspapers such La Causa\, La Raza and Inside Eastside documenting the Brown Berets. These archives are displayed alongside contemporary political graphics and my own photos from local marches and protests composed in a 291 page wall work. This allows the viewer to reflect upon aspects of the last fifty years in this ongoing struggle. Contrasting political strategies between the late ’60s and now are made acutely evident in the group of drawings on view\, that painstakingly illustrate a collection of graphics from the Brown Beret newspapers alongside a group of photorealist drawings of women at contemporary protest marches. A large hanging sculpture made of barbwire cast in stainless steel\, wind chimes and neon poetically confronts the injustices of political borders to freedom of movement and the need for radical hospitality. Ultimately the exhibition is summed up by one of the drawings that enlarges a small newspaper clipping from La Causa\, published in September 1969\, where a Che Guevara quote was handwritten in the margins\, “At the risk of seeming ridiculous\, to be a true revolutionary one must have great feelings of love.” \nIn my practice\, I continue to look at local issues that have global significance. This project archives both militant and nonviolent strategies from some of the voices of various and\, at times\, contradictory movements that activists have used and continue to use in a fight for self-determination on colonized land.” – Andrea Bowers \nAndrea Bowers (b. 1965 in Wilmington\, United States) lives and works in Los Angeles. Recent solo exhibitions include “Freedom of Movement”\, Espace Culturel Louis Vuitton\, Paris (2014); “#sweetjane”\, Pitzer College Art Galleries and Pomona College Museum of Art\, Claremont (2014); “The Weight of Relevance”\, The Power Plant\, Toronto and Wiener Secession\, Vienna (2007); “Nothing is Neutral”\, REDCAT\, Los Angeles and Contemporary Art Museum St. Louis\, St. Louis (2006). Her recent group exhibitions include\, among others\, La Biennale de Montréal (2014); 10th Gwangju Biennale\, South Korea (2014); SiteLines\, Santa Fe (2014); The Drawing Center\, New York (2014); Museum of Contemporary Art\, Oslo (2014); MOCAD\, Museum of Contemporary Art Detroit (2013); Museum of Contemporary Art\, San Diego (2013); Liverpool Biennial (2012); Yerba Buena Center for the Arts\, San Francisco (2012); MoMA\, The Museum of Modern Art\, New York (2011); MoMA PS1\, New York (2011). \n  \nkaufmann repetto è lieta di presentare Self-determination\, la prima mostra personale di Andrea Bowers in galleria. \n“Vivo su un territorio occupato in uno stato\, in un paese in cui lo squilibrio di potere tra culture colonizzate ed ex colonizzatori è tutt’ora presente. Guidando verso sud\, a due ore da casa mia\, vi è il confine americano con il Messico\, una barriera che concede libertà di movimento solo a coloro in possesso di un passaporto americano. Le terre della California\, dello Utah\, dell’Arizona\, del New Mexico e del Texas furono sottratte a popoli i cui discendenti sono tutt’ora vittime di numerose ingiustizie\, tra cui la mancanza di soluzioni abitative adeguate\, l’impedimento di spostarsi liberamente attraverso i confini di stato\, la negazione della cittadinanza\, la brutalità da parte della polizia\, l’impossibilità di celebrare le proprie tradizioni e le inadeguate condizioni di sicurezza sul lavoro. Queste sono solo alcune delle brutali conseguenze contemporanee del colonialismo. \nIl progetto amplia un corpus di opere iniziato nel 2007\, atto a documentare movimenti e attivisti impegnati nella lotta politica per il diritto di emigrazione e\, in particolare\, per porre fine alle ingiuste politiche di confine degli Stati Uniti. I materiali d’archivio\, le fotografie e i disegni presenti in mostra nascono dalla partecipazione in prima persona a numerosi movimenti di attivisti locali\, tra cui le campagne Fight for $15\, Dream Act e Immigrant Justice. Questa mostra\, in particolare\, contrappone materiali d’archivio del movimento chicano dei Brown Berets in un periodo che va dal 1968 al 1970 a poster politici\, volantini e fotografie di manifestazioni che hanno avuto luogo a Los Angeles negli ultimi cinque anni. \nLa mostra include un’intervista video del 2012 a Carlos Montes\, uno dei fondatori dei Brown Berets\, che ha dedicato la sua vita alla difesa dei diritti umani e al movimento pacifista. Lo intervistai subito dopo l’incursione dell’FBI nella sua abitazione\, a seguito della quale venne arrestato e accusato di sei reati a causa di un’azione studentesca avvenuta quarant’anni prima. Nel video\, Montes racconta l’avvincente percorso del suo attivismo e la poco conosciuta storia del movimento dei Brown Berets. \nMontes descrive il movimento in Fight Back News!: “Eravamo un gruppo di giovani rivoluzionari messicani dei barrios del sud-ovest degli Stati Uniti e lottavamo per l’autodeterminazione della nostra gente. Ci organizzavamo nei nostri quartieri\, pubblicavamo il giornale La Causa\, gestivamo una clinica medica gratuita e combattevamo contro la brutalità della polizia\, oltre che contro la guerra in Vietnam. Da movimento civico passammo al nazionalismo rivoluzionario. Il berretto marrone era il simbolo dell’orgoglio per la nostra cultura\, la nostra razza e la nostra storia. Simboleggiava inoltre la rabbia\, la militanza e la lotta contro un passato d’ingiustizie nei confronti degli immigrati messicani degli Stati Uniti\, in particolare degli stati del sud-ovest. Rivendicavamo il sud-ovest come Aztlan\, la patria originaria degli indigeni aztechi che fondarono Tenochtitlan\, l’attuale Città del Messico. Provenivamo tutti da famiglie operaie ed eravamo cresciuti subendo il razzismo e gli abusi della polizia”. \nQuando lo intervistai\, Carlos Montes mi permise di accedere al suo archivio che raccoglieva fotografie e pubblicazioni dei Brown Berets come La Causa\, La Raza e l’Inside Eastside. Questi materiali d’archivio sono presenti in mostra accanto a grafiche politiche contemporanee e a fotografie che ho scattato prendendo parte a marce e proteste locali\, assemblati in un’installazione a parete composta da 290 pagine che offre al visitatore la possibilità di riflettere su vari aspetti di una lotta in atto da cinquant’anni. Strategie politiche contrastanti che vanno dalla fine degli anni Sessanta ad oggi sono messe in evidenza dalla serie di disegni che illustrano in maniera meticolosa una collezione di grafiche tratte dai giornali dei Brown Berets\, affiancate da un gruppo di disegni iperrealisti tratti da foto attuali di donne partecipanti a marce di protesta contemporanee. La grande scultura\, composta da una fusione in acciaio di filo spinato\, una struttura in alluminio che ricorda uno scacciapensieri e due neon\, affronta poeticamente le iniquità dei confini politici che impediscono la libertà di movimento e sottolinea l’urgenza di un’ospitalità radicale. Infine\, la mostra è sintetizzata da un disegno che ingrandisce una piccola citazione di Che Guevara scritta a mano sul ritaglio di una pagina del giornale La Causa del settembre 1969: “Anche a costo di sembrare ridicolo\, il vero rivoluzionario è sempre guidato da sentimenti d’amore”. Nella mia pratica artistica continuo a indagare problematiche locali che hanno un valore universale. Questo progetto documenta strategie non violente e militanti di alcune delle voci dei movimenti\, talvolta contraddittori\, in cui gli attivisti si sono uniti e continuano ad unirsi per ottenere l’auto-determinazione di una minoranza in una terra colonizzata.” – Andrea Bowers \n  \nAndrea Bowers (1965\, Wilmington\, United States) vive e lavora a Los Angeles. Tra le sue mostre personali recenti: “Freedom of Movement”\, Espace Culturel Louis Vuitton\, Paris (2014); “#sweetjane”\, Pitzer College Art Galleries and Pomona College Museum of Art\, Claremont (2014); “The Weight of Relevance”\, The Power Plant\, Toronto and Wiener Secession\, Vienna (2007); “Nothing is Neutral”\, REDCAT\, Los Angeles and Contemporary Art Museum St. Louis\, St. Louis (2006). Tra le sue mostre collettive ricordiamo La Biennale de Montréal (2014); 10th Gwangju Biennale\, South Korea (2014); SiteLines\, Santa Fe (2014); The Drawing Center\, New York (2014); Museum of Contemporary Art\, Oslo (2014); MOCAD\, Museum of Contemporary Art Detroit (2013); Museum of Contemporary Art\, San Diego (2013); Liverpool Biennial (2012); Yerba Buena Center for the Arts\, San Francisco (2012); MoMA\, The Museum of Modern Art\, New York (2011); MoMA PS1\, New York (2011).
URL:https://kaufmannrepetto.com/exhibition/self-determination/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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