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BEGIN:VEVENT
DTSTART;VALUE=DATE:20121116
DTEND;VALUE=DATE:20130225
DTSTAMP:20210322T161123Z
CREATED:20210319T135704Z
LAST-MODIFIED:20210322T161123Z
UID:7719-1353024000-1361750399@kaufmannrepetto.com
SUMMARY:Goodbye Horses
DESCRIPTION:goodbye horses\n  \nFrom 16 November 2012 to 24 February 2013\, the Kunsthaus Zürich presents ‘Goodbye Horses\,’ an exhibition by the French-Moroccan artist Latifa Echakhch. Echakhch’s works explore issues of cultural transfer and the shifts of identity that they entail. She is creating new works for the Kunsthaus that will be shown exclusively in Zurich. Their leitmotif is the circus. when Latifa Echakhch (born 1974) made her first museum appearance in the group exhibition ‘Shifting Identities’ (2008)\, her name was still unknown. Nevertheless\, the work she displayed – a group of bare flagpoles painted black and crisscrossing in space entitled Fantasia – attracted considerable attention. Since then Echakhch\, who was born in Morocco and now lives in Martigny\, Switzerland\, has been a participant in the 2011 Venice Biennale and the 2012 Biennale of Sydney. Renowned institutions such as Tate Modern\, London\, have given her solo exhibitions. Now\, the artist has returned from her global travels to her very first museum venue\, the kunsthaus zurich. the presentation ‘Goodbye horses\,’ prepared by Echakhch together with curator Mirjam Varadinis\, consists of new works created specially for the collection galleries that will be shown exclusively at the Kunsthaus.\n  \nLEItMOtIF OF thE CurrENt ShOw: thE CIrCuS ANd EMptINESS\nThe central motif of these new works is the circus. Echakhch is interested not in its jolly\, cheerful side but rather the melancholy aspect of spectacle and emptiness. There is a pervasive sense of abandonment; the works appear to be left over from a long finished exhibition. As the artist herself explains\, ‘the circus actually represents the idea of the spectacle that lives entirely from the tension of the moment. But the theme of the exhibition is precisely the end of this “here and now.” The idea of something that exists only through its absence is one that has preoccupied Echakhch for some time. Yet for her\, the idea of emptiness goes still further. Only when supposedly known objects have been emptied of their original meaning can they be read in new ways – and this is exactly what Echakhch does. She uses objects that we all know well\, such as the typical architectural elements and props of the circus – the ring\, costumes\, pedestal and circus tent. She has arranged such a tent in the collection galleries of the Kunsthaus so that visitors feel as if they were walking across the roof of the circus – a poetic change of perspective. Yet the political component for which Echakhch is known is still present. Her installation at the Kunsthaus pinpoints the inner emptiness of our ‘event’ society and the fact that today ‘everything happens so fast that it is over even before it has begun.’ At the same time\, she also references the history of the circus and the ‘freak shows’ in which people with abnormalities of all kinds were put on display. These shows\, of which P.T. Barnum’s circus was a famous example\, lived from staging the act of gazing on the unfamiliar – a theme of central importance for Echakhch\, as may already be seen in her early work.\n  \nLEVEL OF POLITICAL MEANING\nEchakhch has\, since the beginning of her career\, reflected on the often prejudiced perception of national and religious identities in works that are both poetic and conceptual. Titles play an important role\, as in the installation Stoning’(2010). Stones lying on the ground seem at first glance to be innocuous. the term ‘stoning’\, however\, immediately evokes images of brutal executions and charges the work with a new level of meaning. then viewed from a distance\, À chaque stencil une révolution (2007) is reminiscent of an abstract mural. Yet the title triggers quite different associations\, recalling a time when political manifestos were reproduced using the blue carbon paper that Echakhch here deploys in her work. Each of the sheets glued to the wall stands for the possibility of a revolution; and so the seemingly abstract painting is transformed into a politically explosive wall hanging.
URL:https://kaufmannrepetto.com/exhibition/goodbye-horses/
LOCATION:Kunsthaus\, Zurich
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20121103
DTEND;VALUE=DATE:20130301
DTSTAMP:20210322T161143Z
CREATED:20210319T121328Z
LAST-MODIFIED:20210322T161143Z
UID:7703-1351900800-1362095999@kaufmannrepetto.com
SUMMARY:Die Vögel
DESCRIPTION:die vögel\nPortikus has been located for six years now on the Maininsel\, a small island in the river Main\, sharing this exceptional site with a protected bird sanctuary. Many artists have addressed the specificity of the isolated island within the urban fabric of the city of Frankfurt. This time an artist has been invited to create a work especially for this outside space. French-Moroccan artist Latifa Echakhch has developed an intervention on the island\, which\, while not being accessible to visitors\, is visible from the banks of the river.\nThe Portikus island is an exceptional spot for witnessing the changing seasons and the subsequent behavior of urban wildlife. In spring and summer\, the foliage of the trees disguises the cityscape\, creating a tropical-like forest that becomes home to various birds and animals. Come autumn and winter\, the scenery changes dramatically\, creating a melodramatic black and white silhouette of trees and branches. This is also the time when migrating birds temporarily populate the island. Arriving from northern Europe\, the flocks “transit” in the treetops before flying on towards warmer southern territories. the only birds that return daily are crows. Just before sunset\, they gather in swarms and circle around the island and the high-roofed Portikus building\, eventually landing on the branches of the tree tops. reflecting on ideas of absence inherent in migration\, Latifa Echakhch – having herself a diverse cultural heritage – made a sculptural work that to an extent repopulates the island over the winter months. During a site visit\, the artist was immediately drawn to the time of year when the island is stripped bare\, when life is withdrawn and the site functions as a place of refuge. with the expertise of the renowned Research Institute Senckenberg\, the island’s biotope was mapped. Based on these findings\, Echakhch developed a project centering around the transient nature of life on the island and the fluctuation of migrating birds\, and fabricated a number of kites in the shape of birds to be attached to the trees. The kites are made from plastic bin-bags\, echoing the paradox of a nature reserve in an urban cityscape.\nCommenting on aspects of solitude and rejection\, the kites can either function as an invitation to the arriving birds\, given their bird-like shape\, or\, alternatively\, as a warning\, due to their scale and materiality. Pointing towards the potential threat and cruelty of isolation\, and at the same time suggesting an aesthetic stylization of violence\, Latifa Echakhch borrows the title of Hitchcock’s seminal film the Birds for her installation on the island. while the kites appear to have been abandoned on the island as a result of an unknown threat – their owners vanished or chased away – they also allow for narratives that lend to the gloomy island scenery a momentary air of innocence\, like that of children playing.\nSpring\, and with it the beginning of the breeding season and the revitalization of the island\, will mark the end of Echakhch’s installation. Until then\, the work can be viewed from the Sachsenhausen river bank\, adding to the tradition of Portikus to introduce contemporary art into the realm of the city.
URL:https://kaufmannrepetto.com/exhibition/die-vogel/
LOCATION:Portikus\, Frankfurt
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20121020
DTEND;VALUE=DATE:20130121
DTSTAMP:20221130T151436Z
CREATED:20221130T151436Z
LAST-MODIFIED:20221130T151436Z
UID:15052-1350691200-1358726399@kaufmannrepetto.com
SUMMARY:Sightings
DESCRIPTION:eva rothschild : sightings \nFor the next iteration of the ongoing Sightings series of installations and architectural interventions by contemporary artists\, the Nasher Sculpture Center has commissioned Eva Rothschild to create a site-specific sculpture for the museum’s entrance bay. Sightings: Eva Rothschild will be on view from October 20\, 2012 through January 20\, 2013.  \n“Working in a wide array of media and exploring a diverse range of forms\, Eva Rothschild has established an international reputation as one of the most significant sculptors of her generation. We’re thrilled that for her Sightings installation\, the artist has engaged in the most thoughtful and ambitious manner with our admissions bay\, so that visitors to the Nasher will immediately be surprised and delighted by her work from their first entrance into the museum\, and as they move through its spaces\,” notes Nasher Director Jeremy Strick.  \nBorn in Dublin in 1971\, and currently based in London\, Rothschild has received acclaim for works that reshape the legacy of minimalist and post-minimalist sculpture to offer evocative\, open-ended experiences to the viewer. She made her first large-scale intervention in a museum space in 2009\, when she created Cold Corners\, Tate Britain’s Duveens Commission. Last year\, she created Empire for the Public Art Fund\, New York\, placing a monumental\, multidirectional archway of steel at one of the entrances to Central Park. For Sightings\, Rothschild will make an intricate network of painted piping that similarly addresses the transitional space of the Nasher’s entrance bay by snaking up the walls\, along the floor\, and over and around admissions desks\, stairs\, and doorways. The installation will thoroughly inhabit the space\, heightening and redefining our experience of the architecture. \nRothschild has exhibited widely at museums\, including Hepworth Wakefield\, Tate Britain\, and Kunsthaus Basel. This summer\, she received the Childrens Art Commission from the Whitechapel Gallery\, London. Her work is included in the collections of the Tate Gallery\, London\, the Carnegie Museum\, Pittsburgh\, and the Irish Museum of Modern Art\, Dublin. \nSightings: Eva Rothschild is generously sponsored by Christen and Derek Wilson\, Cindy and Howard Rochofsky\, The Goss-Michael Foundation\, the Gene and Jerry Jones Family\, CBRE and the Nasher Sculpture Center Avant-Garde Society.
URL:https://kaufmannrepetto.com/exhibition/sightings/
LOCATION:Nasher Sculpture Center\, Dallas
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20121005
DTEND;VALUE=DATE:20121006
DTSTAMP:20210712T161347Z
CREATED:20210712T161347Z
LAST-MODIFIED:20210712T161347Z
UID:11620-1349395200-1349481599@kaufmannrepetto.com
SUMMARY:Kabuki
DESCRIPTION:kabuki\nAnthea Hamilton will present a performance inspired by the classical Japanese dance theatre forms of Noh and Kabuki. Working with untrained performers and traditional staging to interpret some of the original choreographic language\, Hamilton seeks to see how action and gesture can be passed from one culture and generation to another\, making visible the stylistic mutations that occur via this transmission.\nHamilton (born 1978\, London) works with sculpture\, painting\, moving-image and performance using the iconography of popular culture and history to create her own form of contemporary pop art. Current solo projects include Frieze Projects East (with Nicholas Byrne)\, London\, and Firstsite\, Colchester\, UK and she has previously had solo exhibitions at the Chisenhale Gallery (2008) and IBID Projects (2011).
URL:https://kaufmannrepetto.com/exhibition/kabuki/
LOCATION:Tate Modern\, London
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120920
DTEND;VALUE=DATE:20121107
DTSTAMP:20220201T131501Z
CREATED:20200108T161903Z
LAST-MODIFIED:20220201T131501Z
UID:2040-1348099200-1352246399@kaufmannrepetto.com
SUMMARY:good news\, bad news\, no news
DESCRIPTION:kaufmann repetto is pleased to announce Good News\, Bad News\, No News\, Dan Perjovschi’s first solo show at the gallery. \nSince the early eighties\, in reaction to the censorship imposed by the communist regime\, Dan Perjovschi has abandoned painting to approach drawing\, sketch and walldrawing. For the artist\, these media represented a more direct and effective way to address his views on a wide range of topics: politics and social habits\, the economic and art systems\, to name a few. \nLater in the nineties\, Perjovschi began an ongoing collaboration with Revista 22\, the first independent publication produced in Romania after the fall of the regime\, devoted to the awakening of the national collective conscience. Revista 22 represents a space for real-time confrontation with current events\, and gives Perjovschi a platform to disseminate his ideas beyond the borders posed by the art market. \nBoth these forums for expression\, that Perjovschi continues to explore\, enables him to intervene in a public debate\, and at the same time to reach out to a broader audience. \nRather than making discrete objects\, Perjovschi is involved in the production of ideas\, which function as continuous inspiration for a critical meditation regarding the present. \nThe immediacy as well as the accessibility characterizing his work\, consequent/due to the universality of the humor pervading his drawings\, on closer inspection reveal a surprising openness towards sophisticated systems of meaning. \nOn the occasion of his show in Milan\, Perjovschi will develop a monumental site-specific installation\, which continues his long-term interest in the public and the performative dimension of making art. The walls of the gallery will be covered by Italian and international newspapers. Perjovschi will intervene directly on the pages\, creating a dense group of drawings made from black marker\, in conversation with the everyday events they overlaps. \nStarting from the economic and social developments of the present days\, Dan Perjovschi generates an imposing representation of our society\, a portrait able to illuminate the paradoxes and contradictions of contemporary life\, in a context of progressive economic and cultural globalization. \nIn Perjovschi’s drawings\, the vast amount of information to which we’re constantly exposed\, and that we hardly re-elaborate consciously\, is subjected to an ongoing critical analysis\, creating unexpected connections\, short-circuits and dizzy logical leaps\, always faithful to that biting humor which spares nothing and no one. \nDuring the exhibition will be shown Milo Adami’s documentary Dan solo in Rome. \nkaufmann repetto è lieta di annunciare Good News\, Bad News\, No News\, la prima mostra personale di Dan Perjovschi in galleria. \nGià all’inizio degli anni ’80\, in reazione alla censura imposta dal Regime Comunista\, Dan Perjovschi ha abbandonato la pittura per avvicinarsi al disegno\, alla vignetta e al walldrawing. Questi media hanno rappresentato per l’artista\, a partire da allora\, uno strumento diretto ed efficace per esprimere la propria posizione su argomenti diversi: politica e costumi sociali\, il sistema economico e quello dell’arte\, solo per citarne alcuni. \nNegli anni ’90\, Perjovschi inizia una collaborazione tuttora in corso con Revista 22\, la prima pubblicazione indipendente prodotta in Romania dopo la caduta del Regime\, e votata a risvegliare la coscienza collettiva nazionale. Revista 22 rappresenta uno spazio per un confronto in tempo reale con l’attualità e conferisce a Perjovschi una piattaforma attraverso cui diffondere le proprie idee oltre i confini posti dal mercato dell’arte. \nEntrambi questi territori rappresentano per Perjovschi oggetto di continua esplorazione\, consentendogli di intervenire nel dibattito pubblico e di raggiungere allo stesso tempo un più ampio bacino di fruitori. \nPiuttosto che cimentarsi nella realizzazione di oggetti\, Perjovschi è indirizzato verso la produzione di idee\, fornendo così continui spunti per una riflessione critica sul presente. \nL’immediatezza e l’estrema accessibilità delle sue vignette\, anche grazie al carattere universale dell’umorismo sempre presente nel lavoro\, diventa\, a uno sguardo più attento\, apertura a sofisticati sistemi di senso. \nIn occasione della mostra a Milano\, Perjovschi svilupperà una monumentale installazione site-specific che perpetua l’interesse dell’artista nella dimensione pubblica e performativa del fare arte. Le pareti della galleria saranno rivestite da pagine di giornali italiani ed internazionali. Perjovschi interverrà direttamente sui fogli dei quotidiani\, creando un denso gruppo di disegni realizzati con pennarello nero\, in dialogo con gli eventi a cui si sovrappongono. \nPartendo dagli sviluppi economici e sociali che caratterizzano il nostro presente\, Dan Perjovschi genera un’imponente rappresentazione della nostra società\, un ritratto capace di fare luce sui paradossi e le contraddizioni che caratterizzano la contemporaneità\, in un contesto di progressiva globalizzazione economica e sociale. \nNei disegni di Perjovschi\, l’enorme volume di informazioni a cui siamo costantemente esposti – e che a malapena elaboriamo consciamente – è sottoposto ad una costante analisi critica\, creando connessioni inattese\, corti circuito e vertiginosi salti logici\, sempre sotto l’egida di un umorismo graffiante che non risparmia niente e nessuno. \nIn contemporanea alla mostra sarà proiettato il documentario di Milo Adami Dan solo in Rome.
URL:https://kaufmannrepetto.com/exhibition/good-news-bad-news-no-news/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120908
DTEND;VALUE=DATE:20121126
DTSTAMP:20210712T163627Z
CREATED:20210712T162815Z
LAST-MODIFIED:20210712T163627Z
UID:11628-1347062400-1353887999@kaufmannrepetto.com
SUMMARY:Sorry I’m Late
DESCRIPTION:Sorry I’m Late\nFirstsite’s autumn season begins with a new solo exhibition by the British artist\, Anthea Hamilton.\nHamilton’s energetic collages explore the surreal and seductive nature of images. Her sculptures\, installations and videos make reference to the history of art\, cinema and performance\, playfully inserting the viewer into a three-dimensional composition.\nSorry I’m Late sees work installed across the building with firstsite’s galleries dramatically transformed into a series of environments ‘ from a film studio to a restaurant kitchen. Soft sculptures\, Perspex figures mounted on wheels\, a giant\, zoetrope-inspired portrait of John Travolta and a medieval cocktail that is claimed to cure cataracts are amongst the works that comprise the exhibition.\nAnthea Hamilton’s work has been exhibition internationally including presentations at the Palais de Tokyo\, Paris\, the Barbican Art Gallery and Tate Britain\, London. Her recent projects include a poster design for the London 2012 Olympic and Paralympic Games and a major commission as part of the Cultural Olympiad\, Frieze Projects East which she produced in collaboration with Nicholas Byrne. In October she will present a work as part of The Tanks programme of live art at Tate Modern.
URL:https://kaufmannrepetto.com/exhibition/sorry-im-late/
LOCATION:Firstsite\, Colchester
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120701
DTEND;VALUE=DATE:20121126
DTSTAMP:20210611T123713Z
CREATED:20210611T123713Z
LAST-MODIFIED:20210611T123713Z
UID:10958-1341100800-1353887999@kaufmannrepetto.com
SUMMARY:Grand Tourist
DESCRIPTION:Grand Tourist\nDianna Molzan’s paintings cast in relief the very materials of painting: paint\, canvas\, and wooden stretcher bars. Her vibrant\, easel-sized paintings alter our expectations of what a painting can be. Often beginning with a rectangle\, Molzan deliberately dismantles the three basic components of painting through a variety of experiments such as cutting\, unraveling\, twisting\, and draping the canvas. A painting’s canvas may turn into a woven grid\, or extend into space with sewn shapes. But despite the formal and material tactics Molzan deploys\, her works still retain the appearance of painting. They remain\, ultimately\, paint on canvas wrapped around a stretcher. \nThrough this manipulation of material\, Molzan’s work resides somewhere between painting and sculpture\, and she looks at all of these objects with the same eye: “In museums\, objects are nearly equalized; that is\, there seems to be this process that brings culturally and historically varied works into the present moment for the viewer. For example\, in a single afternoon\, and under one roof\, you can see a pre-Columbian clay pot\, a panel of Victorian lace\, an El Greco painting\, and a Claes Oldenburg soft sculpture—so it does not seem that odd to me to kind of re-create that viewing experience within a group of paintings.” One can follow her roving eye through myriad visual influences. For example\, the history of painting threads through her work in color choices\, the application of paint\, and shaped canvas. We might pick up references to Jackson Pollock and Richard Tuttle\, to Henri Matisse and Joan Mitchell. Molzan also looks to art pottery\, Italian 1980s Memphis design\, Art Deco\, and the Arts and Crafts movement—even the speckled surfaces of Formica. \nFor her first solo museum show in Boston\, Molzan will create all new works. In keeping with her innovative approach\, Molzan allows the architecture of the space in which her work will be seen to influence the paintings. Treating the gallery as a specific context is unusual for a painter\, yet one can make comparisons to artists and designers who have created interiors and buildings as works of art. Consider Charles Rennie Mackintosh–designed interiors or Matisse’s Chapel in Vence\, France. Like those who have created total environments\, Molzan considers her exhibitions as locations where paintings can be read as an ensemble. \nMolzan was born in 1972 in Tacoma\, Washington\, and lives and works in Los Angeles. She received her BFA from The School of the Art Institute of Chicago (2001) and her MFA from the University of Southern California (2009). Molzan has had solo exhibitions at the Whitney Museum of American Art\, New York (2011)\, and her gallery\, Overduin and Kite in Los Angeles (2009). Several of her works were included in the show All of this and nothing at the Hammer Museum\, Los Angeles (2011).
URL:https://kaufmannrepetto.com/exhibition/grand-tourist/
LOCATION:ICA\, Boston
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120609
DTEND;VALUE=DATE:20120917
DTSTAMP:20210519T103818Z
CREATED:20210519T103818Z
LAST-MODIFIED:20210519T103818Z
UID:9928-1339200000-1347839999@kaufmannrepetto.com
SUMMARY:dOCUMENTA (13)
DESCRIPTION:documenta (13)\nFor the second time in its history\, documenta was directed by a woman. Carolyn Christov-Bakargiev\, who recruited “agents” from all over the world for her team of advisors led by Chus Martínez from Spain\, caused confusion in the press prior to the exhibition with her “non-concept\,” eco-feminism\, dog calendars\, an absurd title that no one could remember (The dance was frenetic\, animated\, clattering\, twisted\, and lasted a long time)\, and the announcement of a parallel exhibition in Kabul\, Afghanistan. Taking the concept of platforms from documenta 11 a step further\, documenta 13 included not only events outside the city of Kassel in advance of the exhibition but also a concurrent event at a different location. Another venue was an equally important element of the concept: the former Benedictine Monastery in Breitenau outside Kassel\, which had served as a labor and concentration camp under the National Socialist regime and later as a boarding school for girls and a psychiatric clinic. Between these two locations—Kassel/Breitenau and Kabul/Bamiyan—documenta 13 established a primary motif that recalled the original underlying idea of documenta: “Zusammenbruch und Wiederaufbau” (Collapse and Recovery)—in other words\, healing the trauma of war through art. Many artists (all of whom had visited Kassel and Breitenau before the exhibition\, while several had been to Kabul and Bamiyan as well) presented newly produced works that related specifically to these venues—among them Clemens von Wedemeyer\, Mariam Ghani\, Goshka Macuga\, Michael Rakowitz\, and Omer Fast. In addition\, the results of workshops held in Kabul and Bamiyan were incorporated into works shown at an exhibition devoted to Afghan artists in Kassel. The exhibition in Kabul attracted 27\,000 visitors\, while the public was excluded for the most part from the events in Cairo/Alexandria and Banff. Christov-Bakargiev linked other states of being that were of importance to the program of documenta 13 with these locations in presentations that revealed their oscillating relationships: onstage (Kassel)\, under siege (Kabul)\, hope and revolt (Cairo and Alexandria)\, and retreat (Banff).\nStructures were also reconfigured in terms of time as well. Documenta 13 officiallybegan with the installation of Giuseppe Penone’s Idee di Pietra (Ideas of Stone)\, a bronze tree with a boulder in its crown in the Karlsaue in May 2010. This was Christov-Bakargiev’s reference to her own roots in Arte Povera. Closely associated with documenta since Beuys’s time\, the tree-planting motif reappeared at other points in the exhibition in works by Korbinian Aigner and Jimmie Durham. Another important theme of documenta 13 was anti-anthropomorphism\, as expressed in the form of seeds\, apples\, and dogs as well as people and art.\nVisitors entering the Fridericianum found the first two rooms on the ground floor almost completely empty\, freshened only by a cool breeze—a work by Ryan Gander (I Need Some Meaning I Can Memorize\, 2012). The only items exhibited there were three sculptures by Julio Gonzáles that had been installed at the same place for the second documenta in 1959 and a letter from Kai Althoff\, in which he retracted his pledge to exhibit at documenta 13 (although for completely different reasons than Robert Morris had cited in 1972). One project that had been in preparation for quite some time but could not be realized was the proposal by the artists Guillermo Faivovich and Nicolás Goldberg to bring “El Chaco\,” the second-largest meteorite on Earth\, from northern Argentina to Kassel for 100 days. Evidence of the plan is preserved in the form of a pedestal that stands near Walter De Maria’s Vertical Earth Kilometer of 1977 and a documentation of the project in the Fridericianum.
URL:https://kaufmannrepetto.com/exhibition/documenta-13/
LOCATION:dOCUMENTA (13)\, Kassel
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120609
DTEND;VALUE=DATE:20120917
DTSTAMP:20221130T164041Z
CREATED:20221130T164041Z
LAST-MODIFIED:20221130T164041Z
UID:15647-1339200000-1347839999@kaufmannrepetto.com
SUMMARY:dOCUMENTA (13)
DESCRIPTION:thea djordjadze: documenta (13)
URL:https://kaufmannrepetto.com/exhibition/documenta-13-2/
LOCATION:dOCUMENTA (13)\, Kassel
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120601
DTEND;VALUE=DATE:20121125
DTSTAMP:20221130T155055Z
CREATED:20221130T155055Z
LAST-MODIFIED:20221130T155055Z
UID:15655-1338508800-1353801599@kaufmannrepetto.com
SUMMARY:Kamikaze Loggia
DESCRIPTION:The Pavilion of Georgia at the 55th International Art Exhibition – la Biennale di Venezia will be a parasitic extension to an old building in the Arsenale. This informal structure called a “kamikaze loggia”—characteristic of Tbilisi—will be designed by the artist Gio Sumbadze\, who is a researcher of these architectural additions. Vernacular extensions of modernist buildings have been created since the 1990s as an organic response to the new\, “lawless” times after the fall of the Soviet Union. They increase the living space and are usually used as terraces\, extra rooms\, open refrigerators\, or—as in Sumbadze’s case— an artist studio. It is said that a Russian journalist named them “kamikaze”\, drawing a parallel between the romantic and suicidal character of such endeavour and the typical ending of most Georgian family names “- adze”. This architecture also refers back to the local palimpsestic building technique\, which since the Middle Ages\, allows new houses to be built on top of existing ones on the steep slopes of the Caucasus Mountains: thus not monumentalising the past\, but expanding on it for the future. \n\n\n\nThis year the Pavilion of Georgia will take the form of a kamikaze loggia hosting an exhibition of the artists Bouillon Group\, Thea Djordjadze\, Nikoloz Lutidze\, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin\, and Gio Sumbadze. The exhibition will take as its point of departure the creation of such informal architecture\, a manifestation of the refusal of dominant structures\, in order to incorporate provisional liberty\, local self-determination\, and acknowledging while also building upon the infrastructural legacy of Soviet master plans. The exhibition aims at presenting the extraordinary range of informality\, bottom-up solutions and the concept of self-organization in Georgian art and architecture. Through its performativity\, the exhibition will attempt an overview of the potential of shared knowledge present in adaptations\, subversive strategies\, the shadow economy\, and in exploring ways of bypassing regulations. Looking at local examples of self-initiated environments—e. g. kamikaze loggias\, “euroremonts”\, “beautifications” or modifications of the Soviet heritage—the project will seek to examine their anticipatory\, critical and often progressive potential: one comprising multiple secondary uses and sustainable\, self- organising parallel policies present in the cultural discourse of today. \n\n\n\n\n\n\nDuring the opening days the artists will be using and adopting the space of the pavilion in a series of staged\, performative situations and choreographed sequences both inside the loggia and outside in the Arsenale. The aim of the exhibition Kamikaze Loggia is to cast a critical and progressive look at the social\, political and ideological aura of the last twenty years in Georgia as well as the condition of contemporary art and architecture within it — thus introducing an artistic scene of a country that sometimes is described as “Italy gone Marxist”.
URL:https://kaufmannrepetto.com/exhibition/kamikaze-loggia/
LOCATION:Biennale di Venezia\, Venice
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120517
DTEND;VALUE=DATE:20120731
DTSTAMP:20220201T131510Z
CREATED:20200110T104339Z
LAST-MODIFIED:20220201T131510Z
UID:2578-1337212800-1343692799@kaufmannrepetto.com
SUMMARY:a sudden walk
DESCRIPTION:kaufmann repetto is glad to announce A Sudden Walk\, the first solo show of Judith Hopf at the gallery. \nJudith Hopf’s work debuted\, in the early nineties\, as an ever-changing process. The frequent collaboration with other artists\, the invasion on non-institutional spaces\, as well as the mingling between art and social action\, between learning and teaching\, describe an attitude of extreme openness\, indicating the artist’s will to re-found\, from time to time\, the premises of her own work. By relying on a wide range of medium including videos\, installations\, performances\, sculptures and graphics\, Judith Hopf analyzes the contradictions of contemporary life through humor\, caricature and an attitude that is both playful and subversive. \nIn a Sudden Walk\, the brief novel by Franz Kafka which has inspired the title of the show\, the simple decision of taking an unforeseen stroll\, evading from the trap of ordinary domestic routines\, opens an horizon of freedom and emancipation of the individual. \nStarting from this perspective\, in the two main spaces of the gallery Judith Hopf presents two similar but not equal scenarios\, each one showing several objects appearing as duplicates\, but actually slightly diverging from their own homologous\, therefore sparking off a process of subjectification that corresponds to the liberating discover of one’s own alterity. \nConstriction and freedom are the two extremes between which the exhibited objects are positioned: according to the different perspective from which they are observed\, the glass structures may look either like cages or aerial minimal sculptures. The tiger\, which is both prey and predator\, seems to be evading while at the same time entrapped within an impossible square. The small tables\, through a minimal intervention\, become animated characters that stroll around the exhibition spaces. Strong of their ambivalent nature\, all the works appear at the same time comical and threatening\, like the bright-colored whip hung on the wall; or just like power\, when associated to foolishness. \nThe constant humanization of the object\, characterizing most of Judith Hopf’s works\, subverts any existing hierarchy\, while at the same time\, quoting Henri Bergson’s essay Laughter\, reminds us that “There is nothing comical besides what is properly human”. \nIn the video Zählen!\, a group of clown-bourgeois make fun of an horse while challenging him to do a series of subtractions\, strong of their anthropocentric convictions\, that are promptly eradicated by the animal\, which turns out to be able to make calculation. In this video the artist appears to be siding with the horse\, as his guardian and faithful companion. \nJudith Hopf’s work constantly reminds us how foolishness represents an integral part of human nature: but it is this very inclusive attitude\, where the sublime pairs with what’s absurd and ridiculous\, that enables the artist to create new spaces of debate and autonomy. \n  \n  \nkaufmann repetto è lieta di annunciare A Sudden Walk\, la prima mostra in Italia di Judith Hopf. \nIl lavoro di Judith Hopf esordisce\, negli anni ’90\, come un processo in continuo mutamento. La frequente collaborazione con altri artisti\, l’invasione di spazi non istituzionali e la commistione tra il fare arte e l’azione sociale\, tra l’apprendere e l’insegnare\, descrivono un’attitudine di estrema apertura\, come se l’artista volesse rifondare\, di volta in volta\, le basi del proprio lavoro. Utilizzando installazioni\, video\, performances\, sculture\, grafiche\, Judith Hopf sviluppa un’analisi delle contraddizioni del vivere contemporaneo attraverso l’umorismo\, la caricatura e un atteggiamento insieme giocoso e sovversivo. \nNel racconto breve di Franz Kafka The Sudden Walk\, a cui e’ ispirato il titolo della mostra\, la semplice decisione di fare una passeggiata improvvisa\, evadendo dalla gabbia delle abitudini domestiche\, apre un orizzonte di libertà e uno spazio di emancipazione dell’individuo. \nIn questa ottica\, Judith Hopf presenta negli spazi della galleria due scenari simili ma non uguali\, in cui ogni oggetto\, all’apparenza duplicato\, differisce in maniera sottile dal suo omologo\, innescando un processo di soggettivizzazione che corrisponde a una liberatoria scoperta della propria alterità. \nCostrizione e liberta’ sono i due estremi entro i quali si posizionano gli oggetti in mostra: le strutture di vetro assumono l’aspetto\, a seconda della prospettiva da cui le si osserva\, di gabbie o di aeree sculture minimali. La tigre\, preda e insieme predatore\, sembra evadere e allo stesso tempo essere ingabbiata in un quadrato impossibile. I tavoli\, attraverso un intervento minimo\, diventano caratteri animati che si aggirano per gli ambienti. Forti della loro natura ambivalente\, i lavori appaiono allo stesso tempo minacciosi e comici: come una frusta dai colori sgargianti ancorata al muro; come il potere\, se associato alla stupidità. \nLa costante umanizzazione dell’oggetto\, che accomuna molti lavori di Judith Hopf\, provoca un ribaltamento delle gerarchie\, e allo stesso tempo\, per citare le parole di Henri Bergson dal suo saggio Il Riso\, ci ricorda che ‘Non vi è nulla di comico al di fuori di ciò che è propriamente umano’. \nNel video Zählen!\, i borghesi-pagliacci sfidano con fare derisorio il cavallo a fare le sottrazioni\, forti della propria convinzione antropocentrica\, che viene però prontamente scalzata dall’animale\, che a sorpresa si rivela capace di fare di conto. Nel video\, Judith Hopf appare schierata al fianco del cavallo\, di cui e’ la custode e insieme la compagna fedele. \nIl lavoro di Judith Hopf ci ricorda costantemente come la stupidità sia parte integrante della sfera umana\, ma proprio attraverso questo atteggiamento inclusivo\, in cui il sublime va a braccetto con il ridicolo\, l’artista e’ capace di aprire nuovi spazi di dibattito e di autonomia.
URL:https://kaufmannrepetto.com/exhibition/a-sudden-walk/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120506
DTEND;VALUE=DATE:20120828
DTSTAMP:20210709T143005Z
CREATED:20210709T143005Z
LAST-MODIFIED:20210709T143005Z
UID:11368-1336262400-1346111999@kaufmannrepetto.com
SUMMARY:Ecstatic Alphabets/Heaps of Language
DESCRIPTION:Ecstatic Alphabets/Heaps of Language\nEcstatic Alphabets/Heaps of Language is a group exhibition that brings together 12 contemporary artists and artists’ groups working in all mediums including painting\, sculpture\, film\, video\, audio\, and design\, all of whom concentrate on the material qualities of language—visual\, aural\, and beyond. The work that these artists create belongs to a distinguished history of poem/objects\, and concrete language experiments that dates to the beginnings of modernism\, and includes both the Dada and Futurist moments as well as the recrudescence of Neo-Dada in the late 1950s\, and international literary movements like concrete and sound poetry in Europe\, Latin America\, and the United States. Like visual artists who experimented with abstract forms with the goal of arriving at a non-metaphoric artwork that was itself and nothing else\, artists working with words in the late 1950s and 1960s used language as a medium; letters\, words\, and texts were dissected\, displayed as objects\, or arranged so that form and content were combined.\nThe works in Ecstatic Alphabets represent a radical updating of the possibilities inherent in the relationship between art and language. In this exhibition\, the letter\, the word and the phrase are seen and experienced\, and not necessarily read. Physicalized\, transcribed into sounds\, symbols\, pictures or patterns\, scrambled\, or negated\, language is freed from the page as well as from its received meanings\, received forms\, and\, in some cases\, the duties of communication altogether. Working with language has also created an opportunity for artists to move more freely among disciplines\, and this exhibition includes work in a range of mediums by artists who are also poets\, writers\, performers\, and graphic designers. Like earlier experiments in this vein\, many of these recent works have an abiding connection to poetry\, which runs like a subtheme through the exhibition adding the ecstatic element to each works’ alphabetic plainness.\nThe exhibition is divided into two sections\, with the first featuring an abbreviated timeline of language in modern art culled primarily from drawings\, sculptures\, prints\, books\, and sound works from MoMA’s collection. Artists in this historical section of the exhibition include: Carl Andre\, Marcel Broodthaers\, Henri Chopin\, Marcel Duchamp\, Ian Hamilton Finlay\, John Giorno\, Kitasono Katue\, Ferdinand Kriwet\, Liliane Lijn\, Filippo Tommaso Marinetti\, Bruce Nauman\, Lawrence Weiner\, and others. Artists in the contemporary section of the exhibition include: Ei Arakawa/Nikolas Gambaroff\, Tauba Auerbach\, Dexter Sinister (David Reinfurt and Stuart Bailey)\, Trisha Donnelly\, Shannon Ebner\, Paul Elliman\, Experimental Jetset\, Sharon Hayes\, Karl Holmqvist\, Paulina Olowska\, Adam Pendleton\, and Nora Schultz.\nThe exhibition is accompanied by a publication designed and produced by Dexter Sinister
URL:https://kaufmannrepetto.com/exhibition/ecstatic-alphabets-heaps-of-language/
LOCATION:MoMa\, New York
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120411
DTEND;VALUE=DATE:20120609
DTSTAMP:20220201T131520Z
CREATED:20200110T125635Z
LAST-MODIFIED:20220201T131520Z
UID:2787-1334102400-1339199999@kaufmannrepetto.com
SUMMARY:living room
DESCRIPTION:kaufmann repetto is glad to present Living room\, Lily van der Stokker new solo show at the gallery. \nFor more than 30 years Lily van der Stokker has used the wall-painting as a prior means of production. Through her works the artist has been carrying on a research that overcomes the borders of canvas\, and shows how decoration and ornament\, daily life and femininity\, can be ascribed to a rigorous artistic practice\, undertaken with irreverence and displacing honesty. \nIn the last few years Lily van der Stokker has started to insert sculptural elements\, often furniture\, in her wallpaintings\, therefore posing the premises for the creation of real environments\, where the painting and the object merge and the artwork becomes a space to be both observed and experienced. \nOn the occasion of her solo show\, Lily van der Stokker has for the first time developed a series of domestic settings\, reflecting the audacity that has always been characterizing her practice. The installations marking the exhibition path reset the traditional borders between art and design\, painting and decoration\, by mixing patterns\, materials\, techniques\, through a process made of overlapping and combinations. \nEncompassed by these inclusive and overwhelming architectures\, the paintings become large backcloths\, while the furniture through the painting assumes a sculptural value\, leaving the unmistakable sign of the artist\, indistinctly enveloping armchairs\, carpets and tables. These works\, besides commenting daily routines\, literally become a part of them: the functional soul of these pieces as well as their familiar aspect\, comes along with a subversive exuberance that invests the viewer through a blaze of shapes and colors. \nThrough an ambiguous game\, the installations composing the show recall our need for comfort and privacy while\, at the same time\, they bring the private sphere into public\, turning what looks familiar into something inappropriate. \nThe cheekily naïf esthetic\, made of saturated colors\, floral motifs\, sinuous lines\, claims the dignity of what is usually considered as frivolous. The practice of Lily van der Stokker consists in this very frontal display of femininity portrayed in all its aspects: quoting the artist words “women can be sweet\, romantic\, sensual\, communicative\, decorative\, weak\, emotional and what else? They are very good at crying”. \nThrough her joyful and overwhelming installations\, Lily van der Stokker creates a universe that is both cerebral and emotional\, enveloping and aggressive\, frivolous and incredibly serious\, a universe where femininity is given voice and sometimes even the chance to scream out for joy. \n  \n  \nkaufmann repetto è lieta di annunciare la mostra di Lily van der Stokker Living Room. \nPer più di 30 anni\, Lily van der Stokker ha utilizzato il wallpainting come prioritario mezzo di produzione. Attraverso i suoi lavori l’artista ha portato avanti una ricerca che travalica i limiti della pittura\, e mostra come il decoro e l’ornamento\, il quotidiano e la sfera femminile\, possano essere ricondotti a una pratica artistica rigorosa\, portata avanti con irriverenza e una sincerità spiazzante.\nDa alcuni anni Lily van der Stokker ha iniziato a inserire elementi scultorei\, spesso pezzi di arredo\, all’interno dei suoi wallpaintings\, creando una dimensione di ambiente totale\, dove il dipinto e l’oggetto si fondono insieme\, e l’opera diventa uno spazio da osservare e insieme da vivere. \nIn occasione della sua mostra personale\, Lily van der Stokker ha sviluppato per la prima volta una serie di scenari domestici che riflettono l’audacia che ha sempre caratterizzato la sua pratica artistica. Le installazioni in mostra azzerano i confini tra arte e design\, pittura e decor\, mescolando pattern\, materiali\, tecniche\, attraverso un processo fatto di sovrapposizione e accostamenti. Inglobati in queste architetture inclusive e soverchianti\, i grandi dipinti diventano fondali\, i mobili\, attraverso la pittura\, assumono una valenza scultorea\, e il segno inconfondibile dell’artista avvolge indistintamente poltrone\, tappeti e tavoli. I lavori così\, oltre a commentare il quotidiano\, ne entrano letteralmente a far parte: il carattere funzionale delle opere\, il loro aspetto familiare\, convive con un’esuberanza sovversiva e senza mezzi termini che investe lo spettatore in un tripudio di forme e colori. \nIn un gioco ambiguo\, le installazioni in mostra richiamano il nostro bisogno di comfort e di intimità\, e allo stesso tempo esibiscono la sfera privata nel contesto di quella pubblica\, rendendo inappropriato ciò che sembra familiare. L’estetica smaccatamente naif\, fatta di colori pieni\, decori floreali\, linee sinuose\, rivendica una piena dignità a cio’ che di norma viene considerato frivolo: la poetica di Lily van der Stokker consiste proprio in questa esibizione frontale di una femminilità presa in tutti i suoi aspetti: per citare le parole dell’artista\, ‘le donne possono essere dolci\, sentimentali\, sensuali\, comunicative\, decorative\, deboli\, emotive\, e che altro? Sono molto brave a piangere.’ \nAttraverso le sue installazioni totali e gioiose\, Lily van der Stokker modula un universo insieme emotivo e cerebrale\, avvolgente e aggressivo\, stupido e incredibilmente serio\, in cui la femminilità prende finalmente voce\, e talvolta urla
URL:https://kaufmannrepetto.com/exhibition/living-room/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120401
DTEND;VALUE=DATE:20120529
DTSTAMP:20210322T161220Z
CREATED:20210319T141150Z
LAST-MODIFIED:20210322T161220Z
UID:7736-1333238400-1338249599@kaufmannrepetto.com
SUMMARY:Morgenlied
DESCRIPTION:Latifa Echakhch & David maljkovic | morgenlied\n  \nKunsthalle Basel is pleased to present Morgenlied (Morning Song)\, an exhibition by Latifa Echakhch and david Maljkovik. the show came into being as a result of the artists’ shared\, albeit differently motivated and articulated\, interest in Modernist language of forms and the ideologies that used to support it.\nSharing a similar poetic sensibility\, Latifa Echakhch and david Maljkovik named their exhibition after the title of a poem by johann wolfgang von Goethe from 1773. The architect Johann Jakob Stehlin used the initial lines of Künstlers Morgenlied(Artist’s Morning Song) in 1868 as the motto for his competition design for the construction of the kunsthalle Basel. the first lines of the poem are “Der Tempel ist euch aufgebaut | Ihr hohen Musen all“ (The temple is built for you | All you high Muses). They describe the imagined future role of the Kunsthalle Basel – that of a temple dedicated to the arts. The architecture of the Kunsthalle’s main space\, the “Oberlichtsaal”\, with its neoclassical details and monumental skylight\, is typical for the 19th century and may be read as a belated symbolic embodiment of the idea of the Enlightenment. while considering the historic architecture of the kunsthalle\, Latifa Echakhch and david Maljkovik have produced works that engage with the space and radically transform its expression.\nLatifa Echakhch was born in El Khansa\, Morocco in 1974 and today lives in Martigny in Switzerland. her works\, ranging from site-specific installations to videos\, performances and sculptures using found objects\, investigate the phenomena of cultural transfer and the accompanying disintegration and reconstitution of displaced identity. Echakhch uses culturally stereotyped artefacts that relate to specific contexts of use and production\, such as flagpoles\, Moroccan tea glasses\, carpets\, and materials such as couscous\, Indian ink or clay bricks\, modifying the connotations these objects carry. Shifting between the poles of foreignness and familiarity\, the objects and materials are recontextualised in unexpected configurations and assume new meanings. In her installation at the Kunsthalle Basel\, another recurrent topic of Echakhch’s artistic work comes to the fore: her concern with marking the surface. This new site-specific work consists of a monumental painting executed in black ink on the skylight of the exhibition space. The black ink drops on the glass produce a play of light and shadow in the space. The painting covers over 80 square metres distributed on the 80 fields of the skylight. Contained within the existing grid\, it respects the historic architecture and is set in careful dialogue with the building\, but on the other hand it is clearly recognisable as a contemporary intervention.\nThe main feature of the historical space\, the skylight\, is highlighted in its grandeur\, but at the same time its original function\, to let light in to evenly fill the space\, is radically compromised. with its imposing height and oak-wood parquet floor\, the 􀂳Oberlichtsaal􀂴 was designed in 1869 to accommodate the socalled “Petersburg hanging” of paintings and it can be thus considered a swan song of the 19th century bourgeois culture\, associated with the Academy and Salon exhibitions. with the advent of the neutral “white cube” gallery space in the 20th century\, this temple-like room has become a splendid obsolescence.\nLatifa Echakhch uses the skylight as her canvas. Her paint is Indian ink\, a traditional writing and drawing material invented in ancient China. The title of this work is Enluminure (2012). It refers to light and the notion of enlightenment as much as to the traditional art of illuminating manuscripts. However\, in stark contrast to illuminating\, Latifa Echakhch’ painting is carried out in black only. Instead of a figurative painting or abstract ornament\, the artist has spilled and dripped the ink onto the glass\, a procedure reminiscent of Jackson Pollock’s practice when creating his abstract expressionist paintings.
URL:https://kaufmannrepetto.com/exhibition/morgenlied/
LOCATION:kunsthalle basel
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120307
DTEND;VALUE=DATE:20120416
DTSTAMP:20210520T154538Z
CREATED:20210428T120955Z
LAST-MODIFIED:20210520T154538Z
UID:9371-1331078400-1334534399@kaufmannrepetto.com
SUMMARY:Still lifes\, stones and elephants
DESCRIPTION:Still lifes\, stones and elephants\nHailed as painter\, illustrator\, and graffiti artist\, the praxis of Swiss artist Nicolas Party (b. 1980\, lives in Glasgow\, Scotland) is an earnest investigation into painting techniques and art historical sources. Party’s intervention at Swiss Institute brings together wall drawing\, sculpture\, and painting. The artist has created a brightly-colored\, hand-painted pattern extending from Swiss Institute’s lobby to its office and stairwells. The decorative treatment establishes an expansive visual field\, interrupted and punctuated by three large-scale\, still-life charcoal wall drawings. Combining limitless pattern and traditional motifs\, Party re-negotiates the divisions made between public and private space.
URL:https://kaufmannrepetto.com/exhibition/nicolas-party/
LOCATION:Swiss Institute\, New York
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120302
DTEND;VALUE=DATE:20120903
DTSTAMP:20210324T110409Z
CREATED:20210323T175956Z
LAST-MODIFIED:20210324T110409Z
UID:8385-1330646400-1346630399@kaufmannrepetto.com
SUMMARY:summer xx
DESCRIPTION:summer xx\n  \nThe Fabric Workshop and Museum (FWM) presents S U M M E R X X\, the debut of a new installation by Los Angeles-based artist Pae White. Continuing White’s interest in text-based work and super-graphic interventions\, she lifted the phrase “HASTA LA MUERTE” from the graffiti near her studio in East L.A. for her FWM project. The action of suturing and pulling this ephemeral text in the space serves to dimensionalize the recent passing of an art mentor.\nPae White has described her art-making in this way:\n“My practice has focused on an exploration of the neglected\, the forgotten\, the spaces between things\, even the things between things. I am equally drawn to the temporary\, the fleeting\, to the ephemera of everyday life. My work has attempted to subvert the viewer’s expected relationship to an everyday object\, nudging them off balance\, encouraging a deeper look.” \nWhite created the installation titled S U M M E R X X during her FWM residency primarily using a simple material: a standard\, red\, craft store yarn. This project continued White’s interest in text-based work and super-graphic interventions; at FWM\, the phrase along the museum wall\, “HASTA LA MUERTE\,” translates to “until death.” White saw this phrase graffitied near her East Los Angeles studio. During the installation\, the yarn was woven from wall to wall and across the form of each letter. This act of suturing and pulling to create this ephemeral text in the space served as a way for White to dimensionalize the recent passing of an art mentor.
URL:https://kaufmannrepetto.com/exhibition/summer-xx/
LOCATION:The Fabric Workshop and Museum\, Philadelphia
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120216
DTEND;VALUE=DATE:20120408
DTSTAMP:20220201T131532Z
CREATED:20191125T141205Z
LAST-MODIFIED:20220201T131532Z
UID:409-1329350400-1333843199@kaufmannrepetto.com
SUMMARY:verso
DESCRIPTION:kaufmann repetto is glad to present Verso\, Latifa Echakhch new solo show at the gallery. \nThrough simple actions and minimal interventions\, Latifa Echakhch repositions and de-contextualizes objects loaded of socio-cultural meaning\, inviting the viewer to undertake an active and plurivocal reading\, by virtue of an ontological relativism that suspends any judgment\, favoring the coexistence of multiple perspectives. Verso\, the title of the show\, mirrors this same polysemic openness: in fact\, the word Verso can refer to the poetry structural unit as well as to a direction\, but it also indicates something that lies behind\, something hidden. \nA work that gathers all these different meanings is MorgenLied\, where a hanging system for paintings becomes a giant music score\, and the denied presence of the canvases enables the object to free its otherwise unexpressed evocative power. The simple subtraction of an element leads to the deconstruction of usual associations therefore functioning as sound box\, that amplifies and brings out what usually slips the viewer eye.\nThe vertical fall tension characterizing this work is counteracted by Fantasia\, an installation positioned in the gallery’s courtyard and composed of pennons without flags that\, through an intricate overlapping\, create a geometry of lines projected towards the sky. This work\, which was recently exhibited at 54th Venice Biennale\, evokes a relation of both encounter and conflict\, as to comment the ambivalence implicit to the confrontation of different entities\, which becomes even more evident when concerning different national identities. \nAs to connect the inner gallery space with the outer one\, Latifa Echakhch intervenes on the gallery windows by dropping black indian ink\, therefore partially obscuring the exhibition rooms\, almost through an act of vandalism recalling scenarios of violence\, as well as the revolutionary potential of the written word. The title of the work\, Enluminure\, refers at the same time to miniature writing and lighting: what occults also reveals.\nIn this sense\, the works in the show seem to be located in a pre-linguistical dimension: black carbon paper\, dried ink\, empty hangers for paintings. All these elements share a sense of opennes\, that evokes both the beginning and the end\, the possibility of sharing a message and the negation of the message itself. \nAbsence and denial are the core themes pervading the whole exhibition\, which could either be seen as a succession of ghostly presences or\, better yet\, a series of amplified absences. A concept that especially applies to Skin\, an installation composed of a group of second-hand sneakers\, accumulated against the wall in an appartently random manner. The title of the work refers to the trend of the ‘Skin Parties’\, particularly wide-spread among teen-agers\, where all the guests leave their clothes and shoes outside the door\, as a rebellious act against \nconventions. While on one hand this piece is meant to represent the portray of a generation\, on the other hand it seems to evoke circumstances of collective gatherings\, ranging from the entrance into places of worship to the dramatic scenarios of massacres. \nFantome is the work ‘inhabiting’ the other room of the gallery: a sort of negative portray\, where those that might look as the remains of a presence\, compose a still life embodying a story we cannot learn anything about besides what we can infer. Once again\, the viewer becomes the key of a creative mechanism\, where emptyness asks to be filled\, and silence seems to speak through multiple voices. \n  \n  \nkaufmann repetto e’ lieta di presentare la mostra di Latifa Echakhch\, Verso. \nAttraverso gesti semplici e interventi minimi\, Latifa Echakhch riposiziona e decontestualizza oggetti carichi di valenza socio-culturale\, invitando lo spettatore a una lettura attiva e plurivoca\, in virtù di un relativismo ontologico che sospende il giudizio\, a favore di una coesistenza di prospettive. Verso\, il titolo della mostra\, rispecchia questa apertura polisemica: la parola verso può infatti riferirsi alla poesia\, ma può anche significare direzione\, senso\, e\, non in ultimo\, indicare ciò che sta dietro\, nascosto. \nUn lavoro che riunisce queste diverse accezioni è MorgenLied\, in cui un sistema di appendimento per quadri diventa una gigantesca partitura musicale\, e la presenza negata dei dipinti permette all’oggetto di liberare il proprio altrimenti inespresso potere evocativo. La semplice sottrazione di elementi noti funziona da cassa di risonanza\, e mette in risalto ciò che normalmente sfugge.\nAl movimento di caduta verticale di questo lavoro risponde\, nel cortile della galleria\, Fantasia\, un’installazione composta da pennoni privi di bandiere\, che creano\, nella loro sovrapposizione\, una geometria di linee proiettate verso l’alto. Il lavoro\, recentemente esibito alla 54 Biennale di Venezia\, evoca un rapporto di incontro e insieme di conflitto\, quasi a commentare l’ambivalenza insita nel rapporto tra due entità distinte\, tanto più evidente nel caso di diverse identità nazionali. \nCome a connettere lo spazio esterno e quello interno\, Latifa Echakhch interviene sulle finestre della galleria con dell’inchiostro di china\, tanto da oscurare parzialmente gli ambienti\, in un gesto quasi vandalico che rimanda a scenari di violenza\, ma anche al potenziale rivoluzionario della parola scritta. Enluminure\, questo è il titolo del lavoro\, si riferisce alla scrittura miniata\, e insieme a un’illuminazione: ciò che occulta\, rivela.\nIn questo senso alcuni dei lavori in mostra sembrano essere collocati in una dimensione pre-linguistica: l’inchiostro\, così come la carta carbone nera applicata sulle grandi tele in mostra\, condividono lo stesso senso di apertura\, evocando l’inizio come la fine\, la possibilità di condividere un messaggio e la negazione del messaggio stesso. \nE il tema della negazione e dell’assenza percorre tutta la mostra\, che puo’ essere letta come una sequenza di prensenze spettrali\, o meglio\, di assenze dalla forte presenza.\nE’ il caso di Skin\, un’installazione composta da un gruppo di sneakers usate\, ammassate contro al muro in modo apparentemente casuale. Il titolo del lavoro si riferisce alla moda\, in voga tra gli adolescenti\, dello Skin Party\, ritrovi in cui scarpe e parte del vestiario vengono lasciati fuori dalla porta\, in un atto di ribellione al mondo delle convenzioni adulte. Il lavoro funziona come ritratto di una generazione\, ma allo stesso tempo evoca panorami collettivi\, dall’ingresso di certi luoghi di culto a drammatici scenari di stragi. \nAd ‘abitare’ l’altro ambiente della galleria è invece un Fantome\, sorta di ritratto cesellato in negativo\, dove quelli che possono sembrare i resti di una presenza compongono una natura morta a cui è sottesa una storia che non ci è dato conoscere\, ma solo inferire. Di nuovo\, lo spettatore è messo al centro di un meccanismo creativo\, in cui i vuoti chiedono di essere riempiti\, e il silenzio sembra parlarci a più voci.
URL:https://kaufmannrepetto.com/exhibition/verso/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120216
DTEND;VALUE=DATE:20120408
DTSTAMP:20220201T131544Z
CREATED:20191217T164339Z
LAST-MODIFIED:20220201T131544Z
UID:1265-1329350400-1333843199@kaufmannrepetto.com
SUMMARY:she
DESCRIPTION:kaufmann repetto is glad to present She\, a portfolio of 16 etchings by Adrian Paci. \nAdrian Paci has many times drawn inspiration from a broad archive of vhs tapes shot in Albania in the early nineties\, featuring different wedding celebrations. His approach tends to distil those subjects and events appearing as marginal/peripheral\, to create a series of hieratic and visionary images. By selecting those otherwise imperceptible instants\, Adrian Paci’s gaze focuses on the margins of those rituals and gestures that seem to belong to a mythical past\, suspended in a timeless dimension. \nThe genesis of the etchings series She\, can be ascribed to this same process. In She\, the movements of a woman’s face enclosed in a short video sequence\, are fixed and dilated into a succession of 16 acqua tinta etchings\, through a keen play of lights and shadows marking and\, at the same time\, blurring the woman’s features. \nBeing in the foreground with respect to the other people in the sequence\, the woman seems to be alone: she appears as the only one noticing the camera\, from which she gradually shrink by averting her gaze\, therefore getting rid of the shadow that seems to transfigure her face. \nThe portfolio opens with the verses of an Albanian poetry by Ndre Mjeda\, narrating the pain and the loneliness of a woman\, Lokja. The words gathered in this composition resounds in the work as well\, as if they were suggested by the protagonist of the etchings herself\, creating a contrast between the atmosphere of the wedding celebration and a sense of isolation and caducity. \nThe minimum variation between each photogram of the video sequence\, is emphasized by the nature of the etching process itself\, where each touch of artist corresponds to an infinitesimal but sensible variation. Each element of the series tells about a moment that would otherwise dissolve in time flow: doing so Adrian Paci highlights the value of the instant therefore introducing a significant reflection over the passage of time. By generating a sort of slow-motion sequence\, the artist transforms the concreteness of the woman’s face into a solemn and abstract portray\, therefore activating a dialogue between movement and stasis. \n  \nkaufmann repetto è lieta di presentare She\, un portfolio di 16 incisioni di Adrian Paci. \nAdrian Paci ha in più occasioni tratto ispirazione e materiali da un vasto archivio di videocassette che documentano rituali di matrimoni in Albania celebrati nei primi anni novanta. Il suo approccio tende a distillare situazioni e soggetti all’apparenza periferici\, per renderci un insieme di immagini ieratiche e visionarie. Attraverso la selezione di istanti altrimenti impercettibili\, lo sguardo di Adrian Paci verte verso i margini di rituali e gesti che sembrano appartenere a un passato mitico\, atemporale. \nLa genesi della serie d’incisioni She va ricondotta a questo processo. In She\, i movimenti del volto di una donna racchiusi in pochi istanti di girato sono fermati e dilatati in una sequenza di 16 incisioni con acqua tinta\, in un sottile gioco di luci ed ombre che segnano e confondono i tratti. utjhIn primo piano rispetto al gruppo retrostante\, la donna appare sola: unica ad accorgersi della presenza dell’obiettivo\, da questo gradualmente rifugge distogliendo lo sguardo\, liberandosi da un’ombra che sembra trasfigurarle il volto. \nIl portfolio si apre con la poesia albanese di Ndre Mjeda\, che narra il dolore e la solitudine di una donna\, Lokja. Le parole raccolte nel componimento risuonano nel lavoro\, e sembrano suggerite dalla protagonista delle incisioni\, creando un contrasto tra il rituale del matrimonio e un senso di isolamento e caducità. \nLa variazione minima tra i fotogrammi della sequenza video è enfatizzata dalla natura stessa del processo dell’incisione\, in cui a ogni tocco dell’artista corrisponde una variazione infinitesimale ma sensibile. Ogni elemento della serie racconta e dilata un momento altrimenti dissolto nel flusso temporale: Adrian Paci evidenzia così il valore dell’attimo\, e insieme introduce una riflessione sullo scorrere del tempo. Generando una sorta di sequenza in slow-motion\, l’artista trasforma la concretezza del volto della donna in un ritratto astratto e solenne\, e attiva un dialogo tra movimento e stasi.
URL:https://kaufmannrepetto.com/exhibition/she/
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120127
DTEND;VALUE=DATE:20120401
DTSTAMP:20210519T102913Z
CREATED:20210519T102913Z
LAST-MODIFIED:20210519T102913Z
UID:9919-1327622400-1333238399@kaufmannrepetto.com
SUMMARY:End Rhymes and Openings
DESCRIPTION:end rhymes and openings\n\n\n\nAn egg wanders through Judith Hopf’s film Some End of Things: The Conception of Youth (2011)\, strides stoically through the atrium of a modernist architecture\, climbs the stairs\, traverses passageways and connecting bridges\, is mirrored by the grids of the facade in passing – until it finally fails in its attempt to gain entry into the edifice of glass\, steel and concrete. The egg is too big\, the door too small\, and the bodies too hard to give way – an idea is caught in the structure of the standardized world.\nThe confrontation of forms as an intensification of the contradictions of contemporary conditions points to a central theme in Judith Hopf’s work. In a world where everything seems to be in flux – communication\, work\, capitalism – Judith Hopf pursues the hard edges that still mark the field of the social despite all processes of dematerialization and de-hierarchization\, standardizing bodies and identities and assigning each individual to its place. Within the field of vision of the control society\, she explores demarcations between social participation and cultural exclusion\, probes the vanishing horizon of alternative forms of living\, and opens up a space of experience beyond the logics of (self-) discipline. Formal questions turn into ethical issues here\, while the orders of the political surreptitiously manifest themselves in the material.\nIn this\, Judith Hopf’s view of social processes is a decidedly skewed one: she is expressly not interested in the immediate depiction of social or political facts in the medium of art. Instead\, she makes use of art as an autonomous space\, within which the circumstances can be made to dance. Specifically by claiming aesthetic autonomy\, her works gain the possibility for themselves to productively circumvent contemporary discourses. Slapstick\, comedy and caricature serve the artist as means for provoking ruptures and openings in the order of things\, derailing well-rehearsed routines of interpretation – whether they are of a political or an aesthetic nature.\nIn this perspective\, the diversity of Judith Hopf’s oeuvre as a whole can also be read as a strategy of permanent self-provocation: the continuous change of media – from installation and sculpture\, through film\, video and performance\, all the way to graphical and ceramic works – and the collaboration with other artists that she seeks again and again repeatedly challenge the sedimentations of her own practice\, thus opening up ever new spaces of productivity.
URL:https://kaufmannrepetto.com/exhibition/end-rhymes-and-openings/
LOCATION:Grazer Kunstverein\, Graz
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120114
DTEND;VALUE=DATE:20120409
DTSTAMP:20210712T102350Z
CREATED:20210712T102350Z
LAST-MODIFIED:20210712T102350Z
UID:11487-1326499200-1333929599@kaufmannrepetto.com
SUMMARY:Open Windows
DESCRIPTION:Open Windows \nGuest-curated by artist Carroll Dunham\, this exhibition presents the work of four contemporary American painters: Keltie Ferris\, Jackie Saccoccio\, Billy Sullivan\, and Alexi Worth. Representing distinct and varied approaches to painting from abstraction to realism\, these artists’ works will be set in counterpoint to modernist paintings chosen by Dunham from the Addison’s permanent collection.\nBy juxtaposing new and recent paintings by the four artists with historic works ranging in date from the 1930s to early 1960s by artists such as Franz Kline\, Irene Rice Pereira\, John Graham\, and Reginald Marsh\, to name a few\, Open Windows reveals sometimes surprising affinities\, influences\, and contrasts among and between the twenty-first-century works and mid-twentieth-century paintings\, opening windows on new possibilities and fresh ways of seeing.
URL:https://kaufmannrepetto.com/exhibition/open-windows/
LOCATION:Addison Gallery of American Art\, Andover
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120113
DTEND;VALUE=DATE:20120402
DTSTAMP:20210322T161247Z
CREATED:20210319T145639Z
LAST-MODIFIED:20210322T161247Z
UID:7750-1326412800-1333324799@kaufmannrepetto.com
SUMMARY:Currents
DESCRIPTION:Currents: latifa echakhch\n  \nColumbus Museum of Art (CMA) is pleased to present the first solo museum exhibition in the U.S. of Moroccan-born artist Latifa Echakhch. The newest exhibition in CMA’s Currents series positions continuing themes presented in CMA’s Schiller Collection within a current cultural context. Using vintage lithographic stones\, Echakhch responds specifically to prints in the Schiller Collection. presenting the stones along with icons of the American west\, Echakhch provides a poetic and complex view of the eroding cultural divide.\n“I’m thrilled to be able to present Latifa’s work to Columbus\,” said Associate Curator of Contemporary Art Lisa Dent. “I’ve been an admirer of her work for years. She is an incredibly thoughtful and fearless artist whose work is respected around the world.”\nIn 2005\, CMA acquired the Philip J. and Suzanne Schiller Collection of American Social Commentary Art\, 1930–1970\, which includes works by Jacob Lawrence\, Romare Bearden\, Rockwell Kent\, George Tooker and Paul Cadmus. These works of art are the keystones between two major areas of strength in the Museum’s American collection: George Bellows and the Ashcan School and American Modernism. Lithographic prints in the collection vividly address complex problems and issues in American history. Echakhch takes her visual cues from these prints\, all created between 1930-1940\, and utilizes them as a springboard for confronting issues that continue to face America today.\nEchakhch was born in Morocco in 1974. She has made a number of works incorporating materials such as carbon paper\, charcoal\, tea glasses\, carpets or ink that provide her with a way of reflecting on her heritage. her sculptural work often considers the implications of globalization using everyday objects or cultural symbols that\, taken from their normal context\, acquire a new meaning. Her work has been seen in numerous solo and group exhibitions at venues such as the Venice Biennale (2011)\, Tate Modern (London)\, MACBA (Barcelona)\, Frac Champagne Ardenne (Reims)\, GaMEC (Bergamo)\, the ArtFocus Biennial (Jerusalem)\, Manifesta 7 (Bolzano\, Italy)\, Kunsthaus (Zurich) and the Swiss Institute (New York).\nCurrents is a series of exhibitions at the Columbus Museum of Art showcasing works in a variety of media by emerging and established international artists.
URL:https://kaufmannrepetto.com/exhibition/currents/
LOCATION:Columbus Museum of Art\, Ohio
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111119
DTEND;VALUE=DATE:20120130
DTSTAMP:20221130T165007Z
CREATED:20221130T165007Z
LAST-MODIFIED:20221130T165007Z
UID:15035-1321660800-1327881599@kaufmannrepetto.com
SUMMARY:Hot Touch
DESCRIPTION:eva rothschild: hot touch 
URL:https://kaufmannrepetto.com/exhibition/hot-touch/
LOCATION:Kunstverein\, Hannover
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111104
DTEND;VALUE=DATE:20120116
DTSTAMP:20221130T164308Z
CREATED:20221130T164308Z
LAST-MODIFIED:20221130T164308Z
UID:15602-1320364800-1326671999@kaufmannrepetto.com
SUMMARY:POUR UN ART PAUVRE
DESCRIPTION:thea djordjadze: pour un art pauvre
URL:https://kaufmannrepetto.com/exhibition/pour-un-art-pauvre/
LOCATION:Carré d’Art – Musée d’art contemporain de Nîmes\, Nîmes
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111104
DTEND;VALUE=DATE:20120102
DTSTAMP:20221130T154429Z
CREATED:20221130T154429Z
LAST-MODIFIED:20221130T154429Z
UID:15536-1320364800-1325462399@kaufmannrepetto.com
SUMMARY:Arte Essenziale
DESCRIPTION:thea djordjadze: arte essenziale \nThe exhibition “Arte Essenziale” presented sculptures and large-scale installations by eight international contemporary artists from Italy\, Great Britain\, Georgia\, and the US. All artists were commissioned by the Italian Collezione Maramotti in Reggio Emilia to produce new works for the exhibition. “Arte Essenziale” was first shown at the Collezione Maramotti in Reggio Emilia and has then being presented at the Frankfurter Kunstverein. \nThe term “Arte Essenziale” provides the exhibition its title and also serves as its conceptual framework. A concept formulated by the Italian philosopher Federico Ferrari\, it attests to the need to identify at the end of the postmodern era a gesture of a new beginning in contemporary art. Central to his considerations is the search for the origin of artistic practice\, with particular regard to the essence of the artistic gesture\, its necessity\, and meaning. For Ferrari\, the artistic medium and the particular materiality constitute a definite approach: the essence of the artwork is manifested at the point where the material emerges out of itself to become what it is. \n“Arte Essenziale” does not attempt to define a group\, but presents individual positions that have developed over the past decade and which appear to share a common understanding of art. On the one hand\, they explore the potential and characteristics of the materials employed while situating everyday materials\, such as plaster or skin cream\, in relationship to symbolically charged materials\, like bronze or marble; when expressed sculpturally\, this interplay of contrasting substances is heightened and richly sensual. On the other\, the artistic positions address philosophical concepts concerning the relationship between material\, space\, and time. \nThe exhibition was produced by Collezione Maramotti in collaboration with Frankfurter Kunstverein.
URL:https://kaufmannrepetto.com/exhibition/arte-essenziale/
LOCATION:Frankfurter Kunstverein\, Frankfurt
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111028
DTEND;VALUE=DATE:20120123
DTSTAMP:20221130T154742Z
CREATED:20221130T154742Z
LAST-MODIFIED:20221130T154742Z
UID:15627-1319760000-1327276799@kaufmannrepetto.com
SUMMARY:Let me disclose the gifts reserved for age
DESCRIPTION:thea djordjadze: let me disclose the gifts reserved for age \nRat Hole Gallery is pleased to present an exhibition of new works produced on-site in Tokyo by Berlin-based\, Georgian artist Thea Djordjadze. On view from October 28\, 2011 until January 22\, 2012\, the exhibition marks the first time for Djordadze’s works to be shown in Japan. \nBorn in Tbilisi in 1971\, Djordjadze is best known for making sculptural installations that develop from an intuitive process of playing with objects and forms in space. She works with materials ranging from plaster and cardboard to glass\, wood\, metal\, concrete\, linoleum and foam to create amorphous constructions that hover between functionality\, decoration and abstraction. At times these constructions resemble fragmented pieces of furniture – chairs\, tables\, beds\, shelving – and they are often accentuated by their pairing with found objects such as carpets\, photos or lamps. Presented together in site-specific installations\, these works conjure uncanny\, dispersed domestic spaces where the expected relations between body and habitus no longer cohere\, triggering awareness and reflection in viewers of how things make us behave\, and how we behave around things. \nTrained as a painter\, Djordjadze says that she approaches her installations as compositions of form\, texture\, depth and color. While neither explicitly about anything\, nor intended as a particular commentary on historical archetypes of art and design\, Djordadze’s works also develop from her deep interest in cinema\, literature and architecture\, beginning with her youthful attraction to the 1920s- and ’30s-era Constructivist buildings in her native Tbilisi. Occasionally surfacing in her works\, such references provide only a momentary sense of orientation before quickly shifting beyond the comfort of customary knowledge or symbolism. In this way the works evoke the dynamic tensions between memory and forgetting that constantly occur in the generative process of the material world\, and in the creative process of artistic experimentation. \nDjordjadze also makes drawings\, paintings and small sculptures\, which are often incorporated in her installations. From 1999 to 2003\, she was part of the Düsseldorf-based interdisciplinary collaborative group hobbypopMUSEUM. She has had solo exhibitions at international venues including the Common Guild\, Glasgow; Contemporary Art Museum\, St Louis; Kunsthalle Basel; and Kunstverein Nürnberg; and has participated in international exhibitions including “The New Décor” at Hayward Gallery\, London; the 5th Berlin Biennial for Contemporary Art; 9th Biennale de Lyon; and 50th Venice Biennale.
URL:https://kaufmannrepetto.com/exhibition/let-me-disclose-the-gifts-reserved-for-age/
LOCATION:Rat Hole Gallery\, Tokyo
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111006
DTEND;VALUE=DATE:20120110
DTSTAMP:20210322T162446Z
CREATED:20210319T153646Z
LAST-MODIFIED:20210322T162446Z
UID:7777-1317859200-1326153599@kaufmannrepetto.com
SUMMARY:Le rappel des oiseaux
DESCRIPTION:le rappel des oiseaux\n  \nthe GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo presents the first solo show in an Italian institution of the artist Latifa Echakhch (1974\, El Khnansa\, Morocco. Lives and works in Martigny\, Switzerland).\nThe exhibition ‘Le rappel des oiseaux’ is part of GAMeC’s exhibition program Eldorado dedicated to the most interesting emerging artists on the international scene who are invited to create an original project for the museum’s spaces. The exhibition at GAMeC is realized in collaboration with the FRAC Champagne-Ardenne of Reims\, where it was presented last April; however\, the overall project – as always happens in Echakhch’s work – has been redesigned in close relationship with the exhibition space at GAMeC.\nThrough an extreme variety of expressive means ranging from installation to video\, and painting to photography\, Latifa Echakhch explores the dimensions of the individual and collective identity\, the concept of culture and feelings of belonging and uprooting. Her work is realized out of commonplace objects that the artist present as such or after modifying them through simple actions: flagpoles without flags\, prayer rugs whose interior has been cut out so only the border remains\, geographic maps crunched up into small hemispheres\, microphones with no amplification mechanism.\nBut corresponding to the economy of means that characterizes the artistic language of Latifa Echakhch is an equally radical expressive power: hers are\, in fact\, sober but extremely intense metaphors that are able to evoke a universal human condition\, or rather the position of the individual in the face of history\, memory\, politics and religion. All the work of this artist leads back to the dimension of the subjectivity and the individual experience and the major themes of the contemporary world: the violence of nationalist and religious fundamentalisms\, the lapses of the colonialist past back into the present\, the implications of modernist ideology in everyday life. In Echakhch’s works what was once grandiose and monumental today becomes a residue or a ruin\, while the symbols that are still able to move the collective conscience are deconstructed and presented in their fallibility.\nThe conceptual matrix that lies at the basis of Latifa Echakhch’s artistic practice goes hand in hand with a remarkable poetic sensibility. In the formal sense\, the artist often refers to Minimalist Art\, Conceptual Art\, Process Art and Arte Povera\, and these references are transformed by a simultaneously lyrical and critical use of a whole series of symbols and objects that refer to specific cultural contexts\, both Eastern and western.\nAt the heart of Echakhch’s work lies a subtle corrosive action on all that is perceived as immutable and out of reach of the passing of time and the historic dialectic and that\, inevitably\, lies at the heart of conflicts: the concepts of national integrity and cultural identity as mythologies of purity\, the ideological counter-positions and absolute convictions about the political and religious destiny of mankind.
URL:https://kaufmannrepetto.com/exhibition/le-rappel-des-oiseaux/
LOCATION:GAMeC\, Bergamo
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111001
DTEND;VALUE=DATE:20210401
DTSTAMP:20210323T182218Z
CREATED:20210323T182218Z
LAST-MODIFIED:20210323T182218Z
UID:8404-1317427200-1617235199@kaufmannrepetto.com
SUMMARY:The Magic Carpet
DESCRIPTION:the work is a permanent installation\n  \nthe magic carpet\n  \nAircraft are not the only flying objects that will be landing at Berlin Brandenburg Airport. The terminal building will also feature a giant red flying carpet – The Magic Carpet – suspended from the ceiling. The artist who created this piece\, Pae White\, who lives and works in Los Angeles\, today visited the terminal building of the new airport. Together with representatives of the airport operating company\, the architects\, the Art on Site coordinator Realace GmbH\, and Arnold AG\, which will be responsible for actually building and installing The Magic Carpet\, the artist today decided on the height and the final position of her artwork.\nFor her visit\, a second prototype of the flying carpet was installed under the terminal roof in the check-in hall. This enabled Pae White to choose between two possible installation heights. The two prototypes\, installed at different heights\, provided a rough impression and allowed the artist to pick the ideal position for the final installation.\nThe artwork The Magic Carpet by Pae White uses the motif of the flying carpet which is imbued with a wealth of meanings and associations: as a welcome\, as the narrator of stories\, as the threshold between inside and outside. In the airport the carpet is a membrane between the known and the unknown\, between reality and the imagination\, memories and hope. The artwork measures 37 x 27 metres\, and it consists of an aluminium structure made of 500 elements which is filled with ornaments woven from thin aluminium strips with an overall length of over 12 kilometres. The sculpture will be suspended above the check-in hall and held in place by 150 cables.\n“The open nature of the thin metal takes advantage of the daylight exposure in this new\, expansive airport. A line drawing in the sky that is flying and unravelling in space”\, says Pae White\, describing her piece. “Like a story being simultaneously told and untold. Perhaps it is a story of magical transport and whether this is only the stuff of fiction?”
URL:https://kaufmannrepetto.com/exhibition/the-magic-carpet/
LOCATION:Berlin Brandeburg Airport
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110915
DTEND;VALUE=DATE:20111119
DTSTAMP:20220201T131608Z
CREATED:20200113T132244Z
LAST-MODIFIED:20220201T131608Z
UID:4095-1316044800-1321660799@kaufmannrepetto.com
SUMMARY:marking
DESCRIPTION:kaufmann repetto is happy to present Talia Chetrit\, whose works will be exhibited in the gallery’s project room. \nMarking\, the title of Talia Chetrit’s exhibition\, reflects to the polysemy that resonates in the artist’s work. As with the gesture of marking a territory\, Talia Chetrit’s photographs intend to both individualize and appropriate the objects she documents and borrow from photographic history; a vase\, nature or the female nude. Marking is also about impressing a surface; similarly\, Chetrit’s works are often the result of a combining process that evokes a sense of multi-dimensionality\, belonging to drawing and writing. \nThe frequent overturning of the perspective angles forces the viewer to ‘read’ the image\, before seeing it: the portrayed objects lose their individuality\, becoming parts of a composition that shifts into abstraction. Through this approach\, a cavity in the ground faces and corresponds to the relief of a woman’s breast\, as to deny any hierarchy between horizontal and vertical vision\, positive and negative space\, and\, metaphorically\, between masculine and feminine. Similarly\, the hierarchic relations between the object and the feminine body\, between organic and inorganic matter\, are called into question. In front of the camera\, everything functions to create a system of internal balances and reciprocal references between one image and another. \nThe works of Talia Chetrit\, which one might wrongly assume are the outcome of a post-production process\, are actually the result of a highly skilled and ‘hand-crafted’ application of the photographic medium. They question the viewer’s perceptions through a sophisticated combinatory adjustment of shapes and lights. The artist’s conscious re-elaboration of historical precedents interweaves with an ongoing questioning of the medium\, through a language that reveals both the contradictions and the infinite resources of photography. \n  \n  \nkaufmann repetto e’ lieta di presentare il lavoro di Talia Chetrit\, esposto nella project room della galleria. \nIl titolo della mostra di Talia Chetrit\, Marking\, rimanda a una polisemia che risuona nel lavoro stesso dell’artista. Come nel gesto di marcare\, nelle fotografie di Talia Chetrit si assiste a una individualizzazione dell’oggetto che è anche un’appropriazione\, si tratti di un vaso\, una zolla di terra o un corpo nudo. E ancora\, marcare significa imprimere un segno: in maniera analoga\, gli scatti di Talia Chetrit sono spesso il risultato di un processo combinatorio che rimanda alla bidimensionalità propria del disegno e della scrittura. \nIl ribaltamento dei piani prospettici contribuisce a questo continuo rimando al segno: così\, a una cavità nel terreno corrisponde frontalmente il rilievo di un seno\, come a voler smentire la gerarchia tra orizzontale e verticale\, tra spazio positivo e negativo e\, in senso traslato\, tra maschile e femminile. Questo azzeramento di gerarchie avviene anche tra l’oggetto e il corpo femminile\, così come tra materia organica e inorganica. Tutto\, davanti all’obiettivo\, diventa strumentale alla ricerca di un sistema di equilibri interni e di rimandi tra un lavoro e l’altro. \nCiò che ci aspetteremmo essere il risultato di un processo di post produzione e’\, nel lavoro di Talia Chetrit\, il frutto di un uso sapiente e ‘artigianale’ del mezzo fotografico\, in cui l’illusione finale e’ tutta concentrata nello scatto\, nelle forme e nella luce. La rivendicazione e la consapevole rielaborazione di moduli provenienti dalla storia della fotografia\, spesso di stampo surrealista\, si intreccia con un continuo interrogarsi sul mezzo\, attraverso un linguaggio che svela le contraddizioni\, ma pure le risorse infinite del metodo fotografico.
URL:https://kaufmannrepetto.com/exhibition/marking/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110915
DTEND;VALUE=DATE:20111109
DTSTAMP:20220201T131556Z
CREATED:20200113T143958Z
LAST-MODIFIED:20220201T131556Z
UID:4541-1316044800-1320796799@kaufmannrepetto.com
SUMMARY:piovra
DESCRIPTION:kaufmann repetto is glad to announce Piovra\, Yoshua Okón’s new solo show at the gallery. \nThe research path that Yoshua Okón (Mexico City\, 1970) has been following throughout his whole career could be compared to an incessant socio-anthropological experimentation. An investigation that has been translated into works (mostly videoinstallations\, but also photographs and sculptures) that\, while often maintaining apparent documentary features\, are meant to transcend any specific context in order to cover much wider matters\, such as the grotesque\, surreal and contradictory aspects characterizing our civilization. \nIn Yoshua Okón’s videos\, unpredictability\, together with the involvement of non-actors\, plays a fundamental role in demonstrating how reality can be a much stronger and more vibrant means of representation than fiction. \nFor example\, in Orillese a la Orilla\, Mexican policemen are asked to perform their best poses in front of the camera\, unintentionally creating a macho show that speaks of bullying and power relations. In a more recent work\, entitled Bocanegra\, Okón worked with a group of Mexican third reich aficionados that\, during their usual weekly meeting\, engage in surreal conversations alternating between political statements and trivial observations regarding everyday life\, while wearing original Third Reich uniforms. \nPiovra\, the work that gives the name to the show (contemporaneously exhibited at the Hammer Museum in Los Angeles) re-enacts the battles of the Guatemalan civil war\, staged within the parking lot of a Los Angeles Home Depot\, during a regular opening day. Yoshua Okón spotlights a war that everyone\, especially the US\, have tried to forget\, partly because of the proven involvement of the CIA in the political upheavals that\, forty years ago\, led to a bloody civil war. A conflict that aimed at preventing US companies from losing a significant control over the Guatemalan economy. The people performing in the video are members of the Los Angeles Mayan community: all undocumented immigrants escaping from many years of a war in which they’ve been personally fighting. The combatants stage their past experience of the war by transposing it in the place where they currently spend entire days waiting to be temporarily hired as day laborers. The alienating effect created by the apparently unhealable distance between a battlefield and the parking lot of a mall\, tails off to the point that it reveals the political and moral responsibilities of a country addicted to consumerism\, that has turned profit into the excuse for conquering and subduing entire nations. \nAs a sort of counterpoint\, the other main space of the gallery will be hosting Hipnostasis\, a video installation resulting from the collaboration between Yoshua Okón and Raymond Pettibon. Through a fragmented narrative\, the two artists portrayed a group of old beach bums from Venice Beach\, all voluntary devoting their existence to the disregard of social rules\, conventions and private property. The condition of stasis characterizing these icastic figures\, almost memorials for a failed utopia\, reveals the revolutionary and profoundly mystic approach that has been inspiring these hippy philosophy veterans. Furthermore\, this work can be read as a deeper existential investigation\, aimed at questioning assumptions such as the authenticity of our life choices\, or the common notion of space and time. Yoshua Okón’s approach blends together comical and tragic tones\, the real and the absurd\, therefore offering two manifestations\, apparently antithetical\, of a research that aims at revealing the critical aspects of reality. The same reality that\, being mostly perceived through a system of conventions and cultural conditioning\, we’re often unable to see. \n  \n  \nkaufmann repetto e’ lieta di annunciare la nuova mostra di Yosua Okón\, Piovra. \nLa ricerca di Yoshua Okon (Città del Messico\, 1970) può essere interpretata come una incessante sperimentazione socio-antropologica\, tradotta in lavori (spesso video-installazioni\, ma anche fotografie e oggetti) che\, pur mantenendo spesso un aspetto all’apparenza documentaristico\, trascendono il contesto in cui si collocano per parlare\, più in generale\, degli aspetti contraddittori\, surreali e grotteschi che appartengono alla condizione umana. \nNei video di Yoshua Okon l’improvvisazione e il coinvolgimento di non-attori ha un ruolo fondamentale\, come a far intendere che la realtà supera di gran lunga la fantasia in fatto di emblematicità e di risonanza delle situazioni ritratte. Così\, in Orillese a la Orilla\, dei poliziotti messicani sono chiamati a esibire davanti alla telecamera le loro pose migliori\, creando un involontario spettacolo machista che parla di sopraffazione e abuso di potere. In un lavoro più recente\, intitolato Bocanegra\, Okon lavora con un gruppo di neo nazisti messicani che\, durante il loro rituale incontro settimanale\, vestiti con divise del Terzo Reich\, intrattengono conversazioni surreali che inframmezzano statement politici a banali considerazioni di ordine quotidiano. \nPiovra\, il lavoro che dà il titolo alla mostra (esposto in contemporanea all’Hammer Museum di Los Angeles)\, consiste nella rimessa in scena della guerra civile in Guatemala\, riproposta nel parcheggio di un Home Depot della periferia di Los Angeles\, durante un giorno di regolare apertura. Yoshua Okon porta alla ribalta una guerra che tutti\, in particolare gli USA\, hanno voluto dimenticare\, anche in virtù del provato coinvolgimento della CIA negli sconvolgimenti politici guatemaltechi che\, nei primi anni ’50\, hanno condotto ad una guerra civile tenuta in vita per ben 40 anni con lo scopo di favorire le multinazionali statunitensi nel controllo di una porzione significativa dell’economia Guatemalteca. I performer che prendono parte al video sono membri della comunità Maya di Los Angeles: immigrati clandestini negli USA in fuga dai lunghi anni di una guerriglia a cui hanno preso parte in entrambe le fazioni\, i combattenti ripropongono la loro esperienza di guerra\, traslata nel luogo dove\, ad oggi\, passano le loro giornate in attesa di essere assunti come braccianti giornalieri. L’effetto straniante creato dalla distanza\, all’apparenza insanabile\, tra un campo di battaglia e il parcheggio di un grande magazzino\, si assottiglia fino a rivelare le responsabilità politiche e morali di un paese assopito dal consumismo e dalla convinzione che il profitto possa costituire un pretesto per conquistare e sottomettere. \nNell’altro ambiente della galleria\, come una sorta di contrappunto\, e’ esposto Hipnostasis\, una video-installazione prodotta in collaborazione con Raymond Pettibon. Attraverso una narrativa frammentata\, i due artisti ritraggono un gruppo di vagabondi hippies di Venice Beach\, volontariamente dediti a un’esistenza al di fuori delle regole e dei dettami sociali. La stasi che contraddistingue queste figure dall’aspetto icastico\, quasi dei monumenti a un’utopia fallita\, rivela l’approccio profondamente mistico e allo stesso tempo rivoluzionario di questi reduci della filosofia hippy. A un livello ulteriore\, il lavoro sembra aprirsi a un’investigazione più profonda\, di carattere esistenziale\, che mette in discussione assunti come l’autenticità delle nostre scelte di vita e la comune nozione del tempo e dello spazio. \nAttraverso un approccio che mischia toni comici e tragici\, il reale e l’assurdo\, Yoshua Okon ci offre due manifestazioni\, all’apparenza antitetiche\, di un’indagine volta a rivelare gli aspetti critici di una realtà che\, percepita attraverso un sistema di convenzioni e di condizionamenti culturali\, spesso ci si para davanti senza essere vista.
URL:https://kaufmannrepetto.com/exhibition/piovra/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110912
DTEND;VALUE=DATE:20111101
DTSTAMP:20210428T132419Z
CREATED:20210428T132419Z
LAST-MODIFIED:20210428T132419Z
UID:9400-1315785600-1320105599@kaufmannrepetto.com
SUMMARY:Still life\, gold and peeling paint
DESCRIPTION:still life\, gold and peeling paint
URL:https://kaufmannrepetto.com/exhibition/still-life-gold-and-peeling-paint/
LOCATION:Remap 3\, Athens
CATEGORIES:Museum Exhibitions
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