Welcome to Cristina Guerra's Newsletter June 2016.
Galeria Cristina Guerra, Lisboa, Portugal
a forma do pensamento Closing 30 July
JUAN ARAUJO / JOHN BALDESSARI / EDUARDO BATARDA / ALBERTO CARNEIRO / GRAHAM GUSSIN / TERESA HENRIQUES / MARLENA KUDLICKA / FERNANDO LANHAS / REGINA DE MIGUE / JUAN LUÍS MORAZA / JOÃO ONOFRE / DIOGO PIMENTÃO / JORGE PINHEIRO / JULIÃO SARMENTO.
Curator: Miguel von Hafe Pérez
Transgenerational, international and one. There is no art without thought, and we cannot think about art without a comprehensive knowledge of the world of forms. In the space that lies between efficient functionality and pure conceptual speculation there are numerous modes of fulfilling the desire to creatively inscribe yourself in the world. Chronological, the first moment of this solo show is instrumental in an exercise that progressively unfolds the work of an artist has always know how to differentiate and subvert as he travelled between the extremes we've mentioned in the last paragraph: Fernando Lanhas, artist, architect, researcher, and dreamer. Covering different historical, geographic and aesthetic realities this exhibition reveals a concern that questions the capacity of gestures and representation to constitute themselves as the enunciators of the thought-of.-another, precisely the one being offered to the spectator as a form of artistic thought. One is its proposal, this exhibition is based on a multiplicity of answers. It is in the speculativecontamination of the voids that exists between these works of art that one can better learn the relevance of what we insist calling art.
Miguel von Hafe Pérez
In Extensões do Corpo, Adriana Barreto revisits her fundamental themes: the body, how it adjusts to space and how it generates space; the processes through which body expands space and expands itself in space through movement. The video has its origins in a performance at the artist's studio, with no audience, and performed by a professional dancer. The result was a sequence of circular movements around a group of spherical sculptures holding the body to the ground. This set of movements - as circular as a ritournelle - were afterwards mixed with sound; a composition of drums, performed by Bruno Pedroso over the edited version of the video. The dry and scratching sounds, imperfect, necessarily loud and enveloping - and coming from the opposite side of images - contrast with the image's soft circular language while, at the same time, reinforcing the circular character of the ritournelle's structure, as it - in a different mode - brings us back to the same place. The performance is a modified version of the one presented in the video. The work becomes more complex through the incorporation of more elements, through the dilution of the space of action and the space of the viewer, who faces an ambiguous invitation to participate in the show. It is operated by two large mirrored surfaces the same size as the screen on which the video is projected. ( Extract from the text by curator Delfim Sardo).
Art Basel returns for its 47th European edition June 16-19, with a wide programme, structured in sectors: Galleries _ a lineup of 287 leading galleries participating; Feature _ projects from established and historical artists; Statements _ exciting new solo shows by emerging artists; Edition _ leading publishers of editioned works, prints; Unlimited _ exhibition platform for projects that transcend the classical art stand, including massive sculpture and paintings, video projections, large-scale installations, and live performances; Parcours _ site-specific sculptures, interventions and performances along Basel's neighborhoods (curated by Samuel Leuenberger from SALTS exhibition space); Film _ curated by Maxa Zoller, a selection of works that together create a dialogue about the medium of film today. https://www.artbasel.com/basel
EXHIBITIONS IN INSTITUTIONS Kunsthausbaselland, Basel, Switzerland
JONATHAN MONK Exhibit Model One
Book launch 16 June 10 - 11 am
Exhibition Closing 17 July
"...But on occasion, I like to do some things slightly differently. Maybe this is one of those occasions". _ Jonathan Monk
Jonathan Monk in conversation with Ines Goldbach:
IG: Let's talk about our concept for the solo exhibition here at the Kunsthaus which is quite unusual. You once said that what you really like is the fact that a lot of artists make models for their exhibition - and now we are making an installation that will look like a model; all the works are black and white images of themselves. What interests you most in this idea?
JM: My original plan was a straightforward exhibition of objects etc.. But to invent something new, to add a new aspect within the usual framework of realising an exhibition, through also due to the financial constraints, I decided to come up with something that was a new departure for me, yet would still fit within Kunsthaus Baselland's proposed budget and open up questions about the condition of an exhibition itself. (...) For Baselland I've worked with the idea of a model of an exhibition, a model that does not really include specific works. The idea was an exhibition made up of images of some previous exhibition - a 2D installation of installations".
In his work, Matt Mullican (born 1951 in Santa Monica, lives in New York and Berlin) attempts to systemise a subjective view of the world. This is based on a cartographical structure, which comes with the systems of colours and symbols. For KolnSkultur #8, Mullican places two benches on the lawn of the grounds. They display the artist's personal interpretative system. The colour green stands for nature and the substance of all things material. The green central circle of the last bench includes the symbols of the four elements: water, earth, fire, air. On the sides, semi-circles are visible. They come across like the throwing circles of a handball field. In one case we see a red semi-circle on a black background, expressing "subjectivity". Both benches have yellow patches containing symbols in their centres. Yellow means grasping something discursively, like in an "idea", and therefore in a form of Platonic disclosure of the real. This is the field where the arts gather. The theatre, film, painting and literature are represented by two signs each. In the neighbouring field, which is set in blue, we find the signs for dance, music, photography and sculpture.
Just like the passenger in Iggy Pop's song, artists are constantly in motion and therefore it is not uncommon that they are involved in transnational productions. Networks, movement, and everyday practices have all given rise to a new transnational space that needs to be explored. The manner in which the numerous stations of their biographies coincide signposts the changing locations of globalised artistic work. Their mobility links previously remote out posts, they form cross-boundary networks and create their works in a space that lies beyond national borders. They are attracted to different towns and cities and often have different ideas of what constitutes home and what lies between. The aim of the Passengers exhibition is to help promote a new understanding of the concept of mobility.
'The World in Gay Pride Flags' is the piece by Jonathan Monk that includes this exhibition. This piece is part of a large series of world maps that the artist started about 5 years ago. When asked about the manner in which his work developed, he said: "I think the first one was 'The World in Jeans and T-Shirts' which is exactly what it says it is - the first map using a flag or flags was 'The World in Stars and Stripes' - the gay pride flag seemed like a nice follow up - even though I'm not gay the actual flag had become very important as a promoter of gay issues - gay marriages in certain states of America and the even more problematic issues found in Russia and beyond. I guess more can be read into this... there are probably going to be more maps made in the near future, who knows?".
Abaixo as Fronteiras is the first exhibition of the MUDE museum out of doors programme. The exhibition will be curated by Bárbara Coutinho. Two collections - MUDE Design Museum and Elvas Contemporary Art Museum,will be in dialogue, underlying their affinities, juxtapositions or correlation existing between art and design, challenging the limit between these two practices. The strong relation between visual arts and design was always present, specifically in the XXth century, with the Russian Constructivism and the Lyric Abstractionism, Pop Art and Pst-Modernism. Several artists avoid the universe of design as frequently we find design pieces that refer to the universe of visual arts. Nowadays the limits and frontier zones are more blurred due to these practices evolution. In Lisbon, the focus of this exhibition will be on the pieces that reflect about the object, space, and architecture. Simultaneously, in MACE Elvas Museum, the pieces in the exhibition will translate the pictorial influence and the works about bi-dimensional representation. A total of 125 pieces of almost 100 authors of different generations and careers , Portuguese and international, will be presented. Side by side each piece will participate in a dialogue which aims to stimulate the discovery of contact aspects between these two intersectional practices: art and design.
The Historical Exhibition: Sites Under Construction
Opening 11 June
'What do you want to be when you grow up? From early childhood on, work is thought of as something of essential importance for personal desires. The profession we select plays a central role in the development of our identity, in how we speak, behave and relate to other people. The question: 'What do you do for money?' is the starting point for the curatorial concept of Manifesta 11. Next to the joint ventures, the new artistic productions, the curated section of Manifesta 11 brings together artistic positions from the past and the present to examine how work can be the subject of artistic reflection. At the same time, the selected works illuminate the concrete working conditions under which art is produced. The Historical Exhibition: Sites Under Construction gather artworks of nonart specific materials from the past fifty years. The show, curated by Christian Jankowski and Francesca Gavin, is divided into eleven chambers. These are inspired in the intersections between private and public, the personal and the professional, and examine why and how artists portray the working process and relations that they face and engage in.
In this exhibition Civilisation Type I, II, III, Rui Toscano is moving forward with his investigation of the universe and space, a theme which the artist has already explored in several pieces and has dedicated previous exhibitions. The present one brings together a group of revealing pieces from a wide spectrum of media: from sound to light and photography, painting, drawing and video, incorporating strategies that Toscano has developed along his career of over 20 years. This exhibition is possible through a partnership between the Chiado Museum and the José Guimarães Internacional Art Centre.
Serious performance art, portraiture, or just simply posing for the camera? What does it mean to perform for the camera? Photography has been used to capture performances since its invention - from the stars of the Victorian stage to the art happenings of the 1960's, and today's trend for selfies. With over 50 seminal photographers on display, the exhibition explores the relationship between photography and performance, engaging with serious, provocative and sensational topics, as well as humour, improvisation, and irony. It shows how photographs have captured performances by important artists including Yves Klein, and ground-breaking collaborations between photographers, performers, and dancers. It looks at how artists including Erwin Wurm and others have used photography as a stage on which to perform, and how figures from Cindy Sherman to Hannah Wilke have used photography to explore identity. From marketing to self-promotion, to the investigation of gender and identity, to experiments with the self-portrait, Performing the Camera brings together over 500 images shown in series, including vintage prints, large-scale works, marketing posters and artists working with Instagram. It is the wide-ranging exploration of how performance artists use photography and how photography is in itself a performance.
The Collection Lambert opened its doors in 2000, as part of the Avignon, European Capital of Culture, programme. Yvon Lambert, a gallery owner and art collector, decided to store his personal collection in the H. tel de Caumont, an old town house dating from the 18th century. Begun in the 60's, the Collection Lambert represents the tastes, desires and passions of its unique collector: an art dealer since this period, Yvon Lambert battled the academicism of the french fine arts world that refused since the end of war to recognise that the centre of artistic creation was no longer the Paris of its glory years, but the rather triumphant America. Minimalism, conceptualism and land art represent the pillars of our collection. In the 80s, our dealer-collector turned towards a new, more figurative style of painting; then, in the 90s, photography captured his attention. Since the 90s, photography captured his attention. Since the 90s, videos, installations and paintings have continued growth of this collection ever turned towards the promising young talents of tomorrow. The collection thus comprises quite coherent ensembles for each artist, to the extent that for certain artists Avignon is the only location in France where one may admire so many masterpieces.
Curated: Claire Gilman. The Drawing Center presents Drawing Dialogues Selections from the Sol LeWitt Collection, an exhibition featuring over one hundred works by more than sixty artists from the renowned artist's extraordinary collection. It is the first large-scale exhibition of the collection to be held in New York in over thirty years. The Drawing Centrea show concentrates on minimal and conceptual drawing, which forms the core of the collection, with the classic examples from key figures like John Baldessary, Robert Barry and Lawrence Weiner. In addition to exploring cross-connections among LeWitt's peers, the exhibition presents contributions by older artists whose methods inspired LeWitt, as well as younger artists whose approaches are in dialogue with earlier generations while extending the medium in new directions. Finally, the exhibition features select works by LeWitt himself - including a wall drawing - that resonate with the other objects on view. Presenting work in drawing, sculpture, photography, print, and installation, Drawing Dialogues: Selections from Sol LeWitt Collection re-examines minimal conceptual art and the parameters of the drawn medium through the organising lens of one of its greatest practitioners.
SABINE HORNIG Ellective Affinites
German Art since the Late 60's
Closing 12 June
With around 60 artworks by 50 artists, this exhibition is the first retrospective of German contemporary art in Riga, from the 1960s until today. The aim of the exhibition is to showcase the central and effective points, as well as the most important aspects of German art of the last 50 years. The greater aspect of this exhibition focuses on visual and perceptual contents rather than theorisation. The title of the exhibition refers to Elective Affinities (1809) by the famous German writer Johann Wolfgang Goethe. The novel title deals with the affinities of human relations and appears ideal as an approach to an exhibition that will include differing viewpoints of artistic production. The exhibition highlights connections, correspondences, and derivations, which are created through the interaction of the artworks. These almost chemical reactions, which - in Goethe's novel - form through characters and human characteristics, are echoed in the concept of this show. The installation of the exhibition is divided into four categories: 1. Expression, Imagination, and Subjectivity; 2. History and Narrative; 3. Abstraction and Conception; 4. Presentation and Critique.
JOHN BALDESSARI Try again. Fail again. Fail better
Opening 18 June
Curator: Brigitte Kolle. "Try again. Fail again. Fail better". Based on to this Beckett quote, International Days Boehringer Ingelheim curated this exhibition with video and film works from the 60s until nowadays- Internationally known artists explore the complex of failure. Little space remains to failure and defeats in our success-oriented society, in an age of feasibility and belief in progress. Performance, efficiency, and success are in constant demand. American sociologist Richard Sennett once described failure as the great taboo of modernity. Failure is nevertheless inevitable. It is precisely the paradox of failure that coincides with collapse and new beginnings: from the apparent defeat sometimes new things develop. In art, failure has been necessary as a risk, as a form of experiment, always closely associated with the creative process. Failure in art implies leaving the secure and familiar terrain into the extraordinary. Therefore, the experience of failure proves to be a fundamental concern of art practice nowadays. In a radical action, Baldessari burned 1970 paintings that had arisen since the beginning of his artistic career. Afterwards, he turned his attention to conceptual art and started exploring other techniques such as photography, video performances, and collages. The relationship of visual aesthetics and language is the topic of this interaction. With its uncompromising highbrow work, which has been shown in numerous major exhibitions, Baldessari is one of the best, know and most influential artists of our time. For his life's work, he was honoured at 2009 Venice Biennale with the Golden Lion. Baldessari teaches at the California Institute of Arts and the University of California in Los Angeles.
Private Exposure is a site-aware exhibition in response to the 'me-berlin' collectors Room building, where the glass-fronted, open architecture of the space offers visitors multiple lines of sight and in the same moment puts them on display. Connecting across the two levels of the building and out onto the street, this exhibition emphasises and magnifies the acts of watching and being watched. What ordinarily is a private encounter with a work of art is here exposed to the public gaze. Varying in medium and genre, the featured works evoke the power of the gaze and engage with their tangible presence, generating in the viewer an awareness of their physicality whilst occupying space in the gallery. As a society we have never been more surveyed, from CCTV in the street, mobile phones that track movement to the information freely shared online, we are constantly exposed. Everyday observations are amplified in an art gallery where the act of looking is focused, becoming dominant. Private Exposure invites the gaze outside the limitations of the exhibition space as the works selected are reaching beyond their medium, opening a dialogue, gripping the viewer and challenging our encounter with art. This is the fifth time that the Olbricht Foundation has invited young curators to develop their own ideas and perspectives on the Olbricht Collection and to curate a show for me Collectors Room Berlin as part of their Master's degree in 'Curating the Contemporary' in the context of the collaboration between me Collectors Room Berlin / Olbricht Foundation with the London Metropolitan University and the Whitechapel Gallery.
Siloquies and Soliloquies on Death, Life and Other Interludes
Opening 28 June | Closing 15 Oct.
Curator: Sérgio Mah. Four exhibitions will commemorate the opening programme of the Museum of Art Architecture and Technology MAAT, in renovated rooms of the central building of Central Tejo. The solo show of the photographer living in London will be a unique project of a Portuguese artist with growing recognition: Edgar Martins. On this new body of work, Edgar Martins attempts to understand our relationship to death and photography's role in this process through a variety of images. Martins has worked closely with the Institute of Legal Medicine and Forensic Science in Portugal to create the work, which includes challenging images relating to death. Presented are photographs of forensic evidence, archival material, and Martins' own reflections.