x-ist

Ali Bilge Akkaya’s second solo exhibition entitled “Two or Realistic Stories of Coincidental Times” can be visited between at x-ist.

Ali Bilge Akkaya’s second solo exhibition at x-ist entitled “Two or Realistic Stories of Coincidental Times”, such as the artist’s first exhibition, consists of a collection in which his strong relation with symmetry is in the forefront and which includes stories that he came across accidentally.

Conveying through his photographs scenes, which are far from being fictional but are perfect at the same time, from many cities, Istanbul being in the first place, the artist continues to observe and work on cultural and social topics in different geographies.

“Ali Bilge Akkaya, “6E, Londra I 6E, London”, Fotoğraf,

fine art baskı I Photography, fine art print, 5 ed. + 1 AP, 57 x 90 cm, 2016.

Jüdisches Filmfestival Wien 2016/2017

Kino De France | Keren Hajessod

סיפור על אהבה וחושך

Eine Geschichte von Liebe und Finsternis

von Natalie Portman

IL/USA 2015, 95 min, deutsche Synchronfassung

Dienstag, 17. Jänner 2017, 20:15 Uhr

 1010 Wien, Schottenring 5

http://www.jfw.at/

Karten-Bestellung gegen eine Mindest-Spende von € 18,00/ Stück

(freie Sitzplatzwahl)

per Banküberweisung an
Keren Hajessod
IBAN: AT62 6000 0000 0717 2670
Kennwort: „Spende Kino 17.01.2017″

oder beim Keren Hajessod unter Tel: (01) 533 19 55 bzw. kh-wien@inode.at.

Die bezahlten Karten werden unter Ihrem Namen an der Abendkasse hinterlegt.

Oscar-Preisträgerin Natalie Portman, die in Jerusalem geboren wurde, gibt mit der ergreifenden Verfilmung von Amos Oz’ wichtigstem Buch ihr viel beachtetes Regiedebüt, das 2015 in Cannes Premiere feierte. Der Hollywoodstar hat den 800-Seiten-Roman selbst für die Leinwand adaptiert und brilliert als unglückliche Fania. Das Werk erzählt bewegend von einem Jungen, der viel zu schnell erwachsen werden muss, von großen Träumen und Enttäuschungen, von Ende und Neuanfang. Und davon, wie wichtig es ist, eine gemeinsame Sprache zu finden.

http://brycewolkowitz.com/h/

Staatspreise für literarische Übersetzungen 2016

Ulla Forsgren Ekblåd und Alexander Sitzmann werden ausgezeichnet

Die beiden Staatspreise für literarische Übersetzungen, die jährlich vom Bundeskanzleramt vergeben werden, sind die höchsten heimischen Auszeichnungen für Übersetzungen österreichischer Literatur in eine Fremdsprache sowie für Übersetzerinnen und Übersetzer aus Österreich.

Die Preise gehen heuer an die Schwedin Ulla Forsgren Ekblåd und den Österreicher Alexander Sitzmann. “Mit den beiden Staatspreisträgern Alexander Sitzmann und Ulla Forsgren Ekblåd werden heuer zwei wahre Brückenbauer im Europa der literarischen Grenzenlosigkeit ausgezeichnet”, so Kunst- und Kulturminister Thomas Drozda über die Wahl des Übersetzungsbeirates.

“Es freut mich besonders, dass mit Ulla Forsgren Ekblåd heuer jene Übersetzerin ausgezeichnet wird, die seit fast 20 Jahren das umfangreiche Oeuvre der ersten Österreichischen Buchpreisträgerin, Elfriede Mayröcker, ins Schwedische überträgt”, so Drozda. Alexander Sitzmann habe mit seinen Übersetzungen aus dem Bulgarischen und Makedonischen, Dänischen wie Isländischen ins Deutsche ein beachtliches Gesamtkunstwerk geschaffen, für das er großes Lob verdiene. “Die Übersetzungen von Alexander Sitzmann zeichnen sich durch höchste schöpferische Präzision aus, nicht nur in Bezug auf die Sensibilität für die Aspekte des jeweiligen Regionalkolorits – von der bulgarischen Schwarzmeerküste bis zu den Fjorden Islands -, sondern vor allem bei der Wiedergabe äußerst komplexer poetischer Bilder”, so Drozda.

Weitere 53 Übersetzerinnen und Übersetzer erhielten Prämien – insgesamt 74.400 Euro – für herausragende Übersetzungen internationaler Belletristik, wie zum Beispiel von Sofia Andruchowytsch, Yi Sha und Diego Marani, oder Sara Ventroni, Roberta Dapunt und Georgi Gospodinov ins Deutsche und von österreichischer Literatur wie von Ingeborg Bachmann, Thomas Bernhard und Heimito von Doderer, oder Ilse Aichinger, Elfriede Jelinek und Christoph Ransmayr in eine Fremdsprache.

“Die Arbeiten der Staatspreisträger sind von einem hohen Maß an Aufmerksamkeit, Einfühlungsvermögen und Sprachbewusstsein gekennzeichnet, und von einer enormen Präzision und Originalität, die gerade Werken von sprachlicher, formaler und inhaltlicher Komplexität bis ins kleinste Detail Rechnung trägt”, stellt die Jury in ihrer Begründung fest.

A full length portrait of Oscar Wilde, owned by the writer himself, will be exhibited in the UK for the first time as part of Tate Britain’s Queer British Art 1861-1967 exhibition. Wilde was declared bankrupt whilst awaiting trial for ‘gross indecency’ and was forced to sell the work to pay his legal fees. It has since been held in an American collection for almost a century. Opening in April 2017, Tate Britain’s exhibition will show the painting alongside the prison cell door behind which Wilde was incarcerated in Reading Gaol.

The artist Robert Goodloe Harper Pennington presented the portrait to the sitter and his new wife Constance as a wedding present in 1884. Considered to be the couple’s most prized possession, it hung above the fireplace in their Chelsea home. In April 1895 the Marquess of Queensberry, the enraged father of Wilde’s lover Lord Alfred Douglas (known as Bosie), accused Wilde of ‘posing as a sodomite’. Wilde sued for libel but evidence of his relationships with men caused the trial to collapse. Wilde was arrested for ‘gross indecency’ and was sentenced on 25 May 1895 to two years imprisonment with hard labour in solitary confinement.

Wilde was declared bankrupt whilst awaiting trial. All of his belongings, including the portrait, were sold at auction to pay his debts. Most of Wilde’s belongings remain untraced, but Wilde’s friends Ernest and Ada Leverson bid for the painting and kept it in storage in their Kensington house. Wilde remarked that Ernest ‘could not have [it] in his drawing-room as it was obviously, on account of its subject, demoralising to young men, and possibly to young women of advanced views’. It later resided in the home of Wilde’s former lover and executor Robert Ross until being sold to an American collector in the 1920s, and it has remained in the USA ever since. It will be displayed at Tate Britain alongside the door of cell C.3.3 in which Wilde was incarcerated in Reading Gaol from 1895 to 1897. Behind this door, Wilde wrote the famous letter De Profundis – ‘from the depths’ – addressed to Bosie. His time in cell C.3.3 also inspired The Ballad of Reading Gaol, which he wrote whilst in exile in France.

Alex Farquharson, Director, Tate Britain, said: ‘It’s wonderful to be displaying this important portrait of Oscar Wilde for the first time in Britain. It’s an extraordinary image of Wilde on the brink of fame, before imprisonment destroyed his health and reputation. Viewing it next to the door of his gaol cell will be a powerful experience that captures the triumph and tragedy of his career.’

The curator of the exhibition, Clare Barlow, said:  ‘The six foot oil painting depicts him as a slender 27-year-old on the cusp of success. His stance is confident, holding a pair of gloves in one hand while the other clasps a silver-topped cane. It presents a different, more sombre image to the one we are more familiar with’.

Queer British Art 1861-1967 will mark the 50th anniversary of the decriminalisation of male homosexuality in England and Wales. Open at Tate Britain from 5 April to 1 October 2017, it will present work from the abolition of the death penalty for sodomy in 1861 to the passing of the Sexual Offences Act in 1967 – a time of seismic shifts in gender and sexuality that found expression in the arts. It is curated by Clare Barlow with assistant curator Amy Concannon and will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.

January 27 – April 08 2017

A thirty-five year career in photography has established Cindy Sherman as one of the most influential figures in contemporary art. Since the 1970s, she has created photographic portraits that are predicated on themes of identity, gender and role-play. Parodying the representation of women in film and television, fashion magazines, advertising, and online, she adopts limitless guises that illuminate the performative nature of subjectivity and sexuality. She is perhaps best known for the early black-and-white photographic series Untitled Film Stills (1977-1980). In this work, Sherman staged herself as an actress in fictitious film scenes that mined the aesthetics of mid-century Hollywood film, film noir and B-movies. By over-dramatizing stereotypical and clichéd imagery of women, she rendered it critically perceptible – commenting both on the construction of identity and the strategies of media representation. In other series such as Centrefolds (1981), Fashion Photos (1984-1984), Sex Pictures (1992) and Clowns (2004), Sherman transformed herself through make-up, wigs, costumes and prosthetics into roles that yo-yo between provocative, passive, pornographic, abject, and grotesque.

Sherman’s exhibition at Sprüth Magers in Berlin marks over three decades and sixteen exhibitions with the gallery. On view is her most recent body of work, created in 2016, and presented here as a complete series for the very first time in Europe. In the large-scale colour portraits, the artist imagines herself as a cast of ‘grandes dames’ from the Golden Age of 1920s Hollywood cinema. Differing from Sherman’s earlier series, these actresses are presented outside of the filmic narrative, posing instead for formal publicity shots. Despite their elaborate garb, coiffed hairdos and painted faces, the leading ladies are clearly in their twilight years, and the grave stoicism of their countenances gives way to instances of poignant vulnerability: fine lines emerge through caked-on make-up, and sinewy, aged hands seem at odds with the smooth polish of their owners’ faces. The actresses pose against digitally manipulated backgrounds that are suggestive of the film sets and backdrops of yesteryear. Skyscrapers, a busy café scene, manicured gardens and a classical landscape all feature within the series. Each photograph has been created through dye sublimation – using heat to transfer dye directly onto metal. The technique removes the necessity for glass protection to the works, making the life-size figures seem more immediate, more vital – emerging from their outmoded stage sets to encroach on our own contemporary world.

Cindy Sherman (*1954 in New Jersey) lives and works in New York. She has held solo exhibitions at institutions including: The Broad, Los Angeles (2016); The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis and Dallas Museum of Art (2012); Louisiana Museum of Modern Art, Copenhagen; Martin-Gropius-Bau, Berlin (2007); Kunsthaus Bregenz (2006/07); Jeu de Paume, Paris (2006); Serpentine Gallery, London (2003).

Sprüth Magers Berlin   january 27 – april 08 2017

Sprüth Magers is proud to present Edward and Nancy Kienholz: A Selection of Works from the Betty and Monte Factor Family Collection. The exhibition encapsulates both the friendship and patronage between the artist and two of his most steadfast collectors, Betty and Monte Factor.

Controversial, graphic and always critical, Ed Kienholz’s installations and sculptural assemblages reproduce in tableau form the ugly truths of modern life often bypassed by artistic representation. Large-scale, freestanding environments built out of materials salvaged from junkyards and alleyways survey subjects such as illegal abortion, prostitution, racism and mental illness.

Kienholz rose to prominence in the Los Angeles art scene of the late 1950s. In 1957 he co-founded the Ferus Gallery with the curator Walter Hopps and it soon became the epicentre of avant-garde art in the city. In 1958 he left the gallery to pursue his own artistic practice, and during the 1960s he began to spend a lot of time in Hope, Idaho, not far from his hometown and close to where his friends Monte and Betty Factor lived. Here, from 1972 onwards, he collaborated on all works with his wife, Nancy, initiating a long and fruitful working relationship between the couple that lasted the rest of his lifetime.

In direct preparation for his life-sized environments, Kienholz made smaller assemblages and collaged elements of particular objects therein. He coined these ‘drawings’ and, as preliminary studies, they played an integral part in the process of making his full-scale works. This exhibition brings together several Kienholz ‘drawings’ all related to major works by the artist. In addition, it presents an early assemblage with moving parts, The Medicine Show (1958-59) and an example from an important series from the late 1960s employing televisions.

In Drawing for Five Car Stud (1969-72), Kienholz has created a wall work from the inner face of a dislocated car door. The image of a tableau of figures is inserted in the window cavity. The scene refers to the iconic work, Five Car Stud, first exhibited at Documenta in 1972. This controversial installation, shown only a few times since, details a violent episode of contemporary racism. Four cars and a pick-up truck, whose lights illuminate the scene, encircle a series of life-cast models. Five white men surround a black man who is restrained on the ground as one of his attackers attempts to castrate him. Kienholz has explained that the victim has been singled-out by the perpetrators for drinking in the company of a white woman. She hides in one of the cars, vomiting. It is perhaps her position that viewers of Drawing for Five Car Stud occupy as they view this grievous scene through the car window.

Other drawings within the exhibition correspond to works including Barney’s Beanery (1965), which is in the collection of the Stedelijk Museum, Amsterdam; Still Live (1974), a major work about risk and contingency in life that was once banned by the German police and A Portable War Memorial (1968), a work concerning US international policy that is now in the collection of the Museum Ludwig, Cologne. The Berlin presentation of this exhibition also includes the riveting Drawing for the Caddy Court (1986), which demonstrates the Kienholzes’ longstanding use of this preparatory drawing practice and serves as an ironic indictment of the US Supreme Court in the years of Ronald Reagan’s presidency.

During the 1950s, Monte Factor and his wife Betty were active in liberal politics. It was through this association that the couple became acquainted with many artists. Walter Hopps introduced them to the Los Angeles art scene, where they were involved with the Ferus Gallery and made life-long friends with Ed Kienholz. The Factor family collection includes works by Robert Irwin, Larry Bell, Craig Kauffman, Ed Moses, John Altoon, Richard Jackson, Andy Warhol, Kenneth Price and many more. Describing how the Factors became patrons of Ed Kienholz, Monte recalls that in the early 1960s he and his wife scraped together a small amount of cash, as well as some clothes and an old boat, to buy a work from the artist. Some years later they purchased The Illegal Operation (1962), a powerful and important piece that was acquired by the Los Angeles County Museum of Art in 2008, but which the Factors had kept stored in a spare room for many years.

Monte has written that, “for thirty-five years we lived in homes and in a world irradiated by the art of Ed, Ed and Nancy, and now, Nancy […] For us, Ed and Nancy found nobility, power and grace in the ordinary. They brought new levels of compassion and beauty into our lives.”

This presentation of Edward and Nancy Kienholz’s work has travelled from the London gallery where it was on show at the beginning of 2016. The twinned exhibitions not only provide a glimpse of rarely seen pieces by one of the most important artists of the twentieth-century, but also an historic record of the Factor’s patronage of early contemporary art in Los Angeles.

Edward Kienholz (1927–1994) was born in Washington State. He moved to Los Angeles in 1953 where he abandoned abstract painting and wall reliefs in favour of installation. From 1972 onwards he collaborated with his wife, Nancy Reddin Kienholz (1943), who continues to create and present her and her late husband’s work internationally. Edward and Nancy Reddin Kienholz have exhibited solo shows at the Louisiana Museum of Modern Art, Denmark (2012, 1979); the Los Angeles County Museum of Art, (2011, 1971); the National Gallery, London (2009); the Whitney Museum of American Art, New York (1996) and Musée National d’Art Moderne, Centre Pompidou, Paris (1977).

Public reception: January 26, 2017, 6 – 9 pm
Opening hours: Tuesday – Saturday, 11 am – 6 pm

Berlinischen Galerie Jahr 2017