18 October 2017 – 28 January 2018
Curated by Juliet Bingham,
with Katy Wan, Assistant Curator,
Eyal Ofer Galleries
Bankside London SE1 9TG






18 OCTOBER 2017 – 28 JANUARY 2018
Coinciding with the 100th anniversary of the 1917 Russian Revolution, Tate Modern will stage the first major museum exhibition in the UK of artists Ilya and Emilia Kabakov (b.1933 and b.1945). Curated in close dialogue with the artists and organised in collaboration with the State Hermitage Museum, St Petersburg and the State Tretyakov Gallery, Moscow, the exhibition will explore this pioneering couple’s place in the international story of conceptual art and will offer the chance to view rarely seen works together for the first time in the UK.

The Kabakovs are amongst the most celebrated Russian artists of their generation, widely known for their large-scale installations which draw upon the visual culture of the former Soviet Union and narrative traditions of Russian literature, often addressing universal themes such as utopia, dreams, fears and the human condition. The exhibition will feature over 100 works in a range of media, including paintings, drawings, albums, models and installations, and will chart their artistic journey, from Ilya’s role as an unofficial artist in Moscow working under the radar of the Soviet authorities, through to his emigration to the west in 1987, and subsequent collaboration with Emilia.

Three ground-breaking ‘total’ or whole-room installations will be presented in the exhibition: The Man Who Flew into Space From His Apartment 1985, Labyrinth (My Mother’s Album) 1990 and Not Everyone Will Be Taken into the Future 2001. The immersive Labyrinth (My Mother’s Album) 1990 will feature at the heart of the survey – a claustrophobic, maze-like environment evoking the idea of life as an endless corridor. This intensely personal work recounts the memoirs of the artist’s mother and her tragic life during a turbulent period of dramatic societal change spanning the 1917 Revolution through the rise and fall of the Soviet Union. The labyrinth’s walls are hung with collages telling the story of Bertha Urievna Solodukhina, while a recording of Ilya Kabakov singing romantic Russian songs gives the impression of a live performance.

The exhibition will also feature Ilya Kabakov’s early drawings from the 1960s and his innovative Ten Characters series of albums in which he used fictional characters for the first time. In the late 1960s and 1970s his cavernous attic studio on Sretensky Boulevard became the centre of the unofficial Moscow art scene and it was here that he hosted ‘performances’ of his albums to fellow artists. A questioning of the practice of painting has also been a central feature of Ilya Kabakov’s works since the early 1960s. His object-paintings such as The Answers of an Experimental Group 1971 juxtapose image, text and objects to ironically criticise Soviet society and utopian ideals. In more recent paintings such as The Appearance of the Collage # 10 2012, the artists layer scenes from different art historical moments to explore ideas of collective memory and cultural heritage.

The title of the exhibition, Not Everyone Will Be Taken into the Future, is taken from Ilya’s response to a study on the Russian abstract artist Kazimir Malevich, published in a 1983 issue of the underground magazine A-YA. In his writing, Kabakov poetically imagines Malevich as a headmaster selecting students for summer camp – an allegory for those artists who will – and will not – be taken into the future. Visitors to the exhibition will be able to see the whole-room installation, Not Everyone Will Be Taken into the Future 2001, on display for the first time in the UK.

Ilya and Emilia Kabakov: Not Everyone Will be Taken into the Future is curated by Juliet Bingham, Curator, Tate Modern with Katy Wan, Assistant Curator, Tate Modern and is supported by Novatek. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing. The exhibition will travel to the State Hermitage Museum, St Petersburg and the State Tretyakov Gallery, Moscow, in 2018.


The exhibition is organised by Tate Modern in collaboration with the State Hermitage Museum, St Petersburg and the State Tretyakov Gallery, Moscow.

@Tate #Kabakov



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Tate Modern
Opening: 3 October 2017
Founded by artists Bjørnstjerne Christiansen,
Jakob Fenger and Rasmus Nielsen,
curated by Donald Hyslop, Head of Regeneration & Community
Partnerships, with Synthia Griffin, Curator of Regeneration & Community Partnerships and assistant curator Valentina Ravaglia.
Exhibition: 3 October 2017 – 2 April 2018

Turbine Hall, Central space
Bankside, London SE1 9TG





The Turbine Hall is transformed once again in this major series of annual commissions by renowned international artists. In 2017, the Hyundai Commission will be undertaken by SUPERFLEX, known for their interests in unifying urban spaces and commenting on society with authenticity through art.

Migration, alternative energy and the power of global capital are just some of the motives behind the highly engaging, visual and often humorous work of Danish collective SUPERFLEX. They are best known for their playfully subversive installations and films.

Referring to their works as tools, the collective engage alternative models for the creation of social and economic organisation.

SUPERFLEX are based in Copenhagen and was founded in 1993 by Danish artists and Bjørnstjerne Christiansen, Jakob Fenger and Rasmus Nielsen. They have gained international recognition for their projects and solo exhibitions around the world and are represented in several public art institutions, such as MoMA, New York; Queensland Art Gallery, Brisbane; Louisiana Museum of Modern Art, Denmark; FRAC Nord-Pas de Calais; and Coleccion Jumex, Mexico City.

3 October 2017 – 2 April 2018


Tate Modern and Hyundai Motor today announced that Danish collective SUPERFLEX will undertake this year’s Hyundai Commission for the Turbine Hall, opening on 3 October 2017. It will be the next in this major series of annual site-specific commissions by renowned international artists.

SUPERFLEX is best known for its playfully subversive installations and films. Founded by artists Bjørnstjerne Christiansen, Jakob Fenger and Rasmus Nielsen, SUPERFLEX offers engaging, often humorous perspectives on the social and cultural concerns of our age, from migration to alternative energy production, and from the power of global capital to the regulation of intellectual property.

Through a diverse and complex practice, SUPERFLEX challenges the traditional confines and expectations of art and the exhibition space. Superkilen (2011) a major public park project in one of Copenhagen’s most diverse neighbourhoods was developed through collaboration with local residents from over 50 countries. SUPERFLEX employed a strategy they call ‘extreme participation’ to engage the community and create a unifying urban space with a distinct international identity. In contrast, Hospital Equipment (2014) highlights the role of context in the definition of artistic practice. Consisting of an installation of surgical equipment dispatched directly from gallery to conflict zone, the work oscillates from ‘readymade’ artwork to potentially lifesaving, functional object. Also known for their varied filmworks, SUPERFLEX has explored themes including the analysis of art forgeries and migration at the outermost borders of the EU through film. Referring to their works as tools, SUPERFLEX engage alternative models for the creation, dissemination, and maintenance of social and economic organisation.

Since Tate Modern opened in 2000, the Turbine Hall has hosted some of the world’s most memorable and acclaimed works of contemporary art, reaching an audience of millions each year. The way artists have interpreted this vast industrial space has revolutionised public perceptions of contemporary art in the 21st century. The annual Hyundai Commission gives artists an opportunity to create new work for this unique context. It is made possible by the long-term partnership between Tate and Hyundai Motor, confirmed until 2025 as part of the longest initial commitment from a corporate sponsor in Tate’s history.

Frances Morris, Director of Tate Modern, said:
‘We are delighted to announce that SUPERFLEX will undertake the Hyundai Commission in 2017. Their work raises timely questions about the role of the artist in contemporary society, exploring how we interpret and engage with the increasingly complex world around us. I can’t wait to see how they tackle these themes within the unique scale and public context of Tate Modern’s Turbine Hall.’

Hyundai Motor said:
“We are delighted to welcome SUPERFLEX as the third Hyundai Commission at Tate Modern. With their unique and witty approach, SUPERFLEX addresses important and complex issues of our times. We are looking forward to experiencing how their project for this year’s Hyundai Commission will stimulate our imagination and challenge our understanding of the world.”




Photo: Jan Søndergaard ©



SUPERFLEX is based in Copenhagen and was founded in 1993 by Danish artists and Bjørnstjerne Christiansen, Jakob Fenger and Rasmus Nielsen. SUPERFLEX has gained international recognition for projects and solo exhibitions around the world, including Kunsthalle Basel; the Mori Museum, Tokyo; Hirshhorn Museum, Washington DC; and the 21st Century Museum of Contemporary Art, Kanazawa. The group has participated in international biennials such as the Gwangju Biennale, Istanbul Biennial, São Paulo Biennial, Shanghai Biennial, and in the Utopia Station exhibition at the Venice Biennale. SUPERFLEX are represented in several public art institutions, such as MoMA, New York; Queensland Art Gallery, Brisbane; Louisiana Museum of Modern Art, Denmark; FRAC Nord-Pas de Calais; and Coleccion Jumex, Mexico City.

The Hyundai Commission: SUPERFLEX will be curated by Donald Hyslop, Head of Regeneration & Community Partnerships, with Synthia Griffin, Curator of Regeneration & Community Partnerships and assistant curator Valentina Ravaglia. It will be accompanied by a new book from Tate Publishing.


Established in 1967, Hyundai Motor Company is committed to becoming a lifetime partner in automobiles and beyond. The company leads the Hyundai Motor Group, an innovative business structure capable of circulating resources from molten iron to finished cars. Hyundai Motor has eight manufacturing bases and seven design & technical centres worldwide and in 2016 sold 4.86 million vehicles globally. With more than 110,000 employees worldwide, Hyundai Motor continues to enhance its product line-up with localized models and strives to strengthen its leadership in clean technology, starting with the world’s first mass-produced hydrogen-powered vehicle, ix35 Fuel Cell and IONIQ, the world’s first model with three electrified powertrains in a single body type.

More information about Hyundai Motor and its products can be found at: or

Hyundai Motor has a strong commitment to supporting art communities and has initiated partnerships with organizations around the world to offer better access to experiencing art. Hyundai Motor hopes to encourage greater understanding of art through the annual Hyundai Commission. Hyundai Motor explores the unique values of art, in addition to supporting the Hyundai Commission, with the National Museum of Modern and Contemporary Art, Korea (MMCA), and the Los Angeles County Museum of Art (LACMA) and supports the spread of the extraordinary experiences. Also Hyundai Motor and global media group Bloomberg launched a collaborative project ‘Brilliant Ideas’, which realizes a new vision to profile major art personalities to deliver exciting insight.

The first Hyundai Commission opened in 2015 when Abraham Cruzvillegas unveiled Empty Lot. Provoking questions about chance, change and hope, this vast sculpture included over 23 tonnes of London soil, from which grass, weeds and flowers slowly emerged. The current commission is by Philippe Parreno and remains open until 2 April 2017. Entitled Anywhen, it transforms the Turbine Hall with a constantly changing sequence of lights, soundscapes and films, playing with the visitor’s experience of time and space.

Admission free
Open daily from 10.00 – 18.00 and until 22.00 on Friday and Saturday




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12. August – 15. August 2017 | 10 -18 Uhr




Unter dem Namen „Hochsommer“ haben sich 2017 erstmals acht Kunstinstitutionen aus dem Raum Südoststeiermark und dem südlichen Burgenland zusammengeschlossen.Sie alle vereint das Interesse und die Leidenschaft für zeitgenössische Kunst, ganz abseits der Bundeshauptstadt und der Landeshauptstädte. Die regionalen Standorte reichen von Feldbach, Fehring über Jennersdorf bis nach Bad Radkersburg.Neun Standorte zeigen ihre Ausstellungen, je nach Art des Hauses.




Vom 12.-15. August können diese von 10:00-18:00 Uhr besucht werden.





Eva Schlegel und Manfred Wakolbinger
Vernissage: 12. August 2017 | 15 Uhr
Ausstellung: 13. August – 3. September 2017
Bahnhofring 17, A-8380 Jennersdorf



Die elfte große Ausstellung in der Grenzkunst-Halle (ehemals A&O) in Jennersdorf im Südburgenland ist Eva Schlegel und Manfred Wakolbinger gewidmet. Die beiden Kunstförderer Claudio Cocca und Csaba Valentik präsentieren unter dem Titel “ANDERE WELTEN”  Arbeiten der Künstler. Die Vernissage findet am Samstag, 12. August 2017, um 15 Uhr statt. Die Ausstellung in der Grenzkunst-Halle ist vom 12. August bis 3. September 2017 jeweils Mittwoch bis Freitag von 15 bis 18.30 Uhr sowie Samstag und Sonntag von 14 bis 17 Uhr geöffnet.






Räume und fremde Galaxien

Mit den Mitteln der Fotographie erforschen Eva Schlegel und Manfred Wakolbinger gemeinsam Räume und fremde Galaxien, Bilder, außerhalb unserer alltäglichen Wahrnehmungen. Schlegel und Wakolbinger wechseln mit beeindruckender Leichtigkeit durch die Dimensionen. Gezeigt wird in der Grenzkunst-Halle in Jennersdorf eine Installation, die in unterirdische, atmosphärische und immaterielle Welten entführt. Anlässlich dieser Ausstellung werden auch zwei neue Videos über die Künstler in der Hallen-Lounge zu sehen sein. Die Ausstellung ist eine gemeinsame Produktion – kuratiert von Stella Plapp und initiiert von Claudio G. Cocca und Csaba Valentik.


Kunst an der Grenze | Jennersdorf
Kunst an der Grenze = – Grenze bedeutet nicht unweigerlich ein Ende/Abschnitt von Etwas. Völlig egal ob dies bezogen auf ein Land, menschliche Fähigkeiten oder Verstand ist. Manchmal müssen Grenzen überschritten werden, um Neues zu entdecken oder möglich zu machen. Grenzen sind Chancen, um eigene Gewohnheiten zu verlassen und auf Neues zu treffen. Kaum eine Disziplin eignet sich so hervorragend dafür, wie die Kunst. Mittels Kunst grenzt sich der Mensch vom Tier ab. Mittels Kunst zeigen die Künstler variierte Sichtweisen auf die Gesellschaft. Kunst bedeutet u.a. Kritik und Spiegelbild der Gesellschaft. Mehr denn je etabliert sich Kunst als „Aufmerksamkeit erregendes“ Ausdrucksmittel. Kontemporäre Kunst als Zentrum im südlichen Burgenland.




LandArt Eisenberg Jennersdorf
Exposition Jennersdorf
Franz Graf: Forgive Me
Samstag, 12. August 2017 | 17Uhr
Hochsommer – 12.- 15.August 2017
Ausstellung – 16. August – 10. September 2017
Peter Pilz
Unterberg 2 , A – 8383 Eisenberg
Bahnhofsring 3, 8380 Jennersdorf…/…/01/franz-graf-forgive-me/





Franz Graf
ein Konzeptkünstler, der in seinen Arbeiten Zeichnung,
Fotografie und Installationen kombiniert.


LandArt Eisenberg
Die Galerie Exposition am Bahnhof ring 3 in Jennersdorf besteht seit 2007 unter der Leitung von Franziska Helmreich. Bereits seit zehn Jahre lang werden an dieser Adresse Ausstellungen nationaler und internationaler Künstler präsentiert, heute unter der Leitung von LandArt Eisenberg e.V. Das ziel des Vereins ist es, zwei bis drei Ausstellungen im Jahr in der Exposition in Jennersdorf zu präsentieren. Ganzjährig erlebbar ist der Skulpturengarten LandArt in Eisenberg (Unterberg 2, A-8383 St. Martin an der Raab/Eisenberg), ein work in progress, geleitet von Peter Pilz.

Franz Graf – FORGIVE ME – Exposition Jennersdorf, 12.8. – 10.9.2017





Gerberhaus OG | Fehring
Klaus Wanker
Vernissage: 12. August 2017 | 17.30 Uhr
Künstlergespräch Klaus Wanker
mit Mag. Günther Holler-Schuster
Universalmuseum Joanneum Graz
Ausstellung: 13. August – 01. September 2017
Verein Kultur GerberHaus
Grazerstraße 1 (im Rathaus)
A-8350 Fehring





Klaus Wanker. „…der klirrende zikadengesang durchbrach verstörend die ruhe einer ewig vergessenen zukunftsideologie…“. Klaus Wanker betreibt ein vorwärts strebendes Sehen durch Malerei. Er schafft Bilderserien, die sich mit dem physikalischen Akt des Sehens durch einen Zeitverlauf einerseits und dem inhaltlichen Sehen andererseits jenseits einer vermeintlich realen Jetztzeit beschäftigen
(Katrin-Rosalind Bucher, Kunsthaus Graz).

Klaus Wanker wurde in Graz geboren,
lebt und arbeitet in Graz und Wien. Studium der Grafik und Malerei an der Akademie der bildenden Künste Wien und an der Kunstakademie Düsseldorf bei Siegfried Anzeiger, Sue Williams und Adi Rosenbaum. Preise u.a. Goldener Überpreis, Strabag Art Award 07.

Ein Zentrum für zeitgenössische Kunst, Musik und Literatur. Die preisgekrönte Sanierung des Gerberhauses in Fehring ist bezeichnend dafür, dass hier mit viel Engagement ans Werk gegangen wurde. Der Verein Kultur GerberHaus hat es sich zur Aufgabe gemacht, dieses Gebäude, aber auch andere Orte der Stadt mit qualitativen Veranstaltungen zu füllen. „Insgesamt soll der Verein Kultur GerberHaus Garantie dafür sein, dass man hier Qualität erwarten kann“, so Franz Cserni, langjähriger Obmann und Gründungsvater. Heute bietet der Verein unter Obmann Dr. Karl Hermann mit finanzieller Unterstützung von Sponsoren ein Kulturangebot, das sich etabliert hat und mit ausgezeichneten Referenzen aufwarten kann.







Vernissage: Samstag, 12. August 2017 | 19 Uhr
Alfons Schilling – Petra M. Maitz – Tomas Eller – Edgar Lissel.
Ausstellung: 12. August – 8. September 2017
Mühldorf 176, A-8330 Feldbach
Andreas Stern & Rainer Böhm







DIE HALLE Feldbach
Samstag, 12. August 2017 | 21 – 0:00 Uhr
Gleichenberger Strasse 58 a, A – 8330 Feldbach



VORKASSA: € 45,– * ABENDKASSA: € 65,–
Mit Zahlungseingang (Vorkassa) werden Sie
auf unsere Gästeliste für den Abend gesetzt.
Tickets: IBAN AT89 3815 1000 0502 8022
Kontakt: schlicht barock 03152 25 999




Kunsthalle | Feldbach
„Mohn – Waldstück – 2 Ferkel“
13. August 2017 | 11 Uhr
Stefan Matl (acc.) interpretiert Wolfgang Wiedner.
„Malerei“ von Wolfgang Wiedner.
Ausstellung: 22. Juni – 15. August 2017
Sigmund-Freud-Platz 1
A-8330 Feldbach





Die Kunsthalle Feldbach hat sich seit ihrer Gründung im Jahr 1999 als hochkarätiger, fester Bestandteil des kulturellen Geschehens in der Region und darüber hinaus etabliert. Gezeigt werden 6 bis 8 Ausstellungen pro Jahr mit dem Schwerpunkt gehobene bildende Kunst aller Sparten, dazu gibt es Sonderausstellungen oder Kooperationen mit Veranstaltern wie dem Steirischen Herbst. Die Adaptierung der 400 m² großen, hohen Räume in einer stillgelegten Molkerei verleiht der Halle einen ganz besonderen Charakter. Das Team: Dr. Michael Mehsner (Kulturbeauftragter der Stadt Feldbach), Andrea Meyer (Kulturbüro) und Thomas Saminger (Halle).

Ausstellung im hochsommer 2017:

„Malerei“ von Wolfgang Wiedner. Wolfgang Wiedner, Jahrgang 1953, gehört zu den großen österreichischen Malern der Gegenwart. In seiner Ausstellung „Malerei“ zeigt er viele neue Arbeiten, die in der Tradition seines Gesamtwerkes stehen. „Der Prozess des Malens beginnt vor einem leeren Bildgrund. Dann gibt es eine Bildidee, etwas entwickelt sich, und im günstigsten Fall entsteht dann der Moment, wo du sagst: Jetzt passt es. Das kann ein kleiner Pinselstrich sein, oder ein Hauch von Farbe. Dass dann etwas erscheint, was du nicht beabsichtigt hast. Das ist das Phänomen der Malerei.“ (Wolfgang Wiedner, 2017). Ausstellung bis 15. August 2017.






Schlichtbarock Fine Arts im KIESLINGERHAUS
Vernissage: Sonntag, 13. August 2017 | 13 Uhr
Ausstellung: 13. august – 8. September 2017
Torplatz 3, A-8330 Feldbach





Schlichtbarock Fine Arts | Feldbach
Das KIESLINGERHAUS im Zentrum von Feldbach ist mehr als 400 Jahre alt und steht als denkmalgeschütztes Ackerbürgerhaus gleich neben dem 1628 errichteten Grazer Tor. Stadtbauern, Bader und Handwerker nutzten das Haus bis Andreas Stern und Rainer Böhm diesen besonderen Ort schafften – Schlicht barock im Kieslingerhaus. Inszenierungen und Ausstellungen seit 2009 mit Kristina Foggensteiner, Frederick Steinmann, Oliver Marčeta, Nico Dellamartina, Ceija Stojka, Filip Gregorowicz, Claus Brunsmann, Julia Hiemer, Thomas Hornemann, Josefina Pino, Peter Marquant, Martha Jungwirth und ADK im Jahre 2015 mit 28 deutschen Künstlern machten das Haus mit Garten und Pavillon zum Kunstraum.





KS Room | Feldbach
„Death in the Afternoon“
Opening: 13. August 2017 | 16 Uhr
mit Sound Performance/Party.
Rebecca Ackroyd, Dejan Dukic. Mit Jai Inn, Rade Petrasevic,
Stefan Reiterer, Andreas Reiter Raabe, Anna Schachinger und Dino Zrnec.
Ausstellung: 12. August – 10. September 2017
Meierhof Kornberg, Dörfl 1
A-8333 Kornberg (bei Schloss Kornberg)



KS Room | Feldbach
Der KS Room liegt unterhalb des Schloss Kornbergs. Er befindet sich in einem Teilgebäude von ehemaligen Stallungen und dient heute als freier Kunstraum.
Er wurde 2013 von dem Künstlerduo Karl Karner und Linda Samaraweerová gegründet. Es finden drei bis vier zeitgenössische Ausstellungen jährlich statt, die jedesmal von anderen KünstlerInnen oder KuratorInnen konzipiert wird. Daraus ergibt sich ein vielseitiges Kunstprogramm, das sich spartenübergreifend der Malerei, Fotografie, Skulptur oder Performance widmet. Somit ist ein offener Ort entstanden, der das Zusammenkommen von Kunstschaffenden und Interessierten fördert und Raum gibt. Im Gesamten betrachtet ergibt sich daraus eine Art Choreografie, die als Gesamtkunstwerk zu betrachten ist.





ZOLLAMT, Bad Radkersburg

Tuesday August 15, 2017 | 15  – 19 pm

15. August 2017 | 15 Uhr
Mit Arbeiten von Harald Anderle, Helene Baur, Joachim Baur,
Joseph Beuys, Bazon Brock, Kati Bruder, Nadežda Čačinovič,
Daniela Comani, Ida-Marie Corell, Selma Doborac, Barbara B.Edlinger,
Christian Egger, Fria Elfen, Astrid Esslinger, Herms Fritz, Robert Gruber,
Karmen Jančar, Karl Karner, Josef Klammer, Peter Kogler, Markus Krottendorfer, Elfriede Jelinek, Anita Leisz, Elisabeth List, Irma Markulin, Thomas Metzner,
Jeni Noltcheva, Kristian Paternusch, Michael Petrowitsch, Jörg Piringer, Christian Polansek, Eva-Maria Schön, Emilia Smokova, Joulia Strauss,
Jasmin Trabichler, Magda Tothova, Peter Weibel, Verena Weninger,
Lawrence Weiner, Franz West.
Stadtgrabenstraße 33, A-8490 Bad Radkersburg



15. August 2017 | 15 Uhr

2017_ Peter Weibel, 2015_Elfriede Jelinek, 2014_Nadežda Čačinovič, 2013_Bazon Brock
Guided Tour with Artists Talks
Exhibition with works by: Harald Anderle, Helene Baur, Joachim Baur, Joseph Beuys, Bazon Brock, Kati Bruder, Nadežda Čačinovič, Daniela Comani, Ida-Marie Corell, Selma Doborac, Barbara B.Edlinger, Christian Egger, Fria Elfen, Astrid Esslinger, Günter Fruhtrunk, Robert Gruber, Karmen Jančar, Elfriede Jelinek, Karl Karner, Josef Klammer, Peter Kogler, David Kranzelbinder, Markus Krottendorfer, Anita Leisz, Elisabeth List, Irma Markulin,
Thomas Metzner, Jeni Noltcheva, Kristian Paternusch, Michael Petrowitsch, Jörg Piringer, Christian Polansek, Eva-Maria Schön, Emilia Smokova,
Joulia Strauss, Jasmin Trabichler, Magda Tothova, Peter Weibel, Verena Weninger, Lawrence Weiner, Franz West
Christopher Drexler_Minister for culture, health and care_State of Styria (A), Stanislav Rojko_Mayor of Gornja Radgona (SLO),
Heinrich Schmidlechner_Mayor of Bad Radkersburg (A), Helene Baur, Joachim Baur_ZOLLAMT
Official Journal of the ZOLLAMT; 12,5″ x 23″, copies: 3.000, 4c, pages: 16
TERANGA RESTAURANT African food by Bambo Sane-Rauter




Eröffnung | Otvoritev
Freitag/ petek, 21.7.2017 | 18:30
Ausstellung:22.7. – 26.8.2017
Artikel-VII-Kulturverein für Steiermark
Laafeld/Potrna 30,
8490 Radkersburg, Steiermark, Austria




A cappella-Performance »Fluchtrouten«von Irina Karamarković
A capella performans Irine Karamarković z naslovom »
Fluchtrouten – Begunske poti«

Fotoausstellung zeigt Fotografien von Flüchtlingen
im Jugoslawienkrieg und von aktuellen Kriegsorten
und wird mit diversen Textelementen ergänzt.

Pavel Haus | Bad Radkersburg
Der 1988 gegründete Artikel-VII-Kulturverein für Steiermark ist bemüht, dem slowenischen Anteil in der Steiermark einen Stellenwert einzuräumen, der viele Jahre lang versagt blieb. Der Verein versteht seine Arbeit in einem übergeordneten europäischen Zusammenhang. Neben dem Kulturhaus Pavelhaus – Pavlova hiša in Laafeld bei Bad Radkersburg sieht der Verein als vorrangige Ziele seiner Arbeit die folgenden an: Die Anerkennung der Slowenen in der Steiermark, den Slowenisch-Unterricht an den Schulen in der Steiermark zu erweitern und zu fördern sowie grenzüberschreitende Kulturarbeit.

Der Verein sieht das Pavelhaus einerseits als ein Begegnungszentrum zwischen Slowenien und Österreich, sozusagen zwischen Štajrern und Steirern, sowie als Kulturhaus für die ansässige mehr- und einsprachige Bevölkerung. Das Haus beherbergt eine ständige Schautafel-Ausstellung über die Geschichte der Slowenen in der Steiermark. Eine Vielzahl von Veranstaltungen, die sich einem interkulturellen Prinzip verpflichtet fühlen, zeugt vom gelebten Kulturbewusstsein dieser Region. Der in drei Sprachen lehrende Namesgeber August Pavel weist darauf hin.



Wir freuen uns, Sie bei den Ausstellungen
und der HOCHsommerNACHT begrüssen zu dürfen
und bleiben mit besten Grüssen

Rosemarie & Karl Puchleitner,
Franziska Helmreich
Rainer Böhm & Andreas Stern

HOCHSOMMER: 08/12 – 08/15/2017 / 10am – 6pm


Locations: KUNSTHALLE FELDBACH (Sigmund-Freud-Platz 1, 8330 Feldbach), SCHLICHTBAROCK FINE ARTS (Kieslingerhaus, Torplatz 3, 8330 Feldbach), KUGELMÜHLE (Mühldorf 176, 8330 Feldbach), KS ROOM (Dörfl 1, 8333 Kornberg), GERBERHAUS FEHRING (Grazerstraße 3, 8350 Fehring), KUNST AN DER GRENZE (Bahnhofring 17, 8380 Jennersdorf), EXPOSITION LAND ART EISENBERG (Bahnhofring 3, 8380 Jennersdorf), ZOLLAMT (Stadtgrabenstraße 33, 8490 Bad Radkersburg), PAVELHAUS – PAVLOVA HISA (Laafeld 30, 8490 Bad Radkersburg)




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EstherArtNewsletter please fill out the form.




Exhibition: 26 JUL – 26 NOV 2017
Boston,100 Northern Avenue
25 Harbor Shore Drive, Boston, MA 02210, USA




Dana Schutz is a concise exhibition of the artist’s recent work. One of the most prominent painters of her generation, the New York–based Schutz (b. 1976, Livonia, Michigan) is known for her distinctive visual style characterized by vibrant color and tactile brushwork. Her large-scale paintings capture imaginary stories, hypothetical situations, and impossible physical feats, such as swimming while smoking and crying. Schutz’s paintings combine abstraction and figuration with expressive imagination, fragmented bodies, banal objects, and quotidian scenes to create oddly compelling and intriguing pictures.






Over the last decade, she has honed her approach to painting, creating tightly structured scenarios and compressed interiors. Her works capture subjects who seem to be actively managing, even fighting, the limitations of their depicted environments—boundaries set by the canvases’ actual borders. Many of her paintings, such as Getting Dressed All at Once (2012) and Shaving (2010), depict distorted bodies, revealing a nuanced exploration of the female body engaged in life’s everyday rituals.

Drawing on the legacies of both figurative and abstract painting, with nods to touchstone figures such as George Grosz and Max Beckmann, Schutz’s unique voice in painting exemplifies the expansive possibilities of the medium today. In her work, the artist explores what can occur within parameters of space and time and how finite zones can unfold into curious and evocative narratives.

Over the course of her twenty-year career, Dana Schutz’s work has been the subject of multiple museum exhibitions both nationally and internationally, including most recently a survey at the Musée d’art contemporain de Montréal, Canada, and an exhibition of new works at the Kestnergesellschaft, Hanover, Germany. This year she was included in the Whitney Biennial, where one of her paintings ignited a vigorous debate around the role of art, artists, and institutions in the representation of race, a conversation that resonates with larger issues in our current political and cultural landscape. The ICA believes that art has the potential to illuminate aspects of our humanity, expose fault lines in the culture, engage experiences both personal and universal, and inspire inquiry and understanding. We invite you to explore Dana Schutz in the galleries and to learn more about the artist’s work and process.




Dana Schutz Swimming-Smoking-Crying  1000×931
Two years ago, we invited Dana Schutz for an exhibition; she is one of the leading painters of her generation, and we wanted to share the exuberance, skill, and vibrancy of her work with Boston audiences. This past March when her painting Open Casket was shown at the Whitney Biennial, there were a range of responses, including many who felt that the painting embodied privilege and had caused them pain. Art often exposes the fault lines in our culture, and Open Casket raised difficult questions about cultural appropriation, race, and representation. Though Open Casket is not in the ICA exhibition, we welcome the opportunity for debate and reflection on the issues of representation and responsibility, sympathy and empathy, art and social justice. Complex, challenging, sensitive, and urgent, these are issues deserving of thoughtful discourse, and museums are one of the few places where the artist’s voice is central to the conversation. We have designed our programs – panels, lectures, gallery talks, as well as exhibitions and performances – to offer a broad range of artistic voices and a creative space for experimentation, and we look forward to audiences having the opportunity to see for themselves the range of Schutz’s art and engaging in the art and issues of our time.
Jill Medvedow
Ellen Matilda Poss Director




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Patricia Low Contemporary – Gstaad.
A selection of Contemporary African Art
Exhibition: 21. JUL – 10. OCT 2017
Serge Attukwei Clottey – Marion Boehm
Marcia Kure – Omar Victor Diop -Cameron Platter
Lauenenstrasse 28, 3780 Gstaad

Atsala Tsala is an exhibition featuring five artists who use mixed media to explore identity, history and the recycling of everyday life into art. Suggested by Marcia Kure and Serge Attukwei Clottey “Atsala Tsala” means patching, stitching and even collage in the Ga dialect (Greater Accra region). It is a technique that each artist in this show has, in some way, applied to their work. It also reflects the grouping of these five artists who come from different parts of Africa.




Wall based work from Serge Attukwei Clottey from Ghana, will be exhibited alongside photography by Omar Victor Diop from Senegal, Marion Boehm, a German artist who works in South Africa, Marcia Kure from Nigeria and Cameron Platter from South Africa. Individually, each of these artists presents a unique personal vision while together, they offer an exciting overview of contemporary African art.

The Ghanaian artist Serge Attukwei Clottey made a vivid impression last year in his work, My Mother’s Wardrobe, when he walked through Accra wearing the clothes of his recently deceased mother. His witty yet profound performance made a bold comment on the inequality of African funeral customs whereby a mother’s belongings are traditionally only passed on to their daughters. Clottey is also known for his sculpture and installations made from the ubiquitous yellow plastic jerry cans used to collect and carry water.

These recurring cans represent the ecological and economic hardships facing Ghanaian working people but also the strong role that women play in ensuring their families have clean water at a time of poor resources and high levels of pollution. The works absorb a political narrative as much as they do Clottey’s personal history and formal approach to assemblage.




Whereas Clottey has spent his life in Africa, Marion Boehm was born in Duisburg-Rheinhausen, Germany and moved to South Africa in 2010. Like Clottey her work often pays particular attention to the role of women in African society. Her exquisite collaged portraits merge recycled antique fabrics, shweshwe cloth, newspaper, pastel and graphite, elevating otherwise ordinary women into dignified figures of great beauty and individuality with an aim to redress their exclusion from art history. She includes pictorial elements from stories told to her by people she has met while she has been in Kliptown reflecting their histories alongside her own experience of living within their communities.




Marcia Kure, originally from Nigeria is now based in the US. The notion of moving away from Africa, and her home, has allowed her a critical distance to view her ethnicity and history from an outsider’s perspective. In her paintings and drawings Kure utilises a distinct linear style that echoes Nigerian Uli art and uses traditional pigments such as kolanut and coffee affording her semi-figurative images with rich sinuous layers of earth tones. The sense of postcolonial, fragmented identity is palpable in Kure’s mixed media collages that effortlessly combine elements as diverse as female identity, historical costume alongside contemporary clothing and hip hop culture.






Omar Victor Diop’s Project Diaspora, is a series of elaborately staged self portraits replicated from original 15-19th century drawings and paintings of notable African emigres. These works have the richness and complexity of Cindy Sherman’s photographs that retell the story of their subjects for a contemporary audience. By adding in professional football ephemera he adds an almost cartoon like element to their aesthetic, reminding the viewer that although talent and fame can elevate social status for African people, racial hierarchies and stereotypes still remain present.


CameronPlatter .jpg



South African artist Cameron Platter makes expansive, seemingly upbeat, drawings and paintings yet there is a sense of discord that belies their bold playful colours and pop graphic. Platter tells stories through words and images that pick and mix references from South African popular culture infusing everyday observations with a new often dark relevance. He combines traditional lino cuts, text art with a retro poster aesthetic and the kind of imagery more commonly found in graphic novels and disposable marketing leaflets. KFC logos alongside strip club signage and escort classifieds from a Durban newspaper speak of a darker underbelly in South African life.





About the artists

Serge Attukwei Clottey (b. 1985) lives and works in Accra. Recent exhibitions include Kampnagel, Hamburg (2015); Intelligentsia Gallery, Beijing (2015); The Mistake Room, Los Angeles (2015); 27th Festival Les Instants Vidéo, Marseille (2014); WUK, Wien (2014); Mohr-Villa, Munich (2014); Ozwald Boateng, London (2014); 11th Dak’art, Dakar (2014); Nubuke Foundation, Accra (2014); Stedelijk Museum, Amsterdam (2012)

Marion Boehm (b. 1964) in Duisburg-Rheinhausen, Germany, lives and works in South Africa (since 2010). Recent exhibitions include ARTCO Gallery at Cape Town Art Fair, (2017); In Toto Gallery, Johannesburg (2015); Young Blood Gallery, Cape Town (2014)

Marcia Kure (b. 1970), lives and works in Princeton, US. Recent exhibitions include The Heong Gallery, Cambridge (2017); Contemporary Art Centre, Brussels (2015); Galeria Municipal Almeida Garrett, Portugal (2015); Biennale of Dakar, Senegal (2014); Palais de Tokyo, Paris (2012); Purdy Hicks, London and Essie Green Galleries, New York (2011)

Omar Victor Diop (b. 1980), lives and works in Dakar. Recent exhibitions include, Institut du monde arabe, Paris; Louis Vuitton Foundation, Paris; Museum of Art and Design, New York; Mona Bismarck American Center, Paris (all 2017)

Cameron Platter (b.1978) lives and works in KwaZulu-Natal and Cape Town. Recent exhibitions include Depart Foundation, Los Angeles (2016); Iziko South African National Gallery (2015); Museum of Modern Art, New York (2011); Haus Der Kultur, Berlin (2011); La Biennale de Dakar, Senegal (2010); The Centre Georges Pompidou, Paris (2010)



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FALL 2017


FALL 2017
This Fall, Trap Door: Trans Cultural Production and the Politics of Visibility, the Latest Installment in the Critical Anthologies in Art and Culture Series
27. September 2017– 21. January 2018
curated by Johanna Burton, Keith Haring Director and Curator
of Education and Public Engagement, with Natalie Bell,
Assistant Curator, and Sara O’Keeffe, Assistant Curator.
Second, Third, and Fourth Floors
235 Bowery, New York, NY 10002


Pauline Boudry/Renate Lorenz, Toxic, 2012 (still, detail). Super 16mm film transferred to HD; 13 min. Courtesy the artists, Ellen de Bruijne Projects, and Galerie Marcelle Alix

To mark the New Museum’s 40th anniversary, the Museum will present several special exhibitions during its fall 2017 season and will inaugurate a new temporary gallery space in the adjacent building to the south. The Museum-wide survey “Trigger: Gender as a Tool and a Weapon” leads the season, with single-artist exhibitions by Kahlil Joseph and Petrit Halilaj also on view. The exhibitions by Joseph and Halilaj will be new site-specific projects filling new temporary galleries that connect the Ground Floor of the Museum with its adjacent building at 231 Bowery.



Cover of Trap Door: Trans Cultural Production and the Politics of Visibility, edited by Reina Gossett, Eric A. Stanley, and Johanna Burton


New York, NY…This fall, the New Museum will publish Trap Door: Trans Cultural Production and the Politics of Visibility, edited by Reina Gossett, Eric A. Stanley, and Johanna Burton. Trap Door, to be released November 2017, is the third installment in the New Museum’s Critical Anthologies in Art and Culture series, following the publication of Mass Effect: Art and the Internet in the Twenty-First Century (2015), edited by Lauren Cornell and Ed Halter, and Public Servants: Art and the Crisis of the Common Good (2016), edited by Johanna Burton, Shannon Jackson, and Dominic Willsdon.
The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is continually touted as a sign of liberalist transformation, but it has coincided precisely with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door: Trans Cultural Production and the Politics of Visibility grapples with these contradictions. It both considers how mainstream representation and co-optation inevitably alter trans identities and confronts the radical incongruity of society’s simultaneous acceptance and forceful rejection of those same identities.
The essays, conversations, and dossiers gathered in Trap Door delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with hegemonic norms. In turn, the volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, that clever contraption that is neither entrance nor exit, but instead a secret passageway leading elsewhere. Building on the legacy of art historical and related dialogues around difference, Trap Door thus ignites a conversation that extends through and beyond trans culture, insisting that while these debates and dialogues are specific, they nevertheless have great relevance for anyone invested in the ethics of visual culture.
“In conjunction with the fall exhibition ‘Trigger: Gender as a Tool and a Weapon,’ Trap Door continues a deep exploration of gender across the New Museum’s fall 2017 programming, with this extraordinary collection of essays and authors probing the topic of trans identity in contemporary culture,” said Lisa Phillips, Toby Devan Lewis Director of the New Museum.



27. September 2017– 21. January 2018
Curated by Johanna Burton, Keith Haring Director and Curator
of Education and Public Engagement, with Natalie Bell,
Assistant Curator, and Sara O’Keeffe, Assistant Curator.
Second Floor, Third Floor, and Fourth Floor


Paul Mpagi Sepuya, Darkroom Mirror (0X5A1531), 2017. Archival pigment print, 51 × 34 in (129.5 × 86.4 cm). Courtesy the artist and Yancey Richardson, New York



The New Museum has been committed to urgent ideas since its inception, devoting many exhibitions and programs over the years to issues of representation with regard to gender and sexuality: “Extended Sensibilities” (1982), “Difference” (1984–85), “Homo Video” (1986–87), and “Bad Girls” (1994) are just four notable examples. Following in this tradition, and in the Museum’s 40th anniversary year, “Trigger” extends the conversation around identity, considering how even a fluid conception of gender is nonetheless marked by ongoing negotiations of power and cannot be understood outside its complex intersections with race, class, sexuality, and disability. The exhibition’s title, “Trigger,” takes into account that word’s range of meanings, variously problematic and potent; the term evokes both traumatic recall and mechanisms that, set into motion, are capable of igniting radical change.

The exhibition will feature more than forty artists working across a variety of mediums and genres, including film, video, performance, painting, sculpture, photography, and craft. Many embrace explicit pleasure and visual lushness as political strategies, and some deliberately reject or complicate overt representation, turning to poetic language, docufiction, and abstraction to affirm ambiguities and reflect shifting physical embodiment. Representing no single point of view, and in some cases presenting productively contradictory positions, “Trigger” will assemble artists for their singular efforts in considering gender’s capacity to represent a more general refusal of stable categorization—a refusal at the heart of today’s most compelling artistic practices.

Artist List
Morgan Bassichis (b. 1983) Sadie Benning (b. 1973)
Nayland Blake (b. 1960) Justin Vivian Bond (b. 1963) Gregg Bordowitz (b. 1964)
Pauline Boudry / Renate Lorenz (working together since 2007)
Nancy Brooks Brody (b. 1962) A.K. Burns (b. 1975) and A.L. Steiner (b. 1967)
Leidy Churchman (b. 1979) Liz Collins (b. 1968) Vaginal Davis (b. 1969)
Harry Dodge (b. 1966) Dyke Division of the Two-Headed Calf (founded in 2008)
Josh Faught (b. 1979) ektor garcia (b. 1985) Mariah Garnett (b. 1980)
Reina Gossett (b. 1983) and Sasha Wortzel (b. 1983) Sharon Hayes (b. 1970)
House of Ladosha (founded in 2007) Stanya Kahn (b. 1968)
Carolyn Lazard (b. 1987) Simone Leigh (b. 1967) Ellen Lesperance (b. 1971)
Candice Lin (b. 1979) Troy Michie (b. 1985) Ulrike Müller (b. 1971)
Willa Nasatir (b. 1990) Sondra Perry (b. 1986) Christina Quarles (b. 1985)
Connie Samaras (b. 1950) Curtis Talwst Santiago (b. 1979)
Tschabalala Self (b. 1990) Paul Mpagi Sepuya (b. 1982)
Tuesday Smillie (b. 1981) Sable Elyse Smith (b. 1986) Patrick Staff (b. 1987)
Diamond Stingily (b. 1990) Mickalene Thomas (b. 1971)
Wu Tsang (b. 1982) Chris E. Vargas (b. 1978) Geo Wyeth (b. 1984)
Anicka Yi (b. 1971)

The artists in “Trigger” share a desire to contest repressive orders and to speculate on new forms and aesthetics—a desire to picture other futures. For many, developing new vocabularies necessarily entails a productive reworking of historical configurations. A number of artists in the exhibition—including Josh Faught, Reina Gossett and Sasha Wortzel, Ellen Lesperance, Mickalene Thomas, and Candice Lin—return to archival materials in order to critique, build upon, and explore longstanding dialogues and debates around intersectionality, alliance, and the project of world-building. Beauty is not supplemental to politics here, but central to the process of positing new worlds and building new social structures. The exhibition brings together a range of practitioners, some with a longstanding commitment to activism—such as Nancy Brooks Brody, an original member of the collective Fierce Pussy, and Vaginal Davis, who has long critiqued systematic oppression tied to gender, race, class, and sexuality—alongside emerging artists such as Sable Elyse Smith, Paul Mpagi Sepuya, and Chris Vargas, whose works variously plumb mechanisms of regulation.

The exhibition will include a number of commissioned works, including a major new braided sculpture by Diamond Stingily that pierces through gallery floors, trailing from the Fourth Floor all the way down to the Museum’s Lobby, and alludes to the racial dimensions of beauty conventions as well as to Medusa, the mythological snake-haired woman whose gaze could turn men into stone. Nayland Blake will produce a life-size suit of his “fursona” named Gnomen, which will be periodically inhabited and activated throughout the course of the exhibition. Tuesday Smillie will continue a recent series of textile works that both refer to significant historical protest signs—such as those constructed by Sylvia Rivera, Marsha P. Johnson, and other members of Street Transvestite Action Revolutionaries—and present new slogans. ektor garcia will present a series of site-specific, readymade sculptures that evoke S&M fetish gear and Mexican housewares while suggesting movement away from definitive gender and sexual roles.

Commissioned performances will feature prominently in the exhibition, with the premiere of a two-part musical by Morgan Bassichis that returns to the influential 1977 publication The Faggots & Their Friends Between Revolutions, live music organized by Simone Leigh and staged inside her installation, and a series of performance-lectures on masculinities by Gregg Bordowitz. The exhibition will also include a special three-episode reunion of Dyke Division’s Room for Cream, the live lesbian soap opera presented at La MaMa theater in New York from 2008 to 2010.

The exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, with Natalie Bell, Assistant Curator, and Sara O’Keeffe, Assistant Curator. It will be accompanied by a fully illustrated catalogue designed by Joseph Logan and published by the New Museum. The catalogue includes essays by Rizvana Bradley and Jeannine Tang, as well as a conversation between Mel Y. Chen and Julia Bryan-Wilson. It also includes genealogies organized by Sara O’Keeffe, an institutional archival portfolio, and transcripts of roundtable conversations between members of the exhibition’s advisory group: Lia Gangitano, Ariel Goldberg, Jack Halberstam, Fred Moten, and Eric A. Stanley.



“Kahlil Joseph”
27. September 2017– 7. January 2018
curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni,
Edlis Neeson Artistic Director.
South Galleries, Ground Floor
235 Bowery, New York, NY 10002



Kahlil Joseph, m.A.A.d., 2014 (still, detail). 35mm film transferred to two-channel video, sound, color; 15:26 min. Courtesy the artist



In his captivating short films, Los Angeles–based artist and filmmaker Kahlil Joseph (b. 1981, Seattle) conjures the vibrant and impressionistic quality of dreams through a kaleidoscope of quotidian scenes and intimate moments. In recent years, much of Joseph’s filmmaking has taken shape through collaborations with some of the most respected and forward-thinking hip-hop, jazz, indie, and electronic musicians working today, including Arcade Fire, FKA Twigs, Flying Lotus, Kendrick Lamar, Sampha, and Shabazz Palaces. For this exhibition, his first solo presentation in New York, Joseph will debut a new black-and-white film that draws inspiration from photographer Roy DeCarava (1919–2009), whose images of celebrated jazz musicians and everyday life in Harlem Joseph has long admired. Drawing from DeCarava’s virtuosity with chiaroscuro effects and his commitment to representations that reflect the rhythms of daily life, Joseph’s new film will consider the dimensions of past, present, and future in Harlem and New York City.

For his New Museum exhibition, this new work will be presented in an installation together with m.A.A.d. (2014), a lush two-channel portrait of Compton, CA, that blends home video footage from the early 1990s with Joseph’s own footage, shot two decades later. Seen together, these works will serve as foils to one another, offering a conversation between two contrasting urban settings and the people who call them home. While m.A.A.d. offers a predominantly contemporary image, Joseph’s new work will extend beyond the present day—yet, in the spirit of DeCarava and true to Joseph’s past work, music will figure centrally in both. Surrounding the viewer with large-scale projections and immersive soundscapes, both works will reflect on the ways identity, memory, and spirituality are negotiated and expressed in distinct but equally influential cultural landscapes. The exhibition is curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director.

This exhibition further debuts a new gallery, providing artists a dynamic project space in the Museum to premiere or display new work and new productions.


“Petrit Halilaj”
27. September 2017– 7. January 2018
curated by Helga Christoffersen, Assistant Curator.
South Galleries, Ground Floor
235 Bowery, New York, NY 10002



Petrit Halilaj, Si Okarina e Runikut, 2014 (detail). Installation view: “Yes but the sea is attached to the Earth and it never floats around in space. The stars would turn off and what about my planet?,” kamel mennour, Paris. © Petrit Halilaj. Courtesy the artist and kamel mennour, Paris/London. Photo: Fabrice Seixas & archives kamel mennour



In his work, Petrit Halilaj (b. 1986, Kostërrc, Skenderaj-Kosovo) often departs from his own biography and makes use of exhibition processes to alter the course of private and collective histories. Encompassing sculpture, drawing, text, and video, many of Halilaj’s works incorporate materials from his native Kosovo and manifest as ambitious spatial installations through which the artist translates personal relationships into sculptural forms. His contribution to the 6th Berlin Biennial (2010) featured a life-size supporting structure for his family’s new home; the work comprised both the construction of this home in Pristina and its ghost shell on view in Berlin. In another project from 2013, Halilaj uncovered and recreated the deteriorated collection of the natural history museum in Kosovo, which had been discarded after the end of the Kosovo War in the 1990s.

For his New Museum exhibition, Halilaj will present an ambitious new project that begins in Runik, the city in which he was born and the site of one of the earliest Neolithic settlements in the region, where some of Kosovo’s most significant artifacts have been found—among them a small musical instrument known as the Runik Ocarina. The Ocarina, part of a collection of objects held by the Serbian government since the war, represents a heritage inaccessible to citizens of Kosovo. Through his work, Halilaj will trace residents’ recollections of remaining archaeological objects as personal origin stories and, by recreating their annexed collection, will give shape to a material heritage that currently exists only in their imagination. Halilaj was recently awarded a special mention by the Jury at the 57th Venice Biennale. The exhibition is curated by Helga Christoffersen, Assistant Curator.

This exhibition also debuts a new gallery, providing artists a dynamic project space in the Museum to premiere or display new work and new productions.




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New Museum NY

IdeasCity New York
A Daylong Festival Exploring 100 Actions for the Future City
Saturday, 16. September 2017
Sara D. Roosevelt Park on Chrystie Street




The New Museum is pleased to announce the fourth edition of IdeasCity New York, taking place Saturday, September 16, 2017, at Sara D. Roosevelt Park on Chrystie Street, one block from the New Museum.

IdeasCity, the New Museum’s civic platform that explores the future of cities with art and culture as a driving force, will culminate a two-year cycle of global residencies in Detroit, Athens, and Arles with its biannual program IdeasCity New York. This free and public event, themed around “100 Actions for the Future City,” will be a daylong investigation of strategies, ideas, and propositions featuring artist talks, initiatives by local organizations, performances, workshops, and a panel of notable mayors from around the country. Featured speakers will include Tania Bruguera, David Byrne, Mel Chin, Maurice Cox, Teddy Cruz, Justin Garrett Moore, Fonna Forman, Kemi Ilesanmi, Ingrid Lafleur, Eric Liu, Mil M2, Rick Lowe, Rosanne Haggerty, dream hampton, Leslie Koch, Trevor Paglen, Superflex, Kasim Reed, Jonathan Rose, Kamau Ware, and Fellows from past IdeasCity residencies, among others.

IdeasCity New York will present programs with its Executive Committee members—Architecture League, Bowery Poetry Club, Cooper Union, the Drawing Center, and Storefront for Art and Architecture—and local community organizations in Lower Manhattan, as well as the New Museum’s Education Department, NEW INC, and Museum affiliate Rhizome.

A notable feature of this year’s IdeasCity is an open arena of modular structures, designed by Thomas Lommée & Christiane Hoegner/OpenStructures, which will serve as the site for a public forum. The staging is made possible by IdeasCity’s design partner A/D/O, a creative space in Greenpoint, Brooklyn, dedicated to expanding the reach of design.

“Art, design, and culture are often perceived as superfluous luxuries that are somehow less essential to civic life. In the last two years, observing the work of artists, architects, activists, and citizens in Athens, Detroit, and Arles, we‘ve learned that there is a more urgent need than ever before to place artistic practice at the center of future thinking about urban life, and that the results can be incredibly inspiring,” said Joseph Grima, Director of IdeasCity.

“Like the New Museum itself, IdeasCity is a global initiative with its roots in the Bowery neighborhood, and we‘re especially pleased that the fourth edition of IdeasCity New York coincides with the fortieth anniversary of the Museum. Over these forty years, our commitment to the city has broadened in scope, and this will be reflected in the diversity of the propositions presented,” said Lisa Phillips, Toby Devan Lewis Director of the New Museum.

As IdeasCity looks forward to its next two-year cycle of global residencies across three cities, the Rockefeller Foundation will provide a new level of support with the establishment of the Rockefeller Foundation Fellows. The Fellows have been a distinguishing feature of IdeasCity, with more than 3,000 candidates having applied for the programs in Detroit, Athens, and Arles. As cultural practitioners, the Fellows partner with local communities and engage in an intense research and development residency. A selection of the Fellows’ work from Detroit, Athens, and Arles will be highlighted at this year’s IdeasCity New York.

Support for IdeasCity New York
Leadership support for IdeasCity New York and the IdeasCity Fellowship program is provided by the Rockefeller Foundation.

Lead support for IdeasCity New York is provided by the Stavros Niarchos Foundation.

Additional support for IdeasCity New York provided by Lambent Foundation.

A/D/O is the design partner for IdeasCity New York.

Support for IdeasCity 2016–17 Program
Founding support for IdeasCity is provided by Goldman Sachs Gives at the recommendation of David B. Heller & Hermine Riegerl Heller.

LUMA Foundation is the presenting partner for IdeasCity Arles.
Additional support for IdeasCity Arles provided by NEON.

NEON Foundation is the presenting partner for IdeasCity Athens.
Stavros Niarchos Foundation is the International partner for IdeasCity Athens.
LUMA Foundation is the Global Social Engagement partner for IdeasCity Athens.

Major support for IdeasCity Detroit provided by the Knight Foundation.
LUMA Foundation is the Global Social Engagement partner for IdeasCity Detroit.
Additional support for IdeasCity Detroit provided by the Kresge Foundation, Ford Foundation, and Lambent Foundation.
Fellowship support for IdeasCity Detroit provided by the US Embassy, Athens.

About IdeasCity
IdeasCity is a collaborative, civic, and creative platform that starts from the premise that art and culture are essential to the future vitality of cities. This international initiative provides a forum for designers, artists, technologists, and policymakers to exchange ideas, identify challenges, propose solutions, and engage the public’s participation. The initiative was cofounded at the New Museum by Lisa Phillips, Toby Devan Lewis Director, and Karen Wong, Deputy Director. Past IdeasCity programs have taken place in New York (2011, 2013, and 2015), Istanbul (2012), São Paulo (2013), Detroit (2016), Athens (2016), and Arles (2017). For more information, visit

About New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.



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Kim Yong-Ik


Spike Island, Bristol
and the Korean Cultural Centre UK, London
Kim Yong-Ik
Preview: Friday 29 September 2017 | 6–9pm
Spike Island, Bristol: exhibition:
26 September – 4 November 2017.
30 September – 17 December 2017
133 Cumberland Road, Bristol BS1 6UX



Kim Yong-Ik, To Ilmin Museum of Art, 1981, Cloth, paper, photo, wood, rope, Installation, approx. 31 x 41 x 10 cm, Photography by Keith Park,
Courtesy of the Artist and Kukje Gallery



Spike Island is pleased to present the first exhibition in the UK by South Korean artist Kim Yong-Ik. The exhibition traces the progression of his work from his earliest Dansaekhwa paintings — a form of Korean abstraction — through his rejection of this tradition in the early 1980s, as his awareness of conceptual practice developed and life under Korea’s military dictatorship became increasingly repressive. It culminates in recent works characterised by his persistent questioning and deconstruction of contemporary art. The exhibition is presented in collaboration with the Korean Cultural Centre, London, which presents a concurrent exhibition of the artist’s work.

Kim Yong-Ik’s exhibition at Korean Cultural Centre takes place from 26 September to 4 November 2017


The first UK solo exhibitions by South Korean artist Kim Yong-Ik

Spike Island, Bristol and the Korean Cultural Centre UK, London announce two exhibitions by Korean artist Kim Yong-Ik (b. 1947), marking his first solo presentation in the UK. Kim’s 40-year career as an artist, activist and teacher – spanning a turbulent struggle from dictatorship to democracy in South Korea – has had a profound impact on the country’s modern art history, influencing many younger artists.

The exhibition at Spike Island surveys an array of works from the 1970s onwards, whilst KCCUK focuses on Kim’s paintings from the 1980s and 1990s. Part of the Korea/UK Season 2017-18, a programme of extensive cultural events across the UK celebrating Korean creatives, these exhibitions provide a timely insight into Kim’s influential oeuvre.


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Saturday 29th July 2017 | 10.30 am
Exhibition: 29. Juli – 31. August 2017



Galerie Thaddaeus Ropac presents David & Goliath, an exhibition by Swiss artist Not Vital in the Salzburg Halle space. Combining sculptures, installations and works on paper, the exhibition features a selection of his most recent works.

Not Vital’s practice is influenced by his nomadic lifestyle. Born in 1948 in Sent, a village located in scenic valley of the Engadin in the Swiss Alps. At the age of 18, he started travelling the world, immersing himself in the cultures of the places where he settled successively: New York, India, Niger, Brazil, Patagonia, the Philippines. Since 2008, he has established a studio in Beijing, where he spends five months a year. He met skilled craftsmen who allowed him to apprehend materials in a free way and imagine without technical boundaries.

The exhibition will present ceramic HEAD sculptures, made in Jingdezhen, the city renowned for being the capital of ceramics in China. Drawing inspiration from the impressive chimneys used to fire the kiln, Not Vital adapted the ancestral techniques of Chinese ceramics to produce totem-like sculptures, among the highest ever realized in this medium.

Not Vital will also present five marble sculptures made of ‘Dali stone’, a type of white marble named after the region of Dali in southern China. The marble pieces have been sliced open to reveal the hidden landscape-like lines within the texture, echoing the rugged alpine scenery of his birthplace.

His series of POLES (2016) is a reference to the road signs used during the periods of snow in his native Engadine. Presented individually or in groups against a wall, they become totems featuring at their top elements reminiscent of sculptures previously realized by the artist.

Like Henry Moore, the artist is also interested in the sculptural presence of the bone and gives the skeleton an architectural dimension. Pelvis (2008) is an enlarged version of a camel’s pelvic bone that epitomizes the close relationship Not Vital maintains with the animal world in his work.

Inspired by his on-going nomadism, A Plane, A Boat, A Car, A Sled (2011) combines a variety of forms to materialize an imaginary and universal vehicle that expresses the multiplicity of means of transport necessary to reach the remote places where he settles.

The broad diversity of his work has always been inspired by the relationship between sculpture and architecture but also by nature, exploring the boundaries between abstract and figurative forms. Not Vital’s work is marked by a large array of media such as plaster, steel, marble and ceramic. Using their potentiality with extreme dexterity, as if they were as many different languages, he likes to twist their usual function to give them another way of being.

His work has been featured in the 49th Venice Biennale, Italy (2001) entitled Plateau of Humanity curated by Harald Szeemann. Major recent exhibitions followed at the Kunsthalle Bielefeld/Germany (2005), The Arts Club of Chicago/Illinois (2006), Ullens Center for Contemporary Art Beijing/China (2011), the Cabinet d’Arts Graphiques, Musées d’Art et d’Histoire Geneva/Switzerland (2014) and the Museo d’arte di Mendrisio/Switzerland (2014–2015). In 2013, the large-scale installation 700 Snowballs was on view on the Isola di San Giorgio Maggiore in Venice, Italy. In 2016, the Yorkshire Sculpture Park hosted the first major UK exhibition of Not Vital’s work and his largest museum project to date.

Not Vital has established a foundation in Ardez, a small historic village in the Engadine, in 2003 with the aim of preserving the cultural assets of the valley. He also has a sculpture park near Sent and has realised contemplative buildings all over the world, among which NotOna Tunnel and NotOna Island, both 2009 in Patagonia, Chile.




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Saturday 29th July 2017 | 11.30 am
Exhibition: 29. Juli – 26. August 2017






Galerie Thaddaeus Ropac is pleased to present a comprehensive exhibition by German artist Imi Knoebel, consisting of Datums-, Drachen- and Schnitt-Bildern as well as his new miniature series Elements, from 29 July until 26 August 2017.

In his new works, Imi Knoebel (b 1940 in Dessau) once again explores the remarkable vitality of colour reduction and formal abstraction. In these pictures – as indeed in all his work – he remains true to the tradition of abstract, non-representational art, following artists such as Kazimir Malevich or Piet Mondrian.

After puristic line paintings, light projections and white paintings (1972-75), Knoebel first used colour in 1974; from 1975 onwards he went on to overlapping coloured rectangles called Mennigebilder [red lead pictures] and finally to a garish, gesturally expressive application of paint on plywood or metal panels placed in a specific spatial relation. Since the 1990s, Knoebel has increasingly been using aluminium as a painting ground, and has begun to put together works composed of cut-out aluminium elements combined to form geometric colour fields, the significant features being the colours and their boundaries.

The Datumsbilder (Date Paintings) from the Liaison Astéroïde series consist of combined aluminium and wall objects, their silhouettes displaying a wide variety of irregular geometric forms. In these works, the artist focuses on the identity of amorphous bodies resulting from the convergence of two diverse elements – as in a collision of asteroids. They do not merge into a homogeneous whole, however; the boundaries remain clearly visible, and different materials are visually rendered by means of corresponding colouration and application of paint.

The idea of the kite as a diagonal, dynamic element has been central to Knoebel’s work since the early 1970s. The minimalist, irregular tetragons, entitled Drachenbilder (Kite Paintings), are characterised by very fine, straight and diagonal cuts. The resulting sections of the layered monochrome aluminium panels are reminiscent of the shape of kites.

The new pictures contrast with Knoebel’s frequent triad of primary colours, which became the symbol of purely non-representational painting at the beginning of the 20th century. The formal paradigm of Kazimir Malevich’s Black Square, referenced here in metallic and reddish hues, remains recognisable.

Almost like a development of the Drachenbilder, a discreet, very regular, yet apparently quite arbitrary line runs through the monochrome surfaces of the new Schnitt-Bilder (Cut Paintings). This playful division, which cuts through the picture at a completely unexpected place, alters its balance, giving it a totally new aesthetic.

In his new series named Elements, Knoebel’s playful treatment of colour and dimension becomes particularly clear. Groups of tiny organic forms – comparable with nano-versions of the other works – are presented as a frieze. The recurring exploration, in the Elements, of the possibilities offered by reduction and abstraction shows the emotional and intellectual power of geometry. Beyond the colouration, Knoebel’s pictures become objects of purely aesthetic experience and perception. His works are always based simultaneously upon the principles of innovation and continuity.

Besides solo exhibitions of Knoebel’s work held in museums including Kunsthalle Düsseldorf (1975), Kunstmuseum Winterthur and Kunstmuseum Bonn (1983), and in the Deichtorhallen Hamburg (1992), he was represented at documenta 5, 6 and 7. In 1996 the Haus der Kunst in Munich held a major Knoebel retrospective. 2008 saw a comprehensive permanent exhibition, at Dia:Beacon, of the legendary block of works 24 Colors – for Blinky (1977) presented by the Dia Art Foundation, New York. In 2009 the Neue Nationalgalerie, Berlin showed a retrospective with key monumental works, starting from the famous Room 19. Parallel to this exhibition, the Deutsche Guggenheim Museum in Berlin showed works from the collection of the Deutsche Bank and new works. In June 2011 Knoebel’s monumental stained-glass windows were consecrated in Reims Cathedral. In 2014, the Kunstmuseum Wolfsburg celebrated Imi Knoebel’s 75th birthday with the hitherto most comprehensive exhibition of his works from almost 50 years. In 2016 the Musée National Fernand Léger showed new works by Knoebel in dialogue with ceramics by Fernand Léger. This year a comprehensive solo exhibition at Skulpturenpark Waldfrieden, Germany will be shown from 15 July – 3 December.

Imi Knoebel’s works are represented in distinguished international collections including the Musée National d’Art Moderne/Paris, Dia: Beacon and Dia Art Foundation/New York, Bonnefantenmuseum/Maastricht, MMK/Frankfurt, Berardo Museum/Lisbon, Broad Contemporary Art Museum/Santa Monica, MoMA/New York, MOCA/Los Angeles, Museo Reina Sofia/Madrid, Hamburger Bahnhof/Berlin, Norton Museum/West Palm Beach and the Goetz Collection/Munich.



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