GALERIE CRONE Wien DANIEL LERGON I ÜBER ROT I ABOUT RED Opening: Eröffnung: Dienstag, 4. Juni 2019 | 19 -21 Uhr Tuesday, 4. June 2019 | 7-9 pm Exhibition: Ausstellung: June 5 – July 26, 2019 Eschenbachgassenviertel Getreidemarkt 14/ Eschenbachgasse 1010 Wien http://galeriecrone.com/
DANIEL LERGON I ÜBER ROT Crone Wien Der ersten Einzelausstellung des deutschen Künstlers Daniel Lergon Unter dem Titel „Über Rot“ zeigt er Werke, die ausschließlich mit dem Farbpigment Alizarin-Karmesinrot gemalt wurden. In abstrakten Bildwelten erforscht der Künstler den Facettenreichtum dieses Rot-Tons sowie die Wechselwirkungen von Licht und malerischer Oberfläche. Dabei entstehen einzigartige Strukturen und Formen, denen sowohl technische als auch ganz natürliche Aspekte innewohnen.
Obwohl Lergon seine Arbeiten mit einem einzigen roten Farbpigment malt, changieren sie in den verschiedensten Tönen. Um diesen Effekt zu erzielen, arbeitet er zum einen mit einer klassisch weißen Leinwand-Grundierung, zum anderen mit einer neongelben. Sie dienen dazu, das Pigment zu öffnen und seine ganze Bandbreite sichtbar zu machen. Der Grund leuchtet zwischen den Farbschichten hervor, breitet sich ungehindert an den Rändern der Leinwand aus und erzeugt so eine strahlende Aura um das Bild herum.
Durch die Reduktion auf ein Pigment tritt einzig und allein der gestische Farbauftrag in den Vordergrund, der sich auf der Leinwand einschreibt wie Spuren im Sand, individuell und unmittelbar. Verschwimmende Formen und sich aufbäumende Farben stehen neben klar umrissenen Konturen. Tiefes Dunkel ruht neben einem strahlenden Licht, das atmosphärisch und gleichsam sublim die Bildfläche durchdringt.
Trotz der durchwegs abstrakten Bildsprache lassen die Werke vielfältige Assoziationen zu. In den Gemälden scheinen sich Naturkräfte zu entfalten und gleichzeitig dem malerischen Gestus zu unterwerfen. Hell loderndes Feuer, sich in kraftvollen Wellen brechendes Wasser, aufquellender Rauch oder atmosphärische Luftströme wirbeln über die Leinwände, um sich mit ihnen für immer zu verbinden.
Daniel Lergon wurde 1978 in Bonn geboren. Von 2000 bis 2006 studierte er bei Lothar Baumgarten an der Universität der Künste in Berlin, wo er mit dem Meisterdiplom abschloss. Seine Arbeiten wurden in zahlreichen internationalen Gruppen- und Einzelausstellungen gezeigt, unter anderem in Los Angeles, London, Brüssel, Stockholm, Kopenhagen, Malmö, Buenos Aires, Istanbul, Köln, Berlin und München. Lergon lebt und arbeitet in Berlin.
DANIEL LERGON I ABOUT RED Crone Wien
The first solo exhibition by the German artist Daniel Lergon, Under the title “Über Rot” / About Red, he is presenting works painted exclusively with the alizarin crimson pigment. In abstract visual worlds, the artist explores the multifaceted nature of this red tone as well as the interactions between light and the painter’s surface. In so doing, he creates unique structures and forms, to which both technical and natural aspects are inherent.
Although Lergon paints his works with a single red pigment, they shimmer in the most varied shades. To create this effect, he works with both a classic white canvas and a neon-yellow one. These allow the pigment to open up and make its full wavelength visible. The background shines through between the layers of paint, spreading out unhindered at the edges of the canvas and creating a glowing aura around the image.
Through the limitation to a single pigment, the expressive application of the paint is placed in the foreground, gestures that are marked out on the canvas like tracks in the sand, individual and immediate. Blurred forms and thick layers of paint are placed alongside clearly delineated contours. Deep darkness lies beside a brilliant light which bathes the surface of the paintings, atmospheric and sublime.
Despite the rigorously abstract visual vocabulary, the works permit multiple associations. Natural forces seem to unfold within the paintings, while simultaneously subjecting themselves to the artistic gesture. Brightly blazing fire, water crashing in powerful waves, swelling smoke and atmospheric airflows swirl across the canvases, leaving behind permanent traces.
Daniel Lergon was born in Bonn in 1978. From 2000 to 2006 he studied under Lothar Baumgarten at the Universität der Künste in Berlin, where he completed his Master’s. His works have been exhibited in numerous international group and solo exhibitions in Los Angeles, London, Brussels, Stockholm, Copenhagen, Malmö, Buenos Aires, Istanbul, Cologne, Berlin and Munich, among others. Lergon lives and works in Berlin.
RIBOCA2 Riga, Latvia Riga International Biennial of Contemporary Art
RIBOCA2 and suddenly it all blossoms 16 MAY – 11 OCTOBER 2020
The second edition of RIBOCA will be curated by Rebecca Lamarche-Vadel. The Biennial will bring together 60 international and regional artists and creators whose works challenge traditional definitions of art, expanding its usual territories by working and thinking beyond disciplines. Spreading across Riga’s parks, former industrial sites, wastelands, domestic houses, monuments, restaurants, hotels and harbours, the Biennial, following the principles of entanglement, embraces the pulse and rhythm of the transforming ecosystem of the city.
RIBOCA2 will look to re-enchantment as a frame for building desirable futures, to reimagine ways of being human in a context of deep ecological, economic and social mutation. Against cynicism and political despair, transforming fear into possibility and peril into exuberance, the Biennial will seek alternative actions, thoughts and narratives in the perspective of common futures. Can art offer alternative models for the way we inhabit Earth?
RIBOCA2 and suddenly it all blossoms
RIBOCA2 2nd edition curated by Rebecca Lamarche-Vadel Press and professional preview: Thursday 14 May – Friday 15 May 2020 RIBOCA2 open to public: Saturday 16 May – Sunday 11 October 2020 Brīvības 33 – 8, Rīga, LV-1010 Latvia https://www.rigabiennial.com/
Alex Baczynski-Jenkins, Until a thousand roses bloom (with Warsaw in the background), 2018, Courtesy the artist and Foksal Gallery Foundation. Photo Spyros Rennt
The Riga International Biennial of Contemporary Art (RIBOCA) is an international biennial with a European focus and a strong regional profile, founded in 2016. Taking the rich history of Riga and the Baltic states as its underlying framework, the Biennial highlights the artistic landscape of the wider region and creates opportunities for artists to enter into dialogue with the cultural, historical and socio-political context of the city and its geographic surrounds.
Taking into account criticisms of the proliferation of biennial culture, or ‘biennialisation’ as it has been called, RIBOCA aims to create a sustainable model based on best practices that prioritise artists, artistic production and the meticulous presentation and mediation of art. The Biennial is based on a working process that starts from the local, expanding to the national and the regional, and finally to the transnational. The Biennial aims to take root and make roots in the place where it is situated. Reflecting the biennial’s global outlook and mission to increase artistic engagement between the Baltic region and the rest of the world, a significant proportion of the commissioned and selected artists either live, work or were born in the Baltic region, a territory which still remains relatively unexplored despite its prolific artistic production.
RIBOCA sees itself as a critical site of artistic experimentation and knowledge production, an activator of co-operation and exchange between local and regional actors and institutions, an instigator of generosity towards peers, and a barometer of current social, political and economic issues filtered through artistic practices.
microRIBOCA
The inter-season programme of RIBOCA, microRIBOCA has been developed to foster a feeling of belonging to a particular place among Rigans and to free their creative potential that is present in everyday life in the public space of the city. It will offer interdisciplinary public art projects and urban exploration walks providing Rigans with instruments of social involvement useful for urban revitalization.
RIBOCA2: and suddenly it all blossoms Curated by Rebecca Lamarche-Vadel Humanity is now at a crossroads and all signs call for a new epoch. Seeking an alternative to the deluge of hopeless narratives, the second edition of Riga Biennial of Contemporary Art (RIBOCA2), curated by Rebecca Lamarche-Vadel, looks to re-enchantment as a frame for building desirable futures, to reimagine ways of being human in a context of deep ecological, economic and social mutation. “The end of the world” has always haunted mankind. But while in previous tales, the apocalypse was provoked by some exterior phenomenon, an asteroid or plague befalling the Earth, current scientific reports attest that humans are solely responsible for the mass extinction to come. Against cynicism and political despair, transforming fear into possibility and peril into exuberance, the Biennial seeks alternative actions, thoughts and narratives in the perspective of common futures. Can art offer alternative models for the way we inhabit Earth? The Biennial finds inspiration from Riga, Latvia and the Baltics, where “worlds have ended” many times in its history, having undergone occupations, wars and economical flux. These conditions cultivated inspired practices of resilience that culminated in the surreal human chain of two million citizens, a 600 km social sculpture, linking Tallinn to Riga to Vilnius in 1989. Riga and the Baltics have also been a zone of cultural entanglement for centuries, a bridge at the confluence of territories, where sensitivities and ideologies have been assembled and enmeshed since its very inception. The Biennial will bring together 60 international and regional artists and creators whose works challenge traditional definitions of art, expanding its usual territories by working and thinking beyond disciplines. Spreading across Riga’s parks, former industrial sites, wastelands, domestic houses, monuments, restaurants, hotels and harbours, the Biennial, following the principles of entanglement, embraces the pulse and rhythm of the transforming ecosystem of the city.
RIBOCA2 Chief Curator REBECCA LAMARCHE-VADE
Rebecca Lamarche-Vadel is a French curator and writer, former curator at Palais de Tokyo (2012 – 2019). Her internationally critically acclaimed projects include the solo exhibitions of Tomás Saraceno, Tino Sehgal, Marguerite Humeau, Ed Atkins, David Douard, Helen Marten, François Curlet and Jon Rafman. ON AIR by Tomás Saraceno (2018-2019) spanned the entire 13000m2 of the Palais de Tokyo and became the most attended exhibition in its history, while the carte blanche to Tino Sehgal (2016) was the largest live-art show ever presented worldwide. In 2015 she presented the group show Le bord des mondes (The edge of the worlds), which focused on the limits of the territories of art after the writings of Marcel Duchamp. Lamarche-Vadel has regularly collaborated with international institutions, such as the Château de Versailles with Voyage d’Hiver(associate curator, 2017), the 11th Bamako Biennale (curatorial advisory, 2017-2018), MoMA PS1 with the projects Truce (2013) and Bright Intervals (2014), the Stedelijk Museum and Trouw with Landscape (2013), and the 12th Biennale de Lyon with Unachieved Presents (Resonance, 2013). A graduate in History, Political Sciences and Art History at the Sorbonne, she regularly coordinates and participates in seminars, juries and talks worldwide, and her writings have appeared in the Frankfurter Allgemeine Zeitung, Monopol, Mousse, Cura, and l’Officiel Art, amongst others. She is the 2019 guest curator of FIAC special projects.
RIBOCA2 – CURATORIAL STATEMENT Rebecca Lamarche-Vadel “The end of the world” has always haunted mankind. But while in previous tales, apocalypse was provoked by some exterior phenomenon, an asteroid or plague befalling the Earth, current scientific reports attest that humans are solely responsible for the mass extinction to come. Humanity is now at the cross-roads and all signs call for a new epoch. Seeking an alternative to the deluge of hopeless narratives, the second edition of Riga Biennial of Contemporary Art (RIBOCA2), curated by Rebecca Lamarche-Vadel, looks to re-enchantment as a frame for building desirable futures, to reimagine ways of being human in a context of deep ecological, economical and social mutation. How can we construct an inclusive society of entangled solidarities between beings? How to reconsider our culture when it is easier to imagine the end of the world than the end of capitalism? Which mythologies could replace the narratives of progress that dominated modernity? And can art offer alternative models for the way we inhabit the Earth? The Biennial engages with our mental landscapes, encouraging poetic reinvention, asserting the potential for art to dialogue with the challenges and complexities of the world around us. The Earth, humans, non humans and matters are part of a vast interconnected network in which we can no longer play a central dominating role. Our constant exchanges with other presences, from micro to macro scales, confirm our hybrid, interdependent position within the bigger assembly of the living. The notion of collective re-enchantment means listening more carefully to these rhythms, looking more closely at other trajectories, being aware of longer timescales and the invisible architectures that animate the world. Against cynicism and political despair, transforming fear into possibility and peril into exuberance, the Biennial seeks alternative actions, thoughts and narratives in the perspective of common futures. The Biennial finds inspiration from Riga, Latvia and the Baltics, where “worlds have ended” many times in recent and distant history. Amidst occupations, wars, and economical flux, the region has undergone radical changes and rebirths. These conditions cultivated inspired practices of resilience, amongst them poetry, ritual and song, signs of a groundswell that culminated in the surreal human chain of two million citizens, a 600 km social sculpture, linking Tallinn to Riga to Vilnius in 1989. Riga and the Baltics have also been a zone of cultural entanglement for centuries, a bridge at the confluence of territories, where sensitivities and ideologies have been assembled and enmeshed since its very inception. The Biennial will bring together 60 visionary international and regional artists and creators whose works challenge traditional definitions of art, expanding its usual territories by working and thinking beyond disciplines. Their researches question established conventions, becoming catalysts for alternative ways of looking, listening and feeling. Spreading across Riga’s parks, former industrial sites, wastelands, domestic houses, monuments, restaurants, hotels and harbours, the Biennial, following the principles of entanglement, embraces the pulses and rhythms of the transforming ecosystem of the city.
Riboca1 2018 performances at LLMC -Latvian Centre for Contemporary Art Foto: estherartnewsletter.com
RIBOCA2 participants: Pawel Althamer* / Kristaps Ancāns* / Alex Baczynski-Jenkins* / Nina Beier* / Oliver Beer / Hicham Berrada* / Dora Budor* / Eglė Budvytytė* / Valdis Celms* / Emanuele Coccia / CAConrad / Lorraine Daston / Edith Dekyndt* / Vinciane Despret / Erika Eiffel* / Vija Eniņa* / Miķelis Fišers* / Heinz Frank* / Monica Gagliano / Cyprien Gaillard* / Bendik Giske* / Honkasalo-Niemi-Virtanen* (Felicia Honkasalo, Akuliina Niemi, Sinna Virtanen) / Katrin Hornek* / Pierre Huyghe / Marguerite Humeau / IevaKrish* (Krišjānis Sants, Ieva Gaurilčikaitė) / Institute of the Cosmos: Anton Vidokle, Arseny Zhilyaev, Marina Simakova / Mikhail Karikis / Agnese Krivade* / Lina Lapelytė* / Hanne Lippard* / Anna Lowenhaupt Tsing / Mikhail Maksimov* / Mareunrol’s* (Mārīte Mastiņa-Pēterkopa, Rolands Pēterkops) / Berenice Olmedo* / Dominika Olszowy* / Sarah Ortmeyer* / Philippe Petit / Bridget Polk* / Paul B. Preciado / Tobias Rees / Ugo Rondinone / Jaanus Samma* / Tomás Saraceno*/ Boaventura de Sousa Santos / Ashley Hans Scheirl* / Augustas Serapinas* / Timur Si-Qin* / Nikolay Smirnov* / Anastasia Sosunova* / Daina Taimiņa*
ABOUT RIBOCA The Riga International Biennial of Contemporary Art (RIBOCA) is an international biennial with a European focus and a strong regional profile, founded in 2016. Taking the rich history of Riga and the Baltic states as its underlying framework, the biennial highlights the artistic landscape of the wider region and creates opportunities for artists to enter into dialogue with the cultural, historical and socio-political context of the city and its geographic surrounds.
Taking into account criticisms of the proliferation of biennial culture, or ‘biennialisation’ as it has been called, RIBOCA aims to create a sustainable model based on best practices that prioritise artists, artistic production and the meticulous presentation and mediation of art. The Biennial is based on a working process that starts from the local, expanding to the national and the regional, and finally to the transnational. The Biennial aims to take root and make roots in the place where it is situated. Reflecting the biennial’s global outlook and mission to increase artistic engagement between the Baltic region and the rest of the world, a significant proportion of the commissioned and selected artists either live, work or were born in the Baltic region, a territory which still remains relatively unexplored despite its prolific artistic production.
RIBOCA sees itself as a critical site of artistic experimentation and knowledge production, an activator of co-operation and exchange between local and regional actors and institutions, an instigator of generosity towards peers, and a barometer of current social, political and economic issues filtered through artistic practices.
RIBOCA FOUNDATION The Riga International Biennial of Contemporary Art (RIBOCA) was founded as a major initiative of the Riga Biennial Foundation, its commissioning body. The Founder and Commissioner of the Riga Biennial Foundation, Agniya Mirgorodskaya, developedRIBOCA in order to set up a new global platform for international and Baltic artists, to promote contemporary art and provide educational and community support within the region, as well as to increase artistic engagement between the Baltic region and the rest of the world.
Riga has been an important trading post since the Middle Ages, and during the late 19th and 20th centuries, Latvia has served as a significant industrial base. Latvia’s historical relations with Sweden, Russia, Poland and Germany have put it at the crossroads of different cultures and ideologies, with its gaze shifting between East and West. RIBOCAcharts the particular psychogeography of this region within the new world order at a time of major global shifts.
social media: Instagram @RigaBiennial | Twitter @RigaBiennial | Facebook @RigaBiennial
In the oeuvre of Sean Scully, the new figurative series Eleuthera represents a significant break. Scully is known above all for highly expressive abstract paintings comprised of colorful stripes and blocks. But the new series of works that the Albertina Museum is now presenting reveals an entirely new side of this artist: Eleuthera, created in 2016/17, revolves around a very private subject: these 23 large-format oil paintings, which are joined by pastels, drawings, and photos, show Scully’s son Oisín playing at the beach on Eleuthera, an island in the Bahamas.
It may strike one as surprising to see Scully, who spent five decades with abstraction, working in a figurative vein. But in actual fact, it represents a representational homecoming of sorts— for in the very early days of his career, this artist’s work was indeed obsessively figurative. The 1960s then saw him embark upon an exhaustive exploration of color’s diverse possibilities, and under the influence of the Fauves and the German Expressionists in particular, he gradually abandoned realism and continued his work in equally obsessive devotion to the abstract. Even so, his brand of abstraction has always been based in a certain way upon his memories of figuration, explains the artist.
photo by brian buckley, new york, 2018
The Albertina Museum and Sean Scully have maintained close ties for many years. It was back in 1999 that the widely noted exhibition Sean Scully – Prints was held here. And alongside Scully’s entire printed graphic oeuvre, numerous drawings, watercolors, pastels, oil paintings, and photographs by this artist have since then likewise joined the collections of the Albertina Museum.
Sean Scully ist vor allem für seine ausdruckstarken
abstrakten Gemälde farbiger Streifen oder Rechtecke bekannt. Die
ALBERTINA präsentiert nun erstmals eine Werkserie, die Scully von einer
ganz neuen Seite zeigt. Die Serie Eleuthera aus 2016 hat ein sehr
privates Sujet zum Hauptthema: sie besteht aus 23 großformatigen
Ölgemälden, die Oisín, den siebenjährigen Sohn Sean Scullys, beim
Spielen am Strand von Eleuthera, einer Insel der Bahamas, zeigen. In der
Ausstellung werden alle Ölgemälde sowie kleinere Pastelle, Zeichnungen
und Fotoarbeiten zu sehen sein.
KUNSTHALLE EXNERGASSE QUEER ART SPACE VIENNA Presse-Preview: Dienstag, 28.Mai 2019 | 12 Uhr Eröffnung: Dienstag, 28.Mai 2019 | 18 Uhr & After Party im Felixx ab 22 Uhr Mit Arbeiten von: Aschka & Kopp, Asgar/Gabriel, Assunta A.A.M., Julia Faber, Julia Fuchs, Robert Gabris, Matthias Herrmann, Mario Kiesenhofer, Jakob Lena Knebl, Andrew Mezvinsky, Martina Mina & Sabine Schwaighofer, Roland Reiter, Michal Rutz, Leila Samari & Maryam Sehhat, Toni Schmale, Walter Seidl/Stefan Geissler, Philip Timischl, Violet, Peter Wehinger Organisiert von Gülsen Bal, Michael Kaufmann, Gerhard Pruegger, in Kollaboration mit Kunsthalle Exnergasse Kuratorenführungen, Performatives Clubbing, Talks Kuratorenführung Mi 29.05.2019 | 16 Uhr Fr 31.05.2019 | 17 Uhr Ausstellung: 29. Mai – 14. Juni 2019 Währinger Straße 59 1090 Vienna, Austria https://www.wuk.at/programm/2019/queer-art-space-vienna/
QUEER ART SPACE VIENNA 30. MAI – 14. JUNI 2019 Die Ausstellung »Queer Art Space Vienna« ist ein Versuch, Einblick in Wiens dynamische queere Kunstszene zu geben.
QUEER ART SPACE VIENNA Performatives Clubbing, Naughty Night – Kunstspatzi, Kuratorenführung Fr 31.05.2019 | 17 Uhr Fr 31.05.2019 | 22 Uhr Marea Alta, 1060, Gumpendorfer Straße 28 Ausstellung: 29. Mai – 14. Juni 2019
Talk: Queer Art Vienna Queeres Kuratieren Di 04.06.2019 | 18 Uhr mit Juliane Saupe (Moderation), Christiane Erharter (Kuratorin), Michael Kaufmann (Kurator)
Führung von der Tiefen Kümmernis Fr 07.06.2019 | 14 Uhr mit freundlicher Unterstützung von https://www.gay-parship.at/
Talk: Queer Space Vienna Queere Räume in der Stadt Di 11.06.2019 | 18 Uhr mit Monika Mokre (Moderation), Markus Rumelhart (Bezirksvorsteher), Peter Kraus (Gemeinderat), Katrinka Kitschovsky (Tuntathlon)
Führung “Meine Sicht” Fr 14.06.2019 | 14Uhr von Martin Walkner Kunsthalle Wien, und Gerhard Prügger
Kunst stellt ein wichtiges Medium zur Schaffung eines kontextuellen ethischen Bewusstseins dar, sei es in sozialen, wissenschaftlichen, politischen oder kulturellen Zusammenhängen. Die Ausstellung »Queer Art Space Vienna« ist ein Versuch, Einblick in Wiens dynamische queere Kunstszene zu geben. Als »queer« werden dabei jene künstlerischen und kulturellen Praktiken verstanden, die – indem sie heteronormative Machtverhältnisse infrage stellen – Interaktionen zwischen Kunstwerk und Betrachter_in forcieren und damit Veränderungen im (gesellschafts-)politischen Kontext provozieren. Im Rahmen der Ausstellung finden Performances, Filmscreenings, Lectures und Talks statt.
Gefördert von Barta&Partner – second to none insuring art Mit freundlicher Unterstützung von gayParship.at House of Butter Logistik von OTRANS Bubbles von Felixx & WhyNot https://www.wuk.at/programm/2019/queer-art-space-vienna
Herzliya Museum of Contemporary Art Nivi Alroy: Mariana Trench Hila Amram: 9 | Curator and Text: Małgorzata Ludwisiak Eitan Ben Moshe: Thus Far Gregory Abou: Gotland –Three Pulses Curator: Yona Fischer Roni Taharlev: White Ravens Collection+ Double Gaze: Children Curate the Museum Collection Marsden Hartley: Slow Homecoming Curator: Ori Drumer Opening Preview Event for Friends of the Museum Thursday, May 23 | 19 pm Opening: Saturday, May 25 2019 | 8 pm Exhibition: May 26 -August 24 2019 4 Habanim St., Herzliya 4637904, Israel https://www.herzliyamuseum.co.il/en/
A series of exhibition include five solo exhibitions that present environments removed from our daily reality of life. Five artists – Nivi Alroy, Eitan Ben Moshe, Hila Amram, Gregory Abou, and Roni Taharlev – explore , through painting and installations featuring sound and video projections, ecological and mental visions of a future on the brink of extinction, and subsequent possibilities for survival. Responding to frequent ecological, biochemical, social and gender-based dire predictions of impending change, these artists create alternative, hybrid spaces which, although based on a scientific rationale both aesthetically and conceptually, transcend it to reach the metaphysical.
The disquieting present
invokes in-between times, fictional realities, spiritual rituals, and
enigmatic behavior. Like a synoptic map predicting changes in the
weather, the poetic and dystopic image of the realities depicted in
these exhibitions send up warning signs while laying out alternative
options.
In parallel with the above, two exhibitions will be presented that engage with the Herzliya Museum’s collection:
Curator Ori Drumer focused his attention on two paintings by the modernist American artist Marsden Hartley (1877–1943) from the Jacob Alkow collection, which are an important part in the museum’s collection, and presents them with a multitude of texts and images that place them in context and offer different resonances of meanings.
In addition, the exhibition Double Gaze: Children Curate the Museum
Collection will be on display. This is a unique project held by the
museum for the second time. Led by Gali Faber and Tzion Abraham Hazan,
in collaboration with MUZA (the museum’s Educational Wing), a group of
children curated an exhibition from the museum’s collections, offering
their own unique perspectives.
In the large hall, Nivi Alroy exhibits “The Mariana Trench,” consisting
of site-specific installations that depict a future world that emerges
after the destruction that occurs when the oceans swamp the continents
due to global warming. Through the figure of the American cartographer
and researcher Marie Tharp (1920-2006), Alroy brings together the ruins
of the past, the debris of the present and the possibilities of the
future. The installations present the world as an evolutionary hybrid of
cultural remains. The exhibition space will serve as a venue for
performances, encounters, and collaborations with artists from the
fields of music, dance, and science (including dancer Ella Rothschild
and musician Moran Victoria Sebbag). In a separate room, a related
video-sound project will be on display – the product of Alroy’s
collaboration with the artist, writer and curator Moran Shoub.
Hila Amram, Detail from “9,” 2019 (photo: Shaxaf Haber)
The starting poin of Hila Amram’s exhibition “9” was the study of
plankton – microscopic organisms that live in watery environments and
are bioluminescent – meaning, they glow in the dark – and respond to
ecological changes. Amram presents a site-specific installation – a
laboratory living space of a mysterious bio-hacker who, in his own
subversive fashion, explores controversial options for human survival
and cloned revival in a universe under threat of eco-technological
extinction.
The exhibition is supported by the Keshet Prize
founded by the Bargil-Avidan family, and by Outset Contemporary Art Fund
and the Polish Institute Tel Aviv. It is curated by Dr. Małgorzata
Ludwisiak, director of the Ujazdowski Castle Centre for Contemporary Art
in Warsaw, one of the leading institutions in Poland in the field of
contemporary international art. The curator will arrive in Israel about a
week prior to the exhibition opening, to conclude a curatorial process
of over eighteen months with the artist.
Eitan Ben Moshe will present an extensive solo exhibition titled Thus
Far, comprising a kinetic sculptural installation, drawings, and light
and sound works. This is a mystical and mysterious space composed of
remnants of crystal, glass and Perspex, bringing together remnants from
various worlds, times, and cultural spheres to produce an ecological
vision that has frozen like a crystal and encourages introspection.
Gregory Abou, Areyouthere / Gotand, Untiltled, March 2010, analog print, 22.5×33.5 cm
Curator Yona Fischer presents “Gotland –Three Pulses” by the
multi-disciplinary artist Gregory Abou. This is a documentary
presentation in video, sound, and photography of the artist’s repeated
journeys to the far-off Swedish island of Gotland, and of his
performance rituals in its primeval landscape. These rituals explore the
processes of erosion and destruction on the artwork as a poetic analogy
to the human condition in times of impending ecological threat, in an
attempt to find an answer to our existence in the face of destruction.
In her exhibition, “White Ravens,” Roni Taharlev presents two series of
paintings: portraits and Annunciation images, made in the tradition of
figurative painting yet touching on the contemporary and on what is yet
to come. Depicting the Christian story of the Annunciation with figures
of fluid gender identity alludes not only to hope for the future but
also to a fear of change and of the unknown. The title of the exhibition
reflects a flexible range of possibilities from the rare to the
widespread, from the magical to the quotidian, from darkness to light
Collection+ Marsden Hartley: Slow Homecoming Curator: Ori Drumer
Ori Drumer will focus on two paintings by Marsden Hartley (1877–1943)
from the Jacob Alkow collection, which is an important part of the
Herzliya Museum of Contemporary Art’s collection, and will contextualize
them, offering personal and cultural resonances of signification.
Collection+ Double Gaze: Children Curate the Museum Collection Workshop led by Gali Faber and Tzion Abraham Hazan Educational Consultant: Hilla Peled, MUZA Educational Wing Curatorial Consultant: Aya Lurie May 25, 2019 – Aug. 24, 2019 https://www.herzliyamuseum.co.il/…/curatorial-exercises-ch…/
The exhibition was curated by twelve boys and girls, aged nine to
eleven, and two adult curators. They met throughout the year at MUZA,
the Educational Wing of the Herzliya Museum of Contemporary Art, as part
of its Young Curators project. The exhibition emerged in the course of a
weekly workshop, in which the children rose to the challenge of
curating an exhibition from the museum’s collection of over one thousand
works. The curating decisions were taken by the children through
consensus, while performing exercises and games. Now in its second
reiteration, the project is a collaborative venture of the museum’s team
of curators and its educational staff.
Das Koehne-Quartett spielt Stücke von Michael Mautner und Josef Matthias Hauer.
Für Hermann Nitsch stellt die Malerei eine der Disziplinen seines Orgien Mysterien Theaters dar. Sie ist zutiefst in Aktionismus, Performance, in der Multimedialität verankert. Die Malerei ist der Ursprung der Aktionen und zugleich deren Ergebnis. Mit der Ausstellung NITSCH. Räume aus Farbe sollen nun Nitschs Bilder in der ALBERTINA erstmals nicht als Teil eines größeren Ganzen, sondern als Malerei für sich betrachtet werden.
Nitschs Malerei sprengt die Dimensionen des Tafelbilds, erobert flächendeckend die Wand und greift als umfassende Installation in den Raum ein. Die Ausstellung zeigt einen Künstler, der seine Malerei seit den 1960er Jahren kontinuierlich weitergedacht und für jede Malaktion, jede Gruppe an Werken eine eigene spezifische Herangehensweise entwickelt hat, deren Resultate nun als Farbräume und Schüttinstallationen begehbar und erfahrbar sind.
Video 16 May 2019 by Esther Attar Machanek
ALBERTINA MUSEUM NITSCH. RÄUME AUS FARBE Streichquartett« von Hermann Nitsch Uraufführung: Mittwoch, 29. Mai 2019 | 18:30 – 19:30 Uhr Hermann Nitsch Streichquartett Nr. 2 in 6 Sätzen für 2 Violinen, Viola und Violoncello, Transkription von Michael Mautner 1. Satz 18′ – 2. Satz 18′ – 3. Satz 6′ Pause 4. Satz 18′ – 5. Satz (Krebs-Landler) 15′ 6. Satz 15′ Es spielt das Koehne Quartett: Joanna Lewis – 1. Violine – Anne Harvey-Nagl – 2. Violine – Lena Fankhauser – Viola -Mara Achleitner – Violoncello Ausstellung: 17. Mai – 11. August 2019 Albertinaplatz 1, 1010 Vienna, Austria https://www.albertina.at/…/urauffuehrung-hermann-nitsch-2-…/
Koehne Quartett: Joanna Lewis – 1. Violine – Anne Harvey-Nagl – 2. Violine – Lena Fankhauser – Viola -Mara Achleitner – Violoncello
Es erwartet Sie ein sinnliches Erlebnis aus archaischer Kraft, leuchtenden Klangfarben, aktionistische Raserei im Wechsel mit der endlosen Schönheit reiner Akkorde – gleichsam Räume aus Klängen.
Die Uraufführung des Streichquartett Nr. 1 in 4 Sätzen von Hermann
Nitsch am 17. Dezember 2015, bei der Veranstaltung SATURNALIA II, im
Rahmen der Konzett-Konzept-Konzerte (einer Projektserie zum Thema
„Kunst, Musik und die Praxis dazwischen“ der Galerie Konzett) war ein
triumphaler Erfolg für den Meister des Orgien Mysterien Theaters. Damals
wurde das 4-sätzige Werk in einer komprimierten, 30-minütigen Fassung
gespielt, denn die ursprüngliche Intention des Komponisten (60 Minuten)
hätte den Rahmen gesprengt. Diese Sprengkraft zeichnet auch das 2.
Streichquartett von Nitsch aus.
Er notiert seine Musik nicht in
Notenschrift, sondern teilt die einzelnen Sätze in Zeitabschnitte von 1
Minute Dauer und legt Klangereignisse, Dauern, Dynamik und Aktionen mit
Worten oder Zeichen genau fest. Seine Anweisungen lauten z. B.: tiefer
Klang, Ganzton-Cluster, D-Moll, F-Dur oder Lärm, im 3. Satz des 1.
Quartetts hieß es 4 Schuhplattler gleichzeitig; eine sehr ungewöhnliche,
aber faszinierende Konstellation. Faszinierend war für Michael Mautner
auch die Transkriptionsarbeit an diesem Werk. An sich könnte man aus
seinen Partituren selbst spielen, aber bei knapper Probenzeit muss in
Notenschrift übertragen werden.
Nitsch schreibt musikalische
Vorgänge, die keinem akademischen Komponisten jemals einfallen würden,
deren Sinnhaftigkeit sich aber bei einer gelungenen Aufführung
nachhaltig erschießen. Seine musikalischen Ideen sind von einer
stringenten Dramaturgie geprägt, die an Interpretierende wie Zuhörende
hohe Anforderungen stellt. Wer sich diesen Anforderungen mit offenen
Ohren hingibt, wird reich belohnt. Die archaische Kraft, die leuchtenden
Klangfarben, aktionistische Raserei im Wechsel mit der endlosen
Schönheit reiner Akkorde, sind ein im höchsten Maße sinnliches Erlebnis,
gleichsam Räume aus Klängen.
Das nitsch museum lädt zu einem außergewöhnlichen Programm ein: ab 16 Uhr werden Kompositionen von Nitsch durch das Akusmonium von Christian Tschinkel und Gilbert Handler aufgeführt. Das Akusmonium ist ein Instrument zur Interpretation computergenerierter Werke und zur Erzeugung von Klangprojektionen. Das Lautsprecherorchester interpretiert gespeicherte Musik ebenso wie es Improvisationen von konzeptionell arbeitenden KünstlerInnen verräumlicht. Hermann Nitsch war mit seiner Musik stets seiner Zeit voraus und freut sich ganz besonders auf dieses außergewöhnliche Experiment.
Christian Tschinkel u. Gilbert
Handler über Hermann Nitsch: „Die Musik von Hermann Nitsch über ein
Akusmonium gespielt, erlaubt Klangarchaik zu betreiben. Als
Klangregisseure werden wir über viele im Raum verteilte Lautsprecher
unterschiedlicher Größe einerseits die Register ziehen und andererseits
den Klang durch diesen wuchten. Sein Überfluten sowie das Schichten und
Auftürmen der Klangmassen zu einem skulpturalen akustischen Monument ist
das Ansinnen unserer Zusammenarbeit mit Nitsch. Das konzertante
Ereignis wird als „Sustained Peak Experience“ zur intensiven
Grenzerfahrung.“
Installative Wiederaufführung am Pfingstsonntag
Am Sonntag, dem 9. Juni haben Besucher von 9:00 bis 13:00 Uhr die
Möglichkeit anhand einer installativen Wiederaufführung einen Ausschnitt
der konztertanten Vorstellung zu erleben.
Im Anschluss empfiehlt sich ein Besuch beim traditionellen Pfingstfest im Atelier Hermann Nitsch in Prinzendorf.
ALBERTINA & Pfingstfest Prinzendorf Albertina & Pfingstfest 9. Juni 2019 | 10.30 — 22 Uhr Pfingstfest im Atelier Hermann Nitsch 9. Juni 2019 | 13 — 21 Uhr Einlass im Schloss Prinzendorf: 13 Uhr Prozession durch die Felder der Umgebung: 16 Uhr Einkehr Mühle Rannersdorf (letzte Station): zw. 19 und 20 Uhr Ende des Festes: 21 Uhr Atelier Hermann Nitsch, Prinzendorf, AT https://www.nitsch-foundation.com/event/pfingstfest-2019/
Das Atelier Hermann Nitsch lädt zum traditionellen Pfingstfest am 9. Juni 2019 ab 13 Uhr im Schloss Prinzendorf ein. Anlässlich des jährlichen Festes bekommen Besucher die Gelegenheit Ausstellungen und das Schloss, in dem der Künstler lebt und arbeitet, zu besichtigen. Abgerundet wird das Fest mit naturreinem Nitsch-Wein, Heurigenessen und einer abschließenden Prozession durch die Felder der Umgebung. Das Pfingstfest von Hermann Nitsch ist eine Feier für alle Mitglieder des Vereins zur Förderung des O.M.Theaters, Freunde und Interessenten des Orgien Mysterien Theaters.
Das Pfingstfest findet bei jedem Wetter statt. Wir empfehlen bequemes Schuhwerk und ggf. eine Regenjacke.
ANMELDUNG (ohne Shuttle-Service)
Als Anmeldung gilt die Überweisung des Unkostenbeitrages von € 25.- pro
Person auf das Vereinskonto. Damit die Zuordnung beim Einlass
problemlos erfolgen kann, müssen die Namen der Gäste bei der Überweisung
genau angegeben werden.
Verein zur Förderung des O.M. Theaters IBAN: AT34 3255 1000 0048 4238 BIC: RLNWATWWNSD
Unkostenbeitrag inkl. Verpflegung: € 25.- pro Person
für O.M.T.-Mitglieder freier Eintritt
Vereinsmitglieder werden gebeten den Jahresbeitrag € 70.- rechtzeitig
zu überweisen und sich per email bei verein@nitsch.org anzumelden.
ANMELDUNG mit Shuttle-Service Wien – Prinzendorf – Wien € 35.- Unkostenbeitrag inkl. Verpflegung + Shuttle-Service pro Person € 10.- für O.M.T.-Mitglieder
Wenn Sie das Shuttle-Service nutzen möchten, schreiben Sie bitte eine email für an verein@nitsch.org
Auf Grund der begrenzten Teilnehmerzahl gibt es keine Reservierungen,
erst nach Anmeldung und Überweisung des Unkostenbeitrages ist ihr Platz
im Bus gesichert.
Besuchen Sie mit einer exklusiven Führung die
Ausstellung „NITSCH. Räume aus Farbe“ in der Albertina und das
traditionelle Pfingstfest im Atelier Hermann Nitsch im Schloss
Prinzendorf.
Inkludierte Leistungen: – Eintritt und Führung durch die Ausstellung »NITSCH. Räume aus Farbe« – Eintritt zum Pfingstfest inkl. Verpflegung – Bustransfer hin und retour € 45.- pro Person | Begrenzte Teilnehmerzahl
Tickets erhältlich bei der Nitsch Foundation oder office@nitsch-foundation.com
ALBERTINA MUSEUM NITSCH. RÄUME AUS FARBE Buchpräsentation | Wolfgang Koch: Finding Hermann Nitsch Mittwoch, 17. Juli 2019 | 18.30 Uhr Exhibition: Ausstellung: 17. Mai – 11. August 2019 Musensaal der ALBERTINA Albertinaplatz 1, 1010 Vienna, Austria bit.ly/AlbertinaNitsch https://www.albertina.at/…/reading-wolfgang-koch-finding-h…/
Wolfgang Koch: Finding Hermann Nitsch Hollitzer Verlag 2019
Wolfgang Koch: Finding Hermann Nitsch Seit Mozart hat kein Österreicher so viel Aufmerksamkeit im Gebäude der Weltkultur erregt wie Hermann Nitsch. Der Künstler, Komponist und Theaterreformer vertritt sein Ideal der exzessiven Lebenssteigerung mit der väterlichen Autorität eines Bischofs. Das Gesamtkunstwerk des Orgien Mysterien Theaters hat viele Eingänge: Performance und Philosophie, Filmdokumente und Freundschaften, Mythenarchäologie und Kulinarik, Opferritual, Duftorgel, Musiken, Partituren und selbst die heftig ablehnenden Reaktionen der Gegner. Wolfgang Kochs Essays und Begriffserklärungen verzichten auf ein definitives, totalisierendes Verstehen. Die Hauptthemen sind das metaphysische Ereignis, der Künstler als Soziale Plastik, Blutkunst als Genre und die Schwierigkeiten der Dokumentation. Wolfgang Koch beforscht das Orgien Mysterien Theater seit 1984 in den verschiedensten Rollen: vom Lärmmusiker über den Pressesprecher des Sechstagespiels bis zum unabhängigen Publizisten. Er ist Herausgeber des Nitsch-Breviers „Blut in den Mund“ (2008) und lebt als Historiker in Wien.
Wolfgang Koch Finding Hermann Nitsch Neue Thesen zum Orgien Mysterien Theater Aktionskunst im 21. Jahrhundert ca. 144 Seiten | EUR 29 Hollitzer Verlag 2019 HOLLITZER Verlag
Eintritt frei | Begrenzte TeilnehmerInnenzahl Keine Anmeldung möglich First come, first served
PHILIPPE PARRENO – ELSEWHEN La Biennale di Venezia 2019 Photo credits Esther Attar Machanek
PHILIPPE PARRENO – ELSEWHEN Exhibition: 11 May – 24 November 2019 Collateral Event of the 58th International Art Exhibition – La Biennale di Venezia The Fondation Louis Vuitton is pleased to announce the opening of its new exhibition, Elsewhen, displaying a whole new installation by French artist Philippe Parreno at the Espace Louis Vuitton Venezia. As part of the Collateral Events of the 58th International Art Exhibition – La Biennale di Venezia, this presentation has been produced in the framework of the Fondation Louis Vuitton “Hors-lesmurs” programme. This programme, inaugurated in 2014, showcases previously unseen holdings of the Collection in the Espaces Louis Vuitton in Tokyo, Munich, Beijing and Venice, thus realizing the Fondation’s commitment to mount international projects and make them accessible to a broader public.
Emerging on the art scene in the early 1990s, Philippe Parreno constantly changes the relationship of an artwork and its exhibition ‒ the very notion of the exhibition is a creative piece; a polyphonic entity that he conceives as a large automaton composed of diverse media, ranging from film, IT and soundtrack, to drawing, sculpture and animation. These elements come together in a scripted space, a choreography using a recurrent vocabulary that notably includes marquees, balloons, music, sounds, films and objects to create an intangible sensory experience. Time is also a core component, setting a tempo for the exhibition: time-coded computer programmes create sequences, control sound, lighting effects and activate spaces and objects.
Parreno has used the activity of living microorganisms housed in a bioreactor conceived and engineered by scientists Jean-Baptiste Boulé (CNRS ‒ French National Centre for Scientific Research, French National Museum of Natural History, Sorbonne University) and Nicolas Desprat (Statistical Physics Laboratory, Ecole Normale Supérieure, PSL Research ‒ University Paris-Diderot Sorbonne Paris-Cité) to run his exhibitions since If This Then Else (Gladstone Gallery, New York, 2016). Yeasts have continued to grow and mutate throughout major exhibitions at Tate Modern, London, the Jumex Museum, Mexico City, or the Gropius Bau, Berlin. Each presentation is an experiment that measures reactions of the microorganisms to their environment which, in turn, will influence the exhibition. This new work continues this story and the enduring development of the microorganisms, the memory of the exhibition played back as remembered by the bioreactor.
PHILIPPE PARRENO – ELSEWHEN La Biennale di Venezia 2019 Photo credits Esther Attar Machanek
While the walls are covered in a phosphorescent yellow wallpaper patterned with black irises, a grand luminous marquee, reinventing those that once stood on top of cinema entrances, floats above a large vertical mechanical mirrored shutter. An experimental hybrid digital programme controls these interdependent elements, causing light to appear or disappear at irregular intervals by rotating the louvres and forcing pulses of air or synthetically generated sounds, all echoing the microorganisms’ reactions integrated in the programme. As the blinds move, the mirror reflects silhouettes of viewers and the structure of the marquee. When the light turns out, all shapes become ghostlike, accentuated by the phosphorescent walls mutating to dark green and black. Far from their initial utilitarian nature, the elements take on a playfully equivocal identity, bringing the pulse of life into the space and building a singular interaction between the viewer and the context.
In Elsewhen, Parreno creates an experience where memory of the past comes together in a disruptive temporality. The familiar markers of perception are annihilated in favour of a stimulating process of inventing new ways of understanding, defying rational categories and the established order.
Philippe Parreno French artist Philippe Parreno was born in 1964.
He approaches the exhibition as a medium and is constantly questioning and reinventing its format through film, sculpture, performance, drawing and text. He has works represented in the collections of Centre Georges Pompidou, Paris, France; Kanazawa Museum of the 21st Century, Japan; MoMA, New York, USA; Musée d’Art moderne de la Ville de Paris, France; San Francisco Museum of Modern Art, USA; Solomon R. Guggenheim Museum, New York, USA; Tate Modern, London, UK; Walker Art Center, Minneapolis, USA. Recently, Parreno has presented solo exhibitions at Palais de Tokyo, Paris, France (2014/2013); Garage Center for Contemporary Culture in Moscow, Russia (2013); Fondation Beyeler, Riehen/Basel, Switzerland (2012); Serpentine Gallery, London, UK (2010-2011); Centre for Curatorial Studies, Bard College, New York, USA (2009-10); Irish Museum of Modern Art, Dublin, Ireland (2009-10); Kunsthalle Zürich, Switzerland (2009) and Centre Georges Pompidou, Paris, France (2009). His work has also appeared in the International Art Exhibition of La Biennale di Venezia, Italy (1993, 1995, 2003, 2007, and 2009), Lyon Biennale, France (1997, 2003, and 2005), and Istanbul Biennial, Turkey (2001). In 2016, Philippe Parreno was awarded the prestigious Hyundai Commission at the Tate Modern Turbine Hall in London, UK, titled Anywhen.
Philippe Parreno currently lives and works in Paris, France.
About the curator
Art historian and art critic, Béatrice Parent joined ARC (The Contemporary Art Department of Musée d’Art moderne de la Ville de Paris) in 1981 under the direction of Suzanne Pagé where she realised numerous exhibitions of both emerging and renowned artists from France, Europe and the US. Since 1995, Parent’s work focused on monographs of great figures in the international art scene, including: Louise Bourgeois, Gilbert & George, Christian Boltanski, Niele Toroni, Bertrand Lavier, Bernard Frize, Annette Messager, Dan Flavin; as well as important group shows such as La Peinture après l’abstraction [Painting after Abstraction] with Alain Cueff and Voilà. Le monde dans la Tête [Voilà, the world in the head] with Suzanne Pagé. She also was the exhibition program coordinator and responsible for the contemporary collections (acquisitions and presentations).
In 2005, Parent co-curated the French Pavilion at the 51th International Art Exhibition – La Biennale di Venezia with Suzanne Pagé, which was awarded the Golden Lion for Annette Messager’s work, Casino. From October 2006 to July 2015, Parent was the Curator in charge of collections at Fondation Louis Vuitton. In 2015, Parent co-curated the exhibition Les Clefs d’une passion [Keys to a passion] with Suzanne Pagé. She curated the exhibition Pierre Huyghe at Espace Louis Vuitton Venezia as Collateral Event of the Biennale Arte 2017.
About the Fondation Louis Vuitton The Fondation Louis Vuitton serves the public interest and is exclusively dedicated to contemporary art and artists, as well as 20th century works to which their inspirations can be traced. The Collection and the exhibitions it organises seek to engage a broad public. The magnificent building created by the Canadian-American architect Frank Gehry, and already recognized as an emblematic example of the 21st century architecture, constitutes the Fondation’s seminal artistic statement. Since its opening in October 2014, the Fondation has welcomed more than five million visitors from France and around the world.
The Fondation Louis Vuitton commits to engage in international initiatives, both at the Fondation and in partnership with public and private institutions, including other foundations and museums such as the Pushkin Museum in Moscow and the Hermitage Museum in Saint-Petersburg (Icons of Modern Art: The Shchukin Collection), the MoMA in New York (Being Modern: MoMA in Paris), and the Courtauld Gallery in London (The Courtauld Collection. A Vision for Impressionism) among others. The artistic direction also developed a specific “Hors-les-murs” programme taking place within the Espaces Louis Vuitton in Tokyo, Munich, Beijing and Venice which are exclusively devoted to exhibitions of works from the Collection. These exhibitions are open to the public free of charge and promoted through specific cultural communication.
#fondationlouisvuitton
Espace Louis Vuitton Venezia,
Calle del Ridotto 1353
Peter Eötvös. The Golden Dragon Israel Contemporary Players, Kiryat Ono, Israel
Working in the kitchen of the Asian restaurant ‘The Golden Dragon’ is a
Chinese man with a toothache. His workmates tear out his tooth with the
aid of a pipe tong; it lands in the Thai soup. A girl has become
pregnant and quarrels with her boyfriend. Inga finds the tooth in her
Thai soup. A young Chinese girl is forced into prostitution. The Chinese
man bleeds to death in the kitchen of the ‘Golden Dragon’. His
workmates throw his body in the river. Inga also throws the tooth into
the river. These disparate snapshots are brought together within The
Golden Dragon, which gives its name both to the play by Roland
Schimmelpfennig and the opera by Peter Eötvös. In creating the opera,
Schimmelpfennig’s plot was reduced to 22 short scenes, cut and
cross-faded in fast sequence.
The Golden Dragon Music theatre By Peter Eötvös Based on the play by Roland Schimmelpfennig Libretto by Roland Schimmelpfennig based on his play of the same name, arranged by Peter Eötvös English translation by Gregory Vajda The Israel Contemporary Players Conductor: Zsolt Nagy EGISSEUR / Staging: BRUNO BERGER-GORSKI Soloists:Einat Aronstein, soprano Andrea Melath, mezzo-soprano Andrew Mackenzie-Wicks, tenor Daniel Norman, tenor Kornel Mikecz, baritone Lighting Design: Dania Zemer Production Manager, Ofer Lachish
Das Genre der zeitgenössischen Kammeroper in Israel bekannt zu machen, ist Ziel eines mehrjährigen Projektes der Israel Contemporary Players (ICP). Die Kammeroper als eine populäre Form des musikalischen Ausdrucks findet sich kaum auf den Spielplänen der israelischen Theater- und Konzerthäuser, obwohl in den letzten 20 Jahren international ein großes Repertoire entstanden ist. Israelische Komponisten sehen nur eine geringe Chance, Aufführung ihrer Werke vor israelischem Publikum zu erleben, was wiederum dazu führt, dass sehr wenige neue Werke in dieser Gattung entstehen.
Um diesem Manko entgegenzutreten, planen die
Israel Contemporary Players eine Aufführung der renommierten Kammeroper
The Golden Dragon von Peter Eötvös in Zusammenarbeit mit dem Theater
Gesher. Zwei Aufführungen sind in Tel Aviv beim JaffaFest – Jaffa
International Theatre Festival und eine weitere Aufführung beim Bartók
Fesztivál im ungarischen Miskolc geplant. Das Libretto basiert auf einem
Stück von Roland Schimmelpfennig, das mit Unterstützung des
Goethe-Instituts ins Hebräische übersetzt und erfolgreich als Schauspiel
in Israel aufgeführt wurde. Die Kammeroper, die das Thema Flüchtlinge
in Europa zum Gegenstand hat, wird mit 16 Musikern und fünf Sängern
besetzt. Bruno Berger-Gorski (Köln) wird die Oper inszenieren, als
Dirigent konnte man Zsolt Nagy (Karlsruhe) gewinnen. The Golden Dragon
wurde wegen der hervorragenden Qualität des Textes von Roland
Schimmelpfennig und der der Komposition von Peter Eötvös und nicht
zuletzt aufgrund der Relevanz des Flüchtlingsthemas zum Start des
Projektes ausgewählt. Die internationale Zusammensetzung spiegelt einmal
mehr die fehlende Tradition für das Genre Kammeroper in Israel wider.
Deshalb ist das Projekt mittelfristig angelegt, in den kommenden
Spielzeiten soll mindestens eine Kammeroper mit exzellenter Besetzung am
Theater Gesher inszeniert werden.
PETER EÖTVÖS
Miskolc – Teatro Nazionale: The Golden Dragon
16. Juni 2019 Bartók Fesztivál, Miskolc, Ungarn ensemble21.org.il
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