Daniel Gustav Cramer/
Daniel Gustav Cramer & Haris Epaminonda – The Infinite Library
Centre d’Art Contemporani - Fabra i Coats, Barcelona, SP
The project "The Infinite Library" began in 2007 as an exchange between the two artists Daniel Gustav Cramer and Haris Epaminonda and is still being continually extended. It consists of an archive of books, made by removing pages from antique books and reassembling them in collage before binding them again. In many cases these are illustrated books which are, in this way, bound with altered patterns of causality. A series of collages assembled anew with the imagery of a publication with gothic plates is displayed in the first room. In the corridor a video work gives a deeper insight into the project showing turning pages of the books. The entirety nevertheless remains unrevealed and incomplete so far. The title of the project is a reference to José Luis Borges’s fantastic description of a library organised in endless hexagonal rooms. It serves as a metaphor for the universe, where humanity is on an endless search for total knowledge. Preoccupation with found images and the medium of the book is a common interest and a recurring motif in the works of Cramer and Epaminonda.
Daniel Gustav Cramer & Haris Epaminonda - The Infinite Library
Museo del Novecento, Milan, IT
Postponed to September 2020 - The exhibition dedicated to Carla Accardi (1924 – 2014) enriches Museo del Novecento’s program focused on the main female artists working in Italy in the last century. The first retrospective since the artist’s disappearance follows Accardi’s work between geometrical abstraction and gestural painting; a narration completed by the historical, artistic, political and social background in which the artist operated.
Carla Accardi was an Italian abstract painter and a key figure of acceptance of abstract art in Italy, known for her iconic visual language of calligraphic marks that, when combined with her minimalist color palette and dynamic compositions, showcased the endless possibilities of abstraction.
Accardi was born in Trapani, Sicily in 1924 and studied at the Academia di Belle Arti in Florence before relocating to Rome in 1946, where she would live until her death. She was a founding member of the 1947 Italian avant-garde movement called Forma 1, whose Rome-based members, in the face of Fascism, embraced the principals of Futurism and Marxism.
Carla Accardi, "Quattro trapezi verdi", 1978, sicofoil on painted wooden stretchers, variable dimensions 78.5x46x14.5x46 cm each elements
Nedko Solakov: “A Life (Black & White)”
Tate, London, UK
In Nedko Solakov’s performance work A Life (Black & White), two workers continuously paint the gallery walls. One uses black paint and the other uses white.
The painters follow each other around the space, painting over each other’s work. This is constantly repeated for the length of time the work is on display. The materials used in the performance are also laid out in the space. These include tins of paint, rollers, rags and signs for the painters’ breaks.
In A Life (Black & White), Solakov is exploring issues about work, labour, time and repetition. The piece also comments on the process of making a painting, but here the paint is applied directly onto the gallery wall instead of a canvas.
As well as performance, Solakov makes work in media such as drawing, painting, video and installation. He explains ‘I am telling stories in space’. He frequently plays with the expectations of his audience, using humour to convey political concerns, often about his native Bulgaria. His work also playfully questions the conventions used in galleries and other art institutions.
Nedko Solakov "A Beauty 4", 2011. White artificial fur, black cloth, stuffing materials, acrylic and ink on paper, sanded glass, bulb 110x200x500 cm
David Maljković: “With the Collection“
MMSU, Rijeka, HR
“With the collection” is an open-ended exhibition based on a series of collaborations that would take place on different locations at different times. It centers on Maljković’s extraordinary site-specific intervention which, in an unconventional way, represents the MMSU’s collection. Even though the Museum was founded in back 1948, its collection has never been presented in the form of permanent display, mostly because of the lack of spatial resources. Therefore, in Maljković’s spatial reconfiguration, the Museum’s collection becomes present, it receives a new face, and each of its works becomes more than just an artefact, acquiring a fresh meaning and a renewed social relevance. While building the relationship with the collection, Maljković rejects taxonomies and linear narratives. Instead, he applies his own recognizable artistic methods: he creates a collage of the existing artefacts and plays with the ways we perceive and experience exhibitions.
Gabriele Basilico | Metropoli
Palazzo delle Esposizioni, Rome, IT
Devoted to a true master in the field of Italian and international photography, the exhibition will be focusing on the theme of the city, showcasing approximately 270 photographs ranging from the 1960s to the 2000s, some them on display here for the very first time.
The city always lay at the heart of the interests and investigative work conducted by Gabriele Basilico (Milan 1944–2013) from the very start of his career. The theme of the man-made landscape, of its development and of the historical stratifications of a ceaselessly changing city, its outskirts and its surroundings, were invariably the predominant driving factor behind his art.
The exhibition will be showcasing some of the work that he produced in the numerous cities he photographed in the course of his lifetime, including Beirut (with pictures both from 1991 and from 2011), Milan, Rome, Palermo, Naples, Barcelona, Madrid, Lisbon, Montecarlo, Paris, Berlin, Buenos Aires, Jerusalem, London, Boston, Tel Aviv, Istanbul, Rio de Janeiro, Moscow, San Francisco, New York and Shanghai, juxtaposed in an interplay of similarities and differences, of assonance and dissonance, offering different viewpoints that perfectly capture his varied approach to interpreting the built environment.
Unidentified Modern City. Globalized Brescia,
Pure pigmented print
Jonathan Monk: Exhibit Model Six – The Tel Aviv Version
CCA Tel Aviv, IR
On the occasion of his solo exhibition at CCA Tel Aviv, Jonathan Monk will present the latest, sixth, iteration of a project called “Exhibit Model” that he has been showing in modified forms since 2016 in Kunsthaus Baselland (2016), Galleri Nicolai Wallner, Copenhagen (2016), VOX, Montreal (2017), Kindl Centre for Contemporary Art, Berlin (2019), and the bathroom at Casey Kaplan Gallery, New York (2019). The idea for “Exhibit Model” was born of the artist’s desire to offer a new take on the conventional framework of realizing an art exhibition as well as budgetary constraints. Thus, the artist decided to replace a straightforward exhibition of objects with a 2D photo installation made up of a wallpaper presenting images of some of his previous exhibitions. Covering all the walls of the exhibition space, the wallpaper does resemble a model of a planned exhibition. However, based literally and metaphorically, as it is, on the notion of reflection, rather than model of a future exhibition, “Exhibit Model” only looks like one. Thus, it generates a somewhat disorienting encounter with the images. Such a proposition brings into the physical exhibition space a similar experience to that provided nowadays by the “metaphysical” cyberspace of the Internet, where a growing number of people search for installation views of exhibitions they are unable to visit in person.
Jonathan Monk, Exhibit Model Detail with Additional Information, 2019, Mixed media, 182,5×123×15 cm
CAFA Art Museum - Imperial Ancestral Temple, Beijing, CN
Anish Kapoor, Martin-Gropius-Bau, Berlin, 2013
MoMA, New York, USA
Sheila Hicks, Surrounds, MoMA, New York, 2019
Museo Chileno de Arte Precolombino, Santiago, CL
Sheila Hicks: Secret Structures, Looming Presence
Dallas Museum of Art, Dallas, Texas, USA
SH, Untitled, 2019, 73x50cm
Linen on wooden support
On the spiritual matter of art – curated by Bartolomeo Pietromarchi
MAXXI Museum, Rome, Italy
Untitled #13 t/g
Mirrored and black polished lacquered wooden structure with brass hinge, mirrored and black polished lacquered wooden column, velvet curtain, two wooden spheres with golden leaf
Overall dimensions 270x166x230 cm
Le monde selon Roger BALLEN
Halle Saint Pierre
Roger Ballen reigns over the black-and-white world of the human psyche. Disturbing, provocative and enigmatic, the work of this American-born South African photographer, a geologist by training, expresses the sense of confusion of a man confronted by the nonsensical nature both of his life and of the world in general. Ballen’s work has been the subject of exhibitions at prestigious institutions for more than thirty years now. Although each of his shows is an event, his decision to exhibit at the Halle Saint Pierre in Paris, an atypical museum devoted to outsider art and unusual forms of creativity, demonstrates his freedom from artistic genres. For the Halle Saint Pierre, a collaboration with Roger Ballen is an invitation to showcase – or test out – the artistic and cultural otherness of art brut. In his relationship with creativity, Ballen has constantly explored a form of art that is rooted in the deepest layers of human nature; like the French dramatist, actor and writer Antonin Artaud, he is always moving towards more primal means of artistic expression.
Roger Ballen, Ballenesque, Les Rencontres, Arles, 2017
Nature morte/Nature vivante
Le Grand-Hornu, Magasin aux Foins, Écuries
Since the late 17th century, the French expression nature morte (literally ‘dead nature’) has been used to refer to still life, the field of painting that approaches nature from a sensual perspective and explicitly alludes to its fragility and ephemerality, and indirectly also to the vanity of human intervention on its composite elements. Over time, the term has extended to include any arrangement of inanimate objects organised in a certain fashion with a symbolic intention, which is meant to induce a poetic emotion. In our so-called “anthropocene” age, man’s unwarranted action is contributing to the impermanence of nature, or even its annihilation. With this sombre outlook, the term nature morte takes on even greater relevance. Yet nature has a formidable capacity for regeneration. Works by numerous creative minds question, provoke or encourage mechanisms that nature uses to underpin its intensity, reproduction and durability. In reality, each state of matter is a snapshot in a long, slow, evolutionary process of transformation, aggregation, assimilation and decomposition… Nature is very much alive! In this exhibition organised at the CID, designers, architects and artists present intensive, practical or experimental research that questions the relationship between man and nature, calling in equal measure on ecology, science, our moral conscience and artistic creation. Nature morte/Nature vivante reveals how much man’s ambiguous relationship with nature can be both perverse and inspiring.
Installation viewAriel Schlesinger, we started with a flame, February 2019
Museum HOUSE OF HUMOUR AND SATIRE
Nedko Solakov uses a characteristic method of making the viewer read and look simultaneously, an approach which “works” especially and equally well in his detailed installations, in his major museum exhibitions and in empty gallery spaces. The viwer can see how this happens in Stingy Doodles at the Museum of Humor and Satire. The work was created especially for the space, and the artist offers very local and personal commentaries; in this way, local viewers from Gabrovo will find themselves in a similar situation to that of viewers in museums such as the Museum of Modern Art in Frankfurt; Haus Konstruktive, Zurich; Museum Frans Hals, Haarlem; Kunstmuseum, St. Gallen; P.S. 1 MoMA, New York; Serralves Museum, Porto; De Appel Contemporary Arts Centre, Amsterdam; Museo Reina Sofia, Madrid and currently the exhibit A Passion for Drawing. The Guerlain Collection from the Centre Pompidou Paris in the Albertina, Vienna.
My Dream Bulgarian Cultural Reporter’s Butt
Oil on canvas
Studio Legale Withers, Milan, Italy
Oil on canvas