Nothing is Lost. Art and Matter in Transformation
Oct 14, 2021 – Feb 13, 2022
Post-Capital: Art and the Economics of the Digital Age
Oct 02, 2021 – Jan 16, 2022
American Memory. Chapter 3: Responses and Revisions
Milwaukee Art Museum
Oct 01, 2021 – Jan 16, 2022
Jacqueline Humphries: jHΩ1:)
wexner center for the arts, Columbus
Sep 18, 2021 – Jan 02, 2022
Mixing it Up: Painting Today
Hayward Gallery, Southbank Centre London
Sep 09 – Dec 12, 2021
Galerie Gisela Capitain
Isabella Ducrot – Tendernesses
Friday 3 Sep 11am-10pm
Saturday 4 Sep 11am-8pm
Sunday 5 Sep 11am-6pm
Isabella seems attracted to everything that is normally hidden. Not self-important official mysteries,
but precisely what is kept hidden out of modesty, out of embarrassment, all that is tacitly
considered to be of little importance, unworthy and unseemly. In other words, Isabella is attracted
not by what is expressly forbidden, by prohibitions, but by what we refer to as taboos: things,
objects or gestures that we skirt around out of some kind of social and cultural pact. Yet precisely
because of this, because they are not officially-formulated rules or legal prohibitions, they offer
scope for an even more powerful force to act. – Emanuele Dattilo
THE PRIMAVERA PROJECT is a modern-day collaboration of music and art. This digital album presents 14 new commissions by THE PRIMAVERA PROJECT for groundbraking, multi- Grammy nominated cellist Matt Haimovitz. Each composer responds to Sandro Botticelli’s enigmatic painting, Primavera, and the prophetic large-scale tryptich, Primavera 2020, by world-renowned contemporary artist Charline von Heyl.
Recorded in January 2021 at Charline von Heyl’s artist studio near downtown Marfa, Texas, the distinct and diverse contemporary compositional voices bridge the centuries, expanding and redefining the range and repetoire of the solo cello. For more information please visit theprimaveraproject.com.
Aspen Art Museum, August 5th
Stephen Prina will stage a special performance of his 1976 composition String Quartet for Six Players, which takes as a starting point Mozart’s String Quartet No. 15 in D minor, albeit conceptually rearranged. Using chance as a guiding compositional principle, the work is performed in response to the throwing of a die. Musical performers are from the Aspen Music Festival and School.
Please register here
edited by Fredi Fischli, Niels Olsen, Adam Jasper
Shopping is history, in both senses of the word. As shopping shifts online and the economic shocks associated with the COVID-19 pandemic push bankruptcies to unprecedented levels, retail is facing its own version of the end of days. Retail Apocalypse presents a compendium of case studies, interventions, and object lessons rescued from the bonfire of retail culture. It ranges from Friedrich Kiesler’s display windows to Gae Aulenti’s Fiat showrooms, from J. G. Ballard’s dystopian fantasies to TELFAR’s critical utopias, from Rem Koolhaas to Herzog & de Meuron.
organized by Kunsthalle Bielefeld
30 June 2021
Both Konstantin Grcic and Jorge Pardo are internationally renowned for their chairs, lamps and other furnishings.
While Grcic creates designs that are produced in series Pardo introduces his designs into the art space as works of art. Design and art are connected with different expectations and functions. In conversation with Konstantin Grcic and Jorge Pardo, Christina Végh will address the role and significance, as well as the interactions, of the fields for their respective practices. Please register.
The installation series entitled Possible Music (2018) is an ongoing work developed in collaboration with NESS who have developed a pioneering code-driven software that generates sound with virtual instruments, making it possible for Young to compose music for instruments that cannot exist in reality.
Possible Music #2 (2019) is a 16-channel sound installation of short compositions performed by virtual instruments that make reference to military “signal calls”—short tunes (typically performed on the trumpet) that announce changes in daily routines in a military camp or on a battlefield—with titles like Attention Call, Fatigue Call, Assembly Call, Fantasy Call #1, and Sick Call.
This four-volume set of publications focuses on Christopher Williams‘ theatrical work Stage Play, first presented in 2017 at Miller’s Studio in Zürich. Housed in a slipcase, it contains documentation and the playscript for his eponymous play, related publicity and research documents, the artist’s series of open letters, and a related interview he conducted with historian Markus Krajewski on the ceramic tile façades of post-war architecture in Cologne. In addition to two critical essays by McDonough, this publication is largest collection to date of Williams‘ writing.