Galerie Hubert Winter

Heels—Anna Francheschini. Jojo Gronostay.
Inspired by Chiara Vecchiarelli
Casa Flash Art
Via Durini, 24
20122 Milan

Sept 18, 2021
6 – 10 pm
Video still: “Up and Down the Heels” DWMC Performative Display by Anna Franceschini and Jojo Gronostay. Curated by Chiara Vecchiarelli

Heels – a performance by Anna Franceschini and Jojo Gronostay inspired by Chiara Vecchiarelli, and the new version of Up and Down the Heels – will take place on Saturday, September 18 in Milan, at Casa Flash Art, via Durini 24 – 20122 Milan, from 6 pm to 10 pm.

Besides the performers’ bodies, only heels fallen off shoes are in the space. They were found by Jojo Gronostay on the market stalls of Accra, Ghana. Broken, perhaps lost, carrying a feeble hope for redemption. They waited there as if they were looking for a fit, perhaps the secret twin of the one shoe they fell from, a message in a bottle sent via the ocean of second-hand goods—almost a Duchampian rendezvous with a time and a space yet unknown. Freed from the waiting, they took on a sculptural dimension in the eyes of Gronostay, and a performative one through the encounter with Anna Franceschini. Freed from the determinations that were previously assigned to them, they stand as emancipated forms forgetful of their previous life. Perhaps in search for a memory they can no longer access, they are too far from a life that saw them arriving in Africa from Europe and back to Europe from Africa, loaded with a whole range of symbols of domination, customs and politics. They somehow emancipated themselves and appear to be sharing their new agency with a group of performers and dancers.

By a swimming pool surrounded by black marble and carpet, a distilled set of gestures unfolds in the space, dislocating the distance between the feet and the ground, the living and the planet to the walls, the necks, the knees. Performed, the space breaths, the heels fall down. Once on the floor, the heels stay where they fell, like clothes fallen on the floor a moment before making love, like water filling a pond after spinning counterclockwise at the other end of the planet, inhabiting the space as if they were the silent witnesses of the one moment in which a perspective flipped, forgot its past, glimpsed at a new imaginal life. Then, the performance loops. A French poet said of heels they are meant to elevate women who are too close to nature. Heels reduces such distance until it collapses in a new paradigm. One of a life that stands on this side of the separation, always ready to molt.

Heels is presented by Galerie Hubert Winter, Vienna and Vistamare / Vistamarestudio, Pescara / Milano in collaboration with Flash Art, in the context of miart, Milan’s international modern and contemporary art fair.

The performance is open to the public upon reservation of a time slot.
Reservations can be made at rsvp@vistamarestudio.com.

miart 2021
Mary Ellen Carroll. Jojo Gronostay.
September 17 – 19, 2021
Mary Ellen Carroll & Jojo Gronostay, BORSA (1), 2021.

Follow this link for more information.

Zwischen den Dingen
Jojo Gronostay
September 10 – November 21, 2021
Volkskundemuseum Wien

Mit Werken von:
Heike Bollig, Miklós Erhardt, Andreas Fogarasi, Jojo Gronostay, Markus Hanakam und Roswitha Schuller, Stefan Klampfer, Sascha Mikel, Orthochrome – Archiv für analoge Alltagsfotografie, Edith Payer mit Stefanie Wong, Stephanie Senge, Anna Vasof, Hui Ye

Kuratierung: Edith Payer und Gudrun Ratzinger

Follow this link for more information.

A breeze over the Mediterranean
Simone Fattal
ICA Milano
September 8, 2021 – January 9, 2022

Curated by Alberto Salvadori with Andrea Viliani, Stella Bottai, Laura Mariano

Fondazione ICA Milano in collaboration with Pompeii Commitment. Archaeological Matters presents the exhibition A breeze over the Mediterranean, first solo show in Italy dedicated to Simone Fattal (Damascus, 1942). One of the most important contemporary artists, Simone Fattal was born in Syria and grew up in Lebanon. She left the country in 1980 with the outbreak of the civil war and she settled first in the United States and later in France, where she currently lives and works. Fattal has developed and established her artistic research and practice particularly over the last decades, including different expressive media such as drawing, painting and, since 1988 (when she attended the Art Institute of San Francisco), ceramics. In her works, the artist draws forms out of natural and living matter such as clay – forms that evoke the union between the carnal and mystical dimensions, reality and imagination. Fattal shapes figures that return the deepest intimacy of our feelings and thoughts connecting them to both historical and cultural dimensions to express the value and, at the same time, the care and fragility of human life.

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Art-O-Rama Marseille 2021
Nancy Haynes. James Lewis.
August 27 – September 29, 2021
Installation view, James Lewis and Nancy Haynes @Art-o-Rama Marseille, Galerie Hubert Winter, Vienna, 2021. (Photo: Margot Montigny)

Galerie Hubert Winter is pleased to present a selection of paintings by Nancy Haynes, each occupied by a chromatic progression—a broadband in which one color morphs into another, a light shade growing dense and dark. To the poets is a homage to Haynes’ favorite authors and poets, resourced of her inspiration and gratitude. Her paintings are stimulated by literature with horizontal gestures hinting at a reading from left to right. To the poets makes the idea of text and subtext quite literal.

The attribution of language and convergence of an invisible mechanism is inherent part of James Lewis’ works.

Material subjected to entropic, hence temporal processes build layers of surfaces, accumulated one over another and establishes fragile relations between emotional, sensorial and statistical data. Accumulations of layers, networks of tumorous growth, encapsulate and fossilize over soft furnishings. These encrusted strata form domestic scenographies, which are polluted with sound and odour.

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TRACCE / TRACES – Premiere Screening
Lawrence Weiner
30 June 2021, 9 pm and 9.40 pm
Lawrence Weiner, Spaccato—Split, TRACCE / TRACES. (Photo: Claudio de Nicolò, Bianca Trevisani)

Wednesday 30 June MACRO presents the movie première of TRACCE / TRACES. The film originates from the exhibition by artist Lawrence Weiner which took place last summer through a series of aerial banners flying along the roman coast. The exhibition was produced by MACRO as part of the SUPPLEMENT section of Museum for Preventive Imagination.

In the film, produced in collaboration with RingFilm, the interpretations and reactions of the public join the artist’s voice and the documentation of the exhibition, articulated through the day to day apparitions of this unique and ephemeral experience.

Please follow this link for more information.

Spark Art Fair Vienna 2021
Lawrence Weiner
June 24 – 27, 2021
Installation view, Spark Art Fair Vienna, Galerie Hubert Winter, 2021 (Foto: Simon Veres).
Artists’ Library: 1989–2021
Simone Fattal
15 June 2021 – 5 September 2021
MACRO—Museum of Contemporary Art Rome

Artists’ Library: 1989–2021 is a three-dimensional bibliography, an exhibition project of the BIBLIOGRAPHIC OFFICE section, where the audience can come across and delve into the ways of thinking, writing, collecting and creating of a series of artists: Noah Barker, Éric Baudelaire, Pauline Curnier Jardin, Claudia de la Torre, Maria Eichhorn, Simone Fattal, Aaron Flint Jamison, David Horvitz, Tobias Kaspar, Giulio Paolini, Walid Raad, Georgia Sagri, Luca Trevisani. Each one has been asked to select three books by other authors in any literary genre, published since 1989, which are particularly important to their own artistic paths. A book by each of the invited artists will also be added to the selection.

Please follow this link for more information.

Red Vienna
Alfredo Jaar
June 9–September 5, 2021
MAK – Museum of Applied Arts Vienna
MAK-Ausstellungsansicht, 2021. ALFREDO JAAR. Red Vienna. MAK-Schausammlung Gegenwartskunst. © MAK/Georg Mayer

MAK Dialogues: ALFREDO JAAR

Thu, 10.06.2021 6.30 pm
MAK – Museum of Applied Arts

Curator Bärbel Vischer in conversation with the artist Alfredo Jaar. Follow this link to join the Zoom-Talk.

Book Release
Joel Fisher. Revising Chance

Joel Fisher
Revising Chance
28 pages with 12 color images
12.0 × 18.7 cm
Softcover

Published as part of the series Carpe Diem by Galerie Hubert Winter, Vienna, 2021
Edition of 99

EUR 18.00 excl. shipping costs
Orders via office@galeriewinter.at

Richard Nonas
January 3, 1936 – May 11, 2021
Photo: lupirad, 2020

"THE ROLE OF OBJECTS IS TO RESTORE SILENCE."
(Richard Nonas, Two Trees; About Right, 2013.)

It is with profound sadness that we have to announce the passing of the outstanding artist
Richard Nonas. On May 11, Nonas passed away at the age of 85 in New York City.

The loss to his beloved ones, his friends and fellow artists is beyond measure.

We commemorate and remember more than 30 years of friendship and collaboration.

Cinema of the Present by Bored Curators United
Jojo Gronostay

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50th Anniversary
Galerie Hubert Winter
1971 – 2021

We are delighted to announce the gallery's 50th anniversary.

We celebrate the anniversary with a sculpture by Lawrence Weiner publicly installed on our window front.

Capture
Judith Fegerl
ARTTEC at Austrian Institute of Technology

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Interview – Ö1 Leporello

Horizons. Curated by Etel Adnan
Simone Fattal. Nancy Haynes
January 30 – March 20, 2021
Lévy Gorvy Paris
Nancy Haynes, to the poets (Etel Adnan), 2017

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Interconti
Alfredo Jaar

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Book Release
Simone Fattal. Earth Day

Simone Fattal
Earth Day
32 pages with 14 color images,
tipped in by hand
12.0 × 18.7 cm
Softcover

Published as part of the series Carpe Diem by Galerie Hubert Winter, Vienna, 2020
Edition of 200

EUR 18.00 excl. shipping costs
Orders via office@galeriewinter.at

not—cancelled
Franz Vana
Franz Vana, Normvirus, 1997.

Please follow this link for our section at not—cancelled.

Video Walkthrough
Simone Fattal
31 Women – Daimler Art Collection
Marcia Hafif
Daimler Contemporary Berlin
On view until June 27, 2021

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Artissima
Unplugged 2020
November 5, 2020 – January 9, 2021

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Artissima XYZ
Guillaume Bijl
November 3 – January 9, 2021

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DWMC—Dead White Mens Clothes
MAK – Museum of Applied Arts, Vienna
October 7–November 11, 2020

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Ti Bergamo
Michael Höpfner
GAMeC Bergamo
October 1, 2020–February 14, 2021

Group exhibition TI BERGAMO—Una comunità featuring Michael Höpfner.

Vienna Contemporary 2020
Michael Höpfner
September 24-27, 2020
Booth B07
Michael Höpfner, The Hand of the Poacher or The Hand of the Sorcerer, 2020.
Up and Down the Heels:
DWMC Performative Display by Anna Francheschini
September 5, 2020. 6pm
Ingo Nussbaumer
Galerie Ulrich Müller, Cologne
September 5–October 16, 2020
Opening: September 4, 2020, 6–10PM
Ingo Nussbaumer, cp092, 2020.
Virtual Exhibition Walkthrough
Introduction to a Distant World
TRACCE / TRACES
Lawrence Weiner
MACRO–Museum of Contemporary Art Rome
August 16–25, 2020
Lawrence Weiner. Tracce / Traces. 2020

All I do is make things and present them. Art presents a reality. Art doesn’t present a metaphor. The conversation with society is not: what is the function of art? The conversation with society is: what do people do with this stuff that other people make? What do people do with the idea that there are human beings making things and placing them in the world and that those things are just means for other people to understand their relationship to the world?

Lawrence Weiner

For the summer of 2020 MACRO presents TRACCE / TRACES, an exhibition by Lawrence Weiner produced by the museum with the aim of getting out of conventional spaces and looking to the sky, thanks to a series of aerial banners along the coast, from Ladispoli to Anzio.

The exhibition, devised by Luca Lo Pinto, links back to the book of the same title produced in 1970 for Galleria Sperone, edited by Germano Celant, which focused on translation. The project envisioned by Weiner shortly after Celant’s death is also a tribute to the late Italian curator.

Exactly fifty years after the release of the publication, the artist has selected ten of the fifty works included in the book. They all consist of a single word, corresponding to the past participle of a verb that suggests an action that could have happened in the past, or could be expected for the future. The verbs, isolated and removed from any syntactic context, lend themselves to open interpretation.

From 16 to 25 August, along the coastline most popular with Romans, the exhibition will present a different work each day. Though in the past there have been individual works made with airplane condensation trails (Bruce Nauman and Marinus Boezem), TRACCE / TRACES is the first solo show by an artist ever presented in the sky.

An artist’s book will be produced for the occasion, thus completing an ideal circuit.

Please follow this link for more information.

Museum for Preventive Imagination – Editorial
Marcia Hafif
MACRO–Museum of Contemporary Art Rome
July 17– September 27, 2020
Marcia Hafif, Nr. 111 (from the series Italian Paintings), 1966.

Marcia Hafif is participating in Museum for Preventive Imagination–Editorial, the first exhibition devised by MACRO's artistic director Luca Lo Pinto.

Please click here for more information.

Virtual Exhibition Walkthrough
Marcia Hafif
Fünf Wege zu Fuss
Michael Höpfner
Fotohof, Salzburg
February 7 - April 4, 2020
Michael Höpfner. Aufzeichnungen von Jokang nach Phabonka. 2020

"His search for minimization is realised first and foremost in his travels to distant countries and regions. In his photographs and installations, not only does he separate the essential from the unimportant ballast, but he also firmly trains his entire focus on that essence as a narrative counterpart. No sentence, no information is too much. All that is useful is stated; all else remains unstated." (Carola Leitner)

www.fotohof.at

The Beginning.
Art in Austria, 1945 to 1980
Albertina Modern, Vienna
May 27 – November 8, 2020
Birgit Jürgenssen. Let Sleeping Dogs Lie. 1972

The opening exhibition of ALBERTINA MODERN, entitled 'The Beginning. Art in Austria, 1945 to 1980', offers the first-ever comprehensive overview of a period that numbers among Austrian art history’s most innovative. The Beginning presents the most important artistic stances situated at the threshold of postmodernism—from the Vienna School of Fantastic Realism to early abstraction, Viennese Actionism, kinetic and concrete art, Austria’s own version of pop art, and the socially critical realism so characteristic of Vienna.

TRANS/​HUMANCE
Nil Yalter
MAC/VAL.Val-de-Marne
October 5, 2019 – February 9, 2020
Installation view: Nil Yalter. TRANS/HUMANCE. 2019/20

Please follow this link for more information.

Walking Through the Cycles
Michael Höpfner
State Gallery of Lower Austria, Krems
October 19, 2019 – May 3, 2020
Michael Höpfner. Lie Down, Get Up, Walk On (Snow Leopard)
Pigment as Shape
Marcia Hafif
MARe, Bucharest
October 17, 2019 – January 28, 2020
Marcia Hafif. TGGT 21 NY. 2006

Pigment as Shape reveals the epidermic minimalism of Marcia Hafif. Instead of critically stripping bare the colors in a distant manner, she pragmatically and poetically discloses their succulent flesh. Her seemingly tautological, smooth covering of the canvases with exactly the colors that give their names takes a phenomenological turn. They extoll the pigmental materiality - a visual-spiritual substance, the exuberant inner shape of painting, calling for contemplation.

Muzeul de Artă Recentă / Museum of Recent Art
Primăverii 15, București

Nil Yalter in conversation
The Other is Oneself. FJK3
December 14, 2019. 12 - 12.40 am
Nil Yalter. EXILE IS A HARD JOB. 2019 (detail)

Saturday, 14th of December, 2019
12.00 - 12.40
Isin Önol in Conversation with Nil Yalter, Fiona Liewehr and Ramesh Daha

The Other is Oneself: Conference
Franz Josefs Kai 3, 1010 Vienna

Artissima 2019
Lawrence Weiner. Lei Xue
Artissima Fair, Torino
November 1 - 3, 2019
Lei Xue. FISH. 2014

corridor green / Booth 13
online catalogue
OVAL Lingotto Fiere, via Giacomo Matté Trucco 70, Turin, Italy

Tina Lechner. Susan told me
Book presentation
Secession, Vienna
October 9, 2019, 7PM
Tina Lechner. Susan told me.
Exile Is a Hard Job
Nil Yalter
Hessel Museum of Art. Bard College. Annandale-on-Hudson. NY
June 22 – October 13, 2019
Ausstellungsansicht: Nil Yalter. EXIL IS A HARD JOB. Hessel Museum, Bard College (2019)

Exile Is a Hard Job will be the first solo U.S. museum exhibition of work by Nil Yalter (b. 1938, Cairo), who has been a pioneer of socially engaged art since the 1970s.


Born in Cairo, the artist grew up in Istanbul and has been living in Paris since 1965. Exile Is a Hard Job presents the diversity of her work, from previously little-known paintings to her groundbreaking early videos and multimedia installations in which she combines photography, video, drawings, and sculpture into collages. Exile Is a Hard Job originates at the Museum Ludwig in Cologne as Yalter’s first major retrospective, opening March 8, 2019. At the Hessel Museum of Art, the exhibition will focus on her prolific period from the late ’60s to the early ’80s, and will include over twenty of her most significant projects from this time.

I Am.
Birgit Jürgenssen
Louisiana Museum, Humlebæk
June 14 – September 22, 2019
Birgit Jürgenssen. I want out of here! 1976

Louisiana Museum

Louisiana presents the first exhibition in Scandinavia with Austrian avantgarde-artist Birgit Jürgenssen. Her sharp and humorous work revolves around rigid gender roles, identities and freedom of choice.


Birgit Jürgenssen (1949-2003) belongs to a strong circle of Austrian women artist who emerged in the 1970s such as Maria Lassnig and Valie Export. As early as the age of eight Jürgenssen was imitating works by Pablo Picasso and signing them BICASSO Jürgenssen.

Playing with different identities and the deconstruction of the patriarchal world order later became major features of Jürgenssen’s artistic activity. In drawings and photo­graphy, Jürgenssen’s preferred media, she thematized the role of woman in society, deploying an acerbic, subversive sense of humour.

In one of her best known photographic works we see Jürgenssen herself through a glass door dressed as housewife with her face pressed against the door, upon which is written “Ich möchte hier raus!” – “I want out of here!” – out of the home, that is. In a drawing from the same time the housewife is depicted literally as a wild lion in a cage. Jürgenssen’s works are not only a war-cry against the structural oppression of women; at the same time they present the possibility that a woman (or man) can break out of a role and don the mask or identity she or he wants for her/himself.

The exhibition presents more than 70 works and has been organized in collaboration with Estate Birgit Jürgenssen, Kunsthalle Tübingen and GAMeC Museum in Bergamo.

Vienna Contemporary 2019
Joel Fisher. Richard Nonas
viennacontemporary. booth C01
September 26–29, 2019
Joel Fisher. IR. 1983

viennacontemporary
Marx Halle Wien
Karl-Frakas-Gasse 19
1030 Vienna

Skeleton-Cuts, Line by Line
Richard Nonas
Galerie Stadtpark, Krems
July 7 - September 21, 2019
Richard Nonas. Warsaw Curve. 1991
Alfredo Jaar: 1973
Curator-Led Tour
Opening
at 5.30pm, September 12 2019
Alfredo Jaar. Chile 1981, Before Leaving. 1981 (Detail)
Hysterical Mining
Kunsthalle Vienna
May 29 – October 6, 2019
Judith Fegerl. the kitchen was what she had given of herself to the world. 2019
James Lewis
sagas
FUTUR2, Vienna
May 18 – July 6, 2019
James Lewis, Sagas (still), 2019

Solo exhibition, FUTUR2, Vienna
Opening: April 17, 2019, 6-9PM
Open: May 18 - July 6, 2019 (by appointment only)

Haim Steinbach
every single day
Museion, Bolzano
May 18 – September 17, 2019
The Culture Collider: Post-Exotic Art
November 10, 2018 - January 27, 2019
Muzeum Sztuki i Techniki Japońskiej Manggha. Kraków
Lei Xue. Vase. 2009

Artists: Ei Arakawa / Nikolas Gambaroff, Georg Baselitz, Nina Beier, Andy Hope 1930, Barbara Mungenast, Paulina Ołowska, Yan Pei-Ming, Imran Qureshi, Shuvo Rafiqul, Franz Schubert, Sung Tieu, Danh Vō, Kay Walkowiak, Hans Weigand, Guan Xiao, Lei Xue, Jakub Julian Ziółkowski

Curator: Goschka Gawlik

for more information please visit: manggha.pl

Judith Fegerl
Kunst am Bau
Landesgalerie Krems
Judith Fegerl. anchors. 2019

Judith Fegerl´s Intervention im neuen Gebäude der Landesgalerie Krems setzt sich mit der Drehung des architektonischen Kubus von der Donau hin zur Altstadt von Stein auseinander.

SASKIA NOOR VAN IMHOFF – SARAH PICHLKOSTNER – DONALD JUDD – ARNULF RAINER
October 20, 2018 - May 26, 2019
Arnulf Rainer Museum, Baden
Sarah Pichlkostner. Donald Judd

SASKIA NOOR VAN IMHOFF – SARAH PICHLKOSTNER – DONALD JUDD – ARNULF RAINER
Kanten Winkel Linien Kurven

Enacted by Rudi Fuchs
with Maarten Bertheux

A Woman Looking at Men Looking at Women
MUZEUM SUSCH
January 2 – June 30, 2019
Birgit Jürgenssen. Untitled, 1978
Nil Yalter
Exile is a Hard Job
Museum Ludwig, Cologne
March 9 – June 2, 2019
Nil Yalter. Exile is a Hard Job (Estranged Doors). 1983

Since the 1970s, Nil Yal­ter has been work­ing as a pi­oneer of so­cial­ly en­gaged and tech­ni­cal­ly ad­vanced art. In pain­ter­ly col­lages as well as mon­tages and videos, the Turk­ish artist in­te­grates pho­tos, draw­in­gs, and re­ports by work­ers and mi­grants.


Her strong en­gage­ment with the top­ics of fe­mi­n­ism, mi­gra­tion, and re­pres­sion have led to a re­dis­cov­ery of the eigh­ty-year-old artist by in­ter­na­tio­n­al mu­se­ums and col­lec­tions over the past five years. She in­te­grates the voic­es of the sub­jects of her works in a unique way and finds a con­sis­tent­ly per­sua­sive aes­thet­ic form. In 2019, the Mu­se­um Lud­wig will now host the Turk­ish artist’s first ma­jor sur­vey ex­hi­bi­tion.

The ex­hi­bi­tion is or­ganized by the Mu­se­um Lud­wig in co­op­er­a­tion with the Cen­ter for Cu­ra­to­rial Studies, Hes­sel Mu­se­um, Bard Col­lege, An­nan­dale-on-Hud­son, New York.

Birgit Jürgenssen
Io sono.
GAMeC Bergamo
March 8 – May 19 2019
Birgit Jürgenssen. Ohne Titel, 1972

GAMeC Bergamo

On 7 March, the first major retrospective in Italy of the work of Birgit Jürgenssen (Vienna, 1949–2003) will be held, among the leading artists in the international feminist avant-garde.
The wide-ranging oeuvre of Birgit Jürgenssen reflects on and deconstructs stereotypical relationships, sexuality, socially determined notions of beauty and gender relations, all with subversive humour as if they were deeper layers of her own identity.
The show, curated by Natascha Burger and Nicole Fritz and staged in collaboration with the Estate Birgit Jürgenssen, the Kunsthalle Tübingen and the Louisiana Museum of Modern Art, offers an overview of the entire oeuvre of the Austrian artist: more than 150 works produced over 40 years of research, including her drawings, collages, sculptures, photographs, rayogrammes, gouaches and cyanotypes.

The exhibition is accompanied by a catalogue, published by Prestel, with texts by Natascha Burger, Nicole Fritz, Maurizio Cattelan, Lorenzo Giusti, Jessica Morgan, Gabriele Schor, Jasper Sharp, Abigail Solomon-Godeau.

vienna­contemporary
September 22 - 25, 2016
Judith Fegerl, Helga Philipp

http://www.viennacontemporary.at

Reflecting materials. Graphite pigment and aluminium powder, copper wires, steel, and delicate graphite leads. Subtle material aesthetics are key factors for the oeuvre of both Helga Philipp (1939 - 2002) and Judith Fegerl (*1977). Two Austrian artists from different generations, of different anticipation.


Helga Philipp’s paintings from the late 1980s and 1990s, a group of monochrome works with simple geometric compositions, reduced forms and colours, are the main focus for the artists from 1985 onwards. Philipp produced large-scale paintings with light-dark contrasts, which, despite their simplification of form, generate an illusion of space. Her remarkable works on canvas deploy a similar optical effect, which Philipp already established with her kinetic objects. Her impasto application of paint, light reflecting materials such as graphite and aluminium pigment create an extraordinary quality and intensity. Her works on paper, graphite drawings or layered graphics on transparent paper stretch the limits of materiality and surface structure. As a pioneer of Concrete Art and Op Art in Austria after 1945, Helga Philipp has been exploring optical phenomena and their visual effects.

moment (2016) is Judith Fegerl’s latest body of works. She uses electric currents, polished steel rods, plates and electro magnets to combine disparate elements to a unity, free standing or leaned against a wall. Her works are about mobility and stasis, activity and passivity – moment has an almost meditative quality. And yet the contemplative moment can only be perceived while it is being held upright by an external electrical feed.
Fegerl combines materiality and engineering to create aesthetically and technically unprecedented works.

Helga Philipp born 1939 in Vienna; died 2002 in Vienna.
Judith Fegerl born 1977 in Vienna; lives and works in Vienna.

Mary Ellen Carroll
September 9 - December 18, 2016
Museum of Contemporary Art - Yinchuan, Ningxia, China and the Yinchuan Biennale
NEXT TIME WITH JACKY in front of A FAKE HARE HAS 24 GOLD TEETH

Mary Ellen Carroll
A FAKE HARE HAS 24 GOLD TEETH
NEXT TIME WITH JACKY*

curated by Bose Krishnamachari


A FAKE HARE HAS 24 GOLD TEETH

In the second stanza of Chapter IX in Jack Spicer's poem from 1961, A Fake Novel about the Life of Arthur Rimbaud, the poet wrote:

Things have passage. Most rivers eventually reach the ocean. Or a lake—an inland sea. This is like Africa in all continents.
Spicer’s language could be misread as a poetic description of a landscape painting, posing as a poem. Had he substituted another continent (in reference to trade) for Africa (in reference to migration)—or more specifically a country, it would be, “This is like China in all continents.” China is in fact, in all continents.

Spicer’s process to take Rimbaud’s actual life as the starting point is similar to how, A FAKE HARE HAS 24 GOLD TEETH utilizes the textile, Brocade with Hares, China, Northern, Mongol Period, 13th to mid 14th century, from the permanent collection at the Cleveland Museum of Art in Cleveland, Ohio as a catalyst for the conceptual underpinnings of the work realized for Yinchuan. The fragment was included in the exhibition “When Silk Was Gold: Central Asian and Chinese Textiles” at the Metropolitan Museum in New York in the spring of 1998. It places the work in the region of Yinchuan along the Yellow River, where it may in fact have actually been woven. It is fact that the general weaving technique used in this textile is characteristic of this region in China. There is also an additional warp in the weaving and this pairing of the warp evidences a technique that was introduced from the west—coming from eastern Iran. At some point, an individual made passage on the Silk Trade Route along the Yellow River and this approach was introduced to the area.

The dislocation of the hare to Yinchuan intentionally relocates an image to where it may have been originally constructed. This hare is rendered in glyphs or binary code and references the further development in weaving and the Jaquard loom that eventually became the foundation for computer programming and it functions as its aid memoire—to use a diplomatic term. This application of encryption is also a referent to Carroll’s earlier work, act of god, 1999 wherein she encrypted site photographs of Mie van der Rohe’s Glass House with the text about the building’s design. It also constructs or conflates a historical moment in the present as the future as the actual, which may not necessarily be factual. The mimeograph of the real is woven with the fake, resulting in a collision of fantasy and fact.

A FAKE HARE HAS 24 GOLD TEETH expands the pageantry of the biennial into the spectacle of diplomacy, perhaps where it rightfully belongs. This moment begins historically at the invitation that President Chiang Kai-shek extended to President John F. Kennedy and his wife, Jackie to visit China in the early 60s. After hearing about JFK’s plans for an official state visit to Europe it was then proposed to continue the passage to the east in order to solidify diplomatic relations and to discuss trade and foreign policy. The world knows why this meeting never took place. On June 26, 1963—Berlin was the furthest east in Germany that Kennedy would travel. He first appeared in the British Sector in front of the Brandenburg Gate on a provisional platform. It was architected as a modified Bauhaus structure providing a 360-degree view to “look far away” to the east in order to “see and be seen.” The DDR reciprocated and simultaneously staged their own spectacle in parity to “see and be seen” and blocked the view to the east by covering the openings of the Brandenburg Gate. It was impossible to “look far away.” A FAKE HARE HAS 24 GOLD TEETH reimagines a to-scale version of those occupied spaces on the facade of the Museum of Contemporary Art Yinchuan with the hare as the central image. (As an aside, it is worth noting that it was nearly ten years later that Kissinger seeded the ground for Nixon’s state visit to China from February 21 to 28, 1972 and the historical meeting with Mao Tse-tung. It was the first time in over two decades that images of China would be visible in the U.S.)

What was made, and what became highly visible during JFK’s historic state visit was a truck that corralled the space in front of the entrance to the Brandenburg Gate as viewed from the west that had a placard painted in bright yellow with an English text painted in red affixed to one side that was an enjoiner for the west to fulfill their treaties with the east. The truck encircled the space and then parked directly in front of where JFK stood to face the east. Both the east and the west constructed their image that would be disseminated throughout the world by the media on both sides of the wall. Immense crowds lined the streets and hung from buildings to experience the motorcade. The desire to “see and be seen” was indistinguishable from either side. That desire is no different than it is in the present.

NEXT TIME WITH JACKY* is the adjacent work to A FAKE HARE HAS 24 GOLD TEETH and will organize the drivers of the ubiquitous three wheeled motorcycle that hauls and transports goods and services within Yinchuan. The motor transport functions as the last mile in the network of trade routes within the city. The drivers will create an informal performance that will disseminate the work of art throughout the city of Yinchuan, as well as it being the work of art, in and of itself. A sign that reads, Look far Away, will be affixed to the vehicle in a similar technique as the structure that was constructed for the vehicle that encircled the Brandenburg Gate. It is a portable signifier of the biennial and the museum as the site that is dislocated from the city center. The architecting of diplomacy as an extension of culture and the historical symbols are exemplified in A FAKE HARE HAS 24 GOLD TEETH and NEXT TIME WITH JACKY, albeit within the realm of the poetic as a good, as a fake, all of which are reenactments that are performances in a medium that is intertwined within the media.

(Next Time with Jacky* is a sign that a group held up when JFK’s motorcade went by their apartment bloc. Jacky is the the first lady of the United States, Jacqueline Bouvier Kennedy. The sign makers misspelled her name as Jacky, when it is Jackie.)

Women House
October 20, 2017 - January 28, 2018
Monnaie de Paris, Paris
Birgit Jürgenssen. Fensterputzen / Window Cleaning. 1975

Women House is the meeting of two notions: a gender - the female - and a space - the domestic one.

https://www.monnaiedeparis.fr/en/temporary-exhibitions/women-house

Sarah Pichlkostner
September 21 - 24, 2017
viennacontemporary, Zone 1, booth F28
Sarah Pichlkostner
RECONSTITUTION
April 23 - May 27, 2017
LA><ART, Los Angeles
Mary Ellen Carroll. FEDERAL (Watch the Watchers.™). 2003

Reconstitution is curated by Catherine Taft and Hamza Walker.


Reconstitution is a group exhibition that is an update and recasting of the 1987 exhibition Constitution originally organized by the art collective Group Material. The exhibition will include work by: Kathryn Andrews, Shagha Ariannia, Gretchen Bender, Dawoud Bey, Mary Ellen Carroll, Ching Ho Cheng, Tseng Kwong Chi, Sonya Clark, Joeff Davis, Sid M. Duenas, Melvin Edwards, Ridykeulous (Nicole Eisenman & A.L. Steiner), Rafa Esparza, Lauren Davis Fisher, Arshia Haq, Rachel Harrison, Sharon Hayes, Edgar Heap of Birds, Brendan Fowler/Election Reform, Gronk, Anish Kapoor, Gelare Khoshgozaran, Kang Seung Lee, Zoe Leonard, Steve Locke, M (aka Michael Chow), Van McElwee, Harold Mendez, Mike Mills, Jenny Perlin, Jefferson Pinder, Christina Quarles, Umar Rashid, Marie “Big Mama” Roseman, Peter Saul, Augustus Sherman, Maryam Taghavi, Mark Themann, Danh Vo, Christine Wang, Timothy E. Washington, Lawrence Weiner, and the AIDS Memorial Quilt.
1987 marked the 200th Anniversary of the U.S. Constitution, and on the occasion, Group Material mounted Constitution at Temple University gallery in Philadelphia. Featuring over 40 artists whose work ran the gamut from folk to conceptual art, the exhibition was nothing if not democratic. In juxtaposing the U.S. Constitution against works of contemporary art, Group Material laid claim to the Constitution not simply as it frames our government, but as a living document, one that harbors ideals against which we monitor our progress as a society.
As was the case for Group Material in 1987, recourse to the U.S. Constitution comes at a time when the electorate is deeply divided about the role of government and its priorities. But recourse to the U.S. Constitution, just as it serves to unite, also begs the question how and to what extent are the ideals of liberty, equality, and justice for all being met? Reconstitution, over and above responding to a short albeit violent swing of the socio-political pendulum, (from Obama to Trump) is responding to an electorate whose divisiveness has significantly deepened over the past 30 years.
Are we living up to our ideals of liberty, equality, and justice for all? This question cannot fail to solicit a critical posture, one that is part and parcel of art itself. Now more than ever, the so-called identity politics of the 1980s and 1990s (with art work forthrightly addressing issues of race, gender, class, nationality and religion) have become inseparable from national identity. Debates about police brutality, immigration, inequality, religious freedom, healthcare, the environment reflect who we aspire to be as a nation. Reconstitution is one mirror. Reconstitution is curated by Catherine Taft and Hamza Walker.

Judith Fegerl. in charge
July 2 - August 27, 2017
TAXISPALAIS, Kunsthalle Tirol, Innsbruck
Judith Fegerl. Batch. 2017

Judith Fegerl contests the given. Remodeling the materials’ structures and textures, her sculptures often take the shape of spatial interventions. The artist is not looking for easy solutions, but forges complications instead.


With great sensibility for the undercurrents of tension in supposedly simple unities – such as metal rods, the exhibition space, the institutional body – the artist lets these tensions take the lead. However, the cracks and fissures caused in the process are just occasions for new configurations: glimmering prostheses and spatial drawings – vulnerable, graceful and brutal at the same time.


A catalog will be published on the occasion of the exhibition.

Marcia Hafif
September 16, 2017 - January 14, 2018
Kunstmuseum St. Gallen
Marcia Hafif. Lamp Black. 1984

www.kunstmuseumsg.ch

and

Marcia Hafif
September 15 - November 12, 2017
Kunsthaus Baselland
www.kunsthausbaselland.ch

Nil Yalter
Prix AWARE 2018
Nil Yalter. Istanbul. 1974

Nil Yalter (b. 1938) has received the outstanding merit award for artists along with the Vera Molnar (b. 1924) at this year's Prix AWARE.

This jury panel is composed of Alfred Pacquement (honorary general heritage conservation officer, former director of the musée national d’Art moderne – Centre Pompidou), president of the panel, Alexia Fabre (director and head curator of the MAC/VAL, Vitry-sur-Seine), Stijn Huijts (director of the Bonnefantenmuseum, Maastricht), Dominique Guyot (collector), Camille Morineau (director of exhibitions and collections of the Monnaie de Paris, co-founder and chairwoman of AWARE), Frances Morris (director of Tate Modern, London) and Floriane de Saint Pierre (collector).

www.awarewomenartists.com

Virginia Woolf: An Exhibition Inspired by Her Writings
19. Februar - 29. April 2018
Tate St. Ives, St. Ives
Birgit Jürgenssen. 10 Days - 100 Photos. 1980/81
Birgit Jürgenssen. I am.
November 10, 2018 - February 15, 2019
Kunsthalle Tübingen
Birgit Jürgenssen. Ophelia. 1979

Kunsthalle Tübingen

Birgit Jürgenssen (1949-2003) was among Austria’s avantgarde in the 1970s, alongside Valie Export and Maria Lassnig. While alluding to art-historical traditions like Surrealism, she unobtrusively developed an independent oeuvre that included not only a large stock of drawings, but also sculptures, experimental objects, videos and, above all, photographs. The Kunsthalle Tübingen is showing the first comprehensive presentation of this artist’s work in Germany under the heading “I am.”.

The female body is the lynchpin of Birgit Jürgenssen’s work. Not only is the body the subject of the realistic-style drawings with which she portrayed her lifeworld with considerable self-irony, it is also the agency of first experiences which she explores as a psychological-mental and emotional resonance chamber. In more than 1000 drawings she captured with seismographic sensitivity what occurs before our conceptual and thus conscious grasp.

She reflected on and deconstructed human relationships, sexuality, socially-determined notions of beauty and gender relations with a subversive humour as if they were deeper layers of her own identity.

In keeping with the social turmoil in the 1970s she responded perceptively and critically to an increasingly industrialised and thus “demystified” environment and, guided by a sensual-instinctive sensitivity, marked out the affinity between man, plant and animal. In the tradition of the Surrealists, she transformed the human body, the animal and plants into hybrids in dream-like scenarios. By equating the human body with the vascular system of leaves, she productively adapted old concepts of the micro-macro-cosmos to the present day. Her drawings, collages and photomontages are characterised by a vigorous fantasy in the face of nature and testify to an integral awareness that we exist in an invisible interaction with the world around us.

The wide-ranging oeuvre of Birgit Jürgenssen is interesting not just as a collective contemporary testimony that reflects the sense of life and the zeitgeist from the 1970s to 1980s and 1990s. Even today, when we are experiencing an increasing levelling of everyday perception due to digitization, her body-related approach takes on a whole new topicality. Her work is rooted in the realm of the intimate and thus stand not least for an authentic self-directed life and, ultimately, also for the self-determined and emancipatory impetus of art.

The retrospective exhibition is being organised in close cooperation with the Estate Birgit Jürgenssen / Vienna:

Curators:

Dr. Nicole Fritz, Natascha Burger (Estate Birgit Jürgenssen)

Main lenders:

Estate Birgit Jürgenssen, Vienna

Private lenders

Sammlung Verbund, Vienna

Umrahmung schräg gekippt.
April 29 - October 28, 2018
Museum Liaunig, Neuhaus/Suha
Ingo Nussbaumer. CP #20. 2009/2010

Umrahmung schräg gekippt. Die Sammlung Liaunig in Bewegung.
curated by Günther Oberhollenzer


artists: Marc Adrian, Bernard Aubertin, Joannis Avramidis, Joachim Bandau, Josef Bauer, Hans Bischoffshausen, Alighiero e Boetti, Hellmut Bruch, Tony Cragg, Gunter Damisch, Inge Dick, Heinrich Dunst, Manfred Erjautz, Johann Feilacher, Karl Anton Fleck, Gerhard Frömel, Heinz Gappmayr, Jakob Gasteiger, Bruno Gironcoli, Roland Goeschl, Dorothee Golz, Franz Grabmayr, Franz Graf, Evelyn Gyrcizka, Alfred Haberpointner, Hans Hartung, Julie Hayward, Rudolf Hoflehner, Giselbert Hoke, Wolfgang Hollegha, H+H Joos, Martha Jungwirth, Franco Kappl, Herwig Kempinger, Gudrun Kleinberger, Michael Kienzer, Imi Knoebel, Kiki Kogelnik, Peter Kogler, Kurt Kocherscheidt, Franz Stefan Kohl, Peter Krawagna, Suse Krawagna, Eric Kressnig, Richard Kriesche, Maria Lassnig, Christoph Luger, Gottfried Mairwöger, Dóra Maurer, János Megyik, Jürgen Messensee, Josef Mikl, Hannes Mlenek, Kurt Moldovan, Walter Moroder, Gerhardt Moswitzer, Robert Motherwell, Matt Mullican, Hermann Nitsch, Ingo Nussbaumer, Franz Xaver Ölzant, Fritz Panzer, Max Peintner, Helga Philipp, Walter Pichler, Josef Pillhofer, Raimund Pleschberger, Rudolf Polanszky, Markus Prachensky, Karl Prantl, Maria Elisabeth Prigge, Arnulf Rainer, Werner Reiterer, Alois Riedl, Franz Rosei, Georg Salner, Fabian Seiz, Roman Scheidl, Meina Schellander, Alfons Schilling, Eva Schlegel, Walter Schmögner, Martin Schnur, Klaus J. Schoen, ManfreDu SCHU, Christian Schwarzwald, Pierre Soulages, Rudi Stanzel, Hans Staudacher, Esther Stocker, Erwin Thorn, Andreas Urteil, Wolfgang Walkensteiner, Franz Erhard Walther, Markus Wilfling, Max Weiler, Fritz Wotruba, Franz Zadrazil und Heimo Zobernig.

Helga Philipp
October 25, 2018 - January 13, 2019
Haus Konstruktiv, Zurich
Helga Philipp. Kinetisches Objekt. 1971
Hybrids
June 23 - September 23, 2018
Lustwarande, Tilburg
Sarah Pichlkostner. K: “So darlin', darlin', stand by me, I just wanna stay in bed today.” 2018

Hybrids focusses on a generation of young artists, often labeled as post-internet, which takes our global, digital, and image-saturated world as a starting point for their work. This results in a vocabulary that is strikingly hybrid in character.

Hybrids will present new works by
Neïl Beloufa (FR), Giulia Cenci (IT), Simon Denny (NZ), Oliver Laric (AU), Sarah Pichlkostner (AU), Timur Si-Qin (DE), Evita Vasiljeva (LV), Anne de Vries (NL), Raphaela Vogel (DE) and Dan Walwin (GB).

Curators: Chris Driessen & David Jablonowski

EVERY SINGLE DAY. Haim Steinbach
September 22, 2018 - January 27, 2019
Museum Kurhaus Kleve, Kleve
Haim Steinbach. Display #91 – the difference between zoom and zooooooooooooom. 2018

Museum Kurhaus Kleve

Mit einer umfassenden Einzelausstellung von Haim Steinbach (*1944 in Rehovot, Israel) präsentiert das Museum Kurhaus Kleve einen der einflussreichsten Künstler der Gegenwart.


Steinbach prägt die Kontextbefragung von Objekten entscheidend, indem er anders als seine Malerkollegen von Beginn an mit Objekten und ihrer Zurschaustellung arbeitete. Fälschlicherweise aufgrund seiner Verwendung von Konsumgütern als Anhänger von „Consumer Culture“ bezeichnet, drehen sich seine Arbeiten weniger um den Status als Ware als vielmehr um die Selektion und das Arrangement von Alltagsobjekten sowie den damit verbundenen Eigenschaften. Die Einzelausstellung von Haim Steinbach im Museum Kurhaus Kleve entsteht in Kooperation mit dem Museion in Bozen.

Artissima Turin
November 2 - 4, 2018
Hamish Fulton, Birgit Jürgenssen, Michael Kidner, Tina Lechner, Paul-Etienne Lincoln, Haim Steinbach, Francesca Woodman, Nil Yalter
Haim Steinbach. Untitled (Pantone 18-2120). 2016
Marcia Hafif
Inventaire
MAMCO, Geneva
February 27 - May 5, 2019
Marcia Hafif. Cadmium Orange (from Splash Paintings). 2010

In September 1978, Marcia Hafif published in the American magazine Artforum an article, entitled “Beginning Again” in which she analyzed the context of her return to painting six years before. Her pictorial career really took off when she was based in Rome between 1961 and 1969, during which she explored programmatically a form of abstraction.* Then followed a conceptual Californian parenthesis in which the media of photography and video acted as her preferred ways of working.

link

Franz Vana
February 28 - March 31, 2019
Museum Hartberg
Birgit Jürgenssen. Tina Lechner
miart 2019. Milano
April 5–7, 2019
Tina Lechner. Justine, 2017/2018

GENERATIONS
Hall 3 – Booth C33
fieramilanocity
viale Scarampo
20149 Milan

Art Cologne 2019
April 11 – 14, 2019
Birgit Jürgenssen / Nil Yalter
Nil Yalter. EXILE IS A HARD JOB, 1976/2015

COLLABORATIONS
HALL 11.1
BOOTH B43
Koelnmesse
Messepl. 1
50679 Cologne

Lawrence Weiner.
WITHIN A REALM OF DISTANCE
Blenheim Art Foundation
October 10 – December 20, 2015
Richard Nonas
The Man in the Empty Space
MASS MoCA, North Adams, Massachusetts
February 13 – September 15, 2016
Art Basel Hong Kong 2016
Booth 3C32
March 24 – 26 2016

The light is back
We might live in a digitalized world, but our love affair with paper has by no means diminished. Inspired by the drawing cabinets of gentlemen and connoisseurs, Galerie Hubert Winter will create a space where visitors have to get closer to the artworks – all of them related to or made out of paper.

Artists:
William Anastasi, Mary Ellen Carroll, Judith Fegerl, Michael Höpfner, Birgit Jürgenssen, Louise Lawler, Tina Lechner, Sol Lewitt, Paul Etienne Lincoln, Richard Nonas, David Robbins, Keith Sonnier, Lawrence Weiner, Hannah Wilke, Lei Xue, a.o.

Lawrence Weiner.
WHEREWITHAL
Kunsthaus Bregenz
November 11, 2016 - January 22, 2017

There are so many varieties of Germanic culture here in Bregenz that are not mixable, and I see that as a kind of geyser, like anything that builds up enough pressure, you have to lance it or pop it, that’s a geyser, that’s a pimple, a pimple popper. You know, that’s what it is. That’s what philosophy is. Philosophy is a popped pimple. All of these simultaneous cultures are teutonic (of a sort) and if you read tectonic as teutonic plates, one can understand the allusion to the geyser.
Lawrence Weiner, Bregenz, September 2016

Mouse Cleaning
James Lewis
FUTURA: KARLIN STUDIOS, Prague
September 2 – October 30, 2016
Lawrence Weiner
February 25 - June 30, 2016
Friedrich Kiesler Stiftung, Vienna
Birgit Jürgenssen at Frieze London
October 5 - 8, 2017
Booth S5
Birgit Jürgenssen. Untitled (Horse). 1973

Galerie Hubert Winter, Vienna is pleased to be invited by Alison M. Gingeras to take part in her curated section Sex Work at Frieze London 2017 with a selection of works from the 1970s by the Austrian artist Birgit Jürgenssen (1949 - 2003, Vienna/Austria).


Birgit Jürgenssen was an extremely gifted and virtuous draftswoman. She deconstructed female stereotypes frequently integrating allusions to surrealist themes into her masterful drawings. The female body and its metamorphosis constitute a central aspect of her work and lead to questions within the socio-critical discourse. Based on the emancipatory potential of Surrealism and on the context of feminism of the 1970s, her practice synthesises a wide range of impulses and generates a multi-layered and manifold body of work from the late 1960s on. The staging of the female body in the light of transformation (recurrent themes are: masquerades, fragmentations, fetish and fusions with animal beings) runs as leitmotif through the artist’s oeuvre. Her work has been lately described as “brilliantly disturbing” by The Guardian, exactly how the art of Birgit Jürgenssen presents itself.

Tina Lechner
October 13 - December 23, 2016
Sotheby´s Artist Quarterly, Vienna
Tina Lechner. Ami. 2015
Nil Yalter
October 14, 2016 - January 15, 2017
ARTER, Beyoğlu, Istanbul
artissima
November 4 - 6, 2016
Judith Fegerl, Birgit Jürgenssen, Tina Lechner
Birgit Jürgenssen. Nest. 1979/2011

Galerie Hubert Winter is pleased to present a selection of works by the three Austrian artists Tina Lechner, Birgit Jürgenssen and Judith Fegerl at Artissima 2016. As diverse as their approaches initially may seem, all three artistic positions overlap at a certain point: They all work at the intersection of technical precision and competence but also in regards to the creation of narrative and visual elements. Each of them has achieved the ability to go beyond the conventional borders of media while using the precision of technical craftsmanship and expression.


Tina Lechner (born 1981 in St. Pölten, lives and works in Vienna) has been investigating these technical possibilities in analogue photography. While the photos capture a strong surface - gauging the whole range of possibility of black and white photography - the human body is coated in self-produced requisites and therefore radically reduced to a geometrical configuration. In her works humankind has lost control over its own creations, blurring the line between living and inanimate, exploring our current state with a retro-futuristic verve. It is the timeless amalgamation of styles, techniques and cultural references that makes her work so original, so striking.

Birgit Jürgenssen (1949 – 2003, Vienna) is well known for her diverse body of works, ranging from photography, drawing, video to sculpture. For Artissima 2016, we present an impressive series of Rayograms she produced in the mid 70s. Without the use of a camera the images are created in the darkroom. The images do not have any negative or positive and can be produced just once.

Birgit Jürgenssen used this effect and enhanced it sometimes with overlays while reducing figures to silhouettes, adding an enigmatic element and ephemeral details - reminiscent of surreal components and dadaist collages at times. Birgit Jürgenssen’s adaption of this camera-less method is just one aspect of her wide-ranging working in different photographical techniques and proves once more her multi-layered and extraordinary multi­faceted ability experimental efforts.

Judith Fegerl (born 1977 in Vienna, lives and works in Vienna) works at the intersection of art and architecture, nature and technology, the organic and the mechanic. Fegerl creates complex networks and circuits in her works - circulations of information, energy, materiality, feeding into each other, enhancing and short-circuiting each other.

The works selected for Artissima address an alternate understanding of electric currents; while her series of sculptural paper works Easy Axis (2016) hypothetically creates a continuous flow of energy due to the used material - waxed paper, graphite and copper wire - Fegerl stretches the technical capacities of these to deliver an unique interaction between material and form. With her works, Judith Fegerl articulates a moment before a sensuous experience, an almost vibrating sense of anticipation and an understanding of time as we await the impending crash of metal.

Specular Windows. Reflections on the Self and the Wider World
21er Haus, Belvedere, Vienna
June 21 – October 29, 2017
Judith Fegerl. bind link mend tie join merge connect patch knit lock adhere hold attach. 2016

Fenster sind Öffnungen, die von innen den Blick auf das Außen einrahmen, während wir uns von draußen in ihnen spiegeln. Dieser Sicht auf das Innere, das Äußere und deren Wechselwirkungen geht die Ausstellung nach. Spiegelnde Fenster zeigt rund sechzig zeitgenössische Werke und einzelne historische Exponate aus der Sammlung des Belvedere,


die allesamt um Erfahrungen von Selbst und Welt kreisen. Die Arbeiten handeln von Utopien und Krisen, dem Grauen des Alltäglichen, Phänomenen des Spirituellen, der Politisierung des Körpers ebenso wie von Soziophysik und Psychonautik, von surrealen Welten und individuellen Mythologien. Im Sinne der Bedeutung von Kunst als Fenster zur Welt wirft die Ausstellung einen Blick auf das Spannungsfeld zwischen Individuum und Gesellschaft und reflektiert zugleich Auswirkungen auf Körper und Geist.

#reflections21

Mit Arbeiten von Marc Adrian, Martin Arnold, Vittorio Brodmann, Georg Chaimowicz, Adriana Czernin, Josef Dabernig, Gunter Damisch, VALIE EXPORT, Judith Fegerl, Michael Franz / Nadim Vardag, Padhi Frieberger, Bernhard Frue, Walter Gamerith, Bruno Gironcoli, Samara Golden, Judith Hopf, Alfred Hrdlicka, Iman Issa, Martha Jungwirth, Jesper Just, Tillman Kaiser, Johanna Kandl, Joseph Kosuth, Susanne Kriemann, Friedl Kubelka/Peter Weibel, Luiza Margan, Till Megerle, Henri Michaux, Muntean Rosenblum, Walter Pichler, Tobias Pils, Arnulf Rainer, Ugo Rondinone, Isa Rosenberger, Gerhard Rühm, Markus Schinwald, Toni Schmale, Anne Schneider, Richard Teschner, Simon Wachsmuth, Rudolf Wacker, Anna Witt

Meret Oppenheim
Opere in dialogo
MASILugano
February 11 – March 28, 2017
Birgit Jürgenssen. Zungenleckschuh/Lick-Tongue Shoe. 1974

Emerging from the works by Meret Oppenheim and her fellow artist are the themes that the artistic imaginary of the time especially focused on: dream-like fantasies and erotic aberrations; the woman as an enchanted creature or a sorceress; fetishism and the relationship with nature. In the post-war years Meret’s work was enriched by her research into abstract art, strongly influencing the following generations of artists; parallels can be drawn with the work of Daniel Spoerri and Birgit Jürgenssen, among others, as well as with contemporary artists like Robert Gober and Mona Hatoum.

www.masilugano.ch

Nil Yalter
Art in Context #31
Museum Ludwig, Cologne
January 16, 2017, 7 p.m.
Tina Lechner
Preface – Image Politics in Fashion and Arts
A-gallery, Tokyo
March 22 - 24, 2017
Tina Lechner. Acephala. 2016

curated by Vivien Sakura Brandl and Andreas Spiegl

The Absent Museum
WIELS, Contemporary Art Center, Brussels
April 20 – August 13, 2017
Nil Yalter. Turkish Immigrant workers near Lyon 1977. 1977 (videostill)

Blueprint for a museum of contemporary art for the capital of Europe

curated by Dirk Snauwaert


...
The title, The Absent Museum, is a nod to the decisive influence that symbolist, ‘mystical-mysterious’ thinking has had and continues to have on Belgian modernity. WIELS does not have the status of a museum, but is commonly referred to as ‘the WIELS museum’. This is a token not only of recognition, but also of the expectations that the Belgian audience and public opinion have towards WIELS as an institution. WIELS therefore has decided to use this temporary exhibition to set out a substantive framework or blueprint for a possible museum of contemporary art in the capital of Europe.

With:
Francis Alÿs, Archives de l'Ambassade Universelle, Younes Baba-Ali, Jo Baer, Monika Baer, Sammy Baloji, Guillaume Bijl, Dirk Braeckman, Marcel Broodthaers, stanley brouwn, Daniel Dewar & Gregory Gicquel, Marlene Dumas, Jimmie Durham, Jana Euler, Olivier Foulon, Michel François, Ellen Gallagher, Mekhitar Garabedian, Isa Genzken, Jef Geys, Jos de Gruyter & Harald Thys, Thomas Hirschhorn, Carsten Höller, Cameron Jamie, Ann Veronica Janssens, Martin Kippenberger, Goshka Macuga, Mark Manders, Lucy McKenzie, Wesley Meuris, Nastio Mosquito, Jean-Luc Moulène, Le Mur, Oscar Murillo, Otobong Nkanga, Felix Nussbaum, Willem Oorebeek, Marina Pinsky, Lili Reynaud-Dewar, Gerhard Richter, Walter Swennen, Wolfgang Tillmans, Rosemarie Trockel, Luc Tuymans, Peter Wächtler, Christopher Williams, Nil Yalter.

Richard Nonas
“… as light through fog…”
Chiesa di Santa Maria della Spina, Pisa
July 14 – October 15, 2017
Richard Nonas, “…as light through fog…”. 2017

ARCHITECTURAL MEMORY PIERCED BY ART


A line. One extended thing in the fog.

A physical mass moving, a spatial intrusion pointing, an almost pure presence lurking, connecting and anchoring. —A line; hard, heavy and slow. An apparition, and, somehow, an extremely complex intrusion into art-history.

For the strange chapel of Santa Maria della Spina has already marked and held me, as it has marked and held others in the past; held us by its actual evasiveness, marked us with its uncanny beauty, its aggressive disconnection to any available context. —Marked me, I mean, as a sculptor in the same way that only the abandoned hamlet of Viere in the French Alps has; held me by both its historical complexity and its absence of emotional solidity —marked and moved me, that is to say, by its own invasive unreality, its insistent non-corporal presence, and by my own desperate need to come to terms with that.

A fog not just of climate but of spatial strangeness; a fog of temporal dissociation, of five hundred years of slow, blurred settling into a kind of ghostly abstraction of exquisite separation, a self-sustaining, ahistorical apparition of pure presence itself.

It is that presence I mean to mark; that singular presence on the Arno's edge —the unconnected wholeness of it, as full and as empty as the river below it.

But I mean to mark it; not add to it or change it. I mean to cut another shadowy wholeness into that ambiguous and foggy wholeness; I mean to lay one shadow onto another, to cut one apparition into another.

Richard Nonas (2017)

Images:
Richard Nonas, Installation view of “…as light through fog…” ARCHITECTURAL MEMORY PIERCED BY ART, Chiesa di Santa Maria della Spina, Pisa, 2017.
© Richard Nonas

NOT FAIR 2017
James Lewis
Palace of Culture and Science, Warsaw
September 21–24, 2017
James Lewis. Sketch for the NOT FAIR. 2017
Judith Fegerl
Nomination for the BC21 Art Award 2017
21er Haus, Vienna
September 20 – November 19, 2017
Judith Fegerl. moment. 2017 // Judith Fegerl. cauter. 2017
An Evening With
Michael Bracewell
Galerie Hubert Winter, Vienna
October 12, 2017 - starting at 7pm
Dexter Dalwood. Glenn Gould. 2016

Galerie Hubert Winter lädt zu einem Abend mit Michael Bracewell, der nicht nur durch seine Romane und Kunstkritiken bekannt ist, sondern viel beachtete Sachbücher zum Thema Popkultur schrieb. Als Ausgangspunkte dienen „England is Mine: Pop Life in Albion from Wilde to Goldie“ (1997), „Roxy Music: Bryan Ferry, Brian Eno, Art, Ideas and Fashion“ (2005) oder „Roxy: The Band That Invented an Era“ (2008).



Michael Bracewell ist ein in London lebender Autor, der bereits mehrere Romane und Sachbücher publiziert hat und überwiegend über zeitgenössische Kunst und Kultur schreibt. Bracewell kuratierte ‘The Secret Public: The Last Days of The British Underground 1977 – 1988’ (Kunstverein München/ ICA, London 2007), ‘The Dark Monarch: Magic and Modernity in British Art’ (Tate St Ives, 2009) sowie im letzten Jahr '….hounded by external events…' (Maureen Paley, London, 2016). Seine ausgewählten Schriften über Bildende Kunst erschienen 2012 unter dem Titel 'The Space Between'.

Eine Veranstaltung im Rahmen von: curated by_vienna 2017: „image/reads/text“.
An event in the context of: curated by_vienna 2017: „image/reads/text“.

Artissima 2017
Richard Nonas, Franz Vana
October 3 - 5, 2017
Franz Vana. Untitled. 1975

Corridor Brown, Booth Nr. 5

www.artissima.it

Birgit Jürgenssen
The Shape of Time
Kunsthistorisches Museum, Vienna
March 6 - June 8, 2018
Birgit Jürgenssen. Untitled. 1991

The Shape of Time is an exhibition of remarkable artworks dating from 1800 to the present day. Borrowed from some of the most important museums and private collections across the world, they have been placed within the rooms of our Picture Gallery in dialogue with our own historical objects and artists, as stepping stones to lead us from the point at which our own collections end to the point at which we stand today.


Visitors are invited to look simultaneously backwards and forwards between objects made many centuries years apart, either of which has the potential to alter our experience of the other. (...)

The artists and pairings in the exhibition are as follows:

Tizian – J.M.W. Turner
Tizian – Pablo Picasso
Tintoretto – Kerry James Marshall
Correggio – Birgit Jürgenssen
Giorgione – Nusra Latif Qureshi
Sofonisba Anguissola – Claude Cahun
Tullio Lombardo – Felix Gonzalez-Torres
Velázquez – Edouard Manet
Caravaggio – Franz West
Bronzino – Lucian Freud
Römische Antike – Paul Cézanne
Römische Antike – Eleanor Antin
Rembrandt – Fiona Tan
Jan Brueghel d.Ä. – Steve McQueen
Peter Paul Rubens – Maria Lassnig
Rogier van der Weyden – Ron Mueck
Rembrandt – Mark Rothko
Dirck Dircksz van Santvoort – Catherine Opie
Pieter Bruegel d.Ä. – Peter Doig

Women House
9 March - 28 May 2018
National Museum of Women in the Arts, Washington
Nil Yalter. Topak Ev. 1973

Helena Almeida, Nazgol Ansarinia, Monica Bonvicini, Louise Bourgeois, Heidi Bucher, Claude Cahun, Pia Camil, Judy Chicago, Johanna Demetrakas, Lili Dujourie, Valie Export, Lucy Gunning, Mona Hatoum, BIRGIT JÜRGENSSEN, Kirsten Justesen, Karin Mack, Isa Melsheimer, Zanele Muholi, Lucy Orta, Leticia Parente, Sheila Pepe, Martha Rosler, Elsa Sahal, Niki de Saint Phalle, Miriam Schapiro, Anne-Marie Schneider, Lydia Schouten, Cindy Sherman, Laurie Simmons, Penny Slinger, Laure Tixier, Ana Vieira, Rachel Whiteread, Sue Williamson, FRANCESCA WOODMAN, NIL YALTER

Marcia Hafif: Films (1970–1999)
July 17, 2018 – September 30, 2018 at Kunstbau
Lenbachhaus, Städtische Galerie im Lenbachhaus, Munich
Marcia Hafif. Vienna Suite I. 1998

Lenbachhaus, Städtische Galerie im Lenbachhaus, Munich

Starting in the 1970s, Marcia Hafif (1929–2018) probed the impact of pure color in paintings that eschewed figuration and composition to represent nothing but themselves. This reduction let Hafif undertake an analytical examination of fundamental components of painting such as material, brushwork, surface, and format. Among the works from the KiCo Collection on permanent loan to the Lenbachhaus are more than twenty paintings and drawings from all periods of Hafif’s oeuvre. They have been on view in presentations of art from the collections on several occasions since 2003.

Marcia Hafif: Films (1970–1999) turns the spotlight on a lesser-known aspect of her oeuvre: film and language. After living and working in Rome for several years in the 1960s, the painter returned to her native California, where she made friends in Los Angeles’s experimental arts scene. Exchanging ideas with artists including Robert Irwin, Nancy Buchanan, Chris Burden, and Barbara T. Smith, she branched out into new formats and media: she created sound installations, continued the exploration of photography she had begun in Rome, and shot short sequences on film. Inspired by directors such as Michelangelo Antonioni and Jean-Luc Godard, Hafif then increasingly devoted herself to moving images and produced her two longest works on film: Notes on Bob and Nancy (1970–1977) and India Time (1978).

Throughout her career as an artist, Hafif also worked on her creative writing. The medium of film allowed her to intertwine her writing and her visual art in an innovative way: many of her films are accompanied by her own texts, which, read by an offscreen voice, form a kind of commentary. This device turns the films into audiovisual essays in which Hafif addresses themes such as escapism and female self-determination—issues that have lost none of their relevance today.

With Marcia Hafif: Films (1970–1999), the Lenbachhaus screens an extensive selection of films the artist created in California, India, and New York, often working on a project for several years. The first dedicated presentation of Hafif’s work on film in Germany offers an important correction to the general perception of the artist as a painter of monochromes, a categorization she repeatedly objected to. Far from being a contradiction, it turns out, the coexistence of filmic narration and painterly minimalism in her oeuvre speaks to an open-minded creative approach that is characteristic of the American art of the 1970s with its scrutinizing reflection on its media.

Marcia Hafif was taking an active and enthusiastic interest from her home in California in the preparations for our presentation of scarcely known works from her oeuvre. Her long-standing gallerist, Fergus McCaffrey, announced the news that she had passed away suddenly in Laguna Beach, California.

Curated by Sebastian Schneider

Code Art Fair 2018
August 30 - September 2, 2018
Judith Fegerl, Helga Philipp
Judith Fegerl: in charge
Book presentation: July 17, 2018, 7pm
secession, Vienna
Judith Fegerl. beads. 2017

Judith Fegerl in conversation with Nina Tabassomi


“The word ‘Leitung’* that appears in black letters on the surface of the white wall that has been painted around it several times identifies the office of the Director. On the occasion of my first meeting with Nina Tabassomi, who had just assumed her position at the Taxispalais, I took a photograph of this lettering. Its meaning however—as it later turned out—manifested within the title of the exhibition and the substance of the museum.” (Judith Fegerl)

(*The German word “Leitung” has two meanings. One is “head of” or being in charge of an institution; and the other is line, as in electrical wiring, a water pipe, etc.)

“Judith Fegerl’s works act as trans­formers towards the exhibition space. Her sculptures, architectural operations and spatial drawings cut themselves into the substance of the exhibition space. Rather than treating the exhibition space as habitat and platform for her own works, her works shape that space. Some works are site­-specific, while others are already present (in a conceptual sense). Yet they both agitate and integrate the set­tings in which they are presented. Objects that lie beyond the reach of our material concepts and cognitive matrix assume form in provocative, beau­tiful and brutal ways.” (Nina Tabassomi)

This catalogue succeeds the solo show Judith Fegerl in charge at the Taxispalais Kunsthalle Tirol. The publication witnesses and discusses interventions both sustainable and ephemeral performed at the core of the museum.

Judith Fegerl in charge, July 1—August 27, 2017, curated by Nina Tabassomi, director, Taxispalais Kunsthalle Tirol

Simone Fattal in conversation with Lorenzo Giusti
September 14, 2018 / 7 pm
Galerie Hubert Winter, Wien
Simone Fattal. Autoportrait, 1971 / 2012
Parallel Vienna 2018
September 25 - 30, 2018
Birgit Jürgenssen, Helga Philipp
Birgit Jürgenssen. Blindspot. 2002/2010

Parallel Masters
Lassallestrasse 1
1020 Vienna

James Lewis
September 27 - 30, 2018
viennacontemporary, Zone 1, Booth F16
James Lewis

www.viennacontemporary.at

Marx Halle
Karl-Farkas-Gasse 19
1030 Vienna
Austria

DAMA Turin
November 1 - 4, 2018
Tina Lechner
Tina Lechner. Xiao. 2018
Veiled, Unveiled! The Headscarf
October 18, 2018 – February 26, 2019
Weltmuseum Vienna
Tina Lechner. Lex, 2018
Talks about Art in Public Space: Nil Yalter
November 15, 2018. 7.30 pm
Kunstraum Niederösterreich. Vienna
Nil Yalter. Kunstraum Niederoestereich © eSeL 2018

"...die politischen Ereignisse waren so stark, es war einfach nicht mehr möglich im Atelier zu sitzen und nicht daran teilzunehmen..." Nil Yalter