In her exhibition Homage, Jill Magid considers the eschewal of intellectual property rights in favour of sharing. This concept is explored through the mutually respectful relationship between the Bauhaus modernist Joseph Albers and Mexico’s modernist architect Luis Barragán. Aided by the precise notes Albers left on the back of his paintings which tell of the colours, brands and condition of each of the paints he used, Magid makes her own ‘Homages’, forging Albers’ works according to his own instructions. Complementing these paintings, a series of ‘Butaque’ chairs will be on view, which Magid has made through a process of further replication, involving the work of Mexican-based designer Clara Porset. She worked with Barragán, and was friends with Albers, allowing the latter to trace the dimensions of her chair and reproduce it for every room in Black Mountain College — a version that is attributed to Albers. Furthering the logic of this appropriation, Magid presents her own Butaque chair, made by tracing the contours Albers’ own traced version. Homage is Jill Magid’s first solo exhibition with the Zurich based gallery RaebervonStenglin.
The exhibition Collection Röthlisberger | Miroirs – Spiegel at Kunsthalle Fribourg marks the largest presentation dedicated to designers and architects, Trix and Robert Haussmann, in over a decade. Since 1967, the couple has built an idiosyncratic oeuvre that has continuously challenged architectural, design and aesthetic conventions, and has explored many creative perspectives, such as poetry composed by chance, drawings, collages and texts. The exhibition, composed entirely in collaboration with Trix and Robert Haussmann, examines every aspect of their research, and weaves together different bodies of work, including furniture objects belonging to the Röthlisberger Collection, as well as a series of unique mirror’s made in the 1980’s. In addition, they have conceptualized, designed and produced about 10 new mirror works from 2014 that will be installed in the space of the Kunsthalle to create different optical illusions.
Snake Grass is the first institutional solo exhibition in Germany of the French artist Camille Henrot, which also includes new works of Henrot’s ikebana sculpture series Is it possible to be a revolutionary and like flowers? Since 2011 Camille Henrot translates various books of her private library into delicate flower arrangements, referring to quotes of the selected books. Each one of those deals with the subject and the other, with exoticism and authenticity but also tries to give an answer to basic questions of anthropology. For this exhibition, Camille Henrot expands the series on new ikebana sculptures referring to works by Alexander von Humboldt, Novalis and Hannah Arendt. In addition, the Schinkel Pavillon will open the former Schinkel Bar in its souterrain for the first time to screen the artist’s The Strife of Love in a Dream. The film was shot in India; pictures of a pilgrimage appear again and again, an Indian pharmaceutic production facility producing medicine against anxiety states and the taking of snake venom.
With Number Eight: Sturtevant the Julia Stoschek Collection is showing a solo exhibition of the work of Paris-based American artist, Sturtevant. Ever since her first show, she questioned the purpose, autonomy and authorship of art, by repeating other artists’ works and concepts. Contrary to popular belief, this method did not center on the pure imitation of an artwork, rather Sturtevant was more interested in the imaginary space that opens up behind it and thus creating a critical debate on the surface, the product and the autonomy of a work of art. Even though she repeated works shortly after they were produced, sometimes in the same year, they were later considered renowned masterpieces. From 2000 onwards, the inclusion of mass-media images and Sturtevant’s own filmed material led her to produce works in the medium of video. Now against the background of the World Wide Web, the transgressions, the boundlessness, the borders and its decay, she analyses the origins of knowledge, art and culture, and addresses the question as to how they can be produced and shared.
Sturtevant Finite/Infinite, 2010
Under the title, High Performance. Time-based Media Art since 1996, Julia Stoschek Collection presents key works of time-based media art at the ZKM | Center for Art and Media Karlsruhe. With large-format video works and films, as well as multichannel spatial installations, the exhibition demonstrates that as an artistic medium, video art, which first began fifty years ago, has lost nothing of its force. The 50 works on the subjects of ‘body and soul’, ‘public space’, ‘environment’ as well as ‘virtual reality’ offer an in-depth insight into the most recent developmental history of the collection since 1996. In addition, a comprehensive compilation documents the most important performances to have been on show at the Düsseldorf collection building.
How does a digitally oriented generation, for whom creativity, sustainability, and mobility are more important than status, live? This is the question explored in Freunde von Freunden’s and Vitra’s first apartment in Berlin. Building upon their common styles and experiences, the FvF Apartment by Vitra on Mulackstrasse offers a glimpse into the world of the Swiss furniture manufacturer’s collage and visualizes the interview magazine’s conceptualization of urban living. The 65sqm ‘Altbau’ apartment has been rebuilt and designed to be adaptable to the diverse scenarios of everyday life.
The fifth edition of the Marrakech Biennale poses the question Where are we now? through a dialogue between four disciplines: visual arts, cinema / video, literature and performing arts, the latter a new discipline of the Marrakech Biennale as of 2014. This question can be raised in different fields of the geographical, philosophical and socio-political discourse. Marrakech developed hundreds of years ago into one of the main cultural and religious centres for the Maghreb and sub-Saharan Africa. Today the city still finds itself within Morocco, the Maghreb, Africa and with a close connection to the Middle-East; but also in the middle of a transition phase of our global society. Founded as a reaction to the international political situation in the beginning of the 21st century and the consequent negative perception of the Arab world, the aim is to gather local, regional and international audiences in order to stimulate dialogues, and to invite emerging and established artists from all over the world to create new pieces of site-specific nature.
This Sweetness Outside of Time. Objects, Books and Films from 1959 to 2014 is the first solo exhibition addressing all aspects of Dorothy Iannone’s opus rich in splendour, humour and the erotic, shifting the focus again to one of the most unusual women artists of the 20th/21st century. For this purpose this comprehensive retrospective is bringing together loans from museums and private collections elsewhere in Germany and Europe, with the aim to illustrate the intermediality and radical subjectivity of this unique artistic ouvre and to make the innovative energy in the art of Dorothy Iannone known to a wider audience. As a pioneering spirit against censorship, for free love and autonomous femal sexuality, the major topic of Dorothy Iannone’s paintings, texts and books is the ecstatic love, which draw uncompromisingly on her own life. Although her depictions of the sexual union between man and woman have an unmistakably mystical dimension rooted in the spiritual and physical union of opposites, her art frequently fell foul of the censors because of allegedly pornographic content.
Run by cultural producers, the Berlin Art Prize is a non-institutional award with the aim to encourage Berlin-based-artists in their autonomous work and to validate their creative work processes. Three artists are honored by a jury composed of local art professionals, with a group exhibition, an accompanying catalog, a residency, prize money and a trophy, and an additional 30 nominated artists will be included in the group exhibition and the catalog. Unlike other awards the artists are evaluated anonymously, with the jury only taking artistic ability into consideration. In June 2014 the next Berlin Art Prize will be awarded, followed by the exhibition, concerts, talks, and events.
In November 2012, Studio Manuel Raeder began developing the three display structures and furniture that make up La letra E está por doquier (The Letter E is everywhere) with fellow studio designer Santiago da Silva for Centro de Diseño de Oaxaca. As the first public institution of its kind in Mexico, it understands design as a tool for social change and, coinciding with the ethos of Studio Manuel Raeder, follows the understanding that form relates to production and production to alternative economic relations based on dialogue and the exchange of ideas. As a result the furniture features seating made out of plastic, wooden stools and upturned buckets, as well as the ubiquitous white plastic Monobloc chairs, reconfigured and covered with woven palm leaf. The modular cake table was produced in collaboration with a furniture factory and local wood producers in Oaxaca. Additionally the cubic structures display a selection of catalogues and artists’ books produced by Studio Manuel Raeder over the past ten years, as well as collected and found objects such as art wares, which the designers collected from their stay in Mexico.