A career-spanning survey of the adored French artist whose conceptual works explore the tensions between the observed, the reported, the secret and the unsaid.
This volume accompanies the eponymous show at the Walker Art Center in Minneapolis, which is the first exhibition in North America to explore the range and depth of artist Sophie Calle's practice across the past five decades.
A massive panorama of Eastern Europe's postwar avant-gardes, featuring both canonical and lesser-known artists.
Multiple Realities offers a sweeping survey of experimental art made in six Central Eastern European nations?GDR, Poland, Czechoslovakia, Hungary, Romania and Yugoslavia?during the 1960s to 1980s. Despite their geographical proximity, artists working during this time encountered different conditions for daily life and art-making, confronting varying degrees of control and pressure exerted by state authorities.
Embracing conceptual or formal innovation and a spirit of adventurousness, Multiple Realities sheds light on ways that artists refused, circumvented, eluded and subverted official systems, in the process creating works often riddled with wit, humor or irony. While it presents select canonical figures from the region, the exhibition foregrounds lesser-known practitioners, particularly women artists, artist collectives and those exploring embodiment through an LGBTQ+ lens.
Artists include: Milan Adamciak, Autoperformationsartisten, AWACS, Lubomír Benes, Sándor Benkö, A.E. Bizottság, Vladimir Bonacic, Geta Bratescu, Adina Caloenescu, Zdenka Cechová, Vera Chytilová, Lutz Dammbeck, Jan Dobkowski, Sherban Epuré, Barbara Falender, Lászlo Fehér, Stano Filko, AG Geige, Teresa Gierzynska, Karpo Godina, Tomislav Gotovac, Ion Grigorescu, Wiktor Gutt & Waldemar Raniszewski, Gino Hahnemann, Heino Hilger, Károly Hopp-Halász, Janós Istvány, Sanja Ivekovic, Libuse Jarcovjáková, Zeljko Jerman, Krzysztof Jung, Eva Kmentová, Milan Knízák/AKTUAL Group, Július Koller, Jirí Kovanda, Gyula Konkoly, Kryzys, Jolanta Marcolla, Florin Maxa, Tomislav Mikulic, Teresa Murak, Katalin Ladik, Matei Lazarescu, Natalia LL, Ana Lupas, Dóra Maurer, Simon Menner, Andrzej Mitan, Kolomon Novak, Ewa Partum, Plastic People of the Universe, Polish Radio Experimental Studio, Queer Art Institute, Józef Robakowski, Jerzy Rosolowicz, Akademia Ruchu, Zbigniew Rybczynski, Alina Szapocznikow, Peter stembera and Krzysztof Wodiczko.
The Spectacular of Vernacular traite du rôle des formes vernaculaires dans le travail de 26 artistes qui utilisent l'artisanat, le folklore et le kitsch en bordure de route pour explorer le rôle de l'iconographie culturellement spécifique dans le monde de plus en plus global de l'art. S'inspirant de sources telles que l'architecture locale, les photographies d'amateurs et les banderoles des États-Unis, leur travail couvre tout le spectre, du plus élégant au plus artisanal. Parmi les artistes présentés, on retrouve notamment Matthew Day Jackson, Dario Robleto, Lari Pittman, Marc Swanson, Rachel Harrison, ou William Eggleston.
En dépit de son statut apparemment jetable, l'image de stock libre de droit devient le produit de base d'une industrie mondiale qui a des effets considérables sur le marché. Partant de cet aspect négligé de la vie contemporaine, Ordinary Pictures explore les intérêts commerciaux qui ont donné naissance à notre culture de l'image générique à travers le travail conceptuel de quelque 40 artistes, dont John Baldessari, Steven Baldi, Sarah Charlesworth, Anne Collier, Liz Deschenes, John Divola, Aleksandra Domanovic, Hans-Peter Feldmann, Morgan Fisher, Hollis Frampton, Jack Goldstein, Rachel Harrison, Robert Heinecken, Leslie Hewitt, Elad Lassry, Louise Lawler, Sherrie Levine, Sherrie Levine, Steve McQueen, Jack Pierson, Peter Piller, Seth Price, Amanda Rossotto, Ed Ruscha, Steven Shore, Sturtevant, Mungo Thomson, Wolfgang Tillmans, Tseng Kwong Chi, Julia Wachtel et Christopher Williams.
Accompagnant une exposition au Walker Art Center présentant des oeuvres du début du XXe siècle à aujourd'hui, The Paradox of Stillness: Art, Object, and Performance examine la notion d'immobilité en tant que geste à la fois performatif et visuel, mettant en vedette des praticiens qui ont construit des expériences statiques ou quasi-statiques qui planent quelque part entre l'action et la représentation. L'exposition explore la façon dont la performance a réinterprété les médiums artistiques traditionnels à travers me travail de nombreux artistes internationaux tels que Marina Abramovic, Merce Cunningham, Giorgio de Chirico, VALIE EXPORT, Gilbert et George, Félix González-Torres, Maria Hassabi, Jannis Kounellis, Kasimir Malevich, Piero Manzoni, Robert Morris, Senga Nengudi, Michelangelo Pistoletto, Oskar Schlemmer, Sophie Taeuber-Arp, Cindy Sherman, Mario Garcia Torres et Franz West.
A handsomely designed overview of Chan's acclaimed Badlands imprint and his latest sculptural series exploring the metaphor of the "breather".
This volume surveys Paul Chan's publications and works made between 2010 and 2022 following his return to artmaking. The exhibition takes as its organizing principle the notion of the "breather," a word that can signify a moment of rest or pause but can also reference a purposeful redirection toward other activities.
Chan's turn to publishing through the founding of his independent press Badlands Unlimited represented a type of "breather." Badlands for Chan embodied a radical break that seeded new ideas and ways of working. The term is also what Chan titles a recent major body of work. Breathers is an ongoing series of pneumatic sculptures and installations that he considers a new genre of moving-image works. Tacitly and overtly, the metaphor of the "breather" underscores each of the works in the Walker Art Center exhibition, which, with the artist's input, is conceived in four sections. The exhibition catalog includes scholarly contributions by Chan; Pavel Pys, Curator of Visual Arts at the Walker Art Center; and Vic Brooks, Senior Curator of Time-based Visual Art at Experimental Media and Performing Arts Center Rensselaer Polytechnic Institute (EMPAC).
Paul Chan (born 1973) is an artist, writer and publisher who lives in New York. Chan is the winner of the Hugo Boss Prize in 2014, a biennial award honoring artists who have made visionary contributions to contemporary art. Chan founded the independent press Badlands Unlimited in 2010. Badlands has published over 50 books, including the works of Yvonne Rainer, Calvin Tomkins, Lynne Tillman, Hans Ulrich Obrist, Carroll Dunham, Claudia La Rocco, Dread Scott, Martine Syms, Craig Owens, Petra Cortright, Cauleen Smith, Ian Cheng, Rachel Rose, Aruna D'Souza and many others.
Six decades of sculptural innovation from the Arte Povera pioneer and alchemist of the everyday.
Over the course of more than five decades, Jannis Kounellis developed a singular practice across painting, works on paper, sculpture, installation and hybrid works combining objects with live performance. Playing a central role in the Italian Arte Povera movement of the 1960s and early 1970s, Kounellis created wide-ranging and innovative works exploring theater, migration, history, politics and other themes, which continue to influence subsequent generations of artists.
Published by the Walker Art Center for the first US Kounellis survey in over 35 years, Jannis Kounellis in Six Acts offers the most comprehensive assessment of his career to date. The richly illustrated catalog, assembled with the full cooperation of the artist's estate and archive, presents a first-of-its-kind collection of visual materials and Kounellis' writings, including image-based exhibition and performance chronologies. The volume also features essays by Vincenzo de Bellis, Claire Gilman, Kit Hammonds and Ara H. Merjian.
Jannis Kounellis (1936-2017) was born in Piraeus, Greece. In 1956, he moved to Rome and by 1960 was an active member of the Arte Povera movement. In 1969 he created one of his best-known works: the installation of 12 live horses in the gallery L'Attico in Rome. Kounellis' first New York solo show was in 1972. Recent exhibitions have been held at the Museum of Cycladic Art, Athens, Greece (2012) and the Neue Nationalgalerie, Berlin, Germany (2007), among others.
Publié à l'occasion de sa toute première rétrospective au Walker Art Center, ce volume passe en revue trois décennies de la pratique multisupport de Pacita Abad. S'appuyant sur sa connaissance des traditions mondiales de la fibre, elle a créé une forme d'art hybride qu'elle a appelée la peinture "trapunto" (du mot italien trapungere, "Broder"). Fabriquée en cousant et en rembourrant ses toiles peintes au lieu de les fixer sur un cadre, elle s'est attachée à créer des oeuvres légères et portables, témoignant de sa vision nomade du monde et son attachement à la diversité culturelle. Son travail des textiles évoque des formes de travail féminines non occidentales qui ont été historiquement marginalisées en tant qu'artisanat.
