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HAMISH FULTON
INDOORS OUTSIDE
29 / 05 / 2015 - 04 / 09 / 2015
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espaivisor gallery is one of the “Europe’s Top 55 Galleries You Need To Know” by Artnet
24/07/2015

https://news.artnet.com/art-world/europes-top-galleries-know-part-2-313286

Europe's cities offer a wealth of contemporary art galleries, making the continent an important destination for art lovers across the world. Those looking to admire both established and leading artists, as well as seek out new and emerging talent, flock both to the obvious choices such as London, Berlin, and Paris—not to mention Basel—but also to lesser-known hot-spots like Istanbul, Budapest, and Athens.

While London may be the dominant center, offering a one-stop-shop option for traveling Middle Eastern, Russian, and Asian collectors, in addition to home-grown ones, the European art markets continue to thrive and excite. What's more, Europe's galleries are usually “must-go" destinations if you are following an emerging European talent.

But the European market is eclectic, scattered, and in constant flux. Berlin is still a hotspot, but other hubs are on the rise. Selecting the continent's top commercial galleries can be a tricky task. artnet News has picked 55 contemporary galleries from all across Europe that you need to know. The carefully selected group combines well-known galleries that enjoy widespread recognition, listed by location, as well as smaller spaces that deserve to be in the spotlight.

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TOMISLAV GOTOVAC, SANJA IVEKOVIĆ, LEA LUBLIN: CONSTRUCTION TO TRANSMISSION: ART IN EASTERN EUROPE AND LATIN AMERICA, 1960–1980. MOMA. 05.09.2015 – 03.01.2016
15/06/2015
Construction to Transmission: Art in Eastern E

Construction to Transmission: Art in Eastern Europe and Latin America, 1960–1980.

September 5, 2015–January 3, 2016.

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor.

Construction to Transmission: Art in Eastern Europe and Latin America, 1960–1980 focuses on the parallels and connections among an international scene of artists working in—and in reference to—Latin America and Eastern Europe during the 1960s and 1970s. The radical experimentation, expansion, and dissemination of ideas that marked the cultural production of these decades (which flanked the widespread student protests of 1968) challenge established art-historical narratives in the West. Artists from Prague to Mexico City developed alternative and ever-expanding networks of distribution and organization, via Paris, Vienna, and Venice, to circumvent the borders established after World War II, local forms of state and military repression, and Western accounts of artistic mastery and individualism. One major transformation across Latin American and Eastern European art scenes was the embrace of institutional critique and an emphasis on the creation of art outside a market context. The exhibition brings together landmark works from MoMA’s collection by Eastern European artists including Geta Brặtescu, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, Dóra Maurer, and the anti-art collectives Gorgona, OHO, Aktual, and Fluxus East, as well as Latin American artists such as Beatriz González, Lea Lublin, and Ana Mendieta. Particular attention is paid to the group of Argentine artists clustered around the influential Instituto Torcuato Di Tella, including Oscar Bony, David Lamelas, and Marta Minujín, who confronted the aesthetic and political implications of mass media communication—including film, television, and the telex—during a vibrant, experimental period of technological innovation and political tension. Featuring series of works and major installations, several of which are on view for the first time, Construction to Transmission: Art in Eastern Europe and Latin America, 1960–1980 highlights multiple points of contact, often initiated and sustained through collective actions and personal exchanges between artists. The exhibition suggests possible counter-geographies, realignments, alternative models of solidarity, and new ways of thinking about art produced internationally in relation to the frameworks dictated by the Cold War. Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art; Roxana Marcoci, Senior Curator, Department of Photography; and Christian Rattemeyer, Associate Curator, Department of Drawings and Prints; with Giampaolo Bianconi and Martha Joseph, Curatorial Assistants, Department of Media and Performance Art.
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LEA LUBLIN: RETROSPECTIVE. LENBACHHOUSE – MUNICH. 25.06.2015 – 13.09.2015
Lenbachhaus presents the first retrospective exhibition dedicat

Lenbachhaus presents the first retrospective exhibition dedicated to Argentine-French artist Lea Lublin (1929 Brest, Poland – 1999 Paris). Having begun her career as a painter in Buenos Aires, Lublin radically changed course in the mid-1960s to create art that would offer the greatest possible agency and participation for its audience. Lublin belonged to a generation of such artists as Lygia Clark and Allan Kaprow, committed to overcoming the boundaries separating ‘art and life’. Seeking dialogue and confrontation, Lublin’s approach was at once sensual and didactic, challenging yet egalitarian. Her work closely engaged with currents in critical theory, philosophy, and art of her time, and brings them alive for us today. Though familiar to her artistic peers and a younger generation of scholars in France and Argentina, Lublin’s work is still largely unfamiliar to a broader international audience. Spanning three decades, the exhibition at Lenbachhaus focuses on several essential chapters in the artist’s trajectory: the abandonment of painting in favour of environments and actions, the use of dialogue as an art form, the deconstruction of art historical imagery from a psychoanalytical and feminist standpoint, and the inquiry into Marcel Duchamp’s sojourn in Buenos Aires. In addition to photographs, drawings, wall installations, and videos, the exhibition will feature a reconstruction of Lublin’s most ambitious environment “Fluvio Subtunal“ (1969).

On the occasion of the exhibition, Lenbachhaus has restored and preserved a large body of key works from the artist’s estate. Many works are on view for the first time in 20 years. International loans from The Museum of Modern Art in New York, the Centre national des arts plastiques, the Fonds régional d’art contemporain Alsace, and the Bibliothèque nationale de France complete the presentation.

A copiously illustrated catalogue will be published in conjunction with the exhibition featuring contributions by Stephanie Weber, Thibault Boulvain, Catherine Francblin, Teresa Riccardi, Monika Bayer-Wermuth, Isabel Plante, and Pierre Restany. The publication features Lublin’s most important writing and, for the first time, translations of her texts into English and German.

Städtische Galerie im Lenbachhaus. Luisenstraße 33. D-80333 Munich.

http://www.lenbachhaus.de/exhibitions/lea-lublin/?L=1

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SANJA IVEKOVIĆ. ICH WAR, ICH BIN, ICH WERDE SEIN! DAADGALERIE. 06.06.2015 – 01.08.2015
Sanja Iveković has been conceiving and executing projects for

Sanja Iveković has been conceiving and executing projects for the public sphere since the 1970s. A recurrent theme of her work involves the forms and context of the official culture of memory. With her proposal to reconstruct Ludwig Mies van der Rohe’s monument for Rosa Luxemburg, Karl Liebknecht, and the revolutionaries of the workers’ movement from today’s vantage point, Iveković challenges the dominant politics of remembrance and harks back to the monument’s heavily-contested history, echoes of which could be heard long after the monument was destroyed in 1933.

In the exhibition “Ich war, ich bin, ich werde sein!” (“I was, I am, I shall be!”), Iveković presents the conceptual foundation of the historic “Monument to the November Revolution” by Mies van der Rohe as a research object within the context of left-wing revolutions. She uses the original monument as well as her own proposal as a vehicle to examine and shed light on latent conflicts and contradictions.

The central question of the accompanying symposium, “Memorial For(u)ms – Histories of Possibility” which will take place in HAU on 3–4 July, 2015 is: what kind of discursive and aesthetic form can be attached to a (failed/ unfinished) revolution and what would a reconstruction of the monument stand for today? Rosa Luxemburg’s canonical question ‘Reform or Revolution?’, together with contradictions surrounding the November Revolution of 1918/19 will serve as points of departure for an inquiry into the contradictory nature of revolutionary memory and its form, which merges martyrdom and heroism, optimism and melancholia.

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Sanja Iveković. Ich war, ich bin, ich werde sein! 6. Juni–1. August 2015.

Eröffnung Freitag, 5. Juni 2015, 19–21 Uhr.

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daadgalerie.

Zimmerstraße 90.

10117 Berlin.

www.daadgalerie.de Mo–Sa 11–18 Uhr.

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Memorial For(u)ms – Histories of Possibility. Symposium mit Mikkel Bolt Rasmussen,Boris Buden, Ekaterina Degot, Jodi Dean, Gal Kirn, Bojana Pejić, Gerald Raunig, Milica Tomić, Jelena Vesić, Siegbert Wolf, Ross Wolfe u.a. kuratiert von Antonia Majaca.

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Eine Produktion des Berliner Künstlerprogramms des DAAD in Zusammenarbeit mit dem HAU Hebbel am Ufer.

3.–4. Juli 2015, 16–21 Uhr.

HAU 1.

Ticketpreis pro Tag: € 8 (ermäßigt € 5).

HAU 1.

Stresemannstraße 29.

10963 Berlin.

www.hebbel-am-ufer.de

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