Regarded as a founder of Conceptual Art, Sol Lewitt devised guidelines and diagrams that allowed for artworks, such as his wall drawings, to be executed by his assistants. This has led rise to the myth that the artist didn’t do work himself, when in fact he worked prolifically - in one summer alone painting more than 260 gouaches and often working seven days a week.
Here we learn not just how Lewitt worked, but about the kind of man he was, as remembered by his former assistant Jeremy Ziemman and the curator of the Sol Lewitt Collection, Janet Passehl.
Often considered El-Salahi's masterpiece, The Inevitable was first conceived by the artist during his wrongful imprisonment. Deprived of paper, El-Salahi would sketch out plans for future paintings on the back of small cement casings, before burying them in the sand whenever a guard would come near. Working in this manner led to the artist developing a new style, one seen in The Inevitable, where a painting spreads out from what he refers to as the 'nucleus', or the germ of an idea, with a meaning hidden even from the artist himself until the work is finished.
Only when he saw The Inevitable completed did El-Salahi realise how clear the message was; that people must rise up and fight tyranny and those that suppress them. This was something he felt was relevant not just to his own life when he created the work in the mid-eighties, but to all of Sudan.
Art Cologne is the world’s oldest and longest running fair for 20th and 21st century fine art. Founded in 1967 the fair for modern and contemporary art was once the undisputed number one. After some difficult years, the fair is on the rise again. The strategy of former gallerist Daniel Hug pays off, more and more renowned galleries participate in the fair again. But the fair not only succeeded in bringing back the big name art dealers, but also strengthend its relevance for presenting and supporting emerging art with the integration of the NADA fair. Art Cologne is also deeply rooted in the art scene in the Rhineland, with its artists, collectors, and art dealers. This time, this becomes visible in the supporting program of the fair and the activities of the museums, galleries and collectors on the occasion of Art Cologne 2013. At the fair, the Julia Stoschek Collection stages a special exhibition of video art. The record label Kompakt presents a sound installation at the fair. Museum Ludwig opens two solo shows with Phil Collins and Andrea Fraser, Ludwig Forum in Aachen a solo exhibition with Michael E. Smith. In addition to that, the galleries in Cologne and Düsseldorf have special openings on Art Cologne Friday.
Art Cologne 2013 – 47. Internationaler Kunstmarkt, Cologne (Germany). Vernissage, April 18, 2013.
Robert Adams: The Place We Live.
Retrospektive des fotografischen Werks
30. Juni bis 29. September 2013
Der Amerikaner Robert Adams (geb. 1937 in Orange, New Jersey) gilt heute mit Lee Friedlander und Robert Frank als Klassiker der künstlerischen Fotografie der letzten Jahrzehnte. Obwohl sein Werk in jüngerer Zeit auch in Europa zunehmend bekannt geworden ist, kommt es doch erst jetzt zu einer ersten umfassenden Präsentation seiner Arbeit. Diese Ausstellung, die mehr als 300 fotografische Originalabzüge umfasst, wird nach Stationen in Vancouver, Los Angeles, Denver, Madrid (Museo Reina Sofia) und Paris (Musée Jeu de Paume) auch im Bottroper Josef Albers Museum gezeigt, als einziger Station in Deutschland. Robert Adams verbindet mit Josef Albers und dessen Museum in Bottrop eine lang dauernde Wertschätzung. Konzipiert wurde die Ausstellung von der Yale University Art Gallery gemeinsam mit dem Künstler.
Wie kein anderer Fotograf des 20. Jahrhunderts hat sich Adams mit der Landschaft des amerikanischen Westens auseinandergesetzt. Der Westen ist bei ihm zunächst eine Region mit klaren geografischen Koordinaten – das Gebiet von den großen Ebenen über die Rocky Mountains bis zum Pazifik. Adams' Blick ist ausdrücklich sachlich, detailliert und versucht eine genaue Bestandsaufnahme. In schwarz/weißen Fotografien, die oft mit einer großformatigen Plattenkamera aufgenommen sind, zeigt er die urbanen Zentren und ländlichen Gebiete Colorados, Kaliforniens und Oregons.
Tomás Saraceno - in orbit
From June 22, 2013
Suspended more than 25 meters above the piazza of the K21 is Tomás Saraceno‘s gigantic installation in orbit. This steel wire construction spans the museum‘s vast glass cupola on three different levels. Positioned within this net structure, which encompasses altogether 2500 m², are half a dozen „spheres“ – inflated PVC spheres having diameters up to 8.5 meters. Visitors have access to this transparent installation, and can move freely between the spheres on all three levels.
in orbit resembles a surreal landscape, is reminiscent of a sea of clouds. Those bold enough to clamber high into the work set beneath the glass cupola perceive the museum visitors far below them from the lofty heights as tiny figures in a model world. Viewed from below or from intermediate levels of the Ständehaus, conversely, the people enmeshed in this net seem to be swimming in the sky.
This floating spatial configuration becomes an oscillating network of relationships, resonances, and synchronous communication. When several people enter the audacious construction simultaneously, their presence sets it into motion, altering the tension of the steel wires and the intervals between the three meshwork levels. Visitors can coordinate their activities within the space, and are able – not unlike spiders in a web – to perceive space through the medium of vibration. Saraceno himself speaks of a new hybrid form of communication.
By virtue of its magnitude and radicality, in orbit has no precedent in Saraceno‘s oeuvre to date. Even visitors who do not wish to climb the net or hang suspended above the abyss, but who choose instead to explore the installation in exclusively visual terms are confronted with themes of flight, falling, and floating, are inevitably gripped by the archetypal emotions associated with these states. „To describe the work means to describe the people who use it – and their emotions,“ explains Saraceno. Rarely his any work of art zeroed in so directly on the emotional lives – the fears and desires – of beholders or intervened with such immediacy into the experiences of those who expose themselves to adventure.
in orbit was planned by Saraceno over a period of three years in collaboration with engineers, architects, and biologists, and is his most elaborate installation to date. And although the mesh construction alone weighs 3 tons, and the largest of the „spheres“ 300 kilos, this work – which was adapted with precision to the unique setting of the Ständehaus – seems decidedly lightweight, its fineness and stability calling to mind the structure of a spider‘s web. For many years, the artist has studied the methods by which various species of spider construct their webs, and he incorporates insights into their functionality, beauty, and strength into his own artistic praxis.
While the precise observation of nature and the conceptual development of its phenomena form the bases of Saraceno‘s work, art-historical references ranging from Jules Verne to the American architecture and visionary Richard Buckminster Fuller are noticeable as well. The worldwide realization of utopian architecture has been Saraceno‘s guiding theme in recent years. Each of his projects – including „in orbit“ – is an element of the utopian large-scale project Air-Port-City, a floating city of the future. Saraceno regards the cloud city as a socialist and utopian dream, and as a response to the growing uninhabitability of the earth, to worldwide population growth, and to dramatic ecological crises.
In cooperation with Studio Saraceno, Berlin
a film by Ralph Goertz
IKS - Institut für Kunstdokumentation
filmed with AF 101 / ARRI LWZ / Schneider Cine Xenar / 5D Mk2 / HPX 371
Musik: "Chanson d'amour fireproof remix" by Fireproof_Babies (feat. BOCrew, angelzero)
© IKS-Medienarchiv 2013
ArT ExHIBITIoNs aNd FesTIvaLS
videos from different art exhibitions and festivals around the world