Wednesday, November 7, 2018

Lee Bul - Crash. Martin Gropius Bau. Berlin

From website: Lee Bul is one of the most important Korean artists of her generation, having received significant international recognition for her formally inventive and intellectually provocative work. From 29 September 2018 to 13 January 2019, the Gropius Bau presents Crash, her first solo exhibition in Germany. This comprehensive survey is the first exhibition Stephanie Rosenthal has curated as the new director of the Gropius Bau.Lee Bul’s diverse body of work comprises of performance and installation art that explores dreams, ideals and utopias influenced by futurist theories and science fiction, bioengineering and visionary architecture. Crash seeks to enthral and spark the imagination of many as a multi-sensory experience composed of several experimental elements. The works on display are characterised not only by sensual expressiveness and humour, but also by Lee Bul’s own experiences with and subtle allusions to the history and politics of Korea. Lee Bul's expansive stage sets and landscapes experiment with unusual materials such as mother-of-pearl, crystals, leather or velvet, revealing imaginative topographies and revisiting utopia. Throughout her now 30-year artistic career, Lee Bul has been witness to South Korea’s evolution – from military dictatorship to democracy in perpetual confrontation with North Korea, located only kilometres away. Her works attest to an intense reflection of both historical and political discourses, to the challenges of globalisation and technical progress, but also to the pursuit of ideals of human and social perfection, and their potential failure.

entering the karaoke pod.

martin gropius bau

Saturday, November 3, 2018

Martian Dreams Ensemble. GFZK Leipzig

Martian Dreams Ensemble transports us to Mars and back via dreams, projections and desires. By means of music as well as using spatial and graphic approaches, the Ensemble plays with the possibilities of the exhibition format. The ensemble comprises the graphic artist Marie Proyart, the musician Julien Perez, the diorama designer Joi Bittle and the architect Martial Galfione. Dominique Gonzalez-Foerster brings them all together – in the exhibition, in the concert and in the space.
If one views the exhibition as the sum of various thoughts and questions, Martian Dreams Ensemble is concerned with the following: dreams of people, dreams of Martians and Martian culture, dreams of the future and the past of the planet Mars for us as human beings. As is the case in many of her other works, the artist’s interest in Mars is inspired by works of literature. Here she refers explicitly to Ray Bradbury‘s “The Martian Chronicles” and “The Illustrated Man”, or Leigh Brackett’s romantic descriptions of Mars. Both are not without criticism of mankind and policies of occupying foreign territory, implying the possibility of destruction and exploitation.
The exploration of the world of science fiction has accompanied the work of Dominique Gonzalez-Foerster for almost 20 years. It began in 2001 in Dijon with Cosmodrome and Quelle architecture pour Mars? TH.2058 at the Tate Modern in London marked a shift in focus towards dystopias – as did Ballard Garden in Antwerp and Pynchon Park at the MAAT in Lisbon, which allowed human behaviour to be observed under ideal conditions. “The exhibition as a means that unites all parameters – work, title, lighting, sound, audience and time – is central to my artistic work. I have always been more interested in immersive artworks than in autonomous objects.” (DGF)
On spring 2019, a concert featuring Dominique Gonzalez-Foerster and Julien Perez will be held at the Niemeyer Sphere in Leipzig. Two new songs by EXOTOURISME will be released by The Vinyl Factory (London) in December 2018, in cooperation with TEXTE ZUR KUNST and the GfZK.

gfzk - Leipzig.

The Galerie für Zeitgenössische Kunst, a foundation based in Leipzig, is an exhibition space for contemporary art and a museum for art post 1945. GfZK promotes and imparts international and national artistic positions on its own premises and in public spaces, it initiates cooperations and carries out research-based artistic projects. The fine art collections mirror the interest in the natural integration of diverse forms of expression, of different artistic positions and generations.

Since the inception of GfZK, addressing local themes in connection with global developments is a focus. Migration and transcultural phenomena offer important starting points, also for reflecting the GfZK’s modes of action. The possibility of participation and the social agency of art are of particular importance. In this sense, the work of the GfZK focuses less on defining a canon of values than on exploring the potentials of artistic and curatorial work and of art mediation. In the presentations of the collection, new artistic productions, and research projects, what is concerned is facilitating manifold perspectives and developing new working methods.
The GfZK has gradually established itself internationally as a place where the reciprocal relationship between art and architecture and between art and design is addressed and the relationship between presentation, the construction of meaning and the ascription of value is questioned. In this, the educational mandate of public institutions plays just as important a role as the exploration of the economic conditions for the production of contemporary art. How can these conditions be addressed, jointly designed, and circumvented? What spaces for actions can be opened up for artists and visitors?
The foundation Galerie für Zeitgenössische Kunst is supported by the Free State of Saxony, the City of Leipzig and the Friends of the GfZK.
Sarah Sze. GFZK Leipzig

Sarah Sze. GFZK Leipzig
Sarah Sze. GFZK Leipzig


with: Klaus vom Bruch, Christine Hill, Ernst Wilhelm Nay, Gregor Peschko, Suse Weber, Franz West, artists of the Texte zur Kunst editions
Curated by Vera Lauf and Julia Schäfer
Curatorial assistance Nora Becker and Mengting Ying
"Artistic works found in the collection of a museum are sometimes not created (exclusively) for the institutional framework; some of them were intended for a wider audience, incorporate elements from popular everyday culture, aspire to influence the public and private sphere or even to be used by the public.
The exhibition Pass-Stücke shows works from the GfZK collection that explicitly address a broader public, encouraging their audience to engage in debate or take action. The contexts of their production and reception conditions are examined, and the question is raised as to whether or how they could be reactivated in the museum.
The entire collection of editions from Texte zur Kunst was donated by Arend and Brigitte Oetker to the Galerie für Zeitgenössische Kunst".