Ryoji Ikeda 池田亮司

Japanese artist Ryoji Ikeda creates at the extremes of sound, light and mathematics to produce complex transformative works of singular beauty. In Paris last year he projected vast blinding white light up into the city’s night sky from sixty-four floodlights situated in front of Tour Montparnasse, France’s tallest skyscraper. spectra [paris] was a version of spectra [amsterdam], Ikeda’s commission for DREAM AMSTERDAM which lit the city’s Vondel Park, Van Gogh Museum, Wastergasfabrick cultural space and Java Island.

/- [ the infinite between 0 and 1 ] Ryoji Ikeda 池田亮司

東京都現代美術館｜MUSEUM OF CONTEMPORARY ART TOKYO

Transistor Project

TransISTor: Audiovisual workshops for new media, films and digital records

Explore the use and impact of new technologies in A.V.

Transistor Project - Home

Nomadographies

Artist Mary Mattingly has developed an intriguing creative methodology that integrates photography with aspects of sculpture, installation, and performance. Drawing upon the work of whimsical dreamers and recalling failed utopian projects, yet intermixing Fortune 500 corporate logos with jaw-dropping landscapes, Mattingly's work engages conflict with the systems of technology and consumerism. Rigorous in its research, these multi-form projects begin with the imagination of a possible scenario and evolve as ad hoc solutions to the circumstances of living and sustaining. With Nomadographies Mattingly proposes a world returned to nomadic roots, following a peripatetic population constantly on the move. In as much as the protagonists in Mattingly's photographs are related to pioneers of the American frontier, they are also products of a Cold War-era bunker mentality. This spirit is embodied in the recurring image of Mattingly's "karts." Bicycles piled precariously high with scavenged cardboard boxes and bound with bungee cords, these mobile shelters represent a Sisyphean struggle with the remnants of modern society. Literally crashing out of one of the gallery walls, a Kart seems a relic from another — ambiguous — time.

Mattingly has developed parallel series of images, The Anatomy of Melancholy, which clarify the methodology in the composite tableaux for which she is known. Operating in a documentary mode, these photographs — of abandoned missile silos, a biosphere, Ted Kaczynski's abandoned cabin, and half-submerged derelict boats — might be considered research documents from Mattingly's own frequent travels around the globe. As the representation of a world operating somewhere between obsolescence and post-tech ingenuity, Nomadographies may be considered as a sort of travelogue, projecting forth into the future as it recalls our recent past.

The exhibition at Robert Mann Gallery coincides with the launch of Mary Mattingly's Waterpod™ project. Conceptualized and designed by Mattingly, the Waterpod™ is a floating, sculptural, eco-habitat designed for the rising tides. It will launch in May to navigate the waters of New York Harbor, docking at several Manhattan piers on the Hudson River before continuing onward. As a sustainable, navigable living space, the Waterpod™ serves as a model for new living possibilities, DIY technologies, art and design. Mattingly and other artists will live on the Waterpod™, hosting public events, exhibitions, and lectures.

Nomadographies is Mattingly's second solo exhibition at the gallery. Most recently she was shortlisted for the inaugural Prix Pictet and had a two-person exhibition with Mie Kjaergaard at Standpoint in London. Mattingly is also included in the forthcoming exhibition Trouble in Paradise: Examining Discord Between Nature and Society at the Tucson Museum of Art. In 2008 she was included in group exhibitions at the Palais de Tokyo, the Neuberger Museum, and the Thessaloniki Museum of Photography. Updates on the Waterpod™ Project can be tracked at www.thewaterpod.org.

Robert Mann Gallery - Current

Ellsworth Kelly

Matthew Marks is pleased to announce, Ellsworth Kelly: Diagonal, the next exhibition in his galleries at 522 West 22nd Street and 523 West 24th Street.

The exhibition features eight two-panel paintings from 2007 and 2008, on view in the 22nd Street gallery. Each consists of a black or white rectangle with a contrasting black, white, or colored rectangle placed diagonally on top and extending beyond the boundary of the canvas below.

In the catalog published to accompany the exhibition, Johanna Burton writes: “What Kelly is producing does not end at the edge…a shadow is thrown, but rather than demarcating the shape and space of the work more clearly, it works to utterly confuse what is being looked at: these are paintings that, in places, don’t end or, perhaps, refuse to show how they begin. Rather than a perceptual fluke or an experiment in phenomenology, however, this is, I think, a part of the painting.”

Four additional paintings will be shown in the 24th Street gallery. A two-panel black and white relief, completed early in 2007, is the oldest work in the exhibition and anticipates the diagonal paintings. The only curved canvas the artist has made in the last few years, which shows Kelly’s more lyrical side, is a dark blue and white painting, and is also on view here. Completing the exhibition are two multi-colored paintings in three and four-panels related to ideas with which Kelly first started working in the 1950s.

Ellsworth Kelly (born 1923) currently lives and works in upstate New York. Since he first exhibited his work publicly more than 60 years ago, he has had over 150 one-person exhibitions in museums and galleries around the world. A room of his new paintings was included in the most recent Venice Biennale, and in 2007 a Focus exhibition at the Museum of Modern Art in New York showed a selection of his work from their permanent collection.

Matthew Marks Gallery

That's Just the Way It Is

MICHAEL ST. JOHN
That's Just the Way It Is

With Alex McQuilkin, Josh Smith, Nate Lowman, Thomas McDonell, Caroline Polachek, Sebastian Errazuriz
April 9 through May 9, 2009

Marvelli Gallery is pleased to present Thatís Just the Way It Is, the second solo exhibition of artist Michael St. John at the gallery. Challenging the solipsistic quality of the solo exhibition and stressing the social aspect of art-making, Michael invited six artists, with whom he feels a strong affinity, to include works in his exhibition. The dialogue among the works is thus an integral part of the show. The artists are: Alex McQuilkin, Josh Smith, Nate Lowman, Thomas McDonell, Caroline Polachek, and Sebastian Errazuriz.

From the essay that Haley Mellin wrote for the catalogue accompanying the exhibition:

"Money, collateral, missing dogs, guns for sale, bail funds, cad red airborne chemical sunsets, leftover boxes, the fastest gun in town. As a person and an artist, Michael St. John is generous. The work is unpretentious, open, available. What he makes is as ruthless at it is vulnerable. As an artist addressing the world through pieces of the world, he has this stunning ìI do care romanceî that extends beyond the punk, emo, fucked up nature of some of his subject matter. Michael writes, ìThe title of the show ìThatís Just the Way It Isî, it comes from a Tupac song about change and how nothingís going to change so we shouldnít expect it to.î

'Closed,' a black awning, some bird shit, and a string of white Christmas lights, has mourning written all over it. It speaks to what a mess we have made, a punk, nihilist, alienated world as phenomena. "I try to commemorate these things as best as I can," Michael states. He shows things as they are, a desire to make less art and more reality. The work arrives fresh and actual. It quotes from life. Furthering this idea of what remains, 'Postings,' a faux lamppost covered in scraps and signage, collaged together newspapers and posters create a readymade abstraction. Realism extends beyond what is pictured to what actually is. "I want the artwork to be real, not like a dream or a movie," Franz West said, "I want to be able to step into it, to sit on it, lie on it. The artist lives in a social environment, he doesnít just produce work from the other side...It doesnít matter what the art looks like but how itís used. The important thing is to find a place for art, not a description."

Michaelís work is an accumulation of cultural symbols, of post-tech functionality, of multiple image lives, of images as data. Symbols accrue meaning, they age, they have residue from use, invention, and interpretation. He presents this as-is-ness without sub-title or pretense. It is neutral, simple, direct. Robert Hughes wrote, "a Gustave Courbet portrait of a trout has more death in it than Rubens could get in a whole crucifixion," which gets at the heart of the matter: realism is about actuality, not pictured reality. Generating a prolific output of work, ideas and images from daily events, his aesthetic engages with realism as a philosophical concept. Drawing reference to Andy Warholís commemoration of the dayís events, William Egglestonís tributes to the discarded, and Robert Rauschenbergís involvement with the world, St. Johnís work arrives reminiscent of the Wallace Stevens poem, "itís not about the thing, but it is the thing itself."

Beyond Michaelís nihilism, there is a fragile care and decided vulnerability to the work, like he is a keeper of words and images. He is passing them on, entirely observant of his choices. Courbet stated, "Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it." The directness of realism, presenting what is without altering it, enlarging it, or adding some stylistic affection, is rather radical in its simplicity. The object becomes exposed, more vulnerable than strong. Thomas McDonell writes, "There is a Gramscian resolve in the work of this artist; the pessimism of his intellect does not break the optimism of his will. That which is sinister reveals that which is lovely and this complexity of the work describes a landscape of possibility, even hope." The work is a pressure gauge of now, the symbols and language signs come out real, and very human. He creates an optimistic vulnerability in the dried up castings and leftover detritus of a better time. He shows that maybe this time is the better time, itís real, itís direct, itís what is."


Marvelli Gallery: Michael St. John, That's Just the Way It Is

Rachel Labastie e Frédéric Vincent

Céline Brugnon et Marie-Céline Somolo sont heureuses de présenter un nouvel opus de la série Double solo, commencée en février 2009 avec Keren Benbenisty et Hani Rashed.

Rachel Labastie : L’objet comme désir.
Frédéric Vincent : Sympathy for the painting.
Du 16 avril au 13 juin 2009

Ces 2 expositions qui se veulent indépendantes trouvent une plateforme commune dans leur expression de la recherche d’idoles.

Idoles inspirées du New Age, les aquarelles de Rachel Labastie montrent des tracts froissés aux couleurs attrayantes, proposant aux lecteurs de se réunir pour des séances d’accomplissement de soi, de recherche du bonheur. Ces Invitations, à l’instar de la série des Bibliothèques, sont des répliques évanescentes des supports vantant les préceptes du mieux vivre.
L’artiste dispose des icônes sectaires ou religieuses dans le sous-sol de la galerie. Sur le sol, un avion de papier géant, constitué de tracts, semble avoir atterri là. L’espace contigu présente une installation lumineuse : Les Spiritours. 3 grandes lanternes magiques projettent leurs images fantomatiques sur les murs. S’entremêlent alors des images familières et rassurantes, un appel à l’apaisement et à la contemplation. Devant tant d’effort pour nous faire oublier la réalité de la vie, de la mort, les ficelles de l’illusion ne paraissent que plus flagrantes.

Frédéric Vincent découpe, tord, fait fondre et repeint des vinyls 33 tours. Johnny Halliday, Harry Belafonte, Joe Dassin, La Callas, toutes les icônes pop sont réunies en une seule installation. Les étiquettes centrales sont repeintes, customisées au logo de l’artiste. Frédéric Vincent se réapproprie une culture qui lui est déjà destinée, prémâchée par les maisons de disques, formatée pour lui. Sympathy for the painting, inspiré du titre des Rolling Stones est une discographie muette, une collection d’images populaires et désuètes, comme une vielle boite de disques trouvée dans le grenier et dont on avait oublié l’existence. Les supports sont obsolètes. Aujourd’hui, seuls les professionnels, les DJs, ou les amateurs aguerris possèdent une platine. Branchée et à la fois ringarde, la fragile galette noire devient, par son imperfection, l’emblème du « son » par excellence. Elle représente aussi une époque qui a vu mourir bon nombre d’étoiles, rock et funk. L’artiste les a listées et regroupées dans une série de dessins noirs et blancs. La cause du décès est mentionnée par un sigle (une seringue pour une overdose, par exemple). Ces fins, souvent brutales, participent à la légende de ces chanteurs et renforcent leur présence dans notre inconscient collectif.

Rachel Labastie est née en 1978 à Bayonne. Elle vit et travaille à Paris.
Elle a présentée ses travaux à l’Espace Vallès à Saint-Martin d'Hères, au Musée d’Aurillac, à l’Espace d’art de Vénissieux, à la Manufacture de Sèvre et au Point Ephémère à Paris.

Frédéric Vincent est né en 1972 à Auchel, France. Il vt et travaille à Paris.
Ses travaux ont été montrés à la Documenta XII, au Centre Pompidou, au Musée d’art et d’histoire de Tapeï, Taïwan, à La Galerie de Rennes, au 2nd International VideoFilmfestival, de Heilbronn/Weimar, en Allemagne et à la 00130Gallery, Helsinki, Finlande.
En 2009, en collaboration avec Cannelle Tanc, il participe à La Force de l’Art 02, triennale d’art, Grand Palais, Paris, avec le projet Archipel.

la BANK

Living with...

In concomitanza con Miart (17-20 aprile) e in occasione del prossimo Salone del Mobile (22-27 aprile 2009), la Galleria Raffaella Cortese presenta la mostra dal titolo Living with...

Superando ogni diatriba tra arti visive e design vi troverete in un mondo fatto di oggetti, mobili e tappeti, quadri di artisti di fama internazionale e di diverse generazioni.

Barbara Bloom, che per sua stessa ammissione ha un rapporto di odio e amore con il design, presenta un’installazione dove il legame tra tappeto e immagine fotografica è un continuo gioco di rimandi a “scatola cinese” che diverte e intriga lo spettatore. In mostra anche i broken object, lastre mediche con a fianco l’oggetto rotto ed aggiustato che sottolineano la bellezza e l’importanza delle rotture.
Igor Eskinja, croato presente alla scorsa Manifesta, crea oggetti (tappeti, sedie, case, scale) con elementi poveri e quotidiani come la polvere, lo scotch o il cartone, ma con precisione estrema ed esattezza matematica costruisce architetture percettive.
Flavio Favelli espone opere create con diversi oggetti raccolti e collezionati con cura bulimica, vecchi oggetti, custodi di memoria che una volta riassemblati creano nuove opere da vivere.
Michael Fliri, nel video Image Image do what you want? costruisce, smonta e ricrea una casa di piccole dimensioni che muta in continuazione il suo essere e sfugge ad ogni definizione, una metafora della vita e dei suoi percorsi.
Marcello Maloberti, contemporaneamente presente alla Gamec di Bergamo con la mostra personale RAPTUS, crea il tessuto emblema dell’Italia all’estero, la tovaglia a quadretti bianchi e rossi, bandiere-arazzi.
L’artista koreana Kimsooja presenta i Bottari, opere realizzate con i tessuti tipici della tradizione koerana, in cui ogni immagine è un buon auspicio e comunica buona sorte, fagotti simbolo della vita nomade e del portare sempre con sé la propria casa.
Jessica Stockholder con i suoi colori cangianti e assemblaggi di oggetti e figure geometriche mostra diverse sculture dove l’oggetto quotidiano (lampada, tavolino, etc) sono i protagonisti di curiose creazioni.
Cesare Viel dopo la mostra a Villa Croce di Genova porta a Milano il lavoro Mi gioco fino in fondo ma il fondo non ha fine dove il senso metaforico della frase indica il primato del valore del percorso rispetto al raggiungimento della meta. Espone anche l’opera la mia politica dove un angolo della casa borghese “ottocentesca” offre la possibilità di avvicinarsi in modo silente e discreto al libro su Emily Dickinson.

galleriaraffaellacortese

Thomas Bayrle. Diria que ja no som a Kansas
06/02/2009 - 19/04/2009 MACBA

Aquesta exposició presenta una visió de conjunt de la pràctica de l'artista alemany Thomas Bayrle (Berlín, 1937) des de finals dels seixanta fins avui. Els inicis del seu treball se situen en un moment històric, polític i social clau en la història recent d'Europa. És un moment marcat per la necessitat de crear una nova concepció de la identitat cultural i de la sensibilitat estètica d'un país convuls, Alemanya. Frankfurt, la ciutat on Thomas Bayrle viu i treballa, es converteix en uns dels centres més importants de la protesta. El miracle econòmic després de la Segona Guerra Mundial ha tocat sostre i la necessitat de revisar en profunditat els fonaments ideològics i l'estructura de les jerarquies es torna peremptòria per a una generació que vol escriure la història en uns altres termes i trobar unes aliances culturals diferents de les de les generacions precedents. L'ambient generat per l'ocupació americana, la situació al Pròxim Orient i la guerra del Vietnam marquen, sens dubte, l'inici d'una obra que ha mantingut sempre a l'horitzó de les seves preocupacions la possibilitat que es pugui produir un canvi en el món que coneixem; que en pugui emergir un altre de nou, diferent, del qual encara ho hem d'aprendre tot.

Museu d'Art Contemporani de Barcelona

James Paterson

James Paterson
Harvest
March 12 – April 25, 2009
bitforms gallery, 529 West 20th Street, NYC

bitforms gallery is pleased to announce its second solo exhibition with James Paterson featuring painting, drawing and software works that are grown from a decade-long diaristic process. In his work, accumulated libraries of imagery rooted in daily experience revolve around the subjects of digestion, sex, self-critique and skateboarding. Using ink and programming as primary tools, James Paterson continually cycles through meditations on the everyday.
The Rotten Fruit Tardis, launched online and presented for the first time in a gallery setting, is an animated vehicle that transports viewers between a myriad of dimensions. The “Nun Tit Oracle” and “New Zealand Vine Collection” are among many nested worlds synthesized in software by Paterson and displayed as a wall-projection. When explored using The Rotten Fruit Tardis interface, these environments reveal narrative and creatures sketched by hand, all extruded from Patersonʼs drawing archive.
“My journey into programming stemmed from a desire to give viewers the opportunity to pilot my work, and feel like they are physically connected with it in a way that they would not be by just looking at a drawing or watching a video,” says Paterson. “The desire to transport people into my working instead of just having them observe it from the outside lead me to try and piggy-back the conventions of game design as a way to achieve this visceral immersion.”
A screen-based work, 5000 Drawings also plays with the relativity of an observer. Guided inside an expanding and contracting realm of fluid grayscale contours, oneʼs gaze can float through multiple viewpoints. Using Patersonʼs first 5000 drawings since the year 2000 as content, this piece becomes a journey through a virtual sketchbook. Bubble letters, calendars, skulls, cars, mutated hands, and flowers drift in a space where visual pathways are left open for each viewer to navigate. The omni-directional interface of this work allows one to scroll through a dense soup of pictures that appear to be cutout and freed from the paper on which they were originally drawn.
In Patersonʼs work the processes of drawing and programming overlap, feeding into each other.
This is perhaps most visible in the graphite wall drawings of the exhibition. Scaled using a projector and drawn by hand on site, these pieces were created using The Objectivity Engine, a piece of software authored by Paterson that assists him, as a smash-up tool, in building new visual compositions out of collected imagery. Rooted in the traditions of collage by helping to rearrange a vast digital library of paintings, drawings and animation created over the years, The Objectivity Engine algorithm is rewritten by Paterson every time it is used for a new project. The ink drawings on paper in Harvest were also created using a similar process.

Collaboration is a strong feature of Patersonʼs work. Sound and music in the exhibition is the result of working with Mark Hardy and Chris Grabowski of K-rAd, an electronic group based in Chicago. Also the twelve paintings in Harvest were created in partnership with artist Jeremy Felker, who used the drawings of Paterson as a point of departure. Continuing the cycle of accumulation and reassembly, these reappear, in animated form, inside The Rotten Fruit Tardis software.

For more information please visit:
www.bitforms.com/james-paterson
www.presstube.com
www.insertsilence.com

Home | bitforms.com

Young Collectors Art Fair and Auction

Ayyam Gallery is proud to announce its Young Collectors Art Fair and Auction. Taking place throughout the month of May, these two events are dedicated to new and young collectors. Ayyam Gallery believes there is a growing segment of the population that loves art but is unable to afford it at current prices.

The goal of these events is to allow new and young collectors the opportunity to participate in an auction and fair and to be able to afford the works offered. Ayyam Gallery believes that new collectors should be nurtured and encouraged to get involved in collecting and enjoying art.
The launch of the month will be the first-ever Young Collectors Auction on May 1st at 4pm. This highly-anticipated in-house event is open to the public and will take place in a casual environment at Ayyam Gallery, Dubai. Art enthusiasts and first time collectors will be invited to bid on 30 lots, ranging with prices starting below USD 500. A two day preview will precede the auction on the 29th and 30th of April. The items being auctioned will include a wide range of original works and limited editions from Ayyam Gallery’s well known stable of artists as well as older masters such as Louay Kayali and Moustafa Fathi. In addition to these, there will be some unique specially commissioned items being auctioned.

The second event of the month will be the Young Collectors Art Fair which will be an exhibition held at Ayyam Gallery, Dubai from May 10th through 14th, from 10 am-8 pm.
A private preview will be presented from 6-10 pm on May 9th. The Young Collectors Art Fair will be a collective exhibition of affordable works ranging from smaller paintings, sketches and limited editions by some of the Arab World’s most well-known and emerging artists. Ayyam Gallery will also be introducing some new emerging artists that it has relationships with making the fair a great opportunity to discover some new and exciting artists.

Ayyam Gallery

YOUNG COLLECTORS AUCTION - ART FROM THE MIDDLE EAST - catalogue.pdf

Rafik Majzoub

Rafik Majzoub (b.1971, Lebanese-Jordanian) is a self taught artist who managed to carve a special niche in the Lebanese art scene. Very contemporary, his painting is uniquely focused on a personage in perpetual quest for himself. Each trait, each tonality, each drawing and each brushstroke leaves its impact on the impression of a work in progress, leaving it nonetheless open, unfinished and unaccomplished, echoing the essential incapacity of the human being to accomplish in a world of imperfection, fracture and fragmentation. The dexterity of Rafik responds through tension, impatience, velocity and a negligence of the exact and calculated detail in favor of the expressive and the improvised.

Agial Art Gallery

Samuel Schaab

Die Ausstellung des jungen deutschen Künstlers Samuel Schaab shaper / searcher stellt Material aus dem Bereich der Veranstaltungstechnik und des Fitnesstrainings aus, und wird mit Zeichnungen verschiedener nichtexistenter, selbst entwickelter und gebauter Geräte ergänzt. Durch ein vom Künstler konzipiertes und entwickeltes Rearrangement – quasi eine Neuordnung – der Dinge werden deren Verwendungszwecke unkenntlich gemacht beziehungsweise umgedeutet. Das Material selbst beginnt nach Ende seines eigentlichen Gebrauchs, außerhalb seiner Funktion, zu erzählen.
Das Material ist fehlerlos, und ähnlich einem designten Prototypen: möglicherweise der Anfang eines neuen Produkts – oder auch das Ende der Kette.

habres partner - Exhibitions / Austellungen

Masaharu Sato ' Pink Sigh '

"Masaharu Sato 　' Pink Sigh '
May 9 (sat.) ～ June 6 (sat.), 2009"

　佐藤雅晴は1973年大分県に生まれました。1996年東京芸術大学美術学部油画学科を卒業し、1999年同大学院修士課程を修了しました。2000年 にドイツに渡り、現在デュッセルドルフを拠点に活動しています。ドイツでの新しい生活環境の下、頻繁に不思議な夢を見た事を契機に、夢で見たものをモチー フにペインティングを描き始めました。そして、流動的な夢の世界をビジュアル化するための模索を続ける中、独学でアニメーション制作にとりかかりました。
　2004年から2007年の４年間を費やし制作されたアニメーション作品「TRAUM」は、ドイツ語で夢という意味で、まさにドイツに住み始めてから見た夢を基に、佐藤の世界観が凝縮された映像詩として生み出されました。
　 また、この度の第１２回岡本太郎現代芸術賞で特別賞を受賞した「アバター11」と題された新作のアニメーション作品は、１１台のディスプレイに映し出され た佐藤の知人１１名が、横を向いた状態から正面に振り向き、観賞者に対して視線を交わしながらその行為を繰り返すという映像作品です。観賞者にとっては見 ず知らずの他人でありながら、視線が交わされると心的距離が極度に接近するような、目眩にも似た錯覚を生じさせる作品となっています。
　実写からトレースされ、切り取られた現実世界をデジタル手法で記号化し、観る者に匿名性の情景を映し出す佐藤の作品は、日本国内外に発表の場を広げる中、益々注目が集まっています。
　佐藤雅晴の日本での初個展となる本展は「ピンクのサイ」と題され、約10点の新作平面作品が展示されます。路上に捨てられたカツラ、監視カメラにとまる 蝶、街灯に照らされる透明人間、ホテルのロビーに裸で重なり合う男女など、ありふれた光景に射し込む淡い狂気は、きっと観る者にパラレルワールドへといざ なう扉を、開いてみせることでしょう。従来の絵画手法とはまったく異なるアプローチで描かれた佐藤の「絵画空間」を、是非ご体感ください。

GalleryJin -展覧会-

Pop Up!

Pop Up! Die Sammlung feat. Haegue Yang, Sofia Hultén, Annette Wehrmann, Karoe Goldt, Gabriel Kuri, Nairy Baghramian, Susanne Paesler, Danica Dakic, Yael Bartana

Die Ausstellung Pop Up! geht an den Ursprung des Ludwig Forums und stellt zentrale Werke der Sammlung des Hauses neben ganz aktuelle Positionen von neun zeitgenössischen Künstlerinnen und Künstlern.

Ludwig steht für Pop. Der Aachener Sammler Peter Ludwig erwarb seit den 1960er Jahren große Werkkomplexe der bedeutenden Pop-Künstler. Das Ludwig Forum Aachen beherbergt in seiner Sammlung Werke mit Kultstatus, wie die hyperrealistischen Figuren von Duane Hanson, die Supermarket Lady und die Figurengruppe der Obdachlosen, oder fotorealistischen Malereien von Chuck Close. Werke der Sammlung von Jean Michel Basquiat, Martin Kippenberger, Richard Estes, Don Eddy werden genauso gezeigt wie Robert Smithsons Fotografien zu Spiral Jetty und Suzan Pitts Theaterbühne. Auch Franz Gertschs „Medici“-Arbeit, Werke von John Ahearn, Lee Lozano, Piero Manzoni, Nancy Graves und Lygia Clark sind in den Räumen des Ludwig Forums neu eingerichtet.

Ludwig Forum | Pop Up!

gelitin

gelitin　
April 11.sat. - May 9.sat., 2009

Since 1993, gelitin, a Vienna based artist group, has been creating sensational and thought-provoking interactive projects. “Ideas are born from boredom,” their works always have a lively sense of childlike humor. What is behind, however, is the hard work of finding out how they want to live and be lived. Their work is often reconstructed with daily, ordinary materials, and presented to viewers with mysterious and bizarre beauty.
In La Louvre Paris exhibition last year, they got inspired by Musée du Louvre and its collection, while at the same time paying homage to it. Ancient columns became toilet paper. Archeological relics were turned into cheese and caramels. The anti-hierarchy spirit that endorsed Dadaism has been passed on ceaselessly in gelitin’s anarchist passion to reinterpret the structure of society, politics, and sex. Their works make us realize the importance of pursuing ultimately free expression and not forgetting the pleasure of pleasure.

Tomio Koyama Gallery