This March, Pauline Curnier Jardin (born 1980 in Marseille), Simon Fujiwara (born 1982 in London), Flaka Haliti (born 1982 in Pristina) and Katja Novitskova (born 1984 in Tallinn) have been nominated for the Preis der Nationalgalerie 2019 by an international jury. The museum prize is awarded every two years and pays tribute to artists under 40 who live and work in Germany. The four artists will be presented in a joint exhibition at the Hamburger Bahnhof – Museum für Gegenwart – Berlin from August 16, 2019 to February 16, 2020. All four artists show spatial ensembles in which they combine existing and new works. The tonality and handwriting of the four spatial work presentations is very different; what they have in common is an explicit reference to aspects of our contemporary European society.
With her transgressive artistic approach, which combines visual and narrative elements of theatre and cinema, Pauline Curnier Jardin creates a stage space for the shortlist exhibition; a walk-in installation in which cinematic and sculptural work intermesh in Curnier Jardin’s characteristic manner. Her often humorous works are the result of a very personal examination of historical circumstances, our historical background, our religious and cultural traditions as well as common gender roles and connotations.
With his works, which include painting, video, sculpture, installations and performances, Simon Fujiwara comments on very different levels on the situation of the human being in the medialized 21st century, starting from his own person and generation. His works, which have been selected for the exhibition and in part newly created, are the result of Fujiwara's interest in contemporary mass phenomena and their economic and socio-political aspects. The very different works illustrate the extent to which these phenomena have an emotional component of their own.
Flaka Haliti's sculpture and installation work refers to themes of current political importance; she addresses war and peace, migration, borders and their permeability. Often and explicitly, the artist focuses on Europe. Her works have a clear statement and at the same time a strong metaphorical and poetic quality. With two sculptural installations, she refers to the recent past of her country of origin. She continues her series of works "Is it you, Joe?" with large wall works. playing with identity and schematization,
As one of the pioneers of an artistic language known as "Post-Internet Art", Katja Novitskova will create a virtuoso, multi-part and multi-layered "environment" for the exhibition, that encompasses and captures the visitors and blurs the boundaries between the individual works. The works are the result of Novitskova's ongoing interes in current biotechnological research and revolve around the question of the future existence of the organic as a component of technological processes.
An international jury will choose the prizewinner on September 12, 2019. The award consists of a solo exhibition with a catalogue at Hamburger Bahnhof – Museum für Gegenwart – Berlin in the fall of 2020. The jury consists of: Annie Fletcher (Director of IMMA – Irish Museum of Modern Art, Dublin), Anna-Catharina Gebbers (Curator at Hamburger Bahnhof – Museum für Gegenwart – Berlin), Udo Kittelmann (Director of Nationalgalerie – Staatliche Museen zu Berlin), Philippe Vergne (Director of Serralves Museum of Contemporary Art, Porto) and Theodora Vischer (Senior Curator of Fondation Beyeler, Basel). Also on September 12, this year's winner of the Förderpreis für Filmkunst, which the Nationalgalerie has been awarding together with the German Film Academy since 2011 and which includes a prize money of 10,000 euros, will be announced.
The Preis der Nationalgalerie is made possible by the Freunde der Nationalgalerie and supported by BMW.
For further information see www.preisdernationalgalerie.de
Pauline Curnier Jardin
Grotta Profunda Approfundita , 2017
Installationsansicht, Viva Arte Viva, Arsenale, 57. Biennale di Venezia, kuratiert von Christine Macel
Courtesy of the artist
Foto: Daniele Zoiko
Likeness , 2018
Wax sculpture, vintage desk, chair, lamp and objects, handrail, two-channel video (4K, color, sound), dimensions variable, video duration: 19:34 minutes
Courtesy of the artist und Esther Schipper, Berlin
Foto: Marc Domage
Ars Viva Preis-Ausstellung , 2016
Ausstellungsansicht Ars Viva Preis-Ausstellung, Galerie für Zeitgenössische Kunst Leipzig, 2016 Courtesy of the artist, Deborah Schamoni und LambdaLambdaLambda
Foto: Andy Keate
Invasion Curves , 2018
Ausstellungsansicht, Skulptur, Ton, verschiedene Medien Aus der Einzelausstellung Invasion Curves, Whitechapel Gallery in London, 2018
Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin
Foto: Andrew Radford
Wellbeing is a general term that has increasingly entered our everyday conversations. This exhibition explores a deeper, more personal view of what wellbeing means to individuals, with intent to serve as a reminder that we all have our own view of what it means to be well.
Working with participants of the Community Learning Project (CLiP), the West Indian Senior Citizens Leicester Ageing Together Project and members of the public to understand their impressions of wellbeing and mental health; following one-to-one interviewing, Emma visually portrayed their perceptions of mental wellbeing through the medium of body art.
The exhibition was co-ordinated by Pamela Campbell-Morris, and funded by the University of Leicester’s ‘Health Matters’ community engagement project, thanks to the generosity of the Edith Murphy Foundation.
Recognising the differing health needs of Leicester’s diverse population, ‘Health Matters’ runs community-specific campaigns of current and important health issues under the banner of ‘Wellbeing Matters’. A major focus lies in supporting better mental health and wellbeing by providing a space for open dialogue and helping to reduce stigma.
Mon – Fri 9am – 6pm, Sat 9am – 2pm, African Caribbean Centre, Maidstone Rd, Leicester
More details on how to see the exhibition can be found here.
Stephen Anthony Davids (also known as S.A.D) is a contemporary London artist who explores black identity and history through his re-appropriation of objects brought to life through his colourful, often humorous and strong graphic paintings, drawing and sculpture. By sourcing, repurposing and leasing new life into historic objects, such as Victorian ledger sheets, he creates artworks that sparks an exciting dialogue, through which we are allowed glimpses into his brilliant and unique mind.
Stephen's work explores subjects as diverse as slavery, gentrification and the Windrush scandal, through to 'East End masculinity', social mobility and the natural hair movement all against the ever-changing backdrop of his beloved London home.
In his 'Ledger' series, Stephen toured the UK searching for Victorian ledgers, buying them at car boot sales and from old stately homes. On many of the works he uses humorous anecdotes that juxtapose white middle class Britain and traditional black cultures.
Stephen's artistic influences include Jean Michel-Basquiat, Keith Haring and David Shrigley.
For this exhibition Stephen and the 508 Gallery have come together to showcase his work on the Kings Road for the very first time. Choosing to exhibit his work in South- West London is their tongue-in-cheek commentary on the gentrification of the area as well as a positive celebration of London's mix of diverse communities.
508 Gallery Programme Highlights
Stephen Anthony Davids
29th May – 8th June
East Londoner and distinctive visual graphic artist, Stephen Anthony Davids brings a collection of his everyday observations to the 508 Gallery, shown on a diverse range of materials, including historical ledgers and reclaimed wood.
5th - 20th September
Graham Ibbeson, also known as ‘The People’s Sculptor’ exhibits at the 508 Gallery for the first viewing of his private work. As well as showing a range of his sculptures, Ibbeson will be showing 20 limited edition William Webb Ellis statues which have been stamped with the Rugby World Cup 2019 official stamp.
Inside the naturally-lit lobby of 137 Pillars Suites & Residences Bangkok, a gigantic artwork by Thai National Artist of the Year 2014 Panya Vijinthanasarn stops you in your tacks. Titled ‘Auspicious Path’, the oversize oeuvre is a colourful representation of the Tribhumi (Three Planes of Existence), the three worlds of karmic cycles and rebirths in the Theravada Buddhist Cosmology. Paintings and sculptures by other well-known local artists dot the public areas and rooms, signalling your arrival in this vibrant city and a luxury boutique hotel that takes art seriously.
As part of their brand standard, 137 Pillars Hotels & Resorts properties offer timeless experiences that involve music, fashion, art culture and history with a personal guest interaction. Earlier this year the Art Rotation Series was launched, which brings some of the hottest names from the Kingdom’s art world to the hotel through curated exhibitions that rotate every two months.
Now a new creative initiative inspires a deeper exploration and a more intimate participation in the Bangkok art scene with the newly launched Private Art Tour by 137 Pillars. The tour is the first of its kind in the city and is exclusively curated by Bangkok’s top art guru Panu Boonpipattanapong (Eddie) for the hotel. It invites guests with a heart for art to dive deeper into the local art scene with special access to locations most travellers never see. Tours are conducted privately for a couple, or up to four persons maximum if joining with friends. The tours are also available for non-hotel guests, subject to availability.
Art is not about trends or fashions, but how we value and interpret each artists’ work and the stories and thoughts behind them. Bangkok’s art scene is a unique multi-hued palette of the different movements, bouncing from Expressionism to Abstract, Conceptual, Pop Art and much more, that attracts both local as well as renowned artists. The Private Art Tour by 137 Pillars opens the door to another fascinating dimension of the city.
From collectors in search of their next masterpiece, newbies wanting to take the plunge, or tourists looking for an invaluable insight into the local art scene, The Private Art Tour by 137 Pillars is suitable for anyone with an interest in the fine arts.
A respected columnist and author on the intersection of art, design, film, and popular culture, art guru Eddie accompanies guests on the tour giving them valuable information and insights about the artists and their works. The experience includes private visits to the homes of artists and collectors, galleries, fun workshops at select locations around the city, and a gourmet 137 Pillars picnic basket to enjoy en-route. No tour is the same as each one is specially curated to ensure access to the best of the best on the date of booking.
The private visits to the ateliers and personal meetings with significant art players, in addition to art guru Eddie’s unique take on the city’s art scene will not only leave guests wanting more, but also create a lifetime of memories.
Eddie the 137 Pillars Art Guru:
Writer and columnist Panu Boonpipattanapong (Eddie) is passionate about the intersection of art, design and film. He contributes to local newspapers and magazines such as Matichon Weekly, GQ Thailand, and The Jam Mag, as well as digital media outlets such as The Matter, and The MOMENTUM. His book “Art Is Art, Art Is Not Art” was recently published by Salmonbooks.
The 137 Pillars Private Art Tour package and includes the following
The package is priced from THB 46,500 (USD1,471) and is subject to applicable service charge and government taxes. Rates are based on double or twin occupancy with an additional supplement for additional person. A 7-day advance booking is required and additional nights are available at best available rate for extended stays. 137 Pillars Suites is a member of Small Luxury Hotels of the World (SLH).
Guests not staying at 137 Pillars Suites & Residences can book the tour, subject to availability at a price of Baht 15,000 (USD475) per couple and also invite friends at an additional cost of Baht 1,500 (USD48) per person when sharing the same transport, with a maximum of four persons per tour. Prices are subject to applicable service charge and government taxes.
Video Clip of Art Tour
For reservations and enquiries, please contact 137 Pillars Suites & Residences Bangkok
Tel: +66 2079 7000
Website: www.137pillarsbangok.com or www.slh.com/pillarsbangkok
TWO OF SOUTH AFRICA’S LEADING ART INSTITUTIONS TO HOST LARGEST WILLIAM KENTRIDGE EXHIBITION IN AFRICA
The largest exhibition to be held in Africa in over a decade by internationally acclaimed artist William Kentridge is set to open in Cape Town in August. The major exhibition of his work will be hosted simultaneously in two parts by the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) and Norval Foundation, opening 24 August and running through to March 2020.
Local art enthusiasts and international visitors to Cape Town – a fast-growing cultural capital – will gain access to many different works, executed over decades, by William Kentridge in two of the city’s leading art institutions at the same time, with the artist’s Why Should I Hesitate? Putting Drawings To Work on display at Zeitz MOCAA and Why Should I Hesitate? Sculpture on view at Norval Foundation.
Why Should I Hesitate? Putting Drawings To Work, will be staged at Zeitz MOCAA and will offer a wide survey of Kentridge’s work, including early works, as well as newer pieces on view for the first time in South Africa. It will cover over 40 years of artistic production (1976 - 2019) in drawing, stop-frame animation, video, prints, sculpture, tapestry, and large-scale installation. The title references Kentridge’s primary practice of drawing, and how this core activity informs and enables his studio practice. It also references the impact of individual action on history and the reverse – how history shapes the contemporary and the future – and works as a commentary on various shifting hegemonies of power politics, economies, language and the authority to narrate history.
“This large scale survey exhibition prompts us to consider how various artistic media, initiated from two-dimensional works on paper, can be seeds through which Kentridge has developed his concerns for history, particularly in relation to his home continent, Africa, and its historical ties further afield. By mapping these histories we consider the artist’s relationship to the world and ideas of self-actualisation, and the illusions of power and progress through a violent history. Kentridge’s work, while ambiguous, does not hide from its inherent traumatic history. It is an honour for me to work with one of the living masters of our time,” says Azu Nwagbogu, curator of the exhibition at Zeitz MOCAA.
“As I begin my tenure, it is an intense joy to host an unprecedented survey show of one of the great masters of contemporary visual political poetry,” says Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA.
Why Should I Hesitate? Sculpture, will be on view at Norval Foundation, and will present three-dimensional work of William Kentridge from the past 19 years. This will be the first exhibition internationally to address Kentridge’s output as a sculptor. Covering several bodies of work, and testifying to his longstanding and spontaneous improvisation when handling three-dimensional form, Why Should I Hesitate? Sculpture sees the origins of these works in props from his operas and images from his animations stepping off the stage and out of the screen, confronting us directly at ground level. Why Should I Hesitate? Sculpture will also premiere new works commissioned for the occasion of this special exhibition.
“Norval Foundation is presenting, for the first time, an exhibition focused solely on William Kentridge’s sculptural practice, working in conjunction with the artist and his studio. Kentridge’s sculptures embrace a spontaneous approach and have recently evolved towards the massive, and the monumental. Simultaneously, and in tension to the monumental aspects of his practice, he is revealed to be a choreographer as much as a sculptor,” says Karel Nel, Senior Advising Curator at Norval Foundation.
“Norval Foundation is proud to be hosting Why Should I Hesitate? Sculpture. A key aspect of the Foundation is our commitment to exhibiting the sculptural and installation based practices of a variety of artists, which is facilitated by our purpose-designed building. In particular, we invite artists and curators to respond to gallery eight, our largest gallery, with William Kentridge’s exhibition exemplifying this. The gallery has reinforced floors to support works that weigh as much as eight tons, and reach as high as nine metres. The monumental size of this gallery sits in an ideal contrast to the anti-monumental, spontaneous and theatrical sculptures that form part of this exhibition,” says Elana Brundyn, CEO, Norval Foundation.
Both exhibitions will include major works from Kentridge’s extensive oeuvre, and will be accompanied by two new publications, conceived in collaboration between Zeitz MOCAA, Norval Foundation and the artist. The exhibitions will be accompanied by a series of talks and performances with the artist, and leading voices in the cultural sector.
A series of member events and public programmes will be held across both venues over the opening weekend, Saturday 24 and Sunday 25 August 2019.
Exhibition title: Why Should I Hesitate? Putting Drawings To Work
Venue: Level 3 Galleries and throughout, Zeitz MOCAA; Silo District, V&A Waterfront
Run dates: 25 August 2019 – 23 March 2020
Exhibition curators: Azu Nwagbogu, assisted by Tammy Langtry
Exhibition title: Why Should I Hesitate? Sculpture
Venue: Atrium and Galleries 2-8, Norval Foundation, 4 Steenberg Road, Tokai
Run dates: 24 August 2019 – 23 March 2020
Exhibition curators: Karel Nel, Owen Martin, Talia Naicker, Vicky Lekone
An exhibition by Li Tianbing at JD Malat Gallery
Thursday 2nd May - Saturday 15th June
Chinese artist Li Tianbing brings his unique visual language to JD Malat Gallery in London Thursday 2nd May - Saturday 15th June, communicated through his exciting new exhibition URBAN SCENE. The paintings are characterized by vivid expressions and bold and vigorous outlines, constructed through a fusion of Eastern and Western artistic techniques.
Li Tianbing alludes to “the living dilemma” and the humanitarian crisis as his inspirations behind “URBAN SCENE.” His fascination with the forces of conflict and confrontation have fuelled this attempt at discussing what he refers to as the human’s living condition. Bing’s diverse cultural background and experiences have informed his understanding of global conflicts, from violence, wealth disparity and psychological imbalance in China, to immigration in Europe and the battle between multicultural political correctness and conservatism in the US.
Specifically, Bing refers to the “foul and evil-foreboding air” felt in China upon recent visits, brought about by the booming economy increasing the gap between the rich and the poor, causing psychological imbalance. This in effect, gives a voice in the discussion of conflict to those psychologically marginalised in society by ideologies of power and wealth. His exploration of marginalisation and loneliness is multifaceted; Bing explores the present through the urban series which expresses the actuality of conflict and confrontation, while the children’s series explores the loneliness of his childhood memory.
Bing expresses feelings of fragmentation and the visual discontinuity during the conflict through his brushstrokes. Much of Bing’s work is reflective of his early experience of solitude in a highly political society. The juxtaposition of fiction and reality portray the psychological effects of China’s one-child policy and replicates his imagined childhood, serving as a self-healing process to the artist as he re-lives and alters the memory of his childhood.
For Bing, the creative process constantly varies; “The time to finish each work is different, sometimes it can be executed very fast in one day, some time it take months, as I need to work again and again on the same surface to get the effect of accumulation of arrangements on the canvas.” Bing uses Chinese traditional painting, a technique he has practiced since the age of 8, and his oil painting is particularly influenced by the more impressionist Xieyi style. Bing works very rapidly as he needs to work when the oil is still wet, scratching the surface of the oil paint in the same way he would with a big brush in ink. This fusion of Eastern and Western techniques is another dimension through which his ideas of universal conflict are communicated, and further represent his ongoing advancement of the “self” as his techniques are ever changing. Bing asserts that his favorite piece from Urban Scene is “always the next one,” his forward facing approach fuels the ever changing nature of his techniques and further reflects his self healing process as he continues to alter the past and present through his imagination. Bing notes that he challenged himself with finding an innovative way to paint to accommodate his new subject, and that this is the first time he will show the whole new series in Europe, and describes the style as somewhat of a continuation of futurism.
URBAN SCENE by Li Tianbing
Thursday 2nd May - Saturday 15th June
JD Malat Gallery, 30 Davies Street, Mayfair W1K 4NB