Matan Mittwoch’s first solo exhibition in France is on show at Centre d’art de l’Onde in Vélizy-Villacoublay. Within the exhibition called ‘Facing Landmarks’, the artist explores the technological tools that surround us and the control devices generated by them. In the time of the “smartification” of the world, where technology is an integral part of our lives, the artist investigates and dissects these tools to understand their challenges, their impact on our bodies, our emotions, our attention and our relationships to each other. January 18 – April 3, 2020.
Sarah Ortmeyer takes part in the group show ‘A shelter in the folds of the infinite’, curated by Eloi Boucher, at Sans Titre (2016) in Paris, France. Including a completely new body of work and two site-specific installations by Michael Debatty and Jonathan Binet for Sans Titre’s space, the exhibition aims to propose new surrounding architectures by bringing together a selection of works by artists Lorraine Châteaux, Basile Ghosn, Ray Johnson, Sarah Ortmeyer w/ Kerstin Brätsch and Paloma Proudfoot. The eight artists design irregular forms that alter our experiences of buildings and structures, playing with relationships that humans have with spaces or materials. The show is inspired by the practice of architect and landscape designer Roberto Burle Marx, specifically by his concept of gardens and ‘floors in movement’. The unique combination of rigorous organization of space and the natural disorder of plants set free to grow as they will, created a cross-over between the surrounding environment, fragmentation of perspective and volumes constantly changing depending on the season and climate change. As an admirer of the curve and the root, he was able to establish a complete and lively work by presenting free forms incorporating texture as a key element of urban planning.
The title of the show is borrowed from the last sentence of Nathalie Haddad’s article on the architecture practice of John Lautner in Frieze (2009): « Lautner’s stylistic break from exacting geometries coincides with his transition to concrete as his primary structural material and to the folds of the earth. The concrete ‘shell’ became the metaphor and the medium for man’s flight away from the civilisation into the shelter of nature. » January 17 – February 22, 2020.
Florian Pumhösl takes part in the group exhibition ‘1. Color 2. Hole and 3. Joke. Selected works on paper’ at Galerie Meyer Kainer in Vienna, Austria. Drawing became fashionable in the 18th century, when it left the confines of the artist’s studio to enter a broader field of discourse, culture, politics, and social life. This transformation was most evident in France, where drawing was significantly and influentially repositioned and reconceptualized. This exhibition traces the emergence of the modern understanding of works on paper in multiple senses—as an autonomous form of expression, an index of the artist’s style, an object of aesthetic contemplation, and an epistemological tool. By exploring the artists’ interactions with paper rather than simply their use of the material as a basis, the exhibition considers works on paper as a means of conceptualization as well as a visual mode of thinking in and of itself. Focusing on the power of contemporary works on paper, this selection of work looks at how artists use drawing to examine themes including identity, place, and memory, thereby pushing the boundaries of the medium. The constitutive influence of Pop Art on their work is shared by all the artists represented in the show. Building on the achievements of Dadaism, the Pop artists began to parody the society on which their reactions were based. The Pop Art movement then sought to solidify the idea that art can draw from any source, that there is no cultural hierarchy to disrupt this. Presented in a fine art setting, the line between “high culture” and the quotidian becomes blurred. To assess the permanent conceptual impact on contemporary drawing, we must bear in mind some of the characteristics of contemporary art after Pop Art: Appropriation of cultural icons; use of vibrant, bright colors, irony, and satire; as well as innovative techniques like print, mixed media, and collage that reference its graphic nature. January 17 – March 7, 2020.
Hans-Peter Feldmann and Florian Pumhösl take part in the group exhibition ‘Out of Order. Works from the Haubrok Collection, Part 2’ at Neues Museum in Nuremberg, Germany. Following on from Part 1, this second edition of ‘Out of Order’ offers a similarly extensive cross-section of the collection assembled by Barbara and Axel Haubrok. This time, ninety works by around fifty artists focus attention on a seminal figure in art: picture objects mounted on the wall. What is foregrounded here, forming the anchor point for many of the conceptual approaches featured in the show, is not what a picture shows but the fact that it always also shows itself as a material object in a specific context. January 17 – March 1, 2020.
Naama Tsabar’s solo exhibititon ‘Inversions’ is on show at Shulamit Nazarian Gallery in Los Angeles. The exhibition title, Inversions, refers to a new body of work that is installed directly into the existing architecture of the gallery. Utilizing the shallow space behind the gallery’s walls, Inversion #1 and Inversion #2 assumes an overlooked space as a site of importance or a platform for action. Fusing together elements from guitars, harps, banjos, and violins, Tsabar creates an inverted instrument that relies on the contortions and penetrations of participants’ bodies for its activation. Inversion #2 includes a singing chamber, with holes and voids in the architecture for the voices of performers to fill. January 10 – February 22, 2020.
On the occasion of his solo exhibition ‘Exhibit Model Six – The Tel Aviv Version’ at CCA Tel Aviv, the artist will present the latest, sixth, iteration of a project called “Exhibit Model”. The idea for “Exhibit Model” was born of the artist’s desire to offer a new take on the conventional framework of realizing an art exhibition as well as budgetary constraints. Thus, the artist decided to replace a straightforward exhibition of objects with a 2D photo installation made up of a wallpaper presenting images of some of his previous exhibitions. December 12, 2019 – Febraury 1, 2020.
Thomas Hirschhorn is part of the exhibition Installations from 25 Years of the Falckenberg Collection at Deichtorhallen Hamburg. On the occasion of the 25th anniversary of the Falckenberg Collection, the Deichtorhallen Hamburg is presenting a comprehensive exhibition which will focus on installations and sculptures from the collection. The exhibition features some 100 works by over 60 internationally renowned artists. November 30 , 2019 – May 24, 2020.
Naama Tsaber is part of the group exhibition ‘Soft Architectures’ at Goodman Gallery in Cape Town which interrogates the intersection of architecture and structures of power and resistance. Through sculpture, drawing, print, lens-based media and performance, the work of seven artists each explore the subtle and overt ways in which architecture has been implicated into forms of racialised surveillance, segregated accessibility and the discipline and comportment of bodies, and in turn how architecture has been subverted towards forms of resistance such as strategic concealment and networks of defiance. November 28 – January 11, 2020