ARTAGON

ARTAGON EST HEUREUSE D’ANNONCER LA TROISIÈME ÉDITION DE SA RENCONTRE INTERNATIONALE DES ÉTUDIANTS EN ÉCOLES D’ART.

ARTAGON offre chaque année, avec le soutien du Ministère de la Culture, de la Mairie de Paris, de la Société Générale, de ses mécènes et de ses partenaires, une rencontre internationale pour les étudiants en écoles d’art.

Cette manifestation, véritable première mondiale, prend la forme d’une exposition collective de 45 étudiants sélectionnés par un jury international au sein de 15 écoles d’art invitées.

Le jury, composé de 30 personnalités du monde de l’art et de la création, est présidé cette année par Hans Ulrich Obrist. Jean-Jacques Aillagon en est le président d’honneur depuis la première édition.

Du 19 mai au 6 juillet 2017, les membres du jury se répartiront en plusieurs délégations pour visiter les 15 écoles d’art participantes en France, au Royaume-Uni, en Allemagne, en Belgique, en Suisse, en Italie et en Espagne. Ils sélectionneront 3 étudiants dans chacune d’elles, à l’occasion de la visite des ateliers ou d’une exposition spécialement organisée.

Les 45 étudiants retenus exposeront du 8 au 17 septembre 2017 aux Petites Serres à Paris, ancien bâtiment industriel de 1 500 m2. L’exposition sera rythmée par une pluralité d’événements et d’actions en direction du public.

ARTAGON.III

Sélections du 19 mai au 6 juillet 2017

Exposition du 8 au 17 septembre 2017

Les Petites Serres

18, rue Larrey

75005 Paris

Matinée presse le vendredi 8 septembre 2017 à partir de 10h

Soirée d’ouverture le vendredi 8 septembre 2017 de 19h à 23h

Exposition tous les jours de 10h à 20h

Entrée gratuite

LISTE DU JURY

Hans Ulrich Obrist - Président du jury

Jean-Jacques Aillagon - Président d’honneur

Cécile B. Evans - Artiste, Londres-Berlin

Colette Barbier - Directrice de la Fondation d’entreprise Ricard, Paris

Camille Blatrix - Artiste, Paris

Ilaria Bonacossa - Directrice d’Artissima, Turin

Julie Boukobza - Curatrice, Paris

Caroline Bourgeois - Curatrice de la Collection Pinault, Paris-Venise

Simon Castets - Curateur, directeur du Swiss Institute et cofondateur de 89plus, New York

Sadie Coles - Galeriste, Londres

Catherine David - Curatrice, historienne de l’art et directrice adjointe du Centre Pompidou, Paris

Aurélie Deplus - Responsable du mécénat artistique et de la collection d’art de la Société Générale, Paris

Patricia Falguières - Historienne et professeur à l’École des hautes é tudes en sciences sociales (EHESS), Paris

Jennifer Flay - Directrice de la FIAC, Paris

Sandra Hegedüs - Mécène et fondatrice de SAM Art Projects, Paris

Melike Kara - Artiste, Cologne

Johann König - Galeriste, Berlin

Eugénie Lefebvre - Directrice du projet Magasins Généraux BETC, Paris-Pantin

Elizabeth Neilson - Directrice de la Zabludowicz Collection, Londres

Franco Noero - Galeriste, Turin

Jérôme Pantalacci - Directeur d’Art-O-Rama, Marseille

Mario Pfeifer - Artiste, Berlin-New York

Gea Politi - Critique d’art et rédactrice en chef de Flash Art International, Milan-New York

Thierry Raspail - Directeur du MAC Lyon et directeur artistique de la Biennale de Lyon

Beatrix Ruf - Curatrice et directrice du Stedelijk Museum, Amsterdam

Salut C’est Cool - Groupe de musique, Paris

Yulya Shadrinsky - Photographe, Paris

Pieter Vermeersch - Artiste, Bruxelles-Turin

Ben Vickers - Curateur des projets digitaux de la Serpentine Gallery, Londres

Lilou Vidal - Curatrice et fondatrice du Bureau des Réalités, Bruxelles-Turin

LISTE DES ÉCOLES PARTICIPANTES

ROYAUME-UNI

Royal College of Art Londres (RCA)

Slade School of Fine Art Londres

ALLEMAGNE

Universität der Künste Berlin (UdK Berlin)

Kunstakademie Düsseldorf

BELGIQUE

École nationale supérieure des arts visuels de La Cambre Bruxelles (ENSAV La Cambre)

SUISSE

Haute école d’art et de design de Genève (HEAD Genève) Hochschule der Künste Zurich (ZHdK)

ITALIE

Accademia di Brera Milan

Accademia Albertina Turin

ESPAGNE

Facultad de Bellas Artes Madrid

FRANCE

École nationale supérieure des beaux-arts de Lyon (ENSBA Lyon)

École supérieure d’art et de design de Marseille-Méditerranée (ESADMM)

École nationale supérieure des beaux-arts de Paris (ENSBA Paris)

École nationale supérieure des arts décoratifs de Paris (ENSAD Paris)

École nationale supérieure d’arts de Paris-Cergy (ENSAPC)

ABOUT ARTAGON

ARTAGON is an international curatorial and research project dedicated to art education

and art students. Its purpose is to explore, bring together and support ideas and practices

incubated within art schools.

ARTAGON’s activity is focused on the annual organization of an international encounter

for art schools’ students. This event, a true world premiere, is the result of the association

of invited art schools and a jury made of personalities from the art and creation world:

artists, curators, institutional actors, researchers, innovators, historians, journalists,

gallerists, collectors.

The jury is divided into several delegations in order to visit each participating school

and meet its students. At the end of each of these benevolent visits, the jury invites a

selection of students to participate in a large collective exhibition.

This annual exhibition brings up the voice of forthcoming artists. It intends to offer

opportunities, initiate decisive meetings and instigate food for thought on the transmission

and the futures of creation. It is finally conceived as a celebration of art students and

young artists, punctuated by various events.

ARTAGON stands for a lively and universal art, source of empowerment: its events are

open to the society and made to gather all the public together.

ARTAGON is a non-profit organization based in Paris and founded in 2014 by Keimis Henni

& Anna Labouze.

The Guardians a Milano

Un ampia e organica mostra di Adrian Paci ai Chiostri di Sant'Eustorgio a Milano, ideata da Gabi Scardi, una location perfetta per le suggestioni di questo valido artista. 

CS

Dal 28 marzo al 25 giugno 2017, il Complesso Museale “Chiostri di Sant’Eustorgio” di Milano accoglie la personale di Adrian Paci, dal titolo The Guardians.

La mostra - la prima di un progetto organico che vedrà il complesso di Sant'Eustorgio ospitare l'arte contemporanea - è curata da Gabi Scardi, e coinvolgerà luoghi di particolare fascino e di straordinaria importanza storica, come il Cimitero Paleocristiano e la Cappella Portinari in sant’Eustorgio e la Sala dell’Arciconfraternita del Museo Diocesano.

Il percorso espositivo, che presenta un importante nucleo di opere, tra fotografie, video, sculture, mosaici in grado di analizzare i diversi periodi creativi dell’artista, prende il via con alcuneopere in cui l’artista utilizza la fotografia, come il dittico The Line, una fila di persone in attesa di un aereo che non c’è, su una pista di decollo deserta, o come The Encounter, una composizione in cui, sul sagrato di una chiesa antica si vede il gesto semplice e consueto della stretta di mano moltiplicarsi, in un rituale capace di attraversare il tempo e di farsi simbolo; e prosegue con il recente My song in your kitchen,un video in cui attività quotidiane, come cantare o cucinare, diventano condensati di storie e dimemorie, e trasformano un luogo impersonale, come la cucina di una mensa, in uno spazio di intimità e di relazione. Tra i lavori esposti si troverà anche la scultura Home to go,in cui Paci si ritrae come una sorta di viandante, spoglio di tutto, che si carica sulle spalle il tetto di una casa.

La Cappella Portinari accoglie Klodi, video-ritratto di un uomo sradicato, costretto a vagare per anni, in un periplo drammatico e assurdo, la cui conclusione è ignota, e Brothers, un mosaico realizzato a partire dal frammento di un filmato d’archivio. L’immagine fugace, tradotta con questa tecnica desueta, acquista monumentalità e un’intensità enigmatica che ben s’inserisce nel contesto della cappella in dialogo con gli affreschi del Foppa.

Nel Cimitero Paleocristiano verranno invece presentate due opere con cui Paci rilegge la storia del proprio paese evocando il dramma della dittatura, che serrò a lungo l’Albania rispetto all’esterno e tentò di soffocarla internamente mettendo al bando ogni libertà, comprese quelle di espressione e di fede. Malgrado tutto è una serie di fotografie dei graffiti tuttora presenti sulle pareti delle celle di un antico monastero che funse da prigione, oggi parzialmente trasformato in Museo: segni fragili, ma resistenti, che rivelano sofferenze vissute nel silenzio, ma anche una inalienabile necessità di espressione.

Mentre The Guardians racconterà di un cimitero cattolico dismesso durante la dittatura, poi recuperato, animato da bambini pagati per mantenerlo in ordine. La loro vitalità conferisce all’opera grande poesia e testimonia l’inarrestabile, seppur contraddittoria, rinascita del paese, e le innumerevoli sfaccettature possibili nella nostra relazione con la vita e con la morte.

Il percorso espositivo si estenderà negli spazi del Museo Diocesano “Carlo Maria Martini” con il videoRashache nasce dall’incontro di Adrian Paci con una donna palestinese, giunta recentemente in Italia dalla Siria grazie ai corridoi umanitari.

Rasha è ripresa in primo piano mentre racconta la propria storia; la sua vicenda trova espressione sul suo volto prima ancora che nelle sue parole. Rasha è un'opera sulla complessità del racconto e su come l'esperienza vissuta possa essere trasmessa non solo verbalmente, ma anche attraverso il linguaggio del corpo.

Come afferma Gabi Scardi, “Per Adrian Paci l’arte è ricerca di senso indotta da necessità interiori, eun modo attivo di pensare la contemporaneità. Nel suo lavoro convivono l’osservazione per le dinamiche sociali del presente, l’attenzione per la densità simbolica dei gesti e un interesse per le possibilità interpretative delle immagini che nasce dalla profonda familiarità con la storia dell’arte”.

“Motivi per lui centrali - continua Gabi Scardi - sono il viaggio, l’attraversamento, l’attesa, che è anzitutto attesa di futuro, e il rapporto con il luogo e il tempo dell’origine, che non sono tanto dimensioni alle quali tornare, quanto riferimenti profondi da portare con sé, e da valorizzare. La migraticità, che spinge a immaginare nuovi modi di vivere, nuove forme di relazione con il contesto, e anche nuovi linguaggi artistici con i quali esprimersi, costituisce, per Paci, la condizione più propria dell’uomo e dell’artista”.

Si ringrazia la Galleria Kaufmann Repetto.

Adrian Paci. Note biografiche

Adrian Paci (Scutari, Albania, 1969) ha frequentato i corsi di pittura all’Accademia d’arte di Tirana. Nel 1997 si è trasferito a Milano, dove vive e lavora. Nel corso della sua carriera ha tenuto numerose mostre personali in importanti musei italiani e internazionali come il MAXXI - Museo nazionale delle arti del XXI secolo, Roma (2015), il MAC - Musée d'Art Contemporain de Montréal (2014), il PAC - Padiglione d’Arte Contemporanea, Milano (2014), il Jeu de Paume, Parigi (2013), la

Kunsthaus Zurich, Zurigo (2010), il Bloomberg Space, Londra (2010), il CCA - The Center for Contemporary Art, Tel Aviv (2009), il MoMA PS1, New York (2006), il Contemporary Arts Museum, Houston (2005).

Adrian Paci ha inoltre partecipato alla XIV Biennale di Architettura di Venezia (2014), nella XLVIII e LI edizione della Biennale d’Arte di Venezia (1999 e 2005), nella XV Biennale di Sydney (2006) e nella Biennale di Lione (2009).

Mostre al Kunstmuseum del Liechtenstein

Fino alla fine di Ottobre il Kunstmuseum del Liechtenstein ospita il nuovo allestimento con la mostra "Kirchner, Léger, Scully & more" parallela alla mostra "Who pays?" che durerà fino al 21 Maggio.

CS

Following the exhibition première in its own building annexed to Kunstmuseum Liechtenstein, the Hilti Art Foundation is now set to mount the sequel entitled "Kirchner, Léger, Scully & more". 

On the three levels of the exhibition building, which opened in 2015 as an extension to Kunstmuseum Liechtenstein, the Hilti Art Foundation is showing thirty-six selected paintings and sculptures from its internationally renowned private collection. 

The exhibition starts on the lower ground level with a section devoted to an exploration of the human form, and more specifically the female form. The depictions of women by Lehmbruck, Hodler, Picasso, Léger and Laurens show life in full bloom and at its most beautiful. In contrast, Alberto Giacometti’s sculpture Quatre femmes sur socle (1950), for example, conveys a sense of tangible sensuality withdrawing into aloof immateriality. 

Paintings by artists of classical modernism define the character of the first upper level. The works on display here include four paintings by Ernst Ludwig Kirchner, the key representative of the artist group "Brücke"; they are from three distinct creative periods, during which the artist worked in Dresden, Berlin and Davos respectively. Further highlights in this section include paintings by Max Beckmann, such as Selbstbildnis mit Glaskugel (1936), which is now surrounded by other Beckmann works from the 1920s, 30s and 40s. Works by Kandinsky, Klee, Dubuffet or Wols illustrate paths into abstraction. 

The third upper level is devoted to paintings from 1980 to the present day. This section includes works by Imi Knoebel, Gotthard Graubner and Sean Scully, three artists who applied completely different approaches and techniques, but who all represent abstract art in its most mature form. 

The exhibition "Kirchner, Léger, Scully & more" falls into line with the opening exhibition by presenting some of the artworks from the first show in a new context, thus giving visitors continued access to these seminal works. The exhibition was curated by Uwe Wieczorek, curator of the Hilti Art Foundation, and is accompanied by a catalogue with explanatory texts about all the artworks. 

Who Pays?

"Art = Capital", as Joseph Beuys put it. This succinct formula sums up his understanding of the world: "The only revolutionary force is the power of human creativity."

Behind this lies the idea that every human being can contribute to the common good and have a formative effect on society by means of his creative action. The necessary skills – spirituality, open-mindedness, cooperation and creativity – are inherent in every human being, all that is needed, Beuys claims, is to recognise, train and encourage these faculties. Based on the Beuysian notion of capital, the exhibition Who Pays? takes a look at changing ideas of money and capital and the associated transformation of meanings and values. Who Pays? brings together a number of artistic positions from the 1960s to the present. They allow us to examine our notions of wealth and poverty, of give and take, and of participation from different angles, concepts that nowadays are mostly reduced to purely economic aspects. 

“Everything is so very much in motion.” These words written by the author Gertrude Stein in the context of the rapid change of language in the Elizabethan age can also be taken to describe today’s fast-paced changes. Our Western societies are in a state of fundamental upheaval. Not only rising rates of burnout and depression testify to deep-lying anxieties, but also an emerging need for seclusion and safeguarding assets and values. All this in the knowledge that we are using up more resources than Earth can generate. On the other hand we see many and diverse approaches that see potentials and opportunities for a more sustainable future. What is the role of the concept of capital in this context? And what “capital” role can art play? The title of the exhibition Who Pays? is based on a fluorescent sign created by the artist group RELAX (chiarenza & hauser & co) and addresses every single individual. 

Artists: 

Ovidiu Anton – Gianfranco Baruchello – Joseph Beuys – Susanne Bosch – Marcel Broodthaers – Filipa César – Felix Gonzalez-Torres – David Hammons – Diango Hernández – Thomas Hirschhorn – Anja Kirschner & David Panos – Alicja Kwade – Thomas Lehnerer – Mark Lombardi – RELAX (chiarenza & hauser & co) – Christof Salzmann 

An integral part of the show Who Pays? is a diverse cooperation with other institutions. 

The artsprogram of Zeppelin University, Friedrichshafen, curates the Archive of Social Sculpture in a room dedicated to Beuys. At the beginning of the 1970s a group formed in Achberg in the Allgäu whose aim – under the heading The Third Way – was to try to find alternative models of society. They devised social ideas that remain of influence today, with Beuys elaborating his extended concept of art. The material collected by publisher Rainer Rappmann documents that atmosphere of new beginnings in the 1970s and 1980s in an archive of great importance for post-war German history. For his contribution to the exhibition Who Pays?, the artist Christof Salzmann examined the historical collection with regard to the concept of money and capital in Beuys’s work. 

As part of the exhibition, the Zukunftswerkstatt Liechtenstein will be relocating its activities to Kunstmuseum Liechtenstein. An action space for flexible use will be installed in one of the exhibition rooms. By means of activities and events, the aim is to allow visitors to experience alternative forms of work and economic activity. Together with the Wanderkiosk, a temporary architecture intended to enliven public space, the aim is to create a place that invites people to stay a while and that can be used for a variety of purposes. As a modular open space, the Wanderkiosk is designed to explore the social and cultural potential and “capital”, encouraging us to reflect on money and ideas of exchange and sharing. Visitors are invited to use this space for various purposes. 

In addition, the full supporting programme draws on further cooperations: Haus Gutenberg, Balzers, that has chosen Silence is Golden – Let’s Talk About Money! as its topic for 2017, Liechtensteinische Kunstgesellschaft, Filmclub im Takino, Schaan, TAK Theater Liechtenstein, Schaan, Dialogprojekt Arbogast, Götzis, planoalto Institut, St. Gallen, and TALENTE Vorarlberg.

Frieze New York

The sixth edition of Frieze New York brings together more than 200 leading galleries from 31 countries, showcasing ambitious presentations and new commissions by today’s most significant international artists from emerging talents to seminal and rediscovered 20th century masters. The fair takes place at Randall’s Island Park from May 5 – 7, 2017, with an invitation-only preview on Thursday, May 4.

Frieze New York is supported by global lead partner Deutsche Bank for the sixth consecutive year, continuing a shared commitment to discovery and artistic excellence.

Presenting museum-quality exhibitions in a bespoke, light-filled structure designed for the experience of art, Frieze New York offers an immersive cultural experience for major institutional and private collectors, scholars and art enthusiasts alike. With galleries joining from six continents, including first-time exhibitors from Brazil, Guatemala, Japan and Poland, the fair illuminates the aesthetic, political and historical concerns driving contemporary practice around the world.

Organized by Victoria Siddall (Director, Frieze Fairs) alongside Artistic Directors Abby Bangser and Jo Stella-Sawicka, Frieze New York is further strengthened by a team of international independent curators. Toby Kamps (The Menil Collection, Houston) will curate the expanded Spotlight section for the first time; Cecilia Alemani (High Line Art, New York / Italian Pavilion 2017 Venice Biennale) will commission Frieze Projects; andJacob Proctor (Neubauer Collegium for Culture and Society, University of Chicago) andFabian Schöneich (Portikus, Frankfurt) will advise the Frame section. Tom Eccles(Bard College, New York) also returns as curator of Frieze Talks, bringing together leading cultural figures including Shuddhabrata Sengupta of Raqs Media Collective, poet Claudia Rankine and MoMA’s Ann Temkin to deepen discussion of the themes of activism and influences of modernism also seen across the fair.

For the first time, Frieze will present a major symposium in New York City during Frieze Week. In collaboration with the Getty and the Institute of Fine Arts, NYU, the symposium on Friday, May 5 will raise discussion on topics related to Latin American and Latino Art featured in the upcoming edition of “Pacific Standard Time: LA/LA”.

“Frieze New York continues to evolve, and this year galleries are bringing presentations of greater breadth and quality than ever before, reflecting the diverse cultural interests of our audience,” noted Victoria Siddall (Director, Frieze Fairs). “Following major sales to institutions and private collectors in 2016 – and with Cecilia Alemani’s inspiring projects and Toby Kamps’s new perspective on Spotlight this year – the fair continues to develop as a vital and unique platform for art and ideas.”

The World’s Leading Galleries
Frieze New York will continue to showcase leading modern and contemporary galleries from around the world in the main section, including returning exhibitors Acquavella Galleries (New York), Gavin Brown’s Enterprise (New York), Tanya Bonakdar Gallery (New York), Matthew Marks Gallery (New York), Marian Goodman Gallery (New York), David Zwirner (New York), Mendes Wood DM (São Paulo), The Modern Institute (Glasgow), Foksal Gallery Foundation (Warsaw), Galerie Chantal Crousel (Paris) and Sprüth Magers (Berlin); alongside newcomers Eykyn Maclean (New York), Galeria Luisa Strina (São Paulo) and Castelli Gallery (New York). The fair will also grow as a platform for the world’s most exciting emerging galleries, with exhibitors including VI, VII (Oslo), Bridget Donahue (New York) and Proyectos Ultravioleta (Guatemala City) joining the fair’s Frame section for the first time.

Alongside its main section, Frieze New York features three special platforms that ensure a diverse representation of artistic practices from around the globe:

• Spotlight, expanding to 31 galleries with solo artist presentions and curated for the first time by Toby Kamps, reveals foundational moments in art history since 1960, and fosters new research into artists from emerging countries, as well as rarely seen work by iconic figures of the avant-garde. This year sees increased participation by younger exhibitors, alongside more established galleries, all sharing a common interest in artistic reexamination. 
• Frame, advised by Jacob Proctor and Fabian Schöneich, grows increasingly international this year, featuring 17 emerging galleries from 13 countries.
  A section for experimentation, Frame brings together solo presentations by today’s most exciting new artists. 
• Focus, a platform that subsidizes today’s strongest young galleries to showcase their programs in stands throughout the fair, will feature 28 galleries from Mumbai to Rio de Janeiro.

Today’s Most Significant International Artists
Frieze New York is a vital platform to encounter today’s most significant artists and artworks from around the world, including main section solo exhibitions featuring: Lorna Simpson, presenting new paintings and sculptures in her first-ever project with Hauser & Wirth (New York); the celebrated American painter John Currin with Gagosian Gallery (New York); Anri Sala, presenting Bridges in the Doldrums (2016) with Marian Goodman Gallery (New York), ahead of the artist’s participation in the Venice Biennale;Keith Sonnier at Pace (New York), bringing together his pioneering neon sculptures with two new series of works; Tala Madani with David Kordansky Gallery (Los Angeles), coinciding with the artist’s presentation in the Whitney Biennial; and Kevin Beasley showing with Casey Kaplan (New York).

Galleries presenting dynamic two-artist and group presentations include: Esther Schipper (Berlin, main) with a group show centered around Swap (2011), an interactive performance by Roman Ondak; Lisson Gallery (London, main) with a two-artist show by leading international artists Anish Kapoor and Lee Ufan, coinciding with the opening of Kapoor’s Descension at Brooklyn Bridge Park; and Herald St’s (London, main) group stand including Michael Dean, a Turner Prize finalist and the recent subject of a Nasher Sculpture Center exhibition, on the eve of the artist’s participation in the fifth Skulptur Projekte Münster. Joining the fair for the first time, Galeria Luisa Strina (São Paulo, main) will show a spectrum of major Latin American artists including Leonor Antunes, Carlos Garaicoa, Laura Lima and Adrián Villar Rojas alongside 20th-century icon Lygia Pape, coinciding with the latter’sretrospective at The Met Breuer. Another leading Brazilian gallery, Mendes Wood DM, (São Paulo, main) will bring a substantial presentation by São Paulo-based artist Adriano Costa alongside other leading artists.

Frieze New York will also be an opportunity to preview many artists representing countries in the Venice Biennale, including: Carol Bove, representing Switzerland, whose work will be on view alongside the photographer William Eggleston at David Zwirner’s (New York, main) stand; the seminal artist Geta Bratescu, representing Romania, showing alongside experimental conceptual artist Lia Perjovschi with Ivan Gallery (Bucharest,Focus); and the sound and media artist Samson Young, representing Hong Kong, showing new work with Galerie Gisela Capitain (Cologne, main).

Politically Engaged Art
Resonating with themes explored across this year’s international biennials, many galleries are presenting work exploring the role of art in climates of conflict – from colonial pasts to dystopian futures. Looking back at the politically charged scene of New York City’s East Village in the 1980s, P.P.O.W. (New York, main) will present a large-scale, car-shaped pigeon coop by Anton van Dalen, originally exhibited at Exit Art in 1988, alongside pioneering works by artist-activists Martin Wong and David Wojnarowicz, all showing the influence of immigration, street art and Hip Hop on the cultural epoch. Also highlighting the visual culture of the 1980s, Skarstedt (New York, main) will show works by politically engaged artists Mike Kelley and Cindy Sherman, among other modern and contemporary artists. Maureen Paley (London, main) will present politically themed works by AA Bronson and Wolfgang Tillmans, and further addressing 21st century politics and technology with humour, Carroll / Fletcher’s (London, Frame) solo presentation of multimedia works by Thomson & Craighead will explore themes of self-help and apocalypse, including a perfume that ‘literally’ smells of end times.

Looking at histories of colonialism, Meessen De Clercq (Brussels, Focus) will present a solo stand of works by Vietnamese artist Thu Van Tran examining rubber as a symbol of suppression by the French in Vietnam; and Chi-Wen Gallery (Taipei, Focus) will showcase Chien-Chi Chang’s The War That Never Was and Yin-Ju Chen’s Extrastellar Evaluations (both 2016), new video works looking at memory and histories of human destruction. Showing with Mary Mary (Glasgow, Focus), Aliza Nisenbaum’s solo presentation will use imagery of protest found in Mexican Modernist prints from 1900-1950 to explore painting as a form of ethics.

Feminist Perspectives 
Many galleries have curated shows featuring women artists from the 20th and 21st centuries, exploring pressing feminist issues and the role of women in influential movements of contemporary practice. Solo exhibitions include Simone Subal Gallery(New York, Focus) who will showcase the Austrian-American pioneer of feminist Pop Art,Kiki Kogelnik (1935-1997); newcomer Bridget Donahue (New York, Frame) presenting a solo exhibition by Susan Cianciolo, coinciding with the artist’s participation in the Whitney Biennial; and The Third Line (Dubai, main) presenting a solo stand of work by Iranian artist Farhad Moshiri exploring the common ground between Iran and the West.

Highlights among the themed group stands include: Lehmann Maupin (New York, main) with a striking three-artist stand featuring Californians from different generations: Mary Corse, Liza Lou and Catherine Opie; Cheim & Read (New York, main) who will respond to the recent Women’s March on Washington, with a booth featuring works inspired by the color pink by artists including Ghada Amer, Donald Baechler, Lynda Benglis, Louise Bourgeois, Louise Fishman, Adam Fuss, Jenny Holzer, Jonathan Lasker, Jack Pierson, Juan Uslé and Andy Warhol; Salon 94 (New York, main) featuring works by three international women artists— Huma Bhabha,Francesca DiMattio and Katy Grannan—offering commentary on issues of race, gender, class and sexuality; and Jhaveri Contemporary (Mumbai, Focus) with an intergenerational stand of female artists from India including tapestry by Monica Correaand fibre sculpture by Mrinalini Mukherjee alongside painting and photography bySimryn Gill, Lubna Latif Agha and Yamini Nayar.

Performance and Interactive Works
Across the fair, galleries are presenting immersive projects that invite visitors to become part of the artworks themselves. The Breeder (Athens, main) will revive a seminal interactive public installation borne out of the AIDS crisis: 1-900 Mirror Mirror (1993-6) byChrysanne Stathacos. Galeria Nara Roesler (São Paulo, main) will present a new performance by Paulo Bruscky, questioning the socio-political role of art, alongside elements from performances by Eduardo Navarro and Paul Ramirez Jonas previously only seen in institutional settings. Canada (New York, main) returns to the fair with another immersive interior, curated by the New York-based artist Marc Hundley to mirror the artist’s actual home at 220 Roebling in Brooklyn, including objects and artworks hung salon-style amidst handmade furniture, books and records. In the Focus section,David Lewis (New York) will bring a solo stand with Dawn Kasper – presenting a participatory installation of musical sculpture exploring the concept of desire.

Generations of Influence: 20th century movements and tribal art
Building on Frieze’s reputation for showcasing modern artists and encouraging the growth of art collections across eras, this year’s fair features a growing presence of galleries exhibiting significant works from the 20th century alongside masters of contemporary art.Sprüth Magers (Berlin, main) will bring together key figures of post war art with contemporary European and American artists whom they have influenced; and Franklin Parrasch (New York, main) will explore the history of art within America, showing work from the 1960s through the 1980s by Californian pioneers Peter Alexander, Billy Al Bengston, John McCracken, Ken Price, Deborah Remington and Ed Ruscha.

Further, the expanded Spotlight section, curated for the first time in New York by Toby Kamps (The Menil Collection, Houston), will bring together solo artist presentations by pioneers of 20th-century practice. Revealing foundational movements in art, from ‘Hippy Modernism’ to Concrete Poetry, highlights include Thomas Kovachevich’s works using everyday materials, performance and architecture, first exhibited at the 1972 Documenta exhibition (Callicoon Fine Arts, New York); works by recently rediscovered Cuban-American, self-taught artist Felipe Jesus Consalvos (Fleisher / Ollman, Philadelphia); the experimental sculptor and poet Barbara Chase-Riboud (Michael Rosenfeld Gallery, New York); Dom Sylvester Houédard—a Benedictine monk turned counter-culture cult figure of 1960s London (Richard Saltoun Gallery, London); rarely seen work by Lee Mullican, inspired by cosmological abstraction, Native American and pre-Columbian influences (Marc Selwyn Fine Art, Los Angeles); and Peruvian artistTeresa Burga (Galerie Barbara Thumm, Berlin) presenting Pop works from the 1960s on the opening of her first-ever US museum retrospective at SculptureCenter (New York).

Exploring 20th century art and its influences world-wide, Entwistle (New York, main) will show tribal sculptures side by side with post war Japanese paintings of the Gutai and Informel movements; while Axel Vervoordt (Antwerp, main) will curate a rare solo presentation of Masatoshi Masanobu, a significant artist from Gutai’s second wave. Major European and American 20th century figures including Sam Francis, Henri Matisse and Robert Motherwell will be on view at Bernard Jacobson Gallery(London, main); alongside significant works by Georg Baselitz and Robert Rauschenberg at Galerie Thaddaeus Ropac (Paris, main); Jean Dubuffet andWayne Thiebaud at Acquavella Galleries (New York, main); and Jean-Michel Basquiat and James Rosenquist at Eykyn Maclean (New York, main).

In addition, acknowledging the enduring influence of tribal art on avant-garde artists of the 20th century and today, three eminent galleries and founding Frieze Masters exhibitors –Donald Ellis (New York and Vancouver), L & R Entwistle and Co (London) andGalerie Meyer - Oceanic Art (Paris) – will participate in Frieze New York for the first time.

Frieze Stand Prizes
Frieze New York 2017 sees the return of three awards recognizing exceptional presentations from galleries across the fair, including a specific prize for younger galleries in the Frame section.

A Frieze Stand Prize will be awarded to outstanding presentations in two categories: the first specifically to a gallery under 12 years of age, and the second for an exceptional gallery taking part in any section of the fair. The prizes will be awarded by a leading jury of museum directors and curators and will be announced at 4pm on Thursday, May 4. 

Supported by Stella Artois, the Frame Prize is dedicated to the most deserving presentation in the Frame section. The winner will be selected by a leading jury of emerging art experts. The Frame Prize will be announced at 12pm on Friday, May 5.

Frieze Talks
Part of Frieze’s non-profit program and featuring today’s most influential artists, thinkers and cultural figures, Frieze Talks is curated by Tom Eccles (Executive Director, Center for Curatorial Studies, Bard College, New York).

Exploring themes of agency, politics and perspective, and responding to content within the fair itself, this year’s Talks program features Claudia Rankine, 2016 MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for her collection Citizen, as well as a panel on art and social commitment chaired by Shuddhabrata Sengupta of Raqs Media Collective and featuring artists Tania Bruguera, Anri Sala and Jeanne van Heeswijk; and a conversation on “complicating the Modern” from Ann Temkin, Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at MoMA.

Frieze Talks takes place daily at 11.30am at Stand H1, next to the Ruinart Lounge at Frieze New York from Friday, May 5 through Sunday, May 7. Access to Frieze Talks is included in all admission tickets. The complete schedule is available at frieze.com.

Symposium in Collaboration with the Getty and the Institute of Fine Arts, NYU
Taking place on Friday, May 5 in collaboration with the Getty and the Institute of Fine Arts, NYU, Frieze’s first-ever symposium in New York will present three panel discussions on Latin American and Latino art related to the Getty’s upcoming “Pacific Standard Time: LA/LA” (September 2017- January 18). Participants will include Cecilia Fajardo-Hill, co-curator of the touring exhibition “Radical Women: Latin American Art, 1960–1985” (Hammer Museum, Los Angeles, 2017; Brooklyn Museum, New York, 2018); Dan Fox, co-editor of frieze magazine; Clara M. Kim, curator of the Los Angeles Municipal Art Gallery’s exhibition “Learning from Latin America: Art, Architecture and Visions of Modernism” (2017-18); Chon Noriega, co-curator of the touring exhibition “Home–So Different, So Appealing: Art from the Americas since 1957” (Los Angeles County Museum of Art, 2017; Museum of Fine Arts, Houston, 2017-18); Edward Sullivan, the Helen Gould Sheppard Professor in the History of Art, Institute of Fine Arts, NYU; and artists featured in the exhibitions including Guillermo Kuitca, María Evelia Marmolejo andClarissa Tossin. For further information, please see frieze.com.

Non-Profits at the Fair
Frieze has invited three non-profit art spaces and organizations to present their programs at Frieze New York. This year’s participants include the Donald Judd Foundation,SculptureCenter and White Columns, the city’s oldest alternative art space. Following its collaboration with Frieze on the fair’s marketing campaign, the Judd Foundation will present a selection of Donald Judd Furniture curated by Flavin Judd, Curator & Co-President; alongside publications including Donald Judd Writings and Donald Judd: Complete Writings 1959-1975.

Frieze Projects
The Frieze Projects program at Frieze New York will feature seven commissions, curated byCecilia Alemani (High Line Art, New York & Italian Pavilion, 2017 Venice Biennale). Inside the fair and around Randall’s Island Park, ambitious, interactive and site-specific artworks will question the act of watching and being watched.

On the green lawn outside the North entrance, Elaine Cameron-Weir will build a rudimentary structure based on plans for a backyard air-raid shelter, the inside lit by two neon sculptures – glimpses of which are only possible through a discrete door. Inside the fair, Jon Rafman will transform a gallery stand into a secret movie theater, where visitors can watch – and be watched while watching - a new video series fusing amateur 3D animation and niche genres of computer-generated erotica. Dora Budor will supplement the art fair’s usual routine by using cinematic doubling to question perception and reality. This year’s tribute to a groundbreaking arts space is dedicated to Galleria La Tartaruga in Rome and its experimental exhibition “Il Teatro delle Mostre” (1968). The tribute space will change daily, with restagings of two pioneering projects by Giosetta Fioroni and Fabio Mauri, alternated with new commissions by Ryan McNamara and Adam Pendleton.

The Reading Room
Returning for a second year, the Reading Room offers visitors the opportunity to meet writers, editors and artists in book signings and presentations, hosted by the world’s leading arts and lifestyle publications. Daily event details can be found at frieze.com

Frieze Bespoke
Launching for the first time at Frieze New York, Frieze Bespoke is an exclusive opportunity for those interested in collecting art to explore the fair accompanied by an independent art specialist. These intimate tours are available for groups of up to four people and are designed specifically for those interested in learning about art and beginning or growing their own art collections. Each tour lasts approximately two hours, with itineraries including starting a collection; an introduction to Latin American art; a survey of iconic 20th century figures; and emerging talents. For further information, please visitfriezebespoke.com.

Eating and Drinking at Frieze
Visitors can enjoy New York City’s most talked-about restaurants including many returning Frieze favorites Court Street Grocers, Marlow & Sons, Morgenstern’s Finest Ice Cream, Sant Ambroeus, Frankies Spuntino and Roberta’s; plus new additionsCafé Altro Paradiso, Russ & Daughters and TYME Fast Food. Ruinart returns for the second year as the official Champagne Partner for Frieze New York.

Frieze Education
The Frieze Education program reaches hundreds of students in the region annually, with onsite programming for school groups visiting Frieze New York, and the Frieze Teens program, which engages a group of teenagers throughout the year – exposing them to different careers within the contemporary art world through studio visits and professional workshops. The Frieze Teens lead student group tours of the fair and create a free interactive guide, the Frieze Young Person’s Guide to the Fair, a resource for all youth visiting Frieze New York. Frieze Education is supported by Deutsche Bank for the fifth consecutive year; for more information, a full release on the Frieze Teens program is available at frieze.com.

Frieze Week in New York
New York’s diverse community of galleries, institutions and arts organizations present some of their most ambitious projects during Frieze New York – forming a major moment in the international art world calendar. This year, highlights during Frieze Week (May 1–7) include: The Whitney Biennial at Whitney Museum of American Art; Louise Lawler at The Museum of Modern Art; Kaari Upson at the New Museum; and Marsden Hartley, Marisa Merz and Lyga Pape at The Met Breuer.

Frieze Week magazine
The second New York edition of Frieze Week magazine offers a companion to the wealth of art and activity taking place at the fair and across the city during Frieze New York, including complete fair gallery listings for browsing. Available at frieze.com and onsite at the fair.

Conversations On Collecting
Taking place in the Deutsche Bank Lounge from Friday to Sunday, Conversations on Collecting will offer VIP card holders the opportunity to hear first-hand what drives the collecting and commissioning of contemporary art. Daily event details can be found atfrieze.com.

Frieze Week gallery openings
Lower East Side and SoHo Morning (Friday, May 5), Upper East Side & Harlem Morning (Saturday, May 6) and Chelsea Night (Saturday, May 6) are open to all. For full listings please see frieze.com.

Partners
Frieze New York is sponsored by global lead partner Deutsche Bank for the sixth consecutive year, continuing a shared commitment to discovery and artistic excellence.

Further Information
To keep up-to-date on all the latest news from Frieze, sign up to our newsletter at Frieze.com, and follow @FriezeArtFair on Instagram, Twitter and Frieze Fairs on Facebook. #FriezeArtFair #FriezeWeek

Visiting Frieze New York – Hours, Location and Admissions
Frieze New York 2017 is open:

Thursday, May 4 (by invitation only)

Friday, May 5 through Sunday, May 7

Frieze New York is located in Randall’s Island Park, situated on the East River between Manhattan, Queens and the Bronx, with dedicated ferry and bus services and limited valet parking. Frieze New York is also accessible by public transit via the M35 bus, which is a quick ride from 125th street in Harlem (and an easy transfer from the 1, 2, 3, 4, 5, 6, B, D, A, and C trains, as well as the Metro North commuter rail).

Tickets for Frieze New York 2017 are available at frieze.com.

Lo spazio di Erwin Wurm da L.Maupin gallery

Gli spazi newyorchesi della galleria Lehmann Maupin ospitano fino al 26 Maggio una mostra di Erwin Wurm.

CS

Lehmann Maupin is pleased to announce Ethics demonstrated in geometrical order, an exhibition of new One Minute Sculptures by Erwin Wurm. This year marks the 20th anniversary of these audience-activated sculptures, which will also be the focus of Wurm’s installation for the Austrian pavilion in the 57th Venice Biennial. Wurm’s One Minute Sculptures have influenced a generation of artists by redefining what a sculpture is and how the public engages with the medium. There will be a reception for the artist on Thursday, March 30 at 536 West 22nd Street from 6-8 PM.

The basic premise of a One Minute Sculpture remains uniform. For each work, using a drawing or specific text, Wurm directs participants to pose with an object, which have ranged from cleaning products and sneakers to furniture and fruit. The viewer enacts the proposed sculpture on a low plinth, manipulating their body and the predetermined prop in a pose held for a short time. Wurm reiterates that the success of these ephemeral pieces is determined by the exactness with which the directions are executed, stating, “The One Minute Sculptures only come into existence if the public follows precisely the instructions of the artist and free will has a low priority."
 

For the One Minute Sculptures featured in this exhibition, Wurm employs mid-century modern furniture as props. Participants will navigate these iconic 20th-century furnishing designs, often to unusual effect. By asking for the audience’s participation in a way that could make them feel uncomfortable, One Minute Sculptures offer a moment of visceral introspection as a means of provoking an examination of one’s own insecurities, thus turning them into subversive “thinking sculptures.” Much of Wurm’s work, though disturbing, offers an underlying social critique of contemporary culture, particularly in response to the capitalist influences and resulting societal pressures that the artist sees as contrary to our internal ideals.
 

The necessity for explicit mimicry of Wurm’s directives is reflected in the artist’s title choice, Ethics demonstrated in geometrical order, evoking the 17th-century Dutch philosopher Baruch de Spinoza. Considered a pioneer of the Enlightenment era, Spinoza’s magnum opus, Ethics (1677), premised the uncertainty of free will. Wurm suggests contemporary scientific manifestations of Spinoza’s thoughts could be applied to the common theory among neuroscientists that our thoughts, judgments, and subsequent actions are strongly influenced by predeterminations and conditioning.

Throughout the Renaissance, an ongoing debate about the specific virtues of sculpture, painting, and poetry aligned sculpture with the physical entity it summons into being, a perception that dates back to Ovid’s Metamorphoses (8 AD). One Minute Sculptures reconsider this early interpretation of sculpture as a stand-in for the human form by using an actual human body as a replacement for its representation in durable form. By reducing the duration of the piece to a single minute, Wurm questions the timelessness often attributed to sculpture. The resulting works thus collapse the distinction between sculpture and other art mediums, such as painting and poetry, into a complete corporal, temporal, and narrative form.

In addition to the One Minute Sculptures, Wurm will present five new sculptural works in cast bronze and mixed media, including Equitable (2016) and Flat Iron (2016), recreations of two iconic New York buildings that appear to be melting, and Bad Thoughts (2016), created by casting deformed bags of clay. These works are reminiscent of his Fat House (2003) and Fat Car (2001-present) series, where he gave swollen anatomical form to these structures. Together with One Minute Sculptures, this latest body of work reasserts Wurm’s continued engagement with everyday objects and familiar forms as a catalyst for challenging and confounding perceptions of space, volume, form, and materiality.

Erwin Wurm (b. 1954 Bruck an der Mur/Styria, Austria; lives and works in Vienna) graduated from University Graz, Austria in 1977, and Gestaltungslehre University of Applied Art and Academy of Fine Art, Vienna in 1982. Solo exhibitions of his work have been organized at Museum Küppersmühle für Moderne Kunst, Duisburg, Germany (2017, forthcoming); Leopold Museum, Vienna, Austria (2017, forthcoming); Centro Cultural Banco do Brasil, São Paulo, Brazil (2017); Berlinische Galerie, Berlin (2016); Schindler House, MAK Center for Art and Architecture, West Hollywood, CA (2016); Bangkok Art and Culture Center, Thailand (2016); Indianapolis Museum of Art, IL (2015); Museum of Contemporary Art in Kraków, Poland (2013); Centro de Arte Contemporáneo de Málaga, Spain (2012); Dallas Contemporary, TX (2012); Bass Museum of Art, Miami (2011); Middelheimmuseum, Antwerpen, Belgium (2011); Kunstmuseum Bonn, Germany (2010); and Ullens Center for Contemporary Art, Beijing (2010). Select group exhibitions of his work include Performing for the Camera, Tate Modern, London (2016); Precarious Balance, Centre of Contemporary Art, Christchurch, New Zealand (2016); Desire for Freedom, Museum of Contemporary Art in Kraków, Poland (2013); Heimsuchung: Uncanny Spaces in Contemporary Art, Kunstmuseum Bonn, Germany (2013); The Original Copy: Photography of Sculpture, 1839 to Today, Kunsthaus Zürich, Switzerland, traveled to The Museum of Modern Art, New York (2011); and Temporary Structures: Performing Architecture in Contemporary Art, deCordova Sculpture Park and Museum, Lincoln, MA (2011). Wurm’s work is in numerous international public and private collections, including Albertina, Vienna; Albright Knox Art Gallery, Buffalo, NY; Centro de Arte Contemporáneo de Málaga, Spain; Centre Georges Pompidou, Musée National d’Art Moderne, Paris; Kunsthaus Zürich, Switzerland; Kunstmuseum Bonn, Germany; Museo d’Arte Moderna di Bologna, Italy; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Vancouver Art Gallery, Canada; and Walker Art Center, Minneapolis, MN.