Theatre Of Hunters. Pedro Barateiro.

In Theatre of Hunters, his first major solo exhibition outside of Portugal, Pedro Barateiro presents a sequence of installations that include “staged” sculptures, found objects, photographs, drawings, paintings and films that encompass the five connected galleries on the ground floor of the Kunsthalle Basel.

Barateiro’s multifarious practice can be situated within a contemporary mode of post-studio production that is neither bound to one medium nor limited to any particular type of skilled object-making. Instead, the Lisbon-based artist primarily works with existing popular images, documents, literary texts, found objects and artworks gleaned from a diverse range of contexts. Barateiro’s practice is driven by a critical “re-reading” of those cultural and historical texts that play a major role in determining our perception of reality. Rather than mirroring or otherwise directly responding to lived experience, Barateiro relays highly coded and fragmented statements, mediated by complex visual signs that possess the quality of things remembered from dreams, while simultaneously relating to specific referents.

D 19€

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WIELS Residency Program is happy to welcome you to the book launch :

Nick Oberthaler

ZWEIFEL UND GNADE / LE DOUTE ET LA GRÂCE

Edited by Nick Oberthaler, Alessandra Bellavita and Marianne Rapegno
Published on the occasion of the exhibition ZWEIFEL UND GNADE at Galerie Thaddaeus Ropac, Paris.

In addition to his first catalogue, Nick Oberthaler will also present his artist-zine project BLACK PAGES, which he runs together with Vienna based artists Christoph Meier and Ute Müller, as well as the publication WALLPAPERISM, which he recently edited together with Geneva-based designer and publisher Izet Sheshivari from Boabooks and the artist-run space Motel Campo, Geneva.

How To Look Out. Marijn van Kreij.

Van Kreij’s play with appropriation and copying fits comfortably with our contemporary visual culture, where the immediate and endless reproduction of the image takes centre stage and no single image is ‘safe’ any longer. The artist questions this mechanism by returning to manual workmanship (drawing is the basis of Van Kreij’s artistic practice) and by partly concentrating on insignificant and meaningless pictures. Following in Van Golden’s tradition Van Kreij for example presents paintings that are based on the geometric patterns on the inside of envelopes. By magnifying these trivial things the artist intensifies our awareness of the fleeting visual structures that surround us all in daily life.

D 10€

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Where Do We Migrate To? is a book published in conjunction with the traveling exhibition of the same title, which explores diverging ways in which forms of migration, experiences of displacement, and questions of belonging have been addressed by artists in recent years. For the book, four prominent international writers were invited to reflect on the themes from the exhibition. Ranging from the playful to the theoretical, from the poetic to the philosophical, their essays call for an increasingly complex understanding of the contemporary migrant experience. The book also includes nineteen postcards by the artists participating in the exhibition, designed specifically for the publication and presenting multiple visual interpretations of migratory encounters.

Publication editor Niels Van Tomme invites essayist Aaron Schuster for his presentation The Atopia of Philosophy, in which he asks how the figure of the exile, outcast, and migrant has become such a powerful metaphor for subjectivity in the contemporary imagination.

Aaron Schuster is a writer based in Berlin, where he is a fellow at the Institute for Cultural Inquiry. He has lectured and published widely on psychoanalysis and contemporary philosophy, and his writings on art have appeared in The Believer, Cabinet, Frieze, Frog, Metropolis M, and De Witte Raaf. He coauthored the libretto for Cellar Door: An Opera in Almost One Act (JRP Ringier, 2008), and his The Philosophy of Schizophrenia will appear as a book from M.I.T. Press in 2012.

Niels Van Tomme is a New York based curator, researcher, and critic. His exhibition Where Do We Migrate To? opened at the Center for Art, Design and Visual Culture in Baltimore in 2011and will travel to Parsons The New School of Design in New York, the CAC in New Orleans, and the Rubin Center for Visual Arts in El Paso in 2012 and 2013. He is a Contributing Editor of Art Papers and publishes internationally in journals, magazines, and exhibition catalogues. Van Tomme is currently co-editing the book Aesthetic Justice, forthcoming from Antennae Series by Valiz, Amsterdam, in 2012.

Where Do We Migrate To?

Edited by Niels Van Tomme

Contributions by Svetlana Boym, Amitava Kumar, Aaron Schuster, and Niels Van Tomme

Artworks by Acconci Studio, Svetlana Boym, Blane De St. Croix, Lara Dhondt, Brendan Fernandes, Claire Fontaine, Nicole Franchy, Andrea Geyer, Isola and Norzi, Kimsooja, Pedro Lasch, Adrian Piper, Raqs Media Collective, Société Réaliste, Julika Rudelius, Xaviera Simmons, Fereshteh Toosi, Philippe Vandenberg, and Eric Van Hove

Published by the Center for Art, Design and Visual Culture, Baltimore, 2011

Available from D.A.P. | Distributed Art Publishers, Inc.

ISBN: 9781890761141

Something About Today. Mekhitar Garabedian. S.M.A.K.

“Something About Today” is published on the occasion of the first museum solo exhibition of the Syrian-born and Belgian-based Mekhitar Garabedian (1977, Aleppo). The exhibition consisted of works from the last five years, several new productions and a first look at Garabedian’s ‘library’. In his work, Garabedian examines the position of the individual and the development of identity n contemporary society shaped by migratory movements. Using widely divergent media, he examines how the rupture caused by migration continues to determine the present and how multilingualism shapes the position and psyche of the migrant. Just as his personal history is layered, Garabedian’s discourse reveals numerous references to literature, music, philosophy, and the visual arts.

The publication also includes texts by Marie-Aude Baronian, Jorge Luis Borges, Svetlana Boym, Thomas Caron, Mekhitar Garabedian and Philippe Van Cauteren.

English
240 pages
24,5 x 19 cm

D € 39.50

Available for Distribution

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Petrit Halilaj

Published Kunstraum Innsbruck and Chert, on occasion of Petrit Halilaj’s solo exhibition at Kunstraum Innsbruck, Sept. 17 – Nov. 5, 2011

15€

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Andrew Kerr. Inverleith House, Royal Botanic Garden Edinburgh.

In 1999, Inverleith House presented an exhibition open to all artists living and working in Scotland, called ‘Absolut Open’. The 29 artists chosen to exhibit were selected from submissions by over 350 artists, spanning several generations and encompassing every artistic medium and style. A few of the artists represented were already well-known at the time, but most were not. One of the strangest and most scuccessfuil works in the exhibition was a cardbopard sculpture made by Andrew Kerr, a young artist who had only just graduated from Glasgow School of Art. It took the form of a ‘cast.’ taken from another sculpture – the Garden’s ‘Slate Cone’ (Andy Goldsworthy, 1990; resting on the gallery floor like an upturned carapace it was positioned so that both could be viewed simultaneously by looking out of a window towards the hawthorn tree near which Goldsworthy’s sculpture was sited.

whilst Kerr’s sculpture appeared temporary, inmprovised and possibly even slightly irreverent, both forms demonstated an affinity with nature and culture respectively. Born in 1977, Kerr is one of the younger members of an internationally recognised generation of artists who have made exhibitions for Inverleith House in recent years, including Karla Black, Douglas Gordon, Jim Lambie, Victoria Morton, Tony Swain, Hayley and Sue tompkins and Cathy Wilkes.

The exhibition will feature new and recent work and is Kerr’s first major museum exhibition in Scotland, following a major solo exhjibition in 2009 at the Kunstverein in Bremerhaven, Germany and other recent solo exhibitions in Cologne and Glasgow.

Catalogue

D € 20

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Nina Beier. Charlottenborg.

This publication accompanies an exhibition at Kunsthal Charlottenborg in Copenhagen by the Danish artist Nina Beier. The exhibition – which is the artist’s first major solo show in the Scandinavian region – consists of an entirely new body of work.

The book is the third in a series of publications related to the exhibitions in Charlottenborg’s North galleries (the first editions featured Clemens von Wedemeyer and Pablo Bronstein). It is designed by Sara De Bondt studio in London and features an introductory essay entitled Demonstration by Charlottenborg’s curator and editor of the publication, Rhea Dall, together with an essay by the writer and curator Dieter Roelstraete. The latter text was generated by Roelstraete together with Beier as a result of their conversation and, rather than explaining the exhibition, it heads straight into an exploration of its conceptual span. The text weaves into and expands upon the art works, which is also why it is presented with a range of photographic footnotes – many of which document or relate to Beier’s practice. This essayistic stream of consciousness functions as an integral part of the show, one that does not separate the object (the exhibition) from its illustration (the catalogue).

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THE OTOLITH GROUP – Thoughtform, La forma del pensiero

Published on the occasion of the exhibition at the MAXXI, a co-production with the MACBA, Thoughtform wants to try to give a key to penetrate deeply into the complex set of references, themes and motifs that inform the Otholith Group’s engaging videos. The London-based group draws from history, personal archives, and the cinéma d’auteur imagery to compose a narrative for their works. And the publication, by reproducing scripts and frames from the artists’ films, tries to reflect this constant, intense interplay of flowing voices.

Pages:120
Languages: English
Year: 2011

D 15.00 €

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LE SOLEIL SOUS LA MER. Dove Allouche. FRAC Auvergne + LaM

LE SOLEIL SOUS LA MER was published on the occasion of Dove Allouche’s exhibitions at FRAC Auvergne from October 15 to December 30, 2011 and at LaM from October 27, 2011 to January 22, 2012.

With essays by Philippe-Alain Michaud, Jean-Charles Vergne, and Marc Donnadieu.

French / English
144 pages
Published by FRAC Auvergne + LaM

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