The Best Shows to See in Dusseldorf – 杜塞尔多夫最好的演出


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Ulrike Müller, Diavolaki, 2018, monotype, 74 x 57 cm. Courtesy: the artist and Callicoon Fine Arts, New York

Ulrike Müller, ‘Container’
Kunstverein Düsseldorf
15 November 2018 – 17 February 2019

‘Container’ at the Kunstverein Düsseldorf marks Ulrike Müller’s first institutional show in Germany. The current presentation sees Müller expand her painterly interests in colour and composition into a variety of new media – including enamels, rugs, collages, and monotypes – as well as the exhibition space itself. Müller’s formal language draws heavily on the vocabularies of 20th century modernist abstraction. Yet her pointedly warm palette and crafty materials suggest more of a smirking, sidelong engagement with this tradition – a kind of engagement that has itself, by now, become its own kind of tradition – as opposed to outright endorsement. Indeed, Müller toes the line so well it’s hard to know whether she’s up to no good, or just smiling.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Alain Duperon, Reconstruction of the ‘Palais Idéal’ by Ferdinand Cheval, installation view, Kunsthalle Düsseldorf, 2018. Background: Armand Schulthess, Enzyklopädie im Wald, 1952–72. Courtesy: © J. Paul Getty Trust. The Getty Research Institute, Los Angeles; photograph: Katja Illner

Harald Szeemann
Kunsthalle Düsseldorf
13 October 2018 – 20 January 2019

Across the hall, the Kunsthalle has devoted three rooms to an overview of the life and work of Harald Szeemann, the curator who, perhaps more so than any other individual, gave rise to the figure of the curator as meta-artist. Interestingly enough, the Kunsthalle devotes relatively little space to Szeemann’s landmark exhibitions, such as ‘Live in Your Head: When Attitudes Become Form’ or documenta 5. Instead, the heavily archival exhibition strives for a balanced presentation of Szeemann’s achievements, which inevitably charts his journey away from contemporary art and towards the figure of the utopian visionary, with a surprising excursus into esotericism. Overall, it doesn’t spend much time recapitulating Szeeman’s well-documented historical influence, but rather illustrates in great detail his uncanny ability to curate, well, anything.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Lutz Bacher, What’s Love Got to Do With It, 2018, installation view, K21, Dusseldorf. Courtesy: the artist and K21, Dusseldorf

Lutz Bacher
7 September 2018 – 6 January 2019

After a brief month of renovations – and years of languishing in the shadow of its sister institution, the K20 – the K21 recently reopened its doors under the new directorship of Susanne Gaensheimer and seems well poised to redeem the director’s promises of a ‘sharpened’ institutional profile. The current display offers two large scale solo presentations. Half of the museum’s second floor is devoted to the fragmentary, and at times frustrating, multimedia installation What's Love Got to Do With It (2018) by Lutz Bacher. Bacher’s presentation weaves together fragments of political nausea with cheap commodities and thoroughly alienating moments of grandeur by way of Bach’s Toccata and Fugue in D Minor, producing an effect that is as inscrutable as it is indelible.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Cao Fei, 2018, installation view, K21, Dusseldorf. Courtesy: the artist and K21, Dusseldorf

Cao Fei
6 October 2018 – 13 January 2019

At the same time, the museum’s labyrinthine basement spaces are devoted to a dizzying retrospective by Cao Fei – who has also co-curated the current show at the Julia Stoscheck Collection across town – which spans the artist’s work from 1995 to 2017. Admittedly, Cao’s videos are at the heart of this presentation, moving between familiar documentary idioms and fully rendered excursions into the virtual world of Second Life. Fei’s consistent focus on everyday life affords viewers anecdotal portraits of the changes that swept through China following the economic reforms of the 1970s and ’80s, which are all the more compelling for their idiosyncrasies. Meanwhile, the museum’s characteristic ‘artists’ rooms’ presentations have been rehung to emphasize the more international aspects of the collection, featuring the likes of Jeff Wall, Robert Gober, and Wael Shawky alongside more renowned regional offerings, such as Thomas Schütte and Rosemarie Trockel.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Dorota Gawęda and Eglė Kulbokaitė, YGRG159: SULK, 2018, performed by Belle Santos, Petros Touloudis and Hara Kiri at ANTI- 6th Athens Biennale, 2018. Courtesy: the artists and Lucas Hirsch, Dusseldorf 

Dorota Gawęda and Eglė Kulbokaitė, ‘I get those goosebumps every time you come around’
Lucas Hirsch Gallery
17 November – 21 December 2018

Better known as the initiators of the Young Girl Reading Group, Dorota Gawęda and Eglė Kulbokaitė present an installation based on the video documentation of their recent performance YGRG159: SULK (2018), at ‘ANTI’ the 6th Athens Biennial. Gone are the days of ‘No documentation!’ It even feels quaint to imagine something might be lost in translating the performers’ ‘presence’ onto screens, when the ‘presence’ of their performers is already so heavily mediated by their phones anyway. On the other hand, it also seems to be the lossiness of this translation that Gawęda and Kulbokaitė seem to enjoy. Perhaps one reason why they have also turned to using smell as a form of documentation, a powerful stimulus that remains notoriously vague in its content and, for this reason, remains all the more difficult to control.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Magdalena Kita, Absolut Vanilla (Altar), 2018, egg tempera and gold leaf on wood, 80 x 53 cm closed; 80 x 105 cm open. Courtesy: the artist and Setareh Gallery, Dusseldorf

Magdalena Kita, ‘Absolut Vanilla’
Setareh Gallery
26 October – 1 December

Magdalena Kita’s ‘Absolut Vanilla’ presents a selection of new paintings distilled from an eclectic array of references – BDSM, Art Brut, iPhones, Scientology, and counting. Based on the traditional format of icon painting, the simplistic contours, graphic flourishes, and bright colours belie their heavily laboured surfaces. Kita’s motley female cast in manic cyans, magentas, and golds populate a succession of scenes that range from banal or ribald to outrightly absurd. In Roses (2018), for example, two curiously anime-like faces peep out from behind a rosebush as scrolling chat bubbles quote Leviticus 26:31 before them: ‘…I will lay your cities waste and will make your sanctuaries desolate, and I will not smell your pleasing aromas…’ Strange isn’t the half of it. Yes, it is difficult at any point in the exhibition to imagine what exactly might be going on here. But perhaps for eyes weary of the self-assured ‘what you see is what you see’ of one too many geometric abstractions, Kita’s kitschier than kitsch icon panels may come as a welcome, and joyful, refreshment.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Konrad Klapheck, Drawing for Vor der Abfahrt, 1993, charcoal and pencil on tracing paper, 62 x 75 cm. Courtesy: the artist and Linn Lühn Gallery, Dusseldorf 

Konrad Klapheck
Linn Lühn Gallery
16 November – 20 December

For the Dusseldorf Art fair, Linn Lühn will present a selection of rarely shown drawings by veteran artist and son of the city Konrad Klapheck at her gallery on Birkenstraße. Like many German artists who came of age shortly after the war, Klapheck’s paintings developed in response to the unprecedented explosion of consumer culture that accompanied the Marshall-Plan reconstruction in West Germany and the subsequent ‘Economic Miracle’. Unlike his contemporaries, such as Gerhard Richter or Sigmar Polke, a large part of Klapheck’s ‘realism’ was devoted to painstakingly dissecting and reconstructing the imagery of the then-new commodities with a deep-seated ambivalence, oscillating between an irresistible eroticism and thinly-veiled horror. For many years, Klapheck’s drawings were seen largely as preparatory materials not meant for public viewing. Nonetheless, their layered geometric grids and laboriously reworked contours offer much insight into Klapheck’s process, promising a detailed close-up of his work for existing fans and a worthwhile introduction for newcomers alike.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

Wong Ping, Who’s the Daddy?, 2017, digital video still. Courtesy: the artist and CAPRI, Dusseldorf

Wong Ping, ‘Who’s the Daddy?’
16 November 2018 – 26 January 2019

Wong Ping’s short animated films are enjoyable precisely for their lack of academic ‘artiness.’ Their bright colours and anachronistic graphics recall late nights plugged into adult swim and less than user-friendly segments of the internet. The humour is deadpan and surreal; the sexuality, fraught and unabashedly male. Sex is not so much about sex in Ping’s animations as it is about the host of anxieties that go with it: bodily hang-ups, fragile self-images, and all-round feelings of inadequacy. But just as it so often happens, it can also become a process of self-discovery, however wretched that process might be. The exhibition’s titular animation, ‘Who’s the daddy?’ (2017), recounts the familiar enough course of a Tinder date gone spectacularly wrong. Yet for all its exaggeration, the forces at play aren’t all that different from when you first met the last unreturned phone call. If you find yourself laughing here, it may often be because you are laughing at yourself.


The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出

‘museum global. Microhistories of an Ex-centric Modernism’, 2018–19, installation view, K20, Dusseldorf. Courtesy: K20, Dusseldorf

‘museum global. Microhistories of an Ex-centric Modernism’
Until 10 March 2019

‘museum global’ is part of an ongoing large-scale curatorial research project based on the collection of the Kunstsammlung NRW. Focusing primarily on the collection’s paintings – this is a painting show – the multi-faceted exhibition uses the transnational histories of many of the artists and works represented in the collection to focus the visitor’s gaze on the development of various, nationally-specific modernisms which developed in dialogue with Europe throughout the 20th century. It begins with a grouping of 88 Paul Klee paintings which the museum bought in 1960 and subsequently exhibited around the world, then moves throughout various stages of the collection’s history. The show often strikes a successful balance between summarizing overarching national narratives while presenting individual artistic developments. Though, it is at times hard to shirk the feeling that many of the works on display by non-European artists are being used as placeholders or shorthand illustrations in a way that their European counterparts are gladly spared of. This pitfall is perhaps inevitable given the grand format of ‘exhibition as research project.’ All curatorial nitpicking aside, the show offers a rare opportunity to see unparalleled works by remarkable 20th century painters whose work is scarcely accessible in Germany, including the likes Amrita Sher-Gil, Tarsila do Amaral, and David Siqueiros.

Main image: Harald Szeemann, installation view, Kunsthalle Düsseldorf, 2018. Courtesy: Kunsthalle Düsseldorf

Stanton Taylor

Stanton Taylor is an artist and writer based in Düsseldorf. His show together with Tobias Hohn, ‘Reproduction (Coins = Smile = Food = Cry)’, runs at Galerie Max Mayer, Düsseldorf from 16 November – 21 December, 2018.

Critics’ Guides /

Critic's Guide
Stanton Taylor
Kunstverein Düsseldorf
Kunsthalle Düsseldorf
Lucas Hirsch
Setareh Gallery
Linn Lühn

kvd18_um_diavolaki_2018.jpg The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出 Ulrike Mu ller,Diavolaki,2018,单型,74x 57 cm。礼仪:艺术家和卡利孔美术,纽约Ulrike Müller,'Container'wpap 603003br Kunstverein Düsseldorf wpap 603003br 2018年11月15日-2019年2月17日在Kunstverein Düsseldorf举办的“Container”活动,标志着Ulrike Müller在德国的首次机构性展览。目前的展示看到米勒扩大她的绘画兴趣在色彩和组成到各种新媒体-包括搪瓷,地毯,拼贴画,和单体型-以及展览空间本身。米勒的正式语言深深地吸引了二十世纪现代主义抽象的词汇。然而,她那尖锐而温暖的色调和巧妙的材料,更像是对这个传统的一种假笑、片面的约定——一种约定,到现在为止,它已经变成了自己的一种约定——而不是完全的认可。的确,米勒把这句话说得很好,很难弄清楚她是不是不好,或者只是微笑。15_h.jpg The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出 Alain Duperon, Ferdinand Cheval重建'Palais Idéal',安装图, Kunsthalle Düsseldorf, 2018.背景:Armand Schulthess,EnZykop-Sou-Im Wald,1952—72。礼貌:保罗J盖蒂信托公司。洛杉矶盖蒂研究所;照片:Katja Illner Harald Szeemann wpap 603003br Kunsthalle Düsseldorf wpap 603003br 2018年10月13日-2019年1月20日,穿过大厅,Kunsthalle已经用三个房间来概述Harald Szeemann的生活和工作,策展人也许比任何其他人都更能把策展人的形象变成元艺术家。有意思的是,昆斯塔尔美术馆对塞曼的里程碑式的展览,如“活在你的脑袋里:当态度变成形式”或文献5,只投入了相对较少的空间。相反,这个大量存档的展览力求平衡地展现塞曼的成就,这不可避免地勾画了他离开当代艺术走向乌托邦幻想家形象的旅程,并令人惊讶地走向了神秘主义。总的来说,它没有花太多时间来概括塞曼有充分文献记载的历史影响,而是非常详细地说明了他策划任何事情的不可思议的能力。巴赫-007.jpg The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出 Lutz Bacher,《爱情该怎么办》,2018,安装视图,K21,杜塞尔多夫。礼貌:艺术家和K21,Dusseldorf Bacher wpap 603003br K21 wpap 603003br K21 wpap 603003br 2018年9月7日-2019年1月6日,经过短暂的翻新,并在其姊妹机构K20的阴影下苦挣扎了数年,K21最近在底下重新开门。苏珊·根海默(Susanne Gaensheimer)的新任董事,似乎已经做好了兑现董事“锐化”机构形象的承诺的准备。当前显示器提供了两个大规模的单独演示。博物馆二楼的一半是卢茨·巴彻(Lutz Bacher)的零碎的、有时令人沮丧的多媒体装置《爱与它做什么》(2018)。巴歇尔的演讲通过巴赫的小说《托卡塔》和《D小调》将政治恶心的碎片与廉价商品交织在一起,彻底疏远了宏伟的时刻,产生了一种既不可思议又无法抹去的效果。CAO-FEI 01.JPG WPA6024602IMG曹飞,2018,安装视图,K21,杜塞尔多夫。礼仪:艺术家和K21,杜塞尔多夫·曹飞,603003br K21,603003br K21,603003br,2018年10月6日-2019年1月13日。同时,博物馆迷宫般的地下室空间被曹飞用于令人眼花缭乱的回顾,曹飞也在J.J.ULIA StoScCo收集横跨城镇-跨越艺术家的工作从1995到2017。无可否认,曹操的视频是这个演示的核心,在熟悉的纪录片习语和完全呈现的漂流到虚拟的第二人生世界之间移动。费对日常生活的一贯关注为观众提供了20世纪70年代和80年代经济改革后席卷中国的变化的轶事肖像,这对他们的特质更为引人注目。同时,博物馆的特色“艺术家的房间”的展品被重新强调,以收集更多的国际方面,以Jeff Wall、Robert Gober和Wael Shawky等著名的区域性产品为例,如Thomas Sch·尤特和Rosem。阿里特特洛克尔。2.JPG The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出 DOROTA GAW DA和EGL KulBOAKIT,YGRG159:SULK,2018,由Belle Stotos,Posis TuloudIS和Hara Kiri在反第六雅典双年展,2018。礼貌:艺术家和Lucas Hirsch,杜塞尔多夫·多萝塔·加达和EGL Kulbaki],“我每次都碰到那些鸡皮疙瘩”WPAP60300 3BR Lucas Hirsch画廊WPA60300 3BR 11月17日-2018年12月21日更好地被称为年轻女孩雷迪的发起人。ng集团、DorotaGawda和EglKulbokait根据他们最近的表演YGRG159:SULK(2018)的视频文档,在第六届雅典双年展“反帝”上展示了一个装置。没有文档的日子已经一去不复返了!甚至觉得很奇怪,想象一下在将表演者的“在场”翻译到屏幕上时可能会丢失一些东西,无论如何,当他们的表演者的“在场”已经被他们的手机如此沉重地调解时。另一方面,GavyDA和KulbkaIT似乎也喜欢这种翻译的损失。也许,他们转而使用嗅觉作为文档形式的原因之一,嗅觉是一种强有力的刺激,其内容一直众所周知地含糊不清,因此,仍然更加难以控制。未知数-3.jpg The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出 Magdalena Kita,绝对香草(Altar),2018,蛋黄和木质金叶,闭合80x 53 cm,打开80x 105 cm。礼貌:艺术家和塞塔雷斯画廊,杜塞尔多夫·玛格达琳娜·基塔,“绝对香草”603003br塞塔雷斯画廊603003br 10月26日至12月1日,玛格达琳娜·基塔的“绝对香草”展出了一批从众多参照画中精选出来的新画。CES- BDSM,Art Brut,iPhone,科学和计数。基于传统形式的图标绘画,简单的轮廓,图形繁荣,明亮的颜色掩盖了它们繁重的劳动表面。基塔的杂色女性演员在狂乱的青色,洋红色和金色填充了一系列场景,从平庸或无聊到完全荒谬。例如,在《玫瑰》(2018)一书中,当滚动的聊天气泡在他们面前引用利未记26:31时,两张好奇的动画般的脸从玫瑰丛后面向外张望:“……我会使你们的城市荒芜,使你们的避难所荒凉,我不会闻到你们令人愉悦的香味……”阿尔夫。是的,在展览的任何一点都很难想象到底发生了什么。但是,也许对于厌倦了太多几何抽象中自信的“你看到的就是你看到的”的眼睛来说,Kita的庸俗比庸俗的图标面板可能带来一种欢迎、愉悦、提神。kla_03_18_vor-der-abfahrt.jpg礼貌:艺术家和林吕恩画廊,杜塞尔多夫康拉德·克拉切克画廊,林吕恩画廊,林吕恩画廊,11月16日至12月20日,为杜塞尔多夫艺术博览会,林吕恩将展出一些由资深艺术家和康拉德城的儿子所画的精品。克拉菲克在她位于Birkenstrae的画廊里展出。像许多战后不久才成年的德国艺术家一样,克拉菲克的绘画是随着西德马歇尔计划的重建以及随后的“经济”计划的实施,消费文化的空前爆炸而发展起来的。奇迹。与杰哈德?里希特或西格玛?波尔克等同时代的人不同,克拉切克的“现实主义”很大一部分致力于用根深蒂固的矛盾心态来仔细剖析和重建当时的新商品的形象,在难以抗拒的色情和薄薄的色情之间摇摆。朦胧的恐怖多年来,Klapheck的画作主要被视为不用于公众观看的准备材料。尽管如此,他们的分层几何网格和费力的重新加工的轮廓提供了对Klapheck过程的许多洞察力,为现有粉丝提供了他的工作的详细特写镜头,也为新来的粉丝提供了有价值的介绍。emg1847_wong-ping_whos-the-daddy_2017_.-.-animation_9-mins_still2_hr.jpg The Best Shows to See in Dusseldorf - 杜塞尔多夫最好的演出-Wong.,爸爸是谁?,2017,数字视频静止。礼貌:艺术家和卡普里,杜塞尔多夫黄平,谁是爸爸?2018年11月16日到2019年1月26日,黄平的动画短片因为缺乏学术性“艺术性”而令人赏心悦目。它们明亮的色彩和过时的画面让人想起了深夜被插入成人游泳池里的情景,而少了用户友好的肢体语言。互联网的NTS。幽默是无表情的,超现实的;性的,充满活力的,毫不夸张的男性。在萍的动画中,性与其说是关于性的问题,不如说是关于随之而来的一大堆焦虑:身体不适,脆弱的自我形象,以及全面的不适感。但是,正如它经常发生的那样,它也可以成为一个自我发现的过程,不管这个过程可能是多么悲惨。展览的名义动画,“谁是爸爸?”(2017)讲述了一个熟知的火柴发生的年代。然而,尽管如此夸张,在你初次相遇的时候,战斗的力量并没有什么不同。


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