An Artist’s Guide to the Best in Berlin, Basel and Beyond in 2018 – 2018年柏林、巴塞尔及以后最佳艺术家指南

‘Bruce Nauman: Disappearing Acts’ at Schaulager, Basel
Bruce Nauman’s retrospective included more than 150 works from the mid-1960s until today. The exhibition, which travelled on to New York’s MoMA, gathers drawings, photographs, sculptures, videos and sound pieces as well as most of Nauman’s monumental installations. The concluding work, in which Nauman repeatedly attempts and fails to arrive at a contrapposto, continues his morbid trajectory towards the reality of his aging body.

‘Carona’, curated by Oskar Weiss and Arthur Fink at Gallery Weiss Falk, Basel
This exhibition brought together drawings, recording, videos, texts and books that were connected to the communal life and scene around Carona, Switzerland, in the 1970s. Throughout the 20th century, the small Ticinese village of Carona was an artistic and counter-cultural node where figures such as Hermann Hesse, Meret Oppenheim and David Weiss spent important parts of their working lives. The exhibition – which included works by Anton Bruhin, Hesse, Matthyas Jenny, Urs Lüthi, Oppenheim, Markus Raetz, Iwan Schumacher, Peter Schweri and Weiss – composed a narrative and homage to this ‘mystical’ place and the utopian longings that were released in this environment.

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An Artist’s Guide to the Best in Berlin, Basel and Beyond in 2018 - 2018年柏林、巴塞尔及以后最佳艺术家指南

Ellen Cantor, Crossroads, 1994, photo collage, cross-shaped frame, 161.29 x 96.52 cm. Courtesy: the Estate of Ellen Cantor and Galerie Isabella Bortolozzi, Berlin 

Ellen Cantor’s ‘My Perversion is the Belief in True Love’ at Isabella Bortolozzi Gallery, Berlin

The exhibition gathered drawings, sculptures and photographs of Ellen Cantor, who lived between New York and London. Cantor, who died in 2013, wove sexuality, violence, innocence and obsession – often humorously – into intimate tales. Concerned with the themes of female representation, she resonates with a generation of young artists who continue to find excitement and inspiration in her feminist work. Visceral and direct, through its curation the artist’s voice was strongly present. 

Forschungen an den Rändern der Schrift’ – Michael Oppitz at Galerie Buchholz, Berlin

This ambitious exhibition was dedicated to the life, studies and research of anthropologist Michael Oppitz, who from the 1960s researched local communities in different geographic regions of the Himalayas from the 1970s. The exhibition concentrated on material that gathered over 50 years around four societies of the region, the Sherpa (in northeast Nepal),  Magar (in northwestern Nepal), Naxi (in Yunnan, China) and Qiang (in Sichuan, China). The exhibition – which opened before an exhibition that concluded this month at Cologne’s Kolumba Museum – took a departure from questions of text and writing, showing how these groups struggle against the standardized writing systems imposed on them from Nepal and China. But it encompassed, too, the utopian vision of paradise that emerged in the Tibetan Plateau, all while providing primary experience with Oppitz’s notes, drawings and various collected objects.

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An Artist’s Guide to the Best in Berlin, Basel and Beyond in 2018 - 2018年柏林、巴塞尔及以后最佳艺术家指南

Jean-Luc Godard, The Bastards (parable) – God is my right, 2004–06, foamcore, watercolor, paper collage, felt pen, Plexiglass, lamp, model car, metal wire, wood, glue, steel, lamp, and mixed media, Rainbow Transvideo monitor, three MP3 iPod video players. Courtesy: Miguel Abreu Gallery

‘Memories of Utopia: Jean-Luc Godard`s “Collages de France” Models’ at Miguel Abreu Gallery, New York

In 2003, Jean-Luc Godard began making models for a large exhibition he was to stage at the Centre Pompidou, called ‘Collage(s) de France’ – the show never took place, but the models were realized by Godard between 2003 and 2005 as a fictional walkthrough of the exhibition that never took place. This exhibition at Miguel Abreu displayed the models: 18 maquettes, dollhouse-like miniatures capturing political and artistic views of his life, thoughts and oeuvre, from Freud, the cinema and media and onward. The maquettes offered a surprising view of how the filmmaker maps ideas beyond the medium through which we mostly know him.

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An Artist’s Guide to the Best in Berlin, Basel and Beyond in 2018 - 2018年柏林、巴塞尔及以后最佳艺术家指南

Rochelle Goldberg, Pétroleuse, 2018, mixed media, dimensions variable. Courtesy: the artist and Éclair, Berlin

Pétroleuse’ by Rochelle Goldberg at Éclair, Berlin

At Éclair, a young non-profit space in Berlin, artist Rochelle Goldberg created a cavernous installation out of glass bowls, rotten root vegetables, bronze-cast matches as well as a guarding Mary figure. The installation extended the architecture of Éclair into an unravelling and necrotized landscape, creating a poetic narrative that resembled, to quote the artist in an earlier exhibition, an ‘underground grotto protecting its fire’ or a ‘corridor which goes up (or rather goes down) out of the cave toward the sight of day’.

 ‘True Stories, A Show Related to an Era – The Eighties: Part II’ curated by Peter Pakesch at Max Hetzler Gallery, Berlin

The 1980s was a decade full of contradiction and change, also with regards to artistic individuality. The era released energies that were productive for artistic practices and defined the end of ‘the end of art’. The exhibition included works by Werner Büttner, Günther Förg, Isa Genzken, Robert Gober, Felix Gonzalez-Torres, Mike Kelley, Cady Noland, Albert Oehlen, Richard Prince, Cindy Sherman, Rosemarie Trockel and many others.

Main image: Bruce Nauman, Model for Trench and Four Buried Passages, 1977, installation view, Glenstone Museum, Potomac. Courtesy: © Bruce Nauman, and ProLitteris, Zurich; photograph: Tom Bisig

Veit Laurent Kurz

Veit Laurent Kurz is an artist based in Berlin, Germany.

Opinion /

Veit Laurent Kurz
Looking Back 2018
Looking Back
Bruce Nauman
Ellen Cantor
Michael Oppitz
Jean Luc Godard


《布鲁斯·诺曼:消失的行为》在巴塞尔舒拉赫,布鲁斯·诺曼的回顾会上收录了150多部20世纪60年代中期至今的作品。这次展览前往纽约的MOMA,收集了图画、照片、雕塑、录像和音像以及瑙曼的大部分纪念性设施。在结尾的作品中,瑙曼反复尝试并没能达到一个对偶,继续他病态的轨迹走向他衰老的身体的现实。“卡罗娜”,由奥斯卡·韦斯和亚瑟·芬克在巴塞尔的韦斯·福尔克美术馆举办,该展览汇集了图画、录音、录像、课本和书籍,这些与70年代瑞士卡罗娜周围的公共生活和场景有关。以及反文化的节点,在那里,赫尔曼·黑塞、梅雷特·奥本海姆和大卫·韦斯等人物在工作生活中度过了重要的时光。这次展览包括安东·布鲁恩、黑塞、马蒂亚斯·珍妮、厄斯·吕蒂、奥本海姆、马库斯·雷茨、伊万·舒马赫、彼得·施韦里和韦斯的作品,它们构成了对这个“神秘”地方的叙事和敬意,以及在这种环境中释放出来的乌托邦式的渴望。Ellen Cantor,十字路口,1994年,照片拼贴,十字形框架,161.29×96.52厘米。礼貌:柏林埃伦·坎特庄园和伊莎贝拉·博尔托洛齐美术馆,柏林;埃伦·坎特在柏林伊莎贝拉·博尔托洛齐美术馆展出的“我的变态是真爱的信仰”展览收集了住在纽约和伦敦之间的埃伦·坎特的绘画、雕塑和照片。康托于2013年去世,他把性、暴力、天真和痴迷——常常是幽默地——编织成亲密的故事。关注女性表现的主题,她与一代年轻艺术家产生共鸣,这些艺术家在她的女权主义作品中继续寻找激情和灵感。这个雄心勃勃的展览致力于人类学家迈克尔·奥皮兹的生活、研究和研究,他来自20世纪60年代,研究了不同地方的社区。20世纪70年代以来喜马拉雅山脉的地理区域。展览集中了50多年来围绕该地区四个社团收集的材料,夏尔巴(尼泊尔东北部)、马加尔(尼泊尔西北部)、纳西(云南,中国)和羌(中国四川)。这个展览在本月在科隆Kolumba博物馆结束的展览之前开幕,它偏离了文本和写作的问题,展示了这些团体如何反对尼泊尔和中国强加给他们的标准书写系统。但它也涵盖了在青藏高原出现的乌托邦式的天堂想象,同时为奥匹兹的笔记、绘画和各种收藏品提供了初步的经验。Jean-luc-godard.jpg An Artist’s Guide to the Best in Berlin, Basel and Beyond in 2018 - 2018年柏林、巴塞尔及以后最佳艺术家指南 Jean-Luc Godard,杂种(寓言)-上帝是我的权利,2004-06,泡沫芯,水彩,纸拼贴画,毛毡笔,有机玻璃,灯,模型车,金属线,木材,胶水,钢,灯和混合媒体,彩虹转录显示器,三个MP3 iPod视频播放器。礼貌:米格尔·阿布鲁美术馆“乌托邦的回忆:让·吕克·戈达德在纽约米格尔·阿布鲁美术馆的《法国拼贴画》模型”2003年,让·吕克·戈达德开始为他将要在蓬皮杜中心举办的名为“法国拼贴画”的大型展览制作模型——展览从未举办过,但模特们看了。在2003年到2005年间,戈达德意识到,这是一次从未举办过的虚拟展览。这次在米格尔·阿布瑞的展览展示了这些模型:18个模型模型,洋娃娃屋一样的微型模型,捕捉了他的生活、思想和小品的政治和艺术观点,从弗洛伊德、电影院和媒体等等。这些模型提供了一个令人惊讶的视角,说明电影制作人如何将想法映射到我们最了解他的媒介之外。Rochelle_goldberg_eclair_berlin8-1-768x510.jpg An Artist’s Guide to the Best in Berlin, Basel and Beyond in 2018 - 2018年柏林、巴塞尔及以后最佳艺术家指南 Rochelle Goldberg,Pétroleuse,2018,混合介质,尺寸变量。礼貌:艺术家和clair,柏林的Rochelle Goldberg at clair的“Pétroleuse”,柏林的At clair,柏林的一个年轻的非营利空间,艺术家Rochelle Goldberg用玻璃碗,腐烂的根茎蔬菜,青铜浇铸的火柴,以及一个守卫的玛丽形象创造了一个洞穴般的装置。这个装置将clair的建筑扩展成一个散乱、坏死的景观,创造了一种诗意的叙事,就像艺术家在早期的展览中所说的,“地下洞穴保护着它的火”或“走出洞穴朝向白天的景象的走廊”。《真实故事,与时代相关的表演——八十年代:第二部分》,由彼得·帕克施在柏林马克斯·赫兹勒美术馆策划。八十年代是一个充满矛盾和变化的十年,在艺术个性方面也是如此。这个时代释放出对艺术实践有生产力的能量,并定义了“艺术的终结”的结束。展览包括沃纳·拜特纳、古纳尔·弗格、伊莎·根茨肯、罗伯特·戈伯、菲利克斯·冈萨雷斯-托雷斯、迈克·凯利、卡迪·诺兰、阿尔伯特·欧伦、理查德·普林斯、辛迪·谢尔曼、罗斯玛丽·托克尔等人的作品。主图:Bruce Nauman,沟渠和四埋通道模型,1977年,安装图,Glenstone博物馆,波托马克。礼貌:Bruce Nauman和ProLitteris,苏黎世;照片:Tom Bisig.Veit Laurent Kurz 是德国柏林的艺术家。意见/赞成劳伦特·库尔兹回顾2018年


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