FOUND IN TRANSLATION | GUGGENHEIM BERLIN

 

FOUND IN TRANSLATION

January 28–April 9, 2012

In our globalized world, with political, economic, and cultural issues intertwined across nations, boundaries between the local and global have all but disintegrated. The necessity, and the difficulty, of communicating across cultural and historical divides is now an unavoidable aspect of our lives. Within this context, translation, in both its linguistic and more figurative senses, has become a fundamental tool for making sense of reality. Unlike ever before, we must consider what can be lost (or gained) in translation, and what effects these endless transformations have on the world around us.

Found in Translation brings together recent works by nine artists who look to translation as both a model and a metaphor to critically comment on the past and to produce richly imagined possibilities for the present. For these artists, converting a text from one language to another exposes a discursive field in which the terms of identity—class, race, religion, sexuality—are negotiated, and meaning is generated. An apparently straightforward linguistic task therefore becomes a microcosm for the interaction between cultures, laden by power relations but also open to new aesthetic possibilities. Delving equally into history and fantasy, the works on view here investigate diverse political and social contexts; at their hearts, language continues to provide the crucial link between the cultures and temporalities they explore.

Because language is experienced in real time, Found in Translation prominently features the time-based mediums of video, film, and 35 mm slide installation, which are augmented by photographs and prints that incorporate language as a formal element. Acts of reading and speaking predominate: Siemon Allen, Alejandro Cesarco, Brendan Fernandes, and Lisa Oppenheim examine the various distortions that cultural changes can wreak upon works of literature. Sharon Hayes, Matt Keegan, and O Zhang look to language as a public forum, focusing on the politics of speech amidst shifting historical contexts. Patty Chang and Keren Cytter delve into the realm of fantasy, translating texts into cinematic explorations of melodrama and desire. Together these artists highlight ways that translation can illuminate the complex historical and political processes that govern life today.

—Nat Trotman
Associate Curator, Solomon R. Guggenheim Museum, New York

Siemon Allen, Land of Black Gold II, 2004 (detail). Printed paper with correction fluid, mounted on foam board panels, 248.9 x 510.5 x 1 cm. Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Young Collectors Council 2004.88

http://www.guggenheim.org/berlin

GERHARD RICHTER | THE BOLD STANDARD

Gerhard Richter pictured with "4900 Colours: Version II." Photograph: Graeme Robertson

German visual artist Gerhard Richter has exploded onto the fine art scene in recent years. Between major exhibitions, one-man retrospectives, and an impressive representation of his work in the most renowned modern-art museums, Richter is in high demand. Many have even called him “the world’s most influential living painter.”

Born in Dresden, Germany in 1932, Richter demonstrated an early aptitude and affinity for artistry. He attended the prestigious Dresden Art Academy, which limited its students’ focus to the study and practice of Communist Realism. Longing to break free from the restrictive ideology and controlled aesthetics, Richter fled from East to West Germany in 1961. He wanted to follow in the footsteps of abstract artists like Jackson Pollock and Lucio Fontana, whose innovative endeavors and displays of artistic freedom intrigued and inspired him.

Richter began to investigate the potential of space and ideas of perception. He believed the artist faced two obstacles in his quest to convey reality: to first understand his surroundings, and then to portray his world. What transpired in his work was an aesthetic duality, a style that was simultaneously abstract and realistic. He often plays with double illusions, challenging the viewer to look past his original understanding and to look deeper into the painting. The viewer cannot always trust what he is seeing, and must try to change his perception in order to reach a higher level of comprehension.

Richter used this concept in a number of different figurative and abstract modes, including Pop Art, Abstract Art, and Optical Art. He did not adhere to one particular cohesive aesthetic, but drew from many different genres and styles, constantly reinventing his approach to art.

And the public has responded in droves, widening the demand for Richter’s work. Sources approximate that $76.9 million worth of Richter’s art was auctioned off in 2010, surpassing that of any other living artist. The biggest buyers were from Russia and China, though Richter’s market is truly global (with Americans, Koreans, Swiss, and Belgians staking a large claim in his work). Sotheby’s European chairman of contemporary art has said that Richter’s work has been flowing steadily out of Germany since the mid ‘90s. Auction houses aren’t the only ones to see the steady flow of Richter sales, as galleries and private collectors have also taken notice of the increasing demand.

Richter’s candle paintings have proven to command the highest auction bids. One of these sold for nearly $15.8 million in 2008. The series is composed of 27 still-life paintings, where each piece possesses an old-fashioned yet timeless quality. “Richter’s candles are like Warhol’s Marilyns,” says Francis Outred, head of contemporary art for Christie’s Europe.

More of Richter’s most popular works are the “Abstrakte Bilder” series—hundreds of abstract paintings that are, as Richter once stated, “mysterious, like an unknown land.” Russian billionaire Roman Abramovich paid about $15.2 million for a select painting from this series in 2008. Richter’s “Capitalist Realism” paintings from the 1960s have also proven to be highly sought after. Despite the depressing and provocative subject matter of these paintings (Tante Marianne depicts Richter’s aunt, who was sterilized then starved to death by Nazis; Zwei Liebespaare depicts two lovers in compromising form), these pieces have sold for millions as well.

The Richter market seems to be its own breed, with a niche product that plays more like the stock market than the art market. Investors have noticed that the collectors, rather than dealers, drive up prices by stockpiling or underbidding, and since Richter’s work requires a very particular taste, many speculators opt for more commercial and popular art. Regardless of Richter’s niche in the market is small, yet undeniably powerful. With its rich colors and textures, his work presents a powerful dialogue, enticing the viewer to actively engage in the piece. It takes a discerning eye to truly understand Richter’s art, and even more so, Richter himself.

You can contact Kerry at kerry@artandcointv.com

THANKS TO www.artandcointv.com

ZHANG DAQIAN | 888AUCTIONS

888 Auctions concluded its first auction of the year January 12th, featuring sales of fine Chinese Paintings & Asian Works of Art with a triumphant total of $717,180. The sale, comprising 598 lots, witnessed robust participation from around the world.

Collectors bid enthusiastically for works by Zhang Daqian and Li Kuchan, as 96% of the 49 lots sold in the Classical Chinese Paintings and Calligraphy. In all, the category alone achieved $537,090 alone and well above the pre-sale high estimate of $259,200.


Estimated at $100,000-200,000, the featured lot of the sale was unquestionably Zhang Daqian’s Wuxia Mountain Clear Autumn 1936 with exceptional provenance. In a saleroom filled to capacity and eagerly awaiting the action to ensue, bidders in the room, on the telephone, and the internet competed fiercely for Zhang Daqian’s watercolour painting. Starting at $5,000, the bidding for lot 38 kicked off at a feverish pace. After a protracted battle between an international telephone bidder and a local floor bidder, the local floor bidder emerged victorious after 64 bids with a winning bid of $504,000, bringing thunderous applause from the crowd seated in the gallery. In addition to the spectacular sale of Lot 38, a Li Kuchan (1898-1984) watercolour painting achieved $11,400 at lot 37.


From the collection of Chinese ceramics, lot 447 garnered a great deal of interest. This large and imposing Chinese square hu-shaped vase and decorated in rare Gutoncai enamelling, realized $19,200.


In light of the high prices achieved in the Chinese Classical Paintings and Calligraphy category, the collection of porcelains did not perform up to par. Whether the performance of the ceramics was because of the saturation of ceramics in the Asian art market remain to be seen; however, it is clear that collectors around the world are thirsting for authentic high quality items with exceptional provenance. And the numbers do not lie; high quality items with an estimate of over $10,000 nearly doubled the estimate across all categories of art in this sale.


With a sell-through rate of over 50%, connoisseurs of Chinese art have realized they do not need to pay an arm and a leg for an authentic piece of Chinese art and antique at 888 Auctions.


For consignment inquiries or additional information, please contact 888 Auctions at 905.763.7201 or by email at info@888auctions.com. For detailed post-auction results and hammer prices, please visit www.888auctions.com

Art_prospect

MICHAEL KUNZES | SCHWARZORANGE

© Michael Kunze Narkade (3-Fach), 2011 oil on canvas 205 x 185 cm / 80.71 x 72.83"

MICHAEL KUNZES
Schwarzorange
3 January - 4 February, 2012

Michael Kunzes Malereien stecken voller literarischer, philosophischer, kunst- und architekturhistorischer Reflexionen. Er überführt diese in rätselhafte, irrational anmutende Szenerien, architektonische Konstrukte oder utopische Landschaften. Zusammenhänge und mögliche Bedeutungen bleiben oberflächlich verschleiert, Konfrontationen verschiedener Bildelemente wirken mitunter widersinnig und fordern zu einem intensiven Dialog mit dem Werk auf.

Die aktuelle Ausstellung bei Contemporary Fine Arts präsentiert Arbeiten aus dem titelgebenden Zyklus „Schwarzorange“ sowie der Werkgruppe „Narkaden“.

„Schwarzorange“ zeigt architektonische Kompositionen unter einem wolkenverhangenen Himmel, der in theatralisch inszeniertes Licht getaucht ist. Dominierend sind hier die vielschichtigen Kontraste auf inhaltlicher und formaler Ebene. Der Titel transportiert einen maximalen Gegensatz in der Helldunkel- und Farbskala, der in den orangefarbenen und schwarzen Orangen seinen Ausdruck findet und von dort aus in vielerlei Pendants wiederzufinden ist. Auch in der architektonischen Szenerie sind scheinbare Gegensätze verortet. Fragmente der modernen und vormodernen Baukunst treffen aufeinander und gehen gleichzeitig in einem Ganzen auf, in welchem die Grenzen kaum mehr ins Gewicht fallen. So schlägt Michael Kunze etwa eine Brücke zwischen Mies van der Rohe und der totalitären Architektur des 20. Jahrhunderts oder zwischen Frank Lloyd Wrights „Fallingwater-Villa“ und der „Villa d'Este“ in Tivoli. Dabei führt er eine vermeintliche Unvereinbarkeit ad absurdum.

Der Titel „Narkaden“ ist eine Wortschöpfung des Künstlers und zusammengesetzt aus dem griechischen „narkein“ für „gelähmt sein“ sowie der Endung „-ade“ von „Nomade“ und ist demnach als „gelähmter Wanderer“ zu verstehen. Dieser Gegensatz und seine Absurdität setzt sich in den Arbeiten fort. Dargestellt sind schablonenhafte Gesichter, die körper- und ausdruckslos sind und völlig schematisiert, beliebig und austauschbar wirken. Durch tuchartige, ornamentale Elemente gehen sie jedoch eine Verbindung ein. Darüber hinaus gibt es nur wenige narrative Momente. Auch deren Kontext lässt Kunze unscharf, deutet dabei aber stets einen Vorgang an und spickt die Szenerien mit diversen metaphorischen Referenzen. Er überlässt es dem Betrachter, diese zu greifen und einen möglichen Lösungsweg zu begehen oder die rätselhafte Atmosphäre unangetastet bestehen zu lassen.

www.cfa-berlin.com

RICHARD LONG | WARLI LAND MAHARASHTRA 2003

RICHARD LONG | JIVYA SOMA MASHE

India 2003

The Sacred Mountain, Warli land


Jivya Soma Mashe and Richard Long


Jivya Soma Mashe and Richard Long


Jivya Soma Mashe, Denise Hooker, Richard Long and Sadashiv Mashe in Jivya's home


Mashe family at home


Sadashiv and Jivya Soma Mashe showing one of Jivya's painting


"Brushed Path - A Line for Jivya", Richard Long, work in progress








"A Walking and Running Circle", Richard Long, work in progress













Jivya Soma Mashe house














Jivya Soma Mashe and Indira Gandhi


"Paddy Field - Chaff Circle", Richard Long, work in progress
























"Ash Arc", Richard Long, work in progress














"Tumeric Line I", Richard Long


"Tumeric Line II", Richard Long

Richard Long, Jivya Soma Mashe, Dialog. Museum Kunst Palast, Düsseldorf 2003
Catalogue German and English, Walther König Publisher

Richard Long, Jivya Soma Mashe, Un incontro.Padiglione d'Arte Contemporanea, Milano 2004
Catalogue Italian and French, Mazzotta Publisher



Brushed Path - A Line for Jivya, Richard Long, work in progress, India 2003, photos Hervé Perdriolle

Thanks to: http://long-mashe.blogspot.com

SAM FRANCIS | SPACE AND COLOR

Sam Francis - Trietto II - Aquatint Print
“Painting is about the beauty of space and the power of containment.” – Sam Francis



Sam Francis with Wallse Ting in studio

American Abstract Artist Sam Francis was late to start his successful and brilliant career as a painter and printmaker. While serving as a pilot in the United States Air Force during WWII, Sam Francis suffered an injury that hospitalized him for several years. While recovering, Sam Francis began to paint over the side of his hospital bed to escape the mundane routine of the hospital as well as the pains of his aching body. Developing a love for art and finding an artistic voice was healing for Sam Francis, and the art created in this time had an astonishing remedial effect on Sam Francis’ mental and emotional state.




Sam Francis - Untitled SF345
Lithograph
Sam Francis’ experience as a pilot had a unique bearing on his paintings and prints, which often utilized aerial perspectives to communicate the silence of the skies. Sam Francis’ aerial approach to the canvas became paramount to his methodology as a painter, as well as a signature style for Sam Francis.

During the late 1940s, Sam Francis began producing and exhibiting his earliest abstract artworks. Francis was initially influenced by the work of the Abstract Expressionists, like Mark Rothko and Arshile Gorky, and Sam Francis incorporated many of their techniques and ideas in his art. Despite this influence, Sam Francis’ art was also in close dialogue with modern and contemporary French art. His references ranged from the Water Lilies of Claude Monet, which inspired many of Sam Francis ideas about atmosphere and space, to Pierre Bonnard and Henri Matisse, whose conceptions of pure color were particularly resonant with Francis.



Sam Francis - Pasadena Box (Plate 8)
Lithograph Print
While traveling to Japan during the 1950’s, Sam Francis became interested in Japanese calligraphy and art, particularly the Japanese use of negative space. Sam Francis was acutely aware of the dialogue between color and space on the canvas. In many of Sam Francis’ prints and paintings from the 1960’s the brushwork is relegated to the outer edges, leaving vast empty spaces in the center of each art piece. The negative space, or silence within Sam Francis’ art is as meaningful as Francis’ fluid brushwork of radiant color.

“Color is a kind of holy substance for me,” Francis said. “It’s the element in painting which I am most fascinated with. It is an element of painting which overcomes me. . . . Color in a way is a receptacle for a feeling and a way for you to hold it until understanding arrives or meaning is extracted.” Sam Francis’ artwork further investigated perceptions of light and color by contrasting glowing jewel tones with large areas of white. White in Sam Francis’ art does not function simply as a ground against which he applies color. Rather, the white areas are dynamically engaged in active communication with the colors. For Francis each color had a symbolic value: white corresponded to the infinite, blue to the cosmos and water, and yellow to the sun.

Considered one of the premier colorists of the twentieth century, Sam Francis is best known for dramatic, lushly painted works comprised of vivid pools of color, thinly applied. Sam Francis has also been compared to Color Field artists on the basis of large, fluid sections of paint that seem to extend beyond the confines of the pictorial surface. Sam Francis’ art is a dynamic and sophisticated juxtaposition between color and space, a luminous conversation played out in strokes of lush color.

THE OTILITH GROUP | MAXXI ROME

The Otolith Group. Thoughtform






October, 7th 2011 – February, 5th 2012
curated by Chus Martinez and Monia Trombetta, Assistant Curator MAXXI Arte

The Otolith Group. Thoughtform, the first exhibition in Italy devoted to the London-based group founded by Anjalika Sagar and Kodwo Eshun, has been co-produced by MAXXI and MACBA – Museu d’Art Contemporani de Barcelona where it has been first presented last February.

The work of the Otolith Group draws on the archives of the past century in order to achieve new ways of interpreting and presenting facts and events overlooked by recent history.
 The show aims to delve into the artist led collective’s methodology.

The installation could be seen as a set presenting the images and sounds of their films surrounded by a large series of materials that contextualize the pieces into their creative process. The interweaving of temporal logics is crucial to The Group’s practice which is continually crisscrossed by flash forwards that invites the spectator to adopt the role of an editor.

MAXXI will present a selection of their key works and the final version of the second part of their recent trilogy, Hydra Decapita, coproduced by MAXXI.




1. The Otolith Group, Film still from Otolith II, 2007 / Courtesy of The Otolith Group and LUX, London
2. The Otolith Group, Film still from Otolith III, 2009 / Courtesy of The Otolith Group and LUX, London
3. The Otolith Group, Film still from Communists Like Us, 2006 / Courtesy of The Otolith Group and LUX, London
4. The Otolith Group, Film still from Otolith, 2003 / Courtesy of The Otolith Group and LUX, London


Friday 7 October, 18.00
The British School at Rome – Sainsbury Lecture Theatre
Rome, via Antonio Gramsci 61
admittance free



Kodwo Eshun and Anjalika Sagar will be presenting their work in a conversation with the curator Chus Martinez.
For further information

The exhibition is part of the program of the International Rome Film Festival’s Echoes (27 October – 4 November)



http://www.fondazionemaxxi.it