Tag Archives: josephine pryde

MASKULINITÄTEN

What does a feminist exhibition on masculinity look like? This was the question asked by curators Eva Birkenstock, Michelle Cotton, and Nikola Dietrich while organizing MASKULINITÄTEN, their three-part exhibition now open in Bonn, Cologne, and Düsseldorf.

The Bonn section—curated by Cotton, head of Artistic Programmes and Content at Mudam, Luxembourg—includes work by Lynda Benglis, Judith Bernstein, Alexandra Bircken, Patricia L. Boyd, Jana Euler, Hal FischerEunice Golden, Richard Hawkins, Jenny Holzer, Hudinilson Jr., Allison Katz, Mahmoud Khaled, Hilary Lloyd, Sarah Lucas, Robert Morris, D’Ette Nogle, Puppies Puppies (Jade Kuriki Olivo), Bea Schlingelhoff, and Anita Steckel.

The Cologne section—curated by Dietrich, director of the Kölnischer Kunstverein—includes Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Louis Backhouse, Olga Balema, Gerry Bibby, Juliette Blightman, Anders Clausen, Enrico David, Jonathas de Andrade, Jimmy DeSana, Hedi El Kholti, Hilary Lloyd, Shahryar Nashat, Carol Rama, Bea Schlingelhoff, Heji Shin, Evelyn Taocheng Wang, Carrie Mae Weems, Marianne Wex, Martin Wong, and Katharina Wulff.

The presentation in Düsseldorf—curated by Birkenstock, director of the Kunstverein for the Rheinland and Westfalen, Düsseldorf—features the work of Vito Acconci, The Agency, Keren Cytter, Vaginal Davis, Nicole Eisenman, Andrea Fraser, keyon gaskin with Samiya Bashir, sidony o’neal & Adee Roberson, Philipp GuflerAnnette Kennerley, Sister Corita Kent, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara LidénHenrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Lorenzo Sandoval, Julia Scher, Agnes Scherer, Bea Schlingelhoff, Katharina Sieverding, Nancy Spero, and Evelyn Taocheng Wang.

MASKULINITÄTEN will be accompanied by a catalogue published by Koenig Books, with contributions by—among others—CAConrad, Nelly Gawellek, Chris Kraus, Quinn Latimer, Kerstin Stakemeier, Marlene Streeruwitz, and Änne Söll.

MASKULINITÄTEN

Through November 24.

Bonner Kunstverein

Hochstadenring 22, Bonn.

Kölnischer Kunstverein

Hahnenstrasse 6, Cologne.

Kunstverein Düsseldorf

Grabbeplatz 4, Düsseldorf.

Maskulinitäten, a co-operation of the Bonner Kunstverein, Kölnischem Kunstverein, and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, September 1–November 24, 2019. Cologne installation photographs by Mareike Tocha, except second from top and fourth from bottom, by Katja Illner. Images courtesy and © the artists, the institutions, and the photographers.

SWINGERS

Works by Chantal Akerman, Marie Angeletti, Lutz Bacher, Barbara Kruger, Josephine Pryde, Heji Shin, and Akrim Zaatari are on view through mid-December in SWINGERS at Greene Naftali.

Angeletti’s visual essay “Noir Kei Ninomiya” is in the current print issue of PARIS LA.

SWINGERS

Through December 15.

Greene Naftali, 508 West 26th Street, 8th floor, New York City.

From top:

Barbara KrugerUntitled (Project for Dazed and Confused), detail, 1996.

Marie AngelettiNew York, October, 2018, 35 mm slides.

Heji ShinDick and Snake II, 2018. C-print.

Akram ZaatariHER + HIM, 2001-2012. Ratio: 16/9, color, sound, 33 minutes.

Images courtesy the artists and Greene Naftali.

WEEKLY WRAP-UP: JAN. 19-23

photo

(© Liz Craft)

 

This week, we listened the mexican performed by Babe Ruth; we passed by Meliksetian Briggs to see few works by the late artist Bas Jan Ader: we went to Bristol to check Josephine Pryde‘s new exhibition at Arnolfini;  we listened few songs of the singer-songwriter John Grant; we visited the Gehry Residence in Santa Monica and the Watt Towers in South Central and finally end up in the lobby of the Equitable Life Building on Wilshire boulevard to check Jennifer Moon‘s installation.

EXHIBITION: JOSEPHINE PRYDE AT ARNOLFINI, BRISTOL

Josephine Pryde: These are just things I say, They are not my opinions.

These Are Just Things I Say, They Are Not My Opinions is a new exhibition of British artist Josephine Pryde, an artist known primarily for her work with photography, though she often presents work with sculptural elements. Pryde plays with different photographic conventions, for example publicity or advertising images, where seductive and highly staged, high resolution images evoke and respond to desire. She draws on this visual language, responding to ideas and larger conceptual frameworks such as the history of photography and the moving image, through details, references, or the juxtaposition of different works.

image_crop-1
image_crop
Pryde’s works embrace moments of beauty – the shimmering surfaces of fabric, portraits of staged personas, or frozen images of splashing liquids. On first glance, the conventions of commercial and artistic photography seem to apply to these images, but on closer viewing, there are cues that subtly question the very visual language that she uses and references.
image_crop-2
image_crop-3
For Arnolfini, Pryde presents an installation that combines a new series of photographs and a three dimensional work – a miniature train that can be ridden through the galleries. The disclaimer in the exhibition title highlights questions around speech: what might be the difference between what is said and what is held as an opinion? Why distinguish between the two? And what is being said?
image_crop-4

(text from Arnolfini website)
Until February 22.