The retrospective MIRIAM CAHN—I AS HUMAN—up for three more weeks at Haus der Kunst in Munich and opening at Museum of Modern Art in Warsaw at the end of November—brings together half a century of work by this key European artist.
Curated by Jana Baumann, over 150 of Cahn’s oil paintings, sculptures, large-scale drawings, watercolors, and Super 8 films are on view.
Coincident with the exhibition, Hatje Cantz has published MIRIAM CAHN—WRITING IN RAGE, a collection of the artist’s essays, translated by Richard Humphrey.
“We knew it was coming but the finality of his passing makes it even more devastating. Okwui was this enormously prophetic figure, wise beyond his years, whose insights—vision, if you will—literally shaped the universe many of us now inhabit. He was like an enormous tree in the glare, whose shadow provided refuge, hospitality, generosity, and love for so many.” — JohnAkomfrah
Okwui Enwezor—the great historian, curator, writer, editor, and former artistic director of Haus der Kunst—has died in Munich following four years of cancer treatment.
A writer and editor in demand, Enwezor’s contributions will live on in the work of the artists he championed.
From top: Contemporary African Art Since 1980 (2009), by Okwui Enwezor and Chika Okeke-Agulu, image courtesy Damiani; John Akomfrah: Signs of Empire (2018), contributing text by Enwezor, image courtesy the New Museum; Candice Breitz: The Scripted Life (2010), contributing text by Enwezor, image courtesy Kunsthaus Bregenz; Recent Histories: Contemporary AfricanPhotography and Video Art from the Walther Collection (2017), contributing text by Enwezor, image courtesy Steidl and the Walther Collection; Gary Simmons: Paradise (2012), conversation with Enwezor, image courtesy Damiani; Kerry James Marshall: Painting and Other Stuff (2014), contributing text by Enwezor, image courtesy Ludion; Lyle Ashton Harris: Excessive Exposure (2010), text by Enwezor, image courtesy Gregory R. Miller & Co.; Home Lands–Land Marks: ContemporaryArt from South Africa (2009), contributing text by Enwezor, image courtesy Haunch of Venison.
From top: El Anatsui, Flag for a New World Power, 2004, aluminum and copper wire; El Anatsui, courtesy the artist; ElAnatsui, Gravity and Grace, 2010, aluminum and copper wire. Images courtesy the artist and Haus der Kunst.
“One day, I entered one of [Immendorff’s] cafés—and since then there has been no end to my slipping on the glass-smooth parquet of these paintings again and again and bouncing off the tables.” — Catherine Millet
Critic, editor, and memoirist Millet will give a talk on Jörg Immendorff, followed by a Q & A with curator and critic Thibaut deRuyter.