Tag Archives: Okwui Enwezor

JOAN JONAS — MIRROR, MIRROR

On the opening weekend of her show at Serralves in Portugal—dedicated to the memory of Okwui EnwezorJoan Jonas will restage her Mirror works.

JOAN JONAS

Through September 1.

Serralves Museum of Contemporary Art

Rua D. João de Castro, 210, Porto.

MIRROR CHECK

Saturday, May 25, at 5:15 pm and Sunday, May 26, at 7 pm.

MIRROR PIECE I and II: RECONSTRUCTION

Saturday, May 25, at 6 pm and Sunday, May 26, at 6 pm.

Serralves Park and Auditorium, Porto.

From top: Joan Jonas (reflected in mirrors) conducts a rehearsal for Mirror Piece I: Reconfigured (1969/2010), at Kulturhuset, Stockholm; Jonas performing Mirror Check as part of Organic Honey’s Vertical Roll (1972), Ace Gallery, Venice Beach, Los Angeles, photograph by Roberta Neiman, courtesy and © the photographer; Barbara (Mirror Piece I), (1969), photograph courtesy and © the estate of Colin de Land; Jonas conducts a rehearsal for Mirror Piece I: Reconfigured (1969/2010), at Kulturhuset, (2). Stockholm images: production stills from ART21: Art in the Twenty-First Century, Season 7, “Fiction” episode, (2014), courtesy and © ART21, Inc., 2014.

OKWUI ENWEZOR

“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.” — John Akomfrah

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.

Enwezor, who was 55 at the time of his death, is celebrated for his paradigm-shifting directorship of Documenta 11 in 2002, and the 56th Venice BiennaleAll the World’s Futures—in 2015.

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 African Photography 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: Contemporary Art from South Africa (2009), contributing text by Enwezor, image courtesy Haunch of Venison.

EL ANATSUI

For the opening night of TRIUMPHANT SCALE, his exhibition at Haus der Kunst in Munich, El Anatsui will give an artist talk at the museum.

The show has been organized by Okwui Enwezor—former Haus der Kunst artistic director—and Chika Okeke-Agulu, with assistance from Damian Lentini.

ARTIST TALK WITH EL ANATSUI

Friday, March 8, at 7 pm.

EL ANATSUI—TRIUMPHANT SCALE

March 3 through July 28.

Haus der Kunst

Prinzregentenstrasse 1, Munich.

From top: El Anatsui, Flag for a New World Power, 2004, aluminum and copper wire; El Anatsui, courtesy the artist; El Anatsui, Gravity and Grace, 2010, aluminum and copper wire. Images courtesy the artist and Haus der Kunst.

OKWUI ENWEZOR

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Okwui Enwezor left his post as artistic director of Munich’s Haus der Kunst today, for reasons of health.

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Chief curator Ulrich Wilmes and chief executive Bernhard Spies will lead the institution until Enwezor’s replacement is found.

See: freundevonfreunden.com/rethinking-art-with-curator-okwui-enwezor

Okwui Enwezor.

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FRANK BOWLING — MAPPA MUNDI

The exhibition FRANK BOWLING—MAPPA MUNDI (curated by Okwui Enwezor with Anna Schneider) is built around Bowling’s map paintings (1967–1971), and demonstrates how his “use of maps as conceptual objects of painting make for a fitting transactional trope through which to tackle the idea of geography and narrative.”*

 

FRANK BOWLING—MAPPA MUNDI, through January 7.

HAUS DER KUNST, Prinzregentenstrasse 1, Munich.

hausderkunst.de/frank-bowling-mappa-mundi

Frank Bowling, Dog Daze, 1971. Image credit: Hales Gallery, New York © VG Bild-Kunst, Bonn, 2016.

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