Artists are often the best judges of which works by young emerging talents are the most interesting. Their tastes shaped independently of the art market, they are attracted to different aesthetic approaches and positions. With Freeway Balconies, the Deutsche Guggenheim follows the precedent set the exhibition The Vanity of Allegory, curated by the artist Douglas Gordon together with Nancy Spector in 2005.
Acclaimed American artist Collier Schorr, whose multimedia practice explores appropriated identities and performance, has organized a group exhibition that is at once a self-portrait and a riveting display of some of the most vital trends in U.S.-based contemporary art. From her position as visual artist, critic, and teacher, Schorr possesses a uniquely intimate perspective on current art production, which she has translated into this experimental presentation, infused with a collaborative spirit.
The title, Freeway Balconies, affectionately borrowed from '60s poet laureate Allen Ginsberg, refers to the meeting place of spectacle and voyeurism in American culture, combining frenetic energy with still observation. Gathering an idiosyncratic mix of emerging and established artists, juxtaposing their works in complementary to antagonistic relationships, Schorr loads the display with visual and conceptual traps and challenges. Variously engaging early performance art and the cult of Hollywood, contemporary idols and historical ghosts, the group weaves around selections of Schorr's own work that reveal a dominant concern with how identities are constructed and the ways in which this process goes awry. Ranging in mediums from photography to sculpture, installation to video, the exhibition explores the performative impulse so operative in today's innovative forms. At times dark and perverse, and at others, transcendent, the works included in Freeway Balconies play off a pop-infused, contemporary American vernacular.
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.
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