clear

Raymond Hains

Celebrating New Realism (group show)
40th anniversary of Centre Pompidou
Les Abattoirs, FRAC Midi-Pyrénées, Toulouse
2 February - 28 May 2017

Artists include: Arman, Ben, César, Gérard Deschamps, François Dufrêne, Raymond Hains, Horst Egon Kalinowski, Yves Klein, Robert Malaval, Robert Rauschenberg, Jean-Pierre Raynaud, Martial Raysse, Mimmo Rotella, Niki de Saint Phalle, Daniel Spoerri, Richard Stankiewicz, Jean Tinguely, Jacques Villeglé, Gil Joseph Wolman, and M.A.T. Editions.

The Nouveau Realisme movement began in Yves Klein’s studio in 1960, where Pierre Restany brought together a group of artists whose collective singularity was "Nouveau Réalisme—new ways of perceiving the real”. Arman, César, François Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé all signed the manifesto, joined by Niki de Saint Phalle, Gérard Deschamps, César, and Mimmo Rotella the following year, and later Christo.

The group offered an alternative to the Abstract wave which followed the Second World War and quickly became a major trend in Avant Garde throughout France and Europe. Nouveau Réalisme’s perspective on the object and gesture joined the change that was happening internationally throughout the world of art (Néo-Dada, Fluxus, Pop art, groupe Zéro...)

Like Pop Art, Nouveau Réalisme addressed the rise in industrialisation and consumerism in society. Drawing material for their works from the daily life of the early 1960s, Nouveau Realists used everyday objects, adverts, posters, junk, neon lights... Their works were however dense and radical, marked by action and movement; destroying, ripping, compressing, assembling, sticking, tearing, stretching, stamping, and wrapping. Each artist had their own particular method of creating a "poetic recycling of urban, industrial and advertising reality". Arman had his accumulations and destructions, César; expansions and compressions, Hains and Villeglé; décollage (torn poster technique), Yves Klein; monochromes and performance art, Raysse; assemblage and transfigurements, Spoerri; snare-pictures, Tinguely; sculptural machines or metamechanics, and Niki de Saint Phalle her Tirs and Nanas.

The diversity and vitality of Nouveau Réaliste works will be showcased at les Abattoirs in a journey into the heart of the movement; accompanied by films, the exhibition will highlight how much the group has influenced public space, and our lives. You’ll see the militant, often comical side to the works, many of which are on loan from the Pompidou Centre and Tiguely museum (Basel). To complete this unique show, some works by artists close to the movement (Malaval, Raynaud, Rauschenberg, etc.) will be included.

Les Abattoirs, Toulouse


Additional:

Raymond Hains

It's More Fun to Compete (group show)
Musée d'Art Contemporain, Marseille
13 May 2017 - 14 January 2018


Raymond Hains

No Place Like Home (group show)
The Israel Museum, Jerusalem
25 February - 29 July 2017

In No Place Like Home, the Museum’s galleries are transformed into a domestic interior displaying artworks inspired by everyday household objects, inviting the visitor to reflect on the representation of the domestic realm in modern and contemporary art. In celebration of Dada’s 100th anniversary in 2016 and the centennial of Duchamp’s Fountain in 2017, the exhibition examines how artists have incorporated commonplace household items into their work, removing them from the context of the home in ways that subvert the mundane experiences of daily life. Featuring works by artists including Marcel Duchamp, Man Ray, Claes Oldenburg, Andy Warhol, Martha Rosler, Louise Bourgeois, Mona Hatoum, and Ilit Azoulay, the exhibition reexamines the concepts negotiated in the domestic sphere, including gender roles, memory, nostalgia, and questions of place and displacement.

The Israel Museum, Jerusalem


Raymond Hains

Skulpturen aus Papier. Von Kurt Schwitters bis Karla Black (group show)
Kunsthalle Vogelmann, Heilbronn
19 March - 2 July 2017

Seit etwa fünfzehn Jahren sieht man auf Messen und Biennalen immer häufiger Skulpturen aus Papier. Dabei handelt es sich nicht um Modelle oder Studien, sondern um vollendete Werke. Wie kommt es, dass Künstler gerade im Bereich der Skulptur dieses empfindliche und vergängliche Material verwenden? Seit wann wird es für die beständige Skulptur eingesetzt und woher stammt die Idee, Bronze und Marmor durch Papier zu ersetzen?

Pablo Picasso ist einer der ersten, der bereits 1912 Skulpturen aus Papier herstellt. Aus einzelnen abstrakten Formen konstruiert er eine Gitarre. Wie funktioniert ein Bild, ein Abbild, diese Frage treibt Picasso an. Auch sein Zeitgenosse Kurt Schwitters beginnt in den 1920er-Jahren, Collagen aus gefundenen Papierresten herzustellen, um herauszufinden, was eine bildnerische Komposition ausmacht. Wir zeigen in der Ausstellung drei Collagen von Schwitters, die seine Entwicklung von den zarten Kompositionen der 1920er-Jahre hin zu wilden, gestischen Arrangements in den 1940er-Jahren sichtbar machen. Durch seine Collagen modelliert sich Schwitters von der Fläche in den Raum: Resultat ist sein Merzbau, eine „Collage“ aus Papier und Alltagsfunden, die mehrere Zimmer füllt und von Schwitters über Jahre hinweg fortgeführt wird.

Die französische Gruppe der „Affichistes“ knüpft nach dem Zweiten Weltkrieg direkt an Schwitters an, dreht dessen Prinzip aber um: Durch das Abziehen der obersten Schichten vielfach überklebter Plakatwände schaffen sie neue Kompositionen. Kunst wird auf der Straße gemacht, die Bilder sind bereits vorhanden, man muss sie nur entdecken.

Kunsthalle Vogelmann, Heilbronn


Raymond Hains

The Arcades: Contemporary Art and Walter Benjamin (group show)
The Jewish Museum New York, New York
17 March - 6 August 2017

This exhibition of contemporary artworks presents photography, video, sculpture, and painting seen through the lens of influential philosopher Walter Benjamin’s magnum opus The Arcades Project.

The German Jewish writer Walter Benjamin (1892–1940), one of the most important philosophers and cultural critics of the twentieth century, began The Arcades Project in 1927 as a short piece about Paris's nineteenth-century iron-and-glass vaulted shopping passages. With their labyrinthine architecture and surrealistic juxtapositions of disparate objects and people, past and present, the arcades offered an ideal prism through which to examine the era’s capitalist metropolis and the phenomenon of modernity that had its origins there. Benjamin worked extensively on his manuscript, which grew into a sprawling compendium of quotations, reflections, and notes. When he was forced to flee Paris to escape Nazi persecution, he entrusted it to his friend Georges Bataille. Some years after Benjamin’s untimely death, the text was discovered and published.

The Jewish Museum New York


Raymond Hains, Ernesto Neto

Vive Arte Viva, 57th Venice Biennale (group show)
Arsenale and Central Pavilion, Giardini, Venice
13 May - 26 November 2017

The Exhibition offers a route that unfolds over the course of nine chapters or families of artists, beginning with two introductory realms in the Central Pavilion, followed by another seven across the Arsenale through the Giardino delle Vergini. 120 are the invited artists from 51 countries; 103 of these are participating for the first time.

«La Biennale must present itself as a place whose method—and almost raison d’être—is dedicated to an open dialogue between artists, and between artists and the public.»

Biennale di Venezia