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Albert Oehlen

Franz West - ARTISTCLUB (group show)
21er Haus, Belvedere Museum Vienna, Vienna
14 December 2016 - 23 April 2017

The 21er Haus attempts to revive West’s concept of the ARTISTCLUB. Starting in mid-January, this idea will be newly interpreted every second Wednesday between 6:00 and 9:00 PM. Heimo Zobernig’s central four-meter-large artwork will, in this sense, specifically serve as an “open stage” for lectures, talks, concerts, performances, and much more. Moreover, any visitor to the 21er Haus exhibition is invited to interact with the objects, which includes the opportunity to sit on any seating areas.

Through co-authorship and collaboration as well as through the re-launching of works from various creative phases and involvement by other artists, West introduced a subversive and often humorous form of play with the way authorship is attributed to artworks. With this in mind, it is important to note another significant work by West, named Extroversion, that was conceived for the 2011 Biennale di Venezia. In this work, West practically turned the walls of his studio kitchen inside out. Made by friends, colleagues, and co-workers, it involves 43 different artistic works that similarly upend themselves. While retaining their autonomy, they also come together to form a larger, more complex work of art. In addition to the typical conceptual displacement between work and the author, Extroversion also introduces a new and exciting aspect of West’s experience and treatment of space and architecture. The work itself, therefore, forms the starting point for an additional focus of the exhibition, one that concretely explores his approach toward space and architecture.

Belvedere Museum Vienna


Additional:

Albert Oehlen, Christopher Wool

Progressive Praxis (group show)
de la Cruz Collection, Miami
29 November 2016 - November 2017

Progressive Praxis considers the impact of preceding art movements and the way contemporary artists conceptually engage with the advancements of technology. Our society is conditioned to create, disseminate, and alter information as it sees fit. The use of computers as a method of executing work is no longer a game changer for artists, as there are no traditional boundaries between the virtual and physical. Artists today embrace technology to overcome the limitations of physicality and past formal art processes. The artists selected for this year’s exhibition, reveal a generational position that is inherent to an artistic idea and the language of their time.

The architecture of the galleries was taken into consideration in framing this exhibition.

de la Cruz Collection Miami


Albert Oehlen, Christopher Wool

Hartung and the lyrical painters, 11 December 2016 - 17 April 2017
Fonds Hélène & Édouard Leclerc, Landerneau

In partnership with the Fonds Hélène et Édouard Leclerc pour la Culture of Landerneau (Finistère, France), the Hartung-Bergman Foundation is organizing the exhibition “Hartung and the Lyrical Painters”, curated by Xavier Douroux, director of the art center Le Consortium (Dijon, France), which will run from December 11 to April 17, 2017.

The 60 artworks spanning a period from the 30’s to the 80’s, and including 20 paintings never shown before, were lent by the Foundation in order to create an exhibition that would not solely be dedicated to Hand Hartung, but rather, aims at giving an esthetic, historical, as well as critical overview of what is called “lyricism” by displaying Hartung’s works along with the works of seventeen other artists.
Hartung has long been associated with this term dating from the post-war period. It characterizes a spontaneous and gestural abstraction in which the free expression of a subject, unleashed from its boundaries, dominates. Through this exhibition, an in-depth analysis of Hartung’s “lyricism”, which paradoxically mixes freedom of gesture and controlled construction, will be displayed. To this end, Xavier Douroux has conceived a scenography that intertwines the works of the French-German painter with those of the artists traditionally considered as members of post-war “lyricism”, starting with Jean Degottex, Georges Mathieu and Gérard Schneider, and including those of contemporary artists such as Albert Oehlen, Christopher Wool and Shirley Jaffe, who recently passed away.

One conclusion comes to mind from this historical mapping offered to the public: “Lyricism” goes well beyond Paris in the years 1945-1960. It is also the predominant idea arising from the dialogue between Hans Hartung and those artists, whether they came from the German, French, American, or culture-bridging scenes like Cy Twombly, the American artist shaped by Antic references, who produced a major part of his work in Italy.
The artists displayed alongside Hans Hartung are: Joe Bradley, Jean Degottex, Willem De Kooning, Helen Frankenthaler, Adolph Gottlieb, Simon Hantaï, Shirley Jaffe, Georges Mathieu, Albert Oehlen, Sigmar Polke, Gérard Schneider, Gérard Traquandi, Cy Twombly, Charline Von Heyl, Fritz Winter, Christopher Wool, and Yves Zurstrassen.

Fondation Hartung Bergman, Antibes