Month: January 2023

Group show.

The work of the participating artists all directly or indirectly addresses the themes of home, domesticity, and family life, with all its happy (and tricky) implications. And the exhibition’s title, Home Is Where You’re Happy, is borrowed from a song written by Charles Manson, whose childhood home was anything but happy, and who eventually founded his own murderous “Family.” Thematically linked through an array of dialogues, the artworks become representatives of all the psychodynamic processes, fantasies, and memories still haunting Haus Mödrath

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Group show.

Houses of Tove Jansson is the largest exhibition in central Europe and France to explore the artist’s vast life and career. The exhibition is the first of its kind, providing new takes on the artist’s heritage as seen through the eyes of a diverse group of contemporary artists. It also showcases works and ephemera that have not been displayed publicly before.

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Generalization is the first survey of artist Tania Pérez Córdova (b. 1979, Mexico City) in a United States institution, featuring a selection of twenty-four works made over the past ten years, as well as objects specially commissioned for this occasion.

The exhibition presents a reading of Pérez Córdova’s work through issues that her artistic endeavors have sought to address: the passage of time, the nature of materials, the gaze of the other, the imminence or possibility of an action, the way in which we assign value to objects, negative space, and more recently, the insufficiency of discourse.

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With the aim of “creating and organizing a contemporary art event of international stature, in which sound – in all its forms – constitutes the heart of the event”, this biennial brings together sound installations and silent works in which sound is induced, as well as a series of events (sound performances, concerts, public discussions, etc.) across different venues, towns and villages (Sion, Martigny, Loèche, Sierre…).

As part of the exhibition Echoes of a Collection. Œuvres du Frac Franche-Comté (curated by Sylvie Zavatta, director of the Frac, in collaboration with Christophe Fellay, artist and teacher at EDHEA, Jean-Paul Felley, director of EDHEA) from September 16 to October 29, 2023 in Martigny (Switzerland) will include the following works by Ulla von Brandenburg : The Record (2005-2014) and Le milieu est bleu (2020), which are part of the Collection of Frac Franche-Comté.

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Le titre de l’exposition “It Has a Golden Sun and an Elderly Grey Moon” fait référence à une œuvre de 2016 d’Ulla von Brandenburg (1974, vit et travaille à Paris et à Karlsruhe), qui est au centre de l’exposition. Dans la présentation expansive, dans laquelle le film, la performance, l’architecture et l’installation sont combinés, le spectateur pénètre dans un monde entre réalité et illusion, passé et présent. 

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Avec Virgina Ariu, Jean-Luc Blanc, Andrea Celeste La Forgia & Max Fletcher, Costanza Candeloro, Thomas Hesse, Elza Javakhishvili, Peter Kamm, Sarah Lehnerer, Birgit Megerle, Angelbert Metoyer, Mathis Pfäffli, Matthias Sohr, Megan Francis Sullivan, Anna Zacharoff

1st Verse: The Gallery Opening
2nd Verse: The Classroom Lecture
3rd Verse: The Studio Visit
4th Verse: The Living Room Dinner

The exhibition Didactic Poetry brings together paper works arranged in small groupings by 15 artists. Their narration takes shape at the intersection of didactics and poetry. In their practices, the artists pursue and exhibit a relational critique of, a precise sensitivity to, and a finely honed notion of this charged dynamic. The works reflect different concepts and understandings of pedagogy, labor, poetry, and gallery.

In the dynamic of didactics and poetry, there exist aporias that yield discursive and social potentials. The ancient genre of didactic poetry (German: Lehrgedicht) is associated with a high degree of metapoetic self-reflection. The exhibition considers the question as to what extent the didactic potential inherent in the works provides insights into the artists’ poetic intentions and those of the works themselves.

Varying settings highlight the conditions in which different modes of engagement take place, allowing for changes in the status of the works and the roles of the actors involved. In this context, conceptualizations, positions, and conditions of artworks are examined, insofar as they are capable of generating their own discourses, but are also available as applied pedagogical tools.

The question of how a gallery can contribute to educational endeavors involving pedagogical practices, social engagement, and intellectual enrichment will be juxtaposed and integrated with the gallery’s usual range of tasks on July 1st. We extend a warm invitation.