DCSIMG

Highlight #38: 4 Artists, 4 Art exhibitions

Colorful solo exhibitions in Russia, U.S., Switzerland and France

<After, After> 2013 Installationsansicht, 'Lyon Biennale' Photo: Blaise Adilon Courtesy the artist and Collection FRAC Bourgogne

Russia, Moscow <Yin Xiuzhen_Slow Release>

30 September 2016 ~ 31 January 2017_Garage Museum of Contemporary Art

Beijing-based artist Yin Xiuzhen is showing her work for the first time in Moscow. Entitled “Slow Release”, the exhibition displays one of the largest architectural structures the artist has ever made.
The capsule pill-shaped installation visitors can step into is covered with hundreds of kilograms of clothing. The red and white capsule usually references pills designed to increase the effect of medication by slowing down the release of chemicals in the body. In Yin’s work, however, the outer layer of clothing plays the role of deceleration.

By allowing the visitors to enter into the installation covered with clothes, our second skin, she creates a situation where people can experience being in their own body. At the same time, she reflects on the rapid development of society, addressing the relationship between the demand for quick therapeutic effects and importance of prolonged self-medication.
As one of the leading female artists of China, Yin is well known for her use of second-hand objects in works that explore globalization and urban development. Reflected in the artist’s work is her critical perspective on global economic progress and how it changes individual lives and memories.

  • <Dress Box> 1995

    Installation Clothes which the artist worn in the past three decades, cement, an old home-made dress box, copper plate, television
    Courtesy of the artist and Pace Beijing

    <Dress Box> 1995 Installation Clothes which the artist worn in the past three decades, cement, an old home-made dress box, copper plate, television<br>Courtesy of the artist and Pace Beijing
  • <Introspective Cavity (exterior)> 2008

    Installation Clothes, stainless steel, mirrors Courtesy of the artist and Pace Beijing

    <Introspective Cavity (exterior)> 2008 Installation Clothes, stainless steel, mirrors Courtesy of the artist and Pace Beijing
  • <Butter Shoes>

    Courtesy Pace Beijing Photos by Song Dong

    <Butter Shoes> Courtesy Pace Beijing Photos by Song Dong

U.S., Washington D.C <In the Tower: Barbara Kruger>

30 September 2016 ~ 22 January 2017_National Gallery of Art

Internationally renowned contemporary artist Barbara Kruger is featured at the National Gallery of Art in Washington D.C to celebrate the newly renovated building. The exhibition presents the artist’s fifteen most important works from the early 1980s to the present.
Kruger is best known for her profile works characterized by attention-grabbing phrases and figures of speech superimposed in layers over the images of faces and figures. The signature style of her works, white Futura Bold italic typeface on black-and-white images, is so strong and humorous that they grab the viewer’s attention. Her use of language, color, and image derived from the media-saturated world emphasizes the cultural tropes. The exhibition shows Kruger’s works varying in scale from book-size to monumental.

The key works in the exhibition include <Untitled (Your gaze hits the side of my face)>(1983) which was inspired by Craig Owen’s essay “The Medusa Effect, or The Specular Ruse”, and <Untitled (Know nothing, Believe anything, Forget everything)>(1987/2014). A newly created monumental work, measuring fifty-five feet wide and twenty-five feet high, <Untitled (Half Life)> also catches the audiences’ eye. Visit the exhibition and enjoy the art world of Barbara Kruger.

  • <Untitled (Your gaze hits the side of my face)> 1983

    Photograph overall: 140.34 103.82cm(55 1/4 40 7/8in.) Glenstone Museum, Potomac, Maryland ⓒ Barbara Kruger

    <Untitled (Your gaze hits the side of my face)> 1983 Photograph overall: 140.34 103.82cm(55 1/4 40 7/8in.) Glenstone Museum, Potomac, Maryland ⓒ Barbara Kruger
  • <Untitled (We don’t need another hero)> 1987

    Silkscreen on vinyl overall: 276.54 531.34 6.35cm(108 7/8 209 3/16 2 1/2in.) Whitney Museum of American Art, New York. Gift from the Emily Fisher Landau Collection, 2012.180 ⓒ Barbara Kruger

    <Untitled (We don’t need another hero)> 1987 Silkscreen on vinyl overall: 276.54 531.34 6.35cm(108 7/8 209 3/16 2 1/2in.) Whitney Museum of American Art, New York. Gift from the Emily Fisher Landau Collection, 2012.180 ⓒ Barbara Kruger
  • <Untitled (The future belongs to those who can see it)> 1997

    Silkscreen on vinyl overall: 215.9 152.4cm(85 60in.) From the Chris and Dori Carter Collection ⓒ Barbara Kruger

    <Untitled (The future belongs to those who can see it)> 1997 Silkscreen on vinyl overall: 215.9 152.4cm(85 60in.) From the Chris and Dori Carter Collection ⓒ Barbara Kruger

Switzerland, Luzern <Laure Prouvost_And she will say: hi her, ailleurs, to higher grounds…>

29 October 2016 ~ 12 February 2017_Kunstmuseum Luzern

The Turner Prize winner Laure Prouvost is a story-teller. She seduces her audiences with aesthetically amateurish material, sounds, and imagination in works. Her installation works—amalgams of video, everyday objects, ceramics or painting and architecture—talk about Prouvost’s grandfather, linking truth and poetry to create a distinctive reality: Was her grandfather lost in a tunnel from Europe to Africa which he dug himself by hand?

From the entrance of the exhibition room, one is welcomed to the Prouvost’s narrative world. Each work displayed is linked by a loose narrative about her lost grandfather and the search for him. In "Maquette for Granddad’s Visitor Center", visitors can contribute a design for her grandfather’s memorial sit, while the installation "Grandma’s Dream" tells the story of her worried grandmother having dreams about her grandfather.
Across the exhibition room, visitors can find another section named 'Love Among the Artists', which presents friends of Laure Prouvost and her Granddad. In addition to Prouvost’s work, audiences can also enjoy the artworks of fourteen other artists, including Dana Munro, Cally Spooner and Gil Leung.

  • <Wantee> 2013

    Ausstellungsansicht Tate Britain, London 2013 Photo: Tate, Lucy Dawkins

    <Wantee> 2013 Ausstellungsansicht Tate Britain, London 2013 Photo: Tate, Lucy Dawkins
  • <After, After> 2013

    Installationsansicht, 'Lyon Biennale' Photo: Blaise Adilon Courtesy the artist and Collection FRAC Bourgogne

    <After, After> 2013 Installationsansicht, 'Lyon Biennale' Photo: Blaise Adilon Courtesy the artist and Collection FRAC Bourgogne
  • <If It Was>(Videostill) 2015

    HD-Video 8’5” Courtesy of the artist, Galerie Nathalie Obadia, Paris and Brussels, and carlier | gebauer, Berlin

    <If It Was>(Videostill) 2015 HD-Video 8’5” Courtesy of the artist, Galerie Nathalie Obadia, Paris and Brussels, and carlier | gebauer, Berlin

France, Sérignan <Andrea Büttner>

6 November 2016 ~ 19 February 2017_Musée régional d'art contemporain Languedoc-Roussillon

German artist Andrea Büttner’s works show emotions such as embarrassment or confusion in a positive statement. In her works, she brings together traditional techniques that require skills and physical commitment using various materials from woodcutting, sculpture, and performance, to video. Modesty always comes through in her works, which highlight the issue of ambivalent aesthetic judgment— the human fragility paired with the imperfect figure of the artist. The works engage with social, political and aesthetic subjects combined with art history and taste, exploring religion, poverty, community, and sense of shame.

The exhibition features a large-scale video and sound installation work "Piano Destructions" and a newly commissioned series, "Alle Bilder." "Piano Destructions" began in 2014 when the artist started to gather documentations on the history of male artists who, since the 1960s and the Fluxus movement, have destroyed pianos as part of their practice. This act of destroying the symbol of bourgeois culture is recurrent and she focuses on it as a motif in contemporary art history. "Alle Bilder", occupying the entire exhibition room, brings together all the invisible threads that connect her intellectual approach. Don’t miss out this opportunity to explore Büttner’s art world and her thoughts on art. ■ with ARTINPOST

  • <Piano Destructions> 2014

    Walter Phillips Gallery, The Banff Centre, Banff, Canada, vue d'installation video, cinq ecrans et neuf sources sonores Photographie: Rita Taylor.
    Courtesy Walter Phillips Gallery, The Banff Centre, Canada Hollybush Gardens, Londres et David Kordansky Gallery, Los Angeles. ⓒ Andrea Buttner / VG Bild-Kunst, Bonn 2016.

    <Piano Destructions> 2014 Walter Phillips Gallery, The Banff Centre, Banff, Canada, vue d'installation video, cinq ecrans et neuf sources sonores Photographie: Rita Taylor. Courtesy Walter Phillips Gallery, The Banff Centre, Canada Hollybush Gardens, Londres et David Kordansky Gallery, Los Angeles. ⓒ Andrea Buttner / VG Bild-Kunst, Bonn 2016.
  • <Moos / Moss> 2010-2013

    Photographies Dimensions variables Photographie: Andrea Buttner Courtesy Hollybush Gardens, Londres et David Kordansky Gallery, Los Angeles. ⓒ Andrea Buttner / VG Bild-Kunst, Bonn 2016.

    <Moos / Moss> 2010-2013 Photographies Dimensions variables Photographie: Andrea Buttner Courtesy Hollybush Gardens, Londres et David Kordansky Gallery, Los Angeles. ⓒ Andrea Buttner / VG Bild-Kunst, Bonn 2016.
  • <Recherche: Mendiants dans les collections de photographies de l'Institut Warburg> 2015

    Photographie: Ian Jones Courtesy Hollybush Gardens, London et David Kordansky Gallery, Los Angeles. ⓒ Andrea Buttner / VG Bild-Kunst, Bonn 2016.

    <Recherche: Mendiants dans les collections de photographies de l'Institut Warburg> 2015 Photographie: Ian Jones Courtesy Hollybush Gardens, London et David Kordansky Gallery, Los Angeles. ⓒ Andrea Buttner / VG Bild-Kunst, Bonn 2016.

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