Press
Photo CreditPRESS CONTACT
On this page, we have compiled all media-related information and press documents regarding exhibitions at the Fridericianum. Please contact us if you have any questions, require additional material, or would like to schedule an interview:
Press Contact:
documenta und Museum Fridericianum gGmbH
Head of Communications and Marketing
Johanna Köhler
press@fridericianum.org
Press Releases
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Dec 9, 2021, Press Release
Moritz Wesselerʼs Tenure as Fridericianum Director now Extendeddocumenta und Museum Fridericianum gGmbH is delighted to announce that Moritz Wesseler’s tenure as Director of the Fridericianum has been extended by its Supervisory Board to 2027.
Since 2019 Wesseler has presented in Kassel highly acclaimed solo exhibitions by artists who previously had not been offered a broad platform in Germany in an institutional context – such as Ron Nagle, Rachel Rose or Tarek Atoui. With this specific focus he consolidates and enhances the status of the North Hessian metropolis as a location for artistic and creative innovation and experimentation.
A further focal point of his activities is the elaboration and implementation of retrospective exhibitions on historical stances. For instance, the to date most comprehensive show on the creativity of the “visionary painter” Forrest Bess presented an artistic position that is of great relevance for numerous artists as well as for the pressing socio-political discourses of the present.
The various exhibition projects are accompanied by multifaceted educational and event programs tailored to different ages and interest groups. These are held in the form of guided tours, lectures or workshops at the Fridericianum, as well as via podcasts and interview or documentary films in the digital space. The institution’s activities are thus made even more visible on an international level and sustainably rooted in people’s consciousness. This phenomenon could be seen, for example, on US election day 2020 in the illumination of the Fridericianum by filmmaker and painter Trisha Baga, which received attention far beyond Germany’s borders.
Currently, the Kunsthalle is presenting solo exhibitions by the artists Toba Khedoori and Martine Syms. For the period following documenta fifteen, Wesseler is planning, amongst other things, to leverage the building and adjacent Friedrichsplatz even more comprehensively with site-specific interventions such as the so-called “green Greta” by Alexandra Bircken, in parallel to diverse and international exhibitions.
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Jul 1, 2021, Press Release
Martine Syms at the FridericianumMartine Syms: Aphrodite’s Beasts
July 3, 2021 – January 9, 2022
Opening: Saturday, July 3, 2021, 11 am – 7 pm
Fridericianum, Friedrichsplatz 18, 34117 Kassel
Press Preview: Thursday, July 1, 2021, 11.30 am
Speakers:
Dr. Sabine Schormann, General Director of documenta und Museum Fridericianum gGmbH
Moritz Wesseler, Director of the FridericianumBorn in 1988 in Los Angeles, Martine Syms has, in the last few years, emerged as one of the central and indeed defining figures in the recent international discourse on art and culture. In her interdisciplinary practice, which spans film, photography, installation, performance, and writing, the artist explores manifold, compelling questions in order to map out new perspectives on life and society. Through precise observation and in-depth research, Syms addresses the representation and reception of US-American identities and cultures, the theories and realities of feminism, conditions of interpersonal communication, and the impact of digital media on everyday life. Characterized by both conceptual and pop approaches, her work displays a distinct sense of humor without diminishing its urgency and relevance. Specifically developed for Kassel, the exhibition Aphrodite’s Beasts presents a comprehensive overview of the artist’s practice in Germany for the first time. Forming the backbone of the show are three film works that at times bear the stamp of expansive installations. Ugly Plymouths, a work created in 2020, introduces the exhibition. On three large flat screens mounted on poles, brief, sometimes intimate footage of everyday life in Los Angeles is used to narrate a one-act play whose title picks up on a phrase from the poem Hollywood by Beat poet Bob Kaufman (1925–1986). Syms’s protagonists are Hot Dog, Doobie, and Le Que Sabe, whose voices overlay the film singly or in conversation and speak of their daily concerns, promises, and temptations. Their utterances reference the form and content of text and voice messages of the digital age, revealing the simultaneous possibility and impossibility of communication and social interaction. Ugly Plymouths has strong immersive qualities, not least through the accumulation of sound and moving image and its embedding in a space flooded with red light.
In contrast, the work Lesson LXXV, realized in 2017, generates an entirely different effect. Presented in an endless loop, the silent film shows the artist in three-quarter profile against a plain black background. In the sequence, which lasts for only a few seconds, milk pours down Syms’s face, hairline, thin braids, and torso. Occasionally, the blinking of her down-turned eyes can be made out, while on her chin, smaller and larger drops repeatedly follow gravity or seemingly defy the Earth’s pull. Despite the barely perceptible action, a silent power is exuded by the image, recalling depictions of icons. However, the starting point of Lesson LXXV is a more secular theme. Here, the artist refers to the demonstrations against racist violence in the United States and other parts of the world, where protestors often pour milk over their faces to relieve the pain caused by the deployment of tear gas. The work thus suggests a highly political impetus that, due to its specific formulation, potentially offers a timeless appeal to humanity. At the same time, Syms contextualizes her production within art history by presenting the film on a flat screen mounted horizontally atop a cuboid sitting on the floor referencing Minimal Art. Running counter to the standard palette of the prominent art movement of the 1960s, the cuboid and adjacent windows are rendered in a deep purple, alluding to the women’s movement, Alice Walker’s 1982 novel The Color Purple,andthe hue’s manifold meanings within the LGBTQIA community.
Just as Syms positions herself at the center of Lesson LXXV, acting as the conveyor of a message, she also takes on the role of protagonist in the film DED, completed in 2021. Thus, in the approximately sixteen-minute work presented as a screen projection, she appears in the form of an avatar created using a 3D scan of her body. Against the backdrop of an unfathomably vast space structured only by a horizon line, the viewer experiences Syms undergoing a constant alternation between life and death, resurrection and demise. Sometimes she dies as a result of a gushing emptying of the contents of her stomach or esophagus, sometimes through the use of a firearm or knife, and at others through a fall from a great height or an implosion. Over and over again, the animated figure manages to come back to life, regaining its strength to get up and keep going. These dramatic sequences are at times accompanied by a rousing pop composition in which Syms’s vocals metaphorically describe the various facets of life in the twenty-first century and the elementary conditions and questions of humanity that accompany it. The line MY BEATING HEART can be heard as well as I’VE BEEN WAITING FOR YOU HERE and I WANT TO GIVE AND RECEIVE.
Caught somewhere between life and death, hope and despair, power and powerlessness, DED evokes a grotesque, at times surreal image that certainly reflects the current atmosphere of global crises and catastrophes. With its observations, questions, demands, and fantasies, the work marks the closing point of the exhibition and offers impetus for an everlasting search. FIND A WAY can accordingly be read both on a frieze-like, luminous banner on the façade of the Fridericianum and on the strap weavings of the chairs that flank Syms’s cinematic works, alongside a group of six photographs. The latter feature the similarly deliberate, empathetic, cursory gaze that also informs the footage in Ugly Plymouths at the start of the exhibition.
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Sep 28, 2021, Press Invitation
Toba Khedoori at the FridericianumPress Invitation: Toba Khedoori at the Fridericianum
Toba Khedoori
October 8, 2021 – February 20, 2022
Opening: Friday, October 8, 2021, 5 pm – 10 pm
Fridericianum, Friedrichsplatz 18, 34117 Kassel
Press Preview: Thursday, October 7, 2021, 11.30 am
Speakers:
Dr. Sabine Schormann, General Director of documenta und Museum Fridericianum gGmbH
Moritz Wesseler, Director of the Fridericianum
We look forward to your participation. Please register under press@fridericianum.org.
For over twenty-five years, Toba Khedoori, born in Sydney in 1964, now living in Los Angeles, has been developing a body of work that can be described as one of the most outstanding and unusual contributions to contemporary art. Her works—always the outcome of a lengthy, highly concentrated production process—oscillate between painting and drawing, yet they also have a distinctly haptic quality. As a rule, the starting point for her art are sheets of paper treated with wax that she combines to form monumental picture carriers. Khedoori then does immensely detailed drawings in graphite and oil paints, which are extraordinarily precise in their execution. Her motifs range from buildings, windows, cinema seats, and fireplaces to branches, grasses, clouds, horizon lines, and more. Human beings are only ever present in the traces they leave; they are never the prime focus of a composition. In many works, the motifs are detached from their original context and occupy an expansive, empty pictorial space. Time and place appear not to apply in these realms. This, in turn, creates a situation where certain works develop moments of abstraction, which open up yet another dimension in Khedoori’s art.
Since 2008, Khedoori has also done paintings on canvas that are considerably smaller than the aforementioned works on paper. These smaller pieces continue to engage with themes arising from the tension between human beings and the natural world, albeit with a greater emphasis on the interplay of representationalism and abstraction. Many of these compositions avoid easy legibility, with the result that the interaction of lines, structures, and colors comes to the fore. Regardless of their level of abstraction these paintings exude an unusual strength—quiet yet remarkable—which in fact characterizes all of Khedoori’s art. This innate strength raises questions about the fundamental parameters of life and, in so doing, establishes the philosophical meta-level of her work.
Due to the special quality of her oeuvre the artist’s works already formed part of the international discourse early on, giving her a strong presence within the institutional context. For instance, her work was featured, among others, in 1997 and 1998 in solo exhibitions at the Museum of Contemporary Art in Los Angeles, the Walker Art Center in Minneapolis as well as the Hirshhorn Museum and Sculpture Garden in Washington D.C. These presentations were followed in 2001 by extensive acknowledgements of her practice at the Museum für Gegenwartskunst in Basel and the Whitechapel Gallery in London. In addition, her drawings and paintings have been showcased as part of group exhibitions such as the Bienal Internacional de Arte de São Paulo in 2004, the Liverpool Biennial of Contemporary Art in 2006, and the Venice Biennale in 2009. Further highlights in her exhibition history came in 2016 with retrospectives at the Los Angeles County Museum of Art and the Pérez Art Museum Miami. In Germany, an in-depth examination of Khedoori’s oeuvre has yet to take place. From October 9, 2021 to February 20, 2022, the Fridericianum in Kassel will therefore be devoting a comprehensive solo exhibition to her, with this ambitious project also representing the first major solo exhibition in Europe in over twenty years. By means of selected works created between 1994 and 2021, the show will illustrate the diversity of her graphic and painterly oeuvre as well as its development over the last three decades.
The presentation in Kassel is generously supported by Hessische Kulturstiftung: “With the first solo exhibition of the artist Toba Khedoori in Germany, the Fridericianum in Kassel once again impressively proves that it is one of the leading exhibition venues in the Federal Republic. The Australian artist with Iranian roots develops a philosophy of the everyday in her impressive works painted with old-masterly precision. With her art, Toba Khedoori questions the philosophical foundations and individual and aesthetic preconditions of our perception and, above all, how we locate ourselves in this world.” Eva Claudia Scholtz, Executive Director of the Hessische Kulturstiftung -
May 7, 2020, Press Release
ReopeningThe Fridericianum to reopen. Forrest Bess exhibition to be extended. New education formats and special projects go online. Karl Holmqvist starts realization of the artwork Existential Staircase/Existenzielles Treppenhaus.
Tuesday, May 12, 2020, sees the Fridericianum open to the public again. Furthermore, in view of the positive feedback and international media response, the exhibition on the life and work of Forrest Bess has been extended until September 6, 2020.
In order to further convey the work of this visionary painter, the Fridericianum is now offering live guided tours of the exhibition via Instagram on Wednesdays (5 pm / in English) and Sundays (3 pm / in German). The series FF – Live at the Fridericianum, which normally includes performances, concerts, and lectures, is also launching an alternative, digital program. Every month, the website (www.fridericianum.org) as well as the museum’s social networks will publish specially produced short films by international artists such as Juliette Blightman (Great Britain), Keren Cytter (Israel), Dan Bodan (Canada) and Yu Ji (Hong Kong), who have responded in a variety of creative ways to the current situation caused by the pandemic. Taking a similar approach is a special project by Swedish artist Karl Holmqvist. Following the museum’s reopening, Holmqvist will proceed with the realization of a site-specific work Existential Staircase/Existenzielles Treppenhaus in the stairwell of the building, providing legitimate space for questions around meaning.
Commenting on these developments, Director Moritz Wesseler said: “We are happy the Fridericianum can finally be opened to visitors again. Furthermore, we have managed to extend the much-acclaimed Forrest Bess exhibition and initiate a multifaceted, digital education program. Art and culture are important components of social life. We hope that through our activities we will be able to contribute to the development of alternative perspectives and new freedom of thought against the backdrop of the current discussion about the pandemic—in Kassel and far beyond.”
In order to protect the Fridericianum’s audience from the coronavirus (COVID-19), certain safety rules apply during visits. These include limiting the number of visitors, respecting social distancing rules, and adhering to hygiene regulations. Separate information about the reopening of the café will be provided at a future date. Further information on these measures can be found on the website (www.fridericianum.org) and by calling the following information hotline: + 49 (0)561- 70727-20.
Digital Tours: Wednesdays (5 pm / in English) and Sundays (3 pm / in German) via Instagram Live: @fridericianum
FF – Digital: Currently: Juliette Blightman (Great Britain); May: Keren Cytter (Israel); June: Dan Bodan (Canada); July: Yu Ji (China).
Karl Holmqvist Existential Staircase/Existenzielles Treppenhaus: Once the realization process is complete, the project will be presented at a press event, to which you will receive a separate invitation. -
Oct 22, 2019, Press Release
Press Release and -Invitation: Rachel RoseExhibition: Rachel Rose
October 26, 2019–January 12, 2020
Fridericianum, Friedrichsplatz 18, 34117 Kassel, Germany
Press preview: Friday, October 25, 2019, 11.30 am (the artist will be present)
Opening: Friday, October 25, 2019, 7 pm
Please register at: press@fridericianum.org
In Rachel Rose’s first large-scale solo exhibition in Germany, the artist (born New York, 1986) will present a selection of her video installations and a new series of sculptures at the Fridericianum in Kassel.
In recent years, Rose has quickly risen to prominence for her compelling video installations and films. This selective overview of Rose’s practice, which focuses on moving images, is comprised of five works: Sitting Feeding Sleeping (2013), Everything and More (2015), Lake Valley (2016), Autoscopic Egg (2017), and Wil-o-Wisp (2018). Complemented by a group of new sculptures, this makes the exhibition at the Fridericianum the largest presentation of the artist’s work to date.
Not only characteristic of Rose’s approach to art making, these works can be seen as individualized responses to subject matter particular to her interests. While these differ in each, she often explores how our relationship to landscape, storytelling, and belief systems are inseparably linked to one another. From supernaturalism in the modern era in Wil-o-Wisp to possible futures put forward by contemporary sciences in Sitting Feeding Sleeping, the artist reveals commonalities toward concepts of mortality. Meanwhile, works such as Lake Valley and Everything and More imagine alternate sensory experiences – from abandonment in children’s stories to zero gravity in outer space – that contribute to our understanding of what it means to be human. As such, this exhibition traces how Rose visualizes fundamentally existential concerns, using the past to address how present conditions shape our conceptions of impermanence.
Rose uses a wide range of filmic techniques to realize her work. From collaging footage to, most recently, narrative filmmaking, she draws from and contributes to a long history of cinematic innovation. Yet, irrespective of these different approaches, the artist has developed a consistent method of projection and installation to immerse and affect the viewer’s physical and psychological experience of moving image and sound.
Alongside her moving image works, a new series of sculptural objects made from glass and various minerals will be shown at the Fridericianum. These originate from the egg form, which often appears in Rose’s work; most recently as physical manifestations featured in Autoscopic Egg and the glass-blown lenses Optical Eggs (2018–19) that accompany the video installation of Wil-o-Wisp. From the collectively titled series Born (2019–), nine specially produced pieces will be displayed in a separate oval-shaped room designed specifically for this exhibition. While the symbol of the egg is typically regarded as a sign of fertility, reproduction, and transformation, these sculptures nevertheless encapsulate Rose’s working methodology since they are derived from and connect to several key aspects of her recent practice, namely the history of glass, topography, and the collaging of materials – subjects and techniques she often revisits. -
Apr 30, 2019, Press Release
Fridericianum kicks off exhibition program with Lucas Arruda and Ron NagleExhibitions
Lucas Arruda “Deserto-Modelo”
Ron Nagle “Euphoric Recall“
June 6 to September 8, 2019Press preview: Tuesday, June 4, 2019, 11.30 am
Opening: Wednesday, June 5, 2019, 7 pmThe exhibitions “Deserto-Modelo” by Lucas Arruda and “Euphoric Recall“ by Ron Nagle mark the beginning of the program put together by the new Fridericianum director Moritz Wesseler.
With Lucas Arruda and Ron Nagle, the Fridericianum is presenting two artists who represent very disparate aspects of current art production and who are at decidedly different phases in the development of their artistic/intellectual voices. Whereas the former’s chosen path is painting, he hails from South America and by the time he had reached his early 30s had already formulated a remarkably lucid oeuvre, one which is now starting to receive international attention, the latter is a sculptor, has his roots in North America and with a consistent oeuvre spanning six decades can be considered a master of his métier. What they have in common is a passionate and even obsessive devotion to their chosen themes and areas of work, which accounts for the singularity of the art they produce.
The presentation of the work of Arruda and Nagle will be followed, in October 2019, by a comprehensive show of the oeuvre of artist Rachel Rose, who was born in 1986 and works with time-based media and sculpture, and in February 2020 by an exhibition of the work of painter Forrest Bess, who died in 1977. It will be the largest European show on Bess’ work in over 30 years. As such, with his new program for the Fridericianum Moritz Wesseler is on the one hand focusing attention on those artists who have to date been denied a platform in Germany in the institutional context, and, on the other, offering everyone an opportunity to rediscover historical positions that were for a long time obscured, despite having great relevance for current discourse.Lucas Arruda “Deserto-Modelo”
“Deserto-Modelo” is the title of the Fridericianum’s presentation of the first larger-scale institutional solo show by the artist Lucas Arruda, who was born in São Paulo in 1983. Arruda’s work comprises paintings, prints, light installations, slide projections and films. It reflects his intensive, dedicated examination of a wide spectrum of subjects, ranging from the conceptual framework of the genre that is painting to the existential conditions of life itself.
A particular feature of Arruda’s praxis is his portrayal of landscapes and seascapes, although his work never references specific locations. On the contrary, he is concerned with capturing those imaginary places evoked by thoughts of landscapes and seascapes, and with looking into the light conditions, atmospheres and emotions connected with them. However, many of his works are characterized by such a degree of abstraction that the reference to a landscape is only suggested by the horizon lines that are present to varying extents. Independent of the degree of their legibility, his visual formulations give rise to a moment of deceleration and concentration, which, in these increasingly fast-paced times we live in, takes us by surprise and, with its insistent yet peaceful power, raises not least the question as to which rhythms life follows in this globalized world.Ron Nagle “Euphoric Recall“
For more than six decades now, Ron Nagle has been producing works characterized by the fact that they manifest a maximum height of 20 cm. Despite their limited heights, these works, made among other things of ceramics, plastics, glazing agents and car paint, boast a presence and an effect which could hardly be more impressive. This accounts for the unique status of Nagle’s work within the sculpture genre and results from his works’ interplay of unusual shapes, diverse colors and tactile surfaces. Accordingly, in his objects, shapes with an organic feel to them meet architectural elements, brightly gleaming colors are confronted with unobtrusive, restrained hues and rough, porous surfaces contrasted with high-gloss ones. His work is not only uncommonly fresh, soulful and sophisticated; it is also mysterious and sometimes surreal. Nagle moreover provides his work with additional levels of meaning by furnishing it with elaborate titles which are usually characterized by a great propensity for wordplay and humor.
“Euphoric Recall“ at the Fridericianum is the first solo show in Germany by Nagle, who was born in San Francisco in 1939. An artist book is being published to mark the show, which is being realized in cooperation with the Vienna Secession.
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Fridericianum
Rosemarie Trockel
February 21, 2023
Rosemarie Trockel: Victoria, 2021, Cappuccino Ober- und Untertasse / Cappuccino Cup and Saucer © Rosemarie Trockel, documenta und Museum Fridericianum gGmbH, Nicolas Wefers (Foto / photo)
Rosemarie Trockel: no Rules, 2021, Espresso Ober- und Untertasse / Espresso Cup and Saucer © Rosemarie Trockel, documenta und Museum Fridericianum gGmbH, Nicolas Wefers (Foto / photo)
Kerstin Brätsch
January 20, 2023
Installation view, Kerstin Brätsch: MIMIKRY, 2023, Fridericianum, Kassel © documenta und Museum Fridericianum gGmbH, the artist. Photo: Nicolas Wefers
Installation view, Kerstin Brätsch: MIMIKRY, 2023, Fridericianum, Kassel © documenta und Museum Fridericianum gGmbH, the artist. Photo: Nicolas Wefers
Installation view, Kerstin Brätsch: MIMIKRY, 2023, Fridericianum, Kassel © documenta und Museum Fridericianum gGmbH, the artist. Photo: Nicolas Wefers
| Kerstin Brätsch: Towards an Alphabet_ Dino Rorschach, 2022© © the artist, documenta und Museum Fridericianum gGmbH |
Kerstin Brätsch: Towards an Alphabet_ Dino Runes (Kassel Version), 2020/2022, Wallpaper (detail) © the artist, documenta und Museum Fridericianum gGmbH, Photo: Nicolas Wefers
Kerstin Brätsch: Fossil Psychic table model, 2022, Cardboard, paper, hotglue, 12 individual elements, scale: 1:5 © the artist, documenta und Museum Fridericianum gGmbH, photo: Nicolas Wefers
Kerstin Brätsch: Fossil Psychics table models, 2022, Cardboard, paper, hotglue, 12 individual elements, scale: 1:5 © the artist, documenta und Museum Fridericianum gGmbH, photo: Nicolas Wefers
Kerstin Brätsch: Towards an Alphabet_ Dino Runes (Kassel Version), 2020/2022, Wallpaper (detail) © the artist, documenta und Museum Fridericianum gGmbH, Photo: Nicolas Wefers
Kerstin Brätsch: Fossil Psychic for Christa (Stucco Marmo), 2020 – 2021, Plaster, pigment, glue, wax and oil on honeycomb, felt 111,8 x 148,9 cm © the artist. Photo: Daniele Molajoli
Kerstin Brätsch: Fossil Psychic for Christa (Stucco Marmo), 2020, Plaster, pigments, glue, wax and oil on honeycomb, felt 109.9 x 140 cm © the artist. Photo: Daniele Molajoli
Roberto Cuoghi
December 3, 2022 – May 29, 2023
Porträt / Portrait Roberto Cuoghi © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi in Zusammenarbeit mit matali crasset / Roberto Cuoghi in collaboration with matali crasset (Installationsansicht / Installation view Fridericianum, Kassel) © Roberto Cuoghi, documenta und Museum Fridericianum gGmbH, Photo: Andrea Rossetti
Roberto Cuoghi (Installationsansicht / Installation view Fridericianum, Kassel), Leihgabe / Loan Hauser & Wirth © Roberto Cuoghi, documenta und Museum Fridericianum gGmbH, Photo: Andrea Rossetti
Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Leihgabe/ Loan Galerie Chantal Crousel, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: An
Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti
Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti
Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti
Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti
Roberto Cuoghi: SS(XCVP)s, 2019, (Installationsansicht/ Installation view Fridericianum, Kassel), Privatsammlung / private collection, Hauser & Wirth Collection Services, © Roberto Cuoghi, documenta und Museum Fridericianum gGmbH, Foto: Andrea Rossetti
Roberto Cuoghi: SS(IISh)c, 2019 Keramik, Messing, Nylon, Eisen, Kaugummi / Ceramic, brass, nylon, iron, chewing gum 75 x 110 x 40 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Hauser & Wirth
Roberto Cuoghi: SS(IIISh)o, 2019 Messing / Brass 160 x 100 x 34 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Galerie Chantal Crousel, Paris
Roberto Cuoghi: Šuillakku, 2008 Sound Installation Dokumentationsfoto der Vorbereitung von Šuillakku, Castello di Rivoli / Documentary photograph during the preparation of Šuillakku, Castello di Rivoli © Roberto Cuoghi, Foto / Photo: Alessandra Sofia
Roberto Cuoghi: Ether en Flocons, 2018 Agar Agar, Gelatine / Agar agar, gelatine 10 verschiedene Elemente, je / 10 different elements, each 70 x 50 x 20 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Hauser & Wirth
Roberto Cuoghi: Imitatio Christi, 2019 Agar Agar, Filz / Agar agar, felt 167 x 80 x 20 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Galerie Chantal Crousel
Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: SS(IVP)c, 2016 Keramik / Ceramic 27 × 25 × 22 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: SS(XCIVP)c, 2018 Keramik, Porzelan, mit Kerakim ummanteltes Aluminium / Ceramic, porcelain, ceramic-coated aluminium, glass, aluminum 243 individuelle Keramikelemente, Maße variabel / individual ceramic elements, size variable © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Hauser & Wirth
Roberto Cuoghi: SS(XCP)c, 2018 Keramik, Straussenei, Mehl / Ceramic, ostrich egg, flour 45 x 103 x 76 cm Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Dokumentation von Putiferio / Documentation of Putiferio, DESTE Foundation Project Space, Hydra 2016. Foto / Photo: Fanis Vlastaras & Rebecca Constantopoulou
Dokumentation von Putiferio / Documentation of Putiferio, DESTE Foundation Project Space, Hydra 2016. Foto / Photo: Maria Markezi
Dokumentation von Putiferio / Documentation of Putiferio, DESTE Foundation Project Space, Hydra 2016. Foto / Photo: Maria Markezi
Roberto Cuoghi: Scale Model of SS(XCVP)c, 2019 Filz / Felt 75 x 75 x 15 cm Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel
Roberto Cuoghi: SS(XCVP)c, 2019 Keramik, Eisen, Wollpullover, Filz / Ceramic, iron, woolen
sweater, felt, 260 x 280 x 60 cm, Privatsammlung / Private collection, Hauser & Wirth, Collection Services, © Roberto Cuoghi, Foto / Photo: Alessandra Sofia.
Toba Khedoori
October 9, 2021 – February 20, 2022
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (overpass), 1994, Öl und Wachs auf Papier / Oil and wax on paper, 335,2 x 609,7 cm, Privatsammlung / Private Collection © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled, 2020, Öl, Graphit und Wachs auf Papier / Oil, graphite, and wax on paper
243,8 x 350,5 cm Sammlung / Collection Filip Engelen and Ann Gillis, Belgien / Belgium © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled, 2019–2020, Wachs, Graphit und Öl auf Papier / Wax, graphite, and oil on paper
248,9 x 218,4 cm Privatsammlung, Schweiz / Private Collection, Switzerland © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (buildings/windows), 1994, Öl und Wachs auf Papier / Oil and wax on paper, 335,28 cm 609,6 cm, Sammlung von / Collection of Jeffrey Deitch © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Toba Khedoori: Untitled (hole), 2013 Öl auf Leinen / Oil on linen 112,4 x 121 cm Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel © Toba Khedoori, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled, 2021, Öl, Graphit und Wachs auf Papier / Oil, graphite, and wax on paper 350,5 x 495,3 cm © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (branches 1), 2011–2012 Öl auf Leinen / Oil on linen 80,6 x 105,1 cm Privatsammlung / Private Collection, Courtesy David Zwirner © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (white fireplace), 2005 Öl und Wachs auf Papier / Oil on waxed paper 358,1 x 490,2 cm Privatsammlung / Private Collection, Courtesy David Zwirner
© Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (tile), 2014 Öl auf Leinen / Oil on linen 60,3 x 95,6 cm Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel
© Toba Khedoori, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (chain-link fence), 1996, Öl und Wachs auf Papier / Oil and wax on paper, 335,3 x 586,7 cm
Privatsammlung / Private Collection © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (window), 1999, Öl und Wachs auf Papier / Oil and wax on paper, 365,8 x 609,6 cm, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel © Toba Khedoori, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled, 2018, Öl auf gewachstem Papier / Oil on waxed paper, 243,8 x 335 cm, Sammlung von / Collection of Alex Hank © Toba Khedoori, documenta und Museum Fridericianum gGmbH, photo: Andrea Rossetti
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (window), 1999, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel (Installationsansicht / Installation view, Fridericianum, 2021) © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)
Toba Khedoori: Untitled (stick), 2005, Öl und Wachs auf Papier / Oil and wax on paper, 360,7 x 203,2 cm ALBERTINA, Wien – Dauerleihgabe der Österreichischen Ludwig-Stiftung für Kunst und Wissenschaft © Toba Khedoori, ALBERTINA, Wien – Dauerleihgabe der Österreichischen Ludwig-Stiftung für Kunst und Wissenschaft
Toba Khedoori: Untitled (clouds), 2005, Öl und Wachs auf Papier / Oil and wax on paper, 328,9 x 203,2 cm, Sammlung von / Collection of Adam Sender © Toba Khedoori, photo: Fredrik Nilsen. Courtesy Regen Projects Los Angeles, and David Zwirner
Toba Khedoori in ihrem Studio in Los Angeles, 1995 / Toba Khedoori in her Los Angeles studio, 1995
© Toba Khedoori, Courtesy Regen Projects, Los Angeles and David Zwirner, Rachel Khedoori (Foto / Photo)
Martine Syms
July 3, 2021 – February 20, 2022
Martine Syms: Ded, 2021 (Installationsansicht / Installation view Aphrodite’s Beasts), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Andrea Rossetti (photo)
Martine Syms: Aphrodite’s Beasts (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Andrea Rossetti (photo)
Martine Syms: Ugly Plymouths, 2020 (Installationsansicht / Installation view Aphrodite’s Beasts), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Andrea Rossetti (photo)
Martine Syms: The path is long and winding, 2021 (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Foto / Photo: Nicolas Wefers
Martine Syms: The path is long and winding, 2021 (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Foto / Photo: Nicolas Wefers
Martine Syms: The path is long and winding, 2021 (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Foto / Photo: Nicolas Wefers
Martine Syms: Ugly Plymouths [still] , 2020 , 3 channel video. © Martine Syms, courtesy Sadie Coles HQ, London, and Bridget Donahue, New York.
Martine Syms: Ugly Plymouths [still] , 2020 , 3 channel video. © Martine Syms, courtesy Sadie Coles HQ, London, and Bridget Donahue, New York.
Martine Syms, Lesson LXXV, 2017 (Installationsansicht / Installation view), Public Art Fund, Time Square, New York, 6. Feburar – 5. März 2017 / February 6 – March 5, 2017 © Martine Syms, courtesy Public Art Fund and Sadie Coles HQ, London
Martine Syms: Ugly Plymouths [still] , 2020 , 3 channel video. © Martine Syms, courtesy Sadie Coles HQ, London, and Bridget Donahue, New York.
Martine Syms, August 2018 © Martine Syms, courtesy Sadie Coles HQ, London. Foto / Photo: Taylor Rainbolt
Martine Syms, 2017 © Martine Syms, courtesy Cultured Magazine and Sadie Coles HQ, London. Foto / Photo: Manfredi Gioacchini
Alexandra Bircken
Top Down / Bottom Up
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Nicolas Wefers
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Nicolas Wefers
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Nicolas Wefers
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Nicolas Wefers
Alexandra Bircken, “Top down / Bottom up”, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Andrea Rossetti
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Nicolas Wefers
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Nicolas Wefers
Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Andrea Rossetti
Alexandra Bircken, Top down / Bottom up (Detail), 2020, Wachsmodell / Wax model, Foto / Photo: Albrecht Fuchs
Alexandra Bircken, Top down / Bottom up (Detail), 2020, Wachsmodell / Wax model, Foto / Photo: Albrecht Fuchs
FF – Live at the Fridericianum
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers
Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti
Karl Holmqvist
Existential Staircase / Existenzielles Treppenhaus
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Nicolas Wefers
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Nicolas Wefers
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Nicolas Wefers
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti
Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti
Vincent Fecteau
April 3 – September 5, 2021
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)
Vincent Fecteau: Untitled, 2014. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Ron Amstutz.
Vincent Fecteau: Untitled, 2020. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.
Vincent Fecteau: Untitled, 2020. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.
Vincent Fecteau: Untitled, 2019. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.
Vincent Fecteau: Untitled, 2008. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.
Vincent Fecteau: Untitled, 2015. © Courtesy of The Artist and
Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Ian Reeves
Vincent Fecteau: Untitled, 2006. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.
Vincent Fecteau: Untitled, 2015. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Ian Reeves
Vincent Fecteau: Untitled, 2000. Private collection, London. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: farbanalyse.
Vincent Fecteau: Shirley Temple Room #1, 1994. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Aaron Wax
Vincent Fecteau: Dramatization (Ausstellungkopie/exhibition copy, 2019), 1994. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Aaron Wax
Vincent Fecteau: Chorus #2, 1994. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Aaron Wax
Vincent Fecteau, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Nicolas Wefers (photo)
Tarek Atoui
October 3, 2020 – May 24, 2021
Rumpf eines Containerschiffs und Stahlträger im Hafen von Abu Dhabi (2017), Tarek Atouis Hände bei der I/E-Performance im Louvre, Paris (2013), Marmorstein / Container ship hull and steel rails in Abu Dhabi ports (2017), Tarek Atoui’s hands during I/E performance at the Louvre, Paris (2013), marble stone, Foto / Photo: © Alexandre Guirkinger
Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Performance Tarek Atoui, Tarek Atoui: Waters’ Witness at the Fridericianum, 2020 © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Performance Tarek Atoui, Tarek Atoui: Waters’ Witness at the Fridericianum, 2020 © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti
Tarek Atoui, Ausstellungsaufbau / exhibition setup Waters’ Witness, Fridericianum, September 2020
Foto / Photo: Nicolas Wefers
Tarek Atoui, Ausstellungsaufbau / exhibition setup Waters’ Witness, Fridericianum, September 2020
Foto / Photo: Nicolas Wefers
Tarek Atoui, Ausstellungsaufbau / exhibition setup Waters’ Witness, Fridericianum, September 2020
Foto / Photo: Nicolas Wefers
Tarek Atoui, The GROUND, Mixed Media, 58. Internationale Kunstausstellung / 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, mit freundlicher Genehmigung / Courtesy La Biennale di Venezia
Foto / Photo: Andrea Avezzù
Tarek Atoui, Ansicht der Performance / view of the performance The Reverse Collection 2014–2016 in den / at the Tanks, Tate Modern, London, 2016, it freundlicher Genehmigung des Künstlers / Courtesy of the artist und / and Tate Modern, London, 2016
Foto / Photo: Thierry Bal
Robert Aiki Aubrey Lowe, C. Lavender, Keith Fullerton, Chuck Bettis, C. Spencer Yeh, Tarek Atoui and Victoria Shen, Tarek Atoui: Organ Within,
Solomon R. Guggenheim Museum, New York,
27. Juni / June 27, 2019
Foto / Photo: Enid Alvarez © Solomon R. Guggenheim Foundation
Bildnachweis / Image Credit:
Tarek Atoui, mit freundlicher Genehmigung des Künstlers / Courtesy of the artist Foto / Photo: © Matteo Bellomo Fabrica
Tarek Atoui und Chris Watson Hydrophone am Strand neben dem Hafen von Elefsina auswerfend, I/E-Projekt, Juni 2015 / Tarek Atoui and Chris Watson launching Hydrophones on the beach next to Elefsina port, I/E project, June 2015
Foto / Photo: Alexandre Guirkinger
Chris Watson nimmt durch einen Marmorstein im Tempel von Elefsina auf / recording through a marble stone at the temple of Elefsina. I/E project. Juni / June 2015.
Foto / Photo: Alexandre Guirkinger
Tarek Atoui, Chris Watson neben der Persephone-Höhle im Tempel von Elefsina (Griechenland) / next to Percephone cave in the Temple of Elefsina (Greece). Juni / June 2015. Foto / Photo: Alexandre Guirkinger
Eric La Casa bei der Aufnahme der Stadt Abu Dhabi von einem Fischerboot auf dem Fischmarkt aus, November 2017 / Eric La Casa recording the city of Abu Dhabi from a fisherman boat at the Fish Market, November 2017
Foto / Photo: Alexandre Guirkinger
Hydrophone von Chris Watson nehmen das Summen des Hafens durch die Vibration des Tores auf, Athen, Juni 2015 / Hydrophones of Chris Watson recording the hum of the port through the vibration of the gate, Athens, June 2015
Foto / Photo: Alexandre Guirkinger
Chris Watson nimmt durch einen Marmorstein im Tempel von Elefsina auf / recording through a marble stone at the temple of Elefsina. I/E project. Juni / June 2015.
Foto / Photo: Alexandre Guirkinger
Forrest Bess
February 15 – September 6, 2020
Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti
Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti
Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti
Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti
Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti
Rachel Rose
© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti
© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti
Rachel Rose: Lake Valley, 2016, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome
Rachel Rose: Sitting Feeding Sleeping, 2013, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome
Rachel Rose: Wil-o-Wisp, 2018, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome
