Bemerkungen
Premiering at our gallery next!
New York artist Alex Schweder’s The Third Thing, will pour sensuality and sound into January’s dreary middle. Describing the experience of this inflatable installation as an effervescent cocktail of mirror, fur and milk – Schweder hints that a taste for his work is not acquired in polite society. Swelling and sagging, animated by the fill and empty of air, Schweder’s installation pursues his recent discovery that the inflatable architecture he has made for over a decade can be newly approached as sound producing instruments. Opening this possibility wider, Schweder has commissioned an eclectic group of sound artists to form an unlikely ensemble.
Premiere
ALEX SCHWEDER
Gallery show
The Third Thing
January 15th – March 05, 2022
Opening January 14th, 2022
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The Third Thing follows two breathtaking online exhibitions at the platform NewViewings whereby the digital renderings were inspirational for these analogue realisations in the physical gallery space. The exhibition explores the galleries ongoing interest in merging the digital and the analogue realm of artistic expression.
The Third Thing was made possible with a prestigious grant from The Pollock-Krasner Foundation awarded to Schweder in recognition of the exceptional quality of his artistic activities.
Parallel to the physical exhibition at the gallery The Third Thing will be shown online as a NewViewings project.
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#contemporaryart #sculpture #installation #mixedmedia #soundart #mediaart #conceptart #galleryart #artcollector #therhirdthing #curator #artshow #newviewings #galeriebarbarathumm #alexschweder
We like to share some impressions from CARRIE MAE WEEMS’ powerful solo show The Shape of Things in New York.
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„Carrie Mae Weems, an artist who has consistently and poignantly addressed the conditions of race in the United States, has created a multi-work installation and series of performances titled The Shape of Things. Weems’ unflinching gaze at what she describes as the “pageantry” and “circus-like” quality of contemporary American political life find form in a series of large-scale installations and a cyclorama (a panoramic image on the inside of a cylindrical platform) of six to eight projections of new and existing film footage where Weems addresses the turmoil of current events and the “long march forward.” Suggestive of a 19th-century carnival with dioramas based on spontaneous street memorials, peep shows, and a Pepper’s Ghost, The Shape of Things is an incisive, powerfully emotional, and critical reflection on events both deeply embedded in American culture and history and the explosive events of the past year.“
– Park Avenue Armory
“Compelling…the visual and historical connections [Weems] makes [are] often insightful, sometimes funny, and occasionally quite direct.”
– The New York Times, Critic´s Pick
“Powerful…deeply compelling [and] at moments even revelatory.”
– VOGUE
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On show
CARRIE MAE WEEMS
The Shape of Things
Park Avenue Armory, NYC
Dec 4 – Dec 31, 2021
Installation details from The Louisiana Project (2003) and Performance, If I ruled the World (2004)
Curated by Tom Eccles
Please visit bthumm.de to browse available work by Carrie Mae Weems.
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We are celebrating CARRIE MAE WEMMS’ powerful solo show The Shape of Things in New York. Take a look at some of the works with us.
CARRIE MAE WEEMS
All Blue – A Contemplative Site (2021)
Edition of 3 + 1 AP
On show
The Shape of Things
at Park Avenue Armory, NYC
Dec 4 – Dec 31, 2021
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„Carrie Mae Weems, an artist who has consistently and poignantly addressed the conditions of race in the United States, has created a multi-work installation and series of performances titled The Shape of Things. Weems’ unflinching gaze at what she describes as the “pageantry” and “circus-like” quality of contemporary American political life find form in a series of large-scale installations and a cyclorama (a panoramic image on the inside of a cylindrical platform) of six to eight projections of new and existing film footage where Weems addresses the turmoil of current events and the “long march forward.” Suggestive of a 19th-century carnival with dioramas based on spontaneous street memorials, peep shows, and a Pepper’s Ghost, The Shape of Things is an incisive, powerfully emotional, and critical reflection on events both deeply embedded in American culture and history and the explosive events of the past year.“
– Park Avenue Armory
“Compelling…the visual and historical connections [Weems] makes [are] often insightful, sometimes funny, and occasionally quite direct.”
– The New York Times, Critic´s Pick
“Powerful…deeply compelling [and] at moments even revelatory.”
– VOGUE
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Carrie Mae Weems, *1953 in Portland (Oregon), USA,
she lives and works in New York
Visit our gallery website or click link in bio for more.
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#contemporaryart #conceptart #performance #installation #sculpture #video #multimedia #femaleartist #artcollectors #artexhibition #galeriebarbarathumm
TERESA BURGA
Sin titulo (Heartbeat recording and light)
1970
Ink on paper
44,5 x 56,5 cm
Courtesy Teresa Burga and Galerie Barbara Thumm
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#contemporaryart #conceptualart #installation #sculpture #drawing #artonpaper #womeninart #peruvianartist #artcollectors #galleryart #galeriebarbarathumm #teresaburga
We like to share with you Teresa Burga (Peru, 1935-2021)
TERESA BURGA
Perfil de la Mujer Peruana (Uterus) (undated / 2017)
Terracotta
30 x 65 x 13 cm
Edition of 5
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Teresa Burga is an internationally acclaimed artist of feminist conceptual art which she always posited as a reaction to Peru’s colonial heritage and the political reality surrounding it, and whose structures of violence and power, conventions and ethnic attributions she deconstructed and critiqued in her work.
Although bearing formal similarities with contemporaneous practices of Minimalism and Op Art, her work is to be read as an analysis of the administrative, bureaucratic, political powers inherent in colonialism, which she radically opposed. Her multimedia body of work includes paintings, extensive drawing series, large-scale environments, technical media such as slide or video installations, and even cybernetic installations. Burga’s work was known only to a small public until the 2000s when a young generation of curators set out in search of her recent history and at the same time wanted to situate it in an art scene that was becoming more global.
Her work has received extensive international acclaim and has been the subject of substantial institutional recognition and acquisition in the period since her ‘rediscovery’.
Find out more on our gallery website.
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We are proud to present CHLOE PIENE. Her work has been called brutal, delicate, figurative, forensic, erotic and fantastic. She is esteemed for her unique and penetrating line, anchored in bone and the peculiar language of anatomy.
„Piene’s œuvre lives, pulses in the now raking light of that legendary Germanic dawn of Hegel and Hölderlin when Greek seemed an Ur-tongue. For the ancients there was a greater ‘rest,’ the sacred pagan core marked by ritual ‘sacrifice’ in which every public act was embedded. The visual arts had no Muse of their own, nor a word for pictura, the ‘art of painting’, only the neologism zoögraphia, ‘life-writing’; their captors the Romans remained caught in the trope, along with so much else Greek, employing the term graphis for ‘drawing’, leaving the work of ‘shaping’ art to the realm of fictio. It was the contests of tragic drama, cult as much as culture and performed under the ægis of Dionysos, the most ancient of Greek deities, in his guise as Eleuthereus (Liberator), that focused the collective choral energies of the otherwise volatile and polemic polis to a performative white heat. Here mythic material offered ‘women words’, as the Oresteia had it, a transformative voice as nowhere else.”
Piene is collected and exhibited internationally. Collections include: Die Stattlichen Kunstsammlungen Dresden, Stattlichen Museen Berlin, Kupfertisch Kabinett, Sammlung-Hoffmann Koenige, The Centre Pompidou, Paris, the Museum of Modern Art and the Whitney Museum of Art, New York, The Los Angeles Museum of Contemporary Art, among others. Selected exhibitions of note, „FIGURE/S: Drawing After Bellmer“ The Drawing Room, London, UK. 2021; Selections from The Guerlain Collection at The Pompidou“ The Albertina, Wien, 2019; “Schiele Reloaded“, Leopold Museum, Wien, 2018; “Drawing Now” The Albertina Musem, Wien, 2016; „Les Maitres du Desordre“ Musée des Arts Premiers, quai Branly, Paris, 2012.
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CHLOE PIENE
Burn Vert (2009)
Charcoal on vellum
Unique
Framed 157 x 86,4 cm
Browse bthumm.de for more.
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The body is the focal point of Guerlain Prize nominee CHLOE PIENEs work. This endlessly scrutinised subject, whether in depth or superficially, enables her to show her raw yet tender vision of humanity. […] The own body is a subject that people believe they understand (wrongly in her view), one that allows us to question our reality, that changes into an object of pleasure or anguish in the face of sickness and death. Especially since the artist is an expert in art history and has long had a passion for pre-Christian and medieval myths and sacrifices. Her more or less figurative single figures are drawn in a space with no horizon line, leaving a bare margin on much of the sheet. “The body thus becomes space, and its form defines the world,” says Piene. In fact, her drawings, which may include hybrid creatures, enriched with masculine or animal bodies, show few elements apart from these entangled articulated or contorted figures.
Drawing exclusively in charcoal, Piene may concentrate on a specific limb and her line may become obsessive or enraged, leaving the limb as a stump or at the root, fostering the notion of evolution or transformation. Though she depicts skulls or tortured bodies, she wishes to avoid excessive psychoanalytic commentary so as to focus on the surface of the drawing. She finds charcoal’s expressive force fascinating and plays with the multiple possibilities that it offers: from an emphatic line that becomes lighter, then heavier again, to a shakier rendering, thus symbolising bodily continuity. Her themes could also be interpreted as discreet tributes to related art history. From the Issenheim Altarpiece, which she saw as a child, to Albrecht Dürer and Hans Baldung’s engravings; from Medardo Rosso’s wax sculptures to Bernini’s baroque works (not lacking in emphatic sexual connotations) and, above all, to these “in-between states” that she so cherishes, not forgetting German expressionism.
CHLOE PIENE
Rift (2012)
Charcoal on black tissue paper
Framed 93 x 66 cm
Unique
Discover more available work on bthumm.de
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