Esther Schipper

Esther Schipper Gallery for contemporary art THE GALLERY WAS FOUNDED IN 1989, COLOGNE
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ONLINE ARTIST TALKWith AA Bronson And Adrian StimsonHirshhorn Museum (online)August 19 2020, 2–3 pmArtists AA Bronson an...
14/08/2020

ONLINE ARTIST TALK
With AA Bronson And Adrian Stimson
Hirshhorn Museum (online)
August 19 2020, 2–3 pm

Artists AA Bronson and Adrian Stimson join Hirshhorn assistant curator Betsy Johnson for a discussion on their work and recent collaboration to address the fundamental role that art can play in helping us to face unspeakable atrocities, rebuild relationships and trust, and find healthy ways to heal and move forward together. Through this conversation, the artists approach the unanswerable question—one posed by Bronson in his work A Public Apology to Siksika Nation—of how one can apologize for genocide, if at all.

Click the link below to register:
https://hirshhorn.si.edu/event/at-home-on-art-and-healing-artist-talk-with-aa-bronson-and-adrian-stimson/

Image: AA Bronson and Adrian Stimson looking at the Old Sun Residential School, now the Old Sun Community College, on the Siksika Reserve, 2018.
Photo © Mark Jan Krayenhoff van de Leur

A Journey Through the Gallery⁠⁠Ugo Rondinone's exhibition 2006 "Unday" is centred on binary pairs like interior and exte...
13/08/2020

A Journey Through the Gallery⁠

Ugo Rondinone's exhibition 2006 "Unday" is centred on binary pairs like interior and exterior, private and public, and it stages the archetypical character of windows (a recurring feature in Rondinone's work) and a light bulb in order to ultimately convey a sense of longing, isolation, and passing of time, that is not on forehand filled with obligations and doings.⁠

Fifteen small-scale paintings are hung in the otherwise empty white space. Almost all of the images depict windows of every shape and size. Open windows and blinded windows, windows with shutters, and ornamentally framed ones. But every voyeuristic desire is left unfulfilled here: there is nothing to see through these windows. They are drawn with pencil on gesso that has been brushed loosely onto coarse canvas, and contrary to Rondinone's large-scale ink drawings of archaic landscapes, they associate futility due to their unfinished character. Only a few of the images depict interiors; an unmade bed, a desk or doors leading from one room to another (never leading outside). ⁠

The unobtrusiveness of the paintings is contrasted by the over-sized wax cast light bulb that dangles heavily from the ceiling in the adjoining room. The title "The sixth hour of the poem" introduces a temporal dimension, and it reveals that the work is part of an ongoing sequence determined by the number of 24 "poems". The lonely light bulb casts no light, and its function lies only in its associative qualities as it is filling the space with its overall presence of loneliness, as if shouting out loud: isolation. In spite of the diversity in terms of media, the two images that make up "Unday" intermingle in a diffuse narrative and establish a strong theatrical atmosphere.⁠

See inside the exhibition here:

https://www.estherschipper.com/exhibitions/539-unday-ugo-rondinone/

Image: Ugo Rondinone, The 6th hour of the poem, 2005, wax, pigments, 140 × 82 × 82 cm⁠
Photo © Studio Rondinone

RE-OPENING⁠ TODAY!Gabriel Kuri"spending static to save gas"The Douglas Hyde Gallery, DublinAugust 12 through September 1...
12/08/2020

RE-OPENING⁠ TODAY!

Gabriel Kuri
"spending static to save gas"
The Douglas Hyde Gallery, Dublin
August 12 through September 12, 2020

For his first solo exhibition in Ireland, Gabriel Kuri presents a new site-specific installation that recasts the cavernous architecture of the Douglas Hyde Gallery in Dublin, creating a static field to reduce the building's energy use during the run of the exhibition.

The large-scale installation drastically transforms the space. It is made up of a makeshift dropped ceiling littered, in a seemingly accidental accumulation, with residues of human interactions and life; coins, cigarette butts, and moths. Each smoked cigarette or coin becomes a remnant, a punctuation mark in human interaction.

Gabriel Kuri: "spending static to save gas" is organized in collaboration with Oakville Galleries, Oakville, Canada.

Exhibition view: Gabriel Kuri, spending static to save gas, Douglas Hyde Gallery, Dublin, 2020
Photo © Louis Haugh

#SummerGuide:  Angela Bulloch's "Heavy Metal Stack of Six: Greige" consists of six assembled geometrical solid figures k...
10/08/2020

#SummerGuide: Angela Bulloch's "Heavy Metal Stack of Six: Greige" consists of six assembled geometrical solid figures known as polyhedra. Conceived and designed within a digital imaging program, each module appears distinct, whilst at the same time relating to the others. Made of powder-coated steel—which allows it to be installed outside—the stacked sculpture has a stylized geometry that recalls Constantin Brancusi’s iconic "Endless Column."

Visit the work in Haus am Waldsee's Sculpture Park, open every Tuesday – Sunday from 11 am to 6 pm. ⁠

Image: Angela Bulloch, Heavy Metal Stack of Six: Greige, 2017

#SummerGuide: "Liverpool Mountain" is Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its k...
08/08/2020

#SummerGuide: "Liverpool Mountain" is Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its kind in Europe. Inspired by naturally occurring Hoodoos (spires or pyramids of rock) and the art of meditative rock balancing, this 10-metre high sculpture stands within Mermaid Courtyard, outside Tate Liverpool on the Royal Albert Dock Liverpool. It consists of coloured rocks, stacked vertically which seem to defy gravity.⁠

This outdoor sculpture marked the 10th anniversary of Liverpool European Capital of Culture, the 20th anniversary of Liverpool Biennial and the 30th anniversary of Tate Liverpool.⁠

Image: Ugo Rondinone, Liverpool Mountain, 2018, painted stone, stainless steel, 435 cm x 1021 cm x 195 cm⁠
Photo: © Rob Battersby⁠

Summer Reading Recommendations from our Artists!⁠⁠Recommended by Angela BullochEndless Andness: The Politics of Abstract...
07/08/2020

Summer Reading Recommendations from our Artists!⁠

Recommended by Angela Bulloch
Endless Andness: The Politics of Abstraction According to Ann Veronica Janssens⁠
by Mieke Bal⁠
Publisher: Bloomsbury Academic, 2013⁠

In this book, Mieke Bal explores perception through an intense engagement with the work of Ann Veronica Janssens. In a series of vividly-recalled encounters with Janssens' practice over a number of years, Bal presents a new conception of embodied perception – art experienced in a body conjured into participation and transformed by the experience.

A Journey Through the Gallery⁠⁠In 2014 Esther Schipper presented "quasi-objects", Philippe Parreno’s seventh solo exhibi...
06/08/2020

A Journey Through the Gallery⁠

In 2014 Esther Schipper presented "quasi-objects", Philippe Parreno’s seventh solo exhibition with the gallery. Philippe Parreno has often placed his works within the philosophical framework of 'quasi-objects'—objects whose existence is inseparable from the relationship to the context in which they are exhibited. Parreno presents a selection of objects that have appeared since 1992, that span his practice and now reappear within a new setting, their relationships with each other, and therefore their existence, markedly altered. ⁠

The speculative concept of the 'quasi-object' is one that seeks to radically redefine the relationship between the subject and the object. Originally devised by French philosopher Michel Serres, and then developed by fellow philosopher Bruno Latour, it questions the common belief that the world is neatly divided into two realms—the 'human' sphere comprising the social constructs of language and culture and the 'external' world made up of factual objects.⁠

Throughout his practice, Philippe Parreno has conceived his exhibitions not as a collection of objects but as part of a scripted space, a mise-en-scène, where a series of events unfold. He has redefined the exhibition experience by exploring its possibilities as a coherent 'object' and a medium in its own right rather than as a collection of individual works. For quasi-objects, Parreno has written an algorithm, a mathematical automaton, to synchronize the behaviour of the objects—the works become a network of quasi-objects that appear and disappear, act upon and, in turn, are acted upon.⁠

Click below to see inside the exhibition:

https://www.estherschipper.com/exhibitions/70-quasi-objects-philippe-parreno/

Exhibition view: Philippe Parreno, quasi-objects, Esther Schipper, Berlin, 2014-15⁠
Photo © Andrea Rossetti

DON'T MISS IT!⁠⁠Tomorrow is the last day to see Ari Benjamin Meyers' and Charlotte Posenenskef in Festival! at Mehdi Cho...
05/08/2020

DON'T MISS IT!⁠

Tomorrow is the last day to see Ari Benjamin Meyers' and Charlotte Posenenskef in Festival! at Mehdi Chouakri Mommsenstrasse 4.

Festival! ⁠A Project by Esther Schipper and Mehdi Chouakri begins with the friendship of artists and of their two gallerists, forging a bridge across 25 years and new beginnings, across personal, formal and conceptual affinities and yet-to-be-discovered connections.⁠

Photo © Jörg von Bruchhausen

04/08/2020

SUMMER READING:

"The front of a magazine is itself a kind of facade" – Thomas Demand and Domus.⁠

The Italian magazine Domus has long been a major force of architectural publishing. Founded by Gio Ponti in 1928, the magazine began planning for its 100 years anniversary already two years ago with an ambitious program of a decade of yearly guest editors. In 2020 the British architect David Chipperfield took on this function. Known in Berlin for his thoughtful reconstruction of the Neues Museum (1993-2009) and the more recent completion of the James-Simon-Galerie (1999-2018), Chipperfield collaborated with Thomas Demand who will make all the magazine’s 10 covers this year. ⁠

The series depicts architecture which got into trouble, as Demand puts it. These are designs which became symbolic architectural forms for current disputes without necessarily being built with any such intention.

#SummerGuide: Situated a short distance to the south east of Montélimar on the Route du Soleil, you will find the Chapel...
03/08/2020

#SummerGuide: Situated a short distance to the south east of Montélimar on the Route du Soleil, you will find the Chapelle Saint Vincent in Grignan. Inside, you will experience colorful glass monoliths on the windows of the Chapelle by Ann Veronica Janssens, transforming the interior space into a constantly changing color environment.⁠

Ann Veronica Janssens’ work foregrounds the body’s perception of the world and itself in it. She often uses light, natural optical phenomena or glass as a medium. ⁠

Exhibition view: Ann Veronica Janssens, 2013, Chapelle Saint Vincent, Grignan⁠
Photo © Isabelle Arthuis

Our gallery and offices will be on holiday from August 3 to 16.⁠⁠We will inaugurate the fall season with two major solo ...
01/08/2020

Our gallery and offices will be on holiday from August 3 to 16.⁠

We will inaugurate the fall season with two major solo exhibitions, both opening on the occasion of Gallery Weekend Berlin 2020:⁠

Philippe Parreno⁠
Manifestations⁠

Ugo Rondinone⁠
nuns + monks⁠

We wish you a pleasant summer break!⁠

Image: Liam Gillick, Untitled (GG), 2016⁠
Photo © Liam Gillick

OPEN NOW!Grönlund-NisunenFlow With Matter"Minsheng Art Museum, ShanghaiThrough November 29, 2020Opening ceremony August ...
31/07/2020

OPEN NOW!

Grönlund-Nisunen
Flow With Matter"
Minsheng Art Museum, Shanghai
Through November 29, 2020
Opening ceremony August 1, 2020

On July 17, 2020 Tommi Grönlund and Petteri Nisunen's major solo presentation opened at the Minsheng Art Museum in Shanghai and will continue through the end of November. Delayed by the recent closures, the exhibition occupies the entire museum's 2,500-square-meter exhibition space on two floors and features more than twenty works, mainly large-scale installations using kinetics, light and sound. The selection of works spans the artists' entire career, including new site-specific works created specifically for the museum space.

Image: Grönlund-Nisunen, Pneumatic Landscape, 2004/2020⁠
Exhibition view: Grönlund-Nisunen, Flow With Matter, Minsheng Art Museum, Shanghai, 2020⁠
Photo © Shanghai Minsheng Art Museum

#SummerGuide: Nestled between the Maures and Esterel Massif, the Domaine du Muy, Le Muy⁠ Sculpture Park sets artworks in...
30/07/2020

#SummerGuide: Nestled between the Maures and Esterel Massif, the Domaine du Muy, Le Muy⁠ Sculpture Park sets artworks in a space of exceptional natural beauty, an features sculptures by Gabriel Kuri and Isa Melsheimer. ⁠

Gabriel Kuri's "Untitled (100 %)", 2011, is composed of four parts, each of which represents a quarter of a circle. Together, they form the '100%' referred to in the title, even though when they are assembled they do not form a coherent circle. The position of the elements is important because the artist imagines them in both a realistic and symbolic dimension, with the sculptures creating a link between the formal language of modernist sculpture, and the conventions of representing economic and statistical data in curves, pie charts and other diagrams.⁠

Isa Melsheimer's "Domestic Landscape and Affinities", 2014, was created by formwork, a technique more common to the construction of buildings which involves filling a mould with cement. Its multi-level form includes flat surfaces on which plants or objects could be placed, or members of the public may sit down. The composition of the work recalls the Brutalist architecture of the 1960s and 1970s, which Melsheimer has recreated in her gouache sketches. This piece forms part of the artist's research into architectural forms, and more specifically those of modernism and its descendants.⁠

Click the link below o find out more information on how to visit the Domaine du Muy Sculpture Park:
http://www.domainedumuy.com/en/parc/de/0/sculptures

Images (l–r): Gabriel Kuri, Untitled (100 %), 2011; Isa Melsheimer, Domestic Landscape and Affinities, 2014⁠
Photos © Domaine du Muy, Le Muy

Festival! ⁠A Project by Esther Schipper and Mehdi ChouakriAri Benjamin Meyers & Charlotte Posenenske⁠On view through Aug...
28/07/2020

Festival! ⁠A Project by Esther Schipper and Mehdi Chouakri
Ari Benjamin Meyers & Charlotte Posenenske⁠
On view through August 6, 2020⁠

Festival! #4 presents works by Ari Benjamin Meyers whose practice is informed by his training as conductor, sharing a modular improvisation with works by Charlotte Posenenske.⁠

Photos © Jörg von Bruchhausen

SUNDAY OPEN!⁠⁠We are pleased to participate in the third iteration of SUNDAY OPEN, initiated by INDEX Berlin. For its fi...
26/07/2020

SUNDAY OPEN!⁠

We are pleased to participate in the third iteration of SUNDAY OPEN, initiated by INDEX Berlin. For its final day, our exhibition PS81E will be open this Sunday, July 26, from 12 through 6 pm.⁠

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Wir freuen uns, an der dritten Ausgabe von SUNDAY OPEN teilzunehmen, einer Initiative von INDEX Berlin. Unsere Ausstellung ist noch bis 26. Juli zu sehen wird am kommenden Sonntag von 12 bis 18 Uhr geöffnet sein.⁠

Exhibition view: PS81E, Esther Schipper, Berlin, 2020⁠
Photo © Jörg von Bruchhausen⁠

OPENING NOW!⁠⠀⁠⁠Festival! ⁠A Project by Esther Schipper and Mehdi ChouakriAri Benjamin Meyers & Charlotte Posenenske⁠Ope...
25/07/2020

OPENING NOW!⁠⠀⁠

Festival! ⁠A Project by Esther Schipper and Mehdi Chouakri
Ari Benjamin Meyers & Charlotte Posenenske⁠
Opening Saturday July 25, 2020⁠
Noon – 6 pm⁠⠀⁠
Mehdi Chouakri, Mommsenstrasse 4⁠

Festival! begins with the friendship of artists and of their two gallerists, forging a bridge across 25 years and new beginnings, across personal, formal and conceptual affinities and yet-to-be-discovered connections.⁠⠀⁠

Twenty-five years ago, Esther Schipper and Mehdi Chouakri were both recent arrivals to Berlin. Schipper had opened her space in the Auguststrasse in 1995 but was still traveling back and forth to her Cologne-based gallery. Chouakri was studying / had just concluded his art history studies in Paris and was visiting the city. When Chouakri opened his own gallery in Berlin in 1996, their friendship grew, sharing a mother tongue, the experience of being a relative outsider in the city, and also many cultural reference points. Reinforced by shared intellectual interests and similar affinities for the art emerging in the 1990s, and by the many friendships that existed among the artists in their respective programs.⁠⠀⁠

In the 4th presentation of Festival!, Ari Benjamin Meyers whose practice informed by his training as conductor shares a modular improvisation with works by Charlotte Posenenske.⁠

Images: Ari Benjamin Meyers, Vexations 2, 2013 (detail). Photo © Andrea Rossetti; Charlotte Posenenske, Grid, ca. 1956/57. Photo © Estate of Charlotte Posenenske

Wir freuen uns, an der dritten Ausgabe von SUNDAY OPEN teilzunehmen, einer Initiative von INDEX Berlin. Unsere Ausstellu...
24/07/2020

Wir freuen uns, an der dritten Ausgabe von SUNDAY OPEN teilzunehmen, einer Initiative von INDEX Berlin. Unsere Ausstellung ist noch bis 26. Juli zu sehen wird am kommenden Sonntag von 12 bis 18 Uhr geöffnet sein.⁠

-⁠

We are pleased to participate in the third iteration of SUNDAY OPEN, initiated by INDEX Berlin. For its final day, our exhibition PS81E will be open this Sunday, July 26, from 12 through 6 pm.

23/07/2020

Anri Sala – Of Valleys and Peaks, 2017

"Of Valleys and Peaks" consists of two miniature brass music box cylinders enclosed in a sheet of glass, that is hollowed at its center with a small concave area. This is the first work in Anri Sala's series of partially encased music boxes that is self-playing, animated by a programmed electric motor.

A glass panel in a free standing custom-made frame, the dimensions of the work echo Marcel Duchamp’s "The Bride Stripped Bare by Her Bachelors, Even" (1915-23), also known as The Large Glass.

The two programmed music boxes play distinct but related tunes: one the melody of the Marseillaise, the other that of the political anthem The Internationale. The musical works are affiliated by an entangled political and cultural history. Written in 1792 the Marseillaise was closely tied to the French Revolution but also quickly spread to other countries where it became a symbol for the overthrow of oppressive regimes. Thus, the 1871 lyrics of The Internationale were initially also set to the tune of the Marseillaise, until 1888 when its original music was composed and the song became the standard anthem of the socialist movement. Both anthems have undergone major changes in their political connotations: from revolution, restoration, socialism, resistance and patriotism, to additional associations with colonization and oppression in the second half of the twentieth century (as national anthems of France and the Soviet Union, respectively). Yet to this day their meaning remains in flux, as the two songs continue to be appropriated. The work makes makes audible the close relationship of these two political anthems and mines the musical kinship for traces of this changing symbolic significance.

See this work in Festival! #3 – a project by Esther Schipper and Mehdi Chouakri, Mommsenstrasse 4.⁠ But hurry, today is the last day!

Anri Sala, Of Valleys and Peaks, 2017, two music boxes, glass, metal frame, electric motor and customized motion-control software, 277,5 x 175,9 x 100 cm
© VG Bild-Kunst, Bonn, 2020
Video © Andrea Rossetti

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