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This category contains the following articles
The Museum as Marketing Temple - Mike Bouchet & Paul McCarthy at the Portikus, Frankfurt
Walk the Line - A visual journey at the Deutsche Bank Kunsthalle
MACHT KUNST - The Prizewinners - Washed Geometry: Rebecca Michaelis's Undogmatic Color Field Painting
Shared Visions - The Rise of the Johannesburg Art Scene
Dark Metamorphoses - Victor Man Is Artist of the Year 2014
The Question: Who or What Should We Keep an Eye on in 2014?
"I want my art to put people on edge" - An Interview with Clare Bottomley
No Escape - Idan Hayosh´s Suggestive Threat Scenarios
Let´s talk: Ingrid Pfeiffer & Bernhard Martin on Philip Guston
MACHT KUNST - The Prizewinners - Longing: The Photographic Works of Nicolas Balcazar
MACHT KUNST - The Prizewinners: Sonja Rentsch´s Imagination Space for the Deutsche Bank KunstHalle

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The Question:
Who or What Should We Keep an Eye on in 2014?


Off the beaten track: Which museums, institutions, artists, curators, or collections impressed you in 2013 and were not honored sufficiently in your opinion? Which museums and places are you keeping your eye on in 2014, what are you looking forward to? ArtMag asked artists, curators, and museum people.



Ute Meta Bauer, Director Centre for Contemporary Art, Singapore
Photo: Christine Fenzl

Ute Meta Bauer

In the last two decades, the art scene in South and Southeast Asia has undergone rapid changes, largely due to the establishment of new institutions and the proliferation of biennials in the region. I am especially looking forward to Jogja XII Equator #2, the second Equator Biennale. Curated by Agung Hujatnikajennong (Indonesia) and Sarah Rifky (Egypt), it will engage with the interactions between Indonesia and the Arab Region.

Another highlight is the current Singapore Bienniale. It focuses on the art of Southeast Asia, bringing together 27 curators from around the region to collaborate and work with artists under the unifying theme If the World Changed. And of course I am really looking forward to establishing the Center for Contemporary Art as a laboratory, as a space to experiment with new formats, and as a hub for the vibrant art scene in Singapore.









Erick Beltrán, Malum, 2012. © Erick Beltrán, Barcelona

Erick Beltrán

There are a few different places and institutions I feel are worthy of attention. The Kahlidi Library is a family collection in Jerusalem. Located on Chain Gate Street not far from the Wailing Wall, this hidden treasure is easy to overlook. But concealed behind the narrow door is one of the most important Palestinian libraries and one of the largest collections of Islamic manuscripts in the Arab world.

The recently opened art space Flora ars+natura in Bogotá, on the other hand, is unique because it is devoted to the relationship between art and nature. Workshops, seminars, and grants enable people to reconsider our anthropocentric ideas. The tireless publishing house Roma Publications epitomizes what it means to love books. Initiated by Mark Manders and Roger Willems, it approaches the design of every page with loving care and distributes books internationally, no matter whether two or 15,000 copies are published, which is so important for many of us.













Shannon Bool, Artist, Berlin. © Shannon Bool

Shannon Bool

I am impressed by of all of the “Kunstvereine,” or art associations, in Germany, which take great risks without receiving as much funding and support as museums. One need only think of the Kunstvereine in Bonn, Heidelberg, Bremen, Bielefeld, Muenster, Braunschweig, as well as the many others that are able to give younger artists a platform.

Similarly, the artist-run initiatives in Berlin are extremely important as they each have their own individual sensibility and fresh energy that is not directly digested by the art market. A few of my favorites are the Autocenter, Savvy, and the Grimmuseum.














Marc Brandenburg, Artist, Berlin. © Marc Brandenburg

Marc Brandenburg

I used to have a fit when I heard the word “Tanztheater” (dance theater). I associated it with pathetic, mannered hopping around. But it was this very art form that gave me a wake-up call, namely a bold piece called Can We Talk About This? by the English group dv8.

It deals with a delicate issue: Islamic fundamentalism’s attack on freedom of speech and human rights, religiously motivated suppression of women, and homophobia. Contemporary art, it appears, is currently contributing very little that is relevant to social discourse. But dv8 shows that it is possible to combine education, political involvement, and formal audacity into great art.















Max Hollein, Director Städel Museum, Shirn Kunsthalle and
Liebighaus Skulpturensammlung, Frankfurt am Main
© Schirn Kunsthalle Frankfurt/Gaby Gerster

Max Hollein

The first successful attempts have been made in several museums including the MoMA, the Tate, and museums in Germany, but only in the years to come will it become apparent which cultural institutions are dealing correctly with ongoing digital development, have developed a truly alternative offer parallel to real physical museums, and therefore can attain a leading role in the field of global art reception and mediation. The approach should not be to merely translate a physical visit into a virtual one. What is needed, rather, is a novel concept enabling comprehensive mediation of knowledge and individual access to the content and contexts of art collections. Going hand in hand with this, in 2014 we will experience an alternative form of the printed art book, with all of its potential, in the digital realm. I not only eagerly await this, butd we want to be an integral and important part of this process.








Sophie von Olfers, Curator, Portikus, Frankfurt am Main
Photo: Isabelle Graeff

Sophie von Olfers

This year, my work at Portikus has brought me to incredibly exciting places. One of the highlights was Marfa, Texas, where I realized with discontent that I had never really understood the work of Donald Judd before. It’s an impressive remote place. During this trip, I also became fonder of Los Angeles. A discovery for me there was The Box, where I saw an exhibition of the artist Barbara T. Smith – early Xerox works from the 1960s.
In Europe, I was very impressed by the 2013 program of La Loge in Brussels. It is a new exhibition institution in an old Masonic Temple in the middle of the city. The young director and curator Anne-Claire Schmitz is doing a tremendous job there.

For 2014, I’m looking forward to two exhibitions in the USA: the comprehensive Sigmar Polke retrospective in MoMA in New York and the solo exhibition of Nora Schultz in the Renaissance Society in Chicago. In my opinion, she is one of the best German artists of my generation. In addition, the artist Mariana Castillo Deball, who recently received the Nationalgalerie prize for young art, has realized an ambitious ethnographic project in Berlin which will incorporate several institutions. I’m very much looking forward to this.













Tobias Rehberger, Artist, Frankfurt am Main

Tobias Rehberger

Sometimes the good is indeed close by. One artist whom I’ve always felt has been extremely underestimated and who has gone largely unnoticed so far is Holger Wüst. His giant collages filmed in mega slow motion are at once incredibly poetic and critical.

I’d like to see a few of his works together in one larger exhibition and I wish he had the financial possibilities to realize a few projects that he cannot under the current circumstances.

















Karol Sienkiewicz, Writer and art historian, Vancouver

Karol Sienkiewicz

There’s still not enough focus on the new Ukrainian art scene, I think. And Ukrainian art is not just Pinchuk with all his money and faux glamour. There’s a bunch of artists who critically approach the socio-political realities, both in the Ukraine and outside of it. Artistic infants who made their first steps during the Orange Revolution of 2004 are full-fledged artists now.

Take Zhanna Kadyrova for instance, an author of asphalt sculptures, or Volodymir Kuznetsov, who once exhibited embroidery of his late grandmother along with his own embroidered works. Alevtina Kakhidze organizes an art residency in her own house, and Stas Volyazlovsky shoots poignant home porn. There are many others there. Whenever they appear, something happens, something flashes, something’s broken. Insatiable children of the revolution, they have a certain likability factor, and they are still not getting on. And you won’t fool them.









Markus Weisbeck, Professor of graphic design, Weimar

Markus Weisbeck

A flamboyant highlight of 2013 was the exhibition of a selection of book works from a private collection by the Italian designer Bruno Munari at MoMA PS1 in New York. Munari, who was born in 1907, was an exceptional designer and one of very few who has been able to work in disciplines ranging from sculpture and product design to typography to book design. The timelessness of his work is impressive. No matter whether he was working on formal proportion experiments or illustrated children’s books, Munari knew better than almost anyone else how to transform the medium of paper into an object with playful variety.

In 2014, I’m particularly looking forward to the joint work by the American artists Mike Bouchet and Paul McCarthy in Portikus in Frankfurt. This installation, developed specifically for the museum’s architecture, will open on Valentine’s Day—April 14, 2014.











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On View
Imagination. Thought. Utopia: The Circle Walked Casually in the Deutsche Bank KunstHalle / It´s About Freedom - Philip Guston´s Late Works in the Schirn
News
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Press
Intuition and Experimentation - The Press on To Paint Is To Love Again in the Deutsche Bank KunstHalle / "Breathtaking in Part" - The Press on Frieze London and Frieze Masters
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