Ann Lislegaard


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Ann Lislegaard

Work from Crystal World

Crystal World (after J. G. Ballard) is a double channel projection first shown at the Sao Paulo Biennial 2006. In the 3D animation a universe is constructed with architectural structures and a jungle that slowly crystallize. A text, generated from a letter written by the protagonist in J.G. Ballard’s novel The Crystal World (1966), describes a zone of entropy, a process of transformation and crystallization. The animation moves through spaces combining architectural elements of Lina Bo Bardi’s Casa de Vidrio and Oscar Niemeyer’s Matarazzo Pavillion, both in Sao Paulo. The Dead Tree (1969) by Robert Smithson and Untitled, Rope Piece (1970) by Eva Hesse are also installed and re-activated in the animation between other references.”

Louise Lawler

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Louise Lawler

Work from “No Drones” at Metro Pictures, New York.

“In her exhibition “No Drones” at Metro Pictures, Louise Lawler exhibits black-and-white images that are traced from her iconic photographs, printed on vinyl and mounted directly on the wall. Lawler uses her photographs of artworks in museums, private collections, auction houses and storage to continue her complex and ever-evolving consideration of art and objects in their working contexts. Photographs such as Chandelier, a picture of an ornate chandelier at a collector’s home overshadowing Fontana’s Concetto Spaziale in the background, and Hand on Her Back, a plaster cast of a crouching Aphrodite photographed at the New York Academy of Fine Arts, are transformed into reductive outline drawings.

The “tracings” were first shown in her 2013 survey exhibition titled “Adjusted” at the Ludwig Museum, Cologne. Discussing Lawler’s well-known work Salon Hodler and the picture’s various re-presentations the museum’s director Philipp Kaiser writes in the exhibition catalogue, “Salon Hodler, a color photograph taken in the noble home of a collector in Geneva, exists in a variety of [other] formats, as a black-and-white matted print, as a paperweight, a projection in public space, as well as a tracing. […] Whereas the black-and-white version appears as a document of the original work, in the best spirit of structuralism, the traced and enlarged version represents the skeleton of the picture. Having mnemonically lodged in our mind and imagination, the picture resonates merely as its own ghost. [The tracings] demonstrate empirically the further steps that can still be taken to explore the extreme ends and corners of pictures and their contexts.

To produce the traced works Lawler worked with children’s book author, illustrator and artist Jon Buller.

In addition to Philipp Kaiser’s essay, the “Adjusted” catalogue includes texts by Benjamin H.D. Buchloh, Hal Foster and Sven Lütticken. It is available at the gallery along with a coloring book of Lawler’s traced works, “No Drones” glasses, and a selection of open edition traced works.

Louise Lawler has participated in significant group exhibitions such as “The Pictures Generation: 1974-1984” at The Metropolitan Museum of Art, Documenta 12 and three Whitney Biennials. She has had one-person exhibitions at Museum Ludwig, Cologne; Albertinum, Dresden; Wexner Center for the Arts, Columbus, Ohio; Dia: Beacon, New York; Hirschhorn Museum and Sculpture Garden, Washington DC; Museum für Gegenwartskunst, Basel; and Portikus, Frankfurt. Her work is represented in the collections of the Art Institute of Chicago; Astrup Fearnley Museet, Oslo; Carnegie Museum of Art, Pittsburgh; Centre Georges Pompidou, Paris; Fondation Cartier, Paris; Glenstone Foundation, Potomac, Maryland; Guggenheim Museum, New York; Jumex Collection, Mexico City; Kunstmuseum Basel; Los Angeles County Museum of Art; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York.” – Metro Pictures, New York.

Louis Eisner

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Louis Eisner

Work from Mountain Stream Ringtone.

“Introducing Mountain Stream Ringtone, Belgium’s finest oasis of heightened consciousness.

We bring you peace and awareness through our unique combination of aural satisfaction, visual stimulation and olfactory pleasure. If it pleases you, please inhale deeply and bask in oneness with the universe. Mountain Stream Ringtone provides superior relaxation, rejuvenation, and hydration services.

From our refreshing spring water to our calming decor, we carefully select all that is essential for a well- centered life. You are welcome to breathe in our custom diffused fragrance, take a sip of our revitalizing designer bottled water and gaze at the mesmerizing artwork that surrounds you.

Mountain Stream Ringtone is calling.” – Galerie Rodolphe Janssen

Camille Henrot

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Camille Henrot

Work from The Pale Fox

“Demonstrating the breadth of Henrot’s output, this exhibition comprises an architectural display system, found objects, drawing, bronze and ceramic sculpture and digital images. The Pale Fox articulates our desire to make sense of the world through the objects that surround us. Unfolding like a frieze across the four walls of the gallery, a polymorphous aluminium shelf provides a structure wherein the four points of the compass are aligned with stages in an individual lifecycle, the evolution of technology, philosophical principles of Leibniz and the four Classical elements: fire, water, earth and air. This highly personalised aggregation of distinct systems of thought is presented through an intense accumulation of objects and images encountered within a highly constructed, meditative environment.


The title of Henrot’s exhibition is taken from an anthropological study of the West African Dogon people published by Marcel Griaule and Germaine Dieterlen in 1965. Dogon mythology is thought to incorporate the belief systems of several different cultures, as well as astronomical, mathematical and philosophical systems of thought. Within this meta-narrative, the character of the ‘Pale Fox’ represents disorder and chaos but also creation, bringing about the formation of the sun. 

For Henrot, the fox is an ambivalent animal and a potential model for our primitive selves, thriving on waste and instigating a cycle from which accumulation and excess become productive again. Henrot is interested in entropy and disorder as fertile foundational principles in creative practice and the construction of knowledge. The Pale Fox reveals the element of disorder implicit in any system and the contradiction of this aspect of failure as a condition of its completion. 

Exploring varying scales and chronologies, from the history of the universe to the universe of the artist’s studio, the exhibition becomes a model for information storage and retrieval  – rolled and stacked images become objects, and objects from museum collections are substituted with Ebay purchases and scrolling slideshows on digital picture frames. Henrot relates the construction of knowledge to haptic and sensual experience, reflecting our common desire, evidenced in spheres from the artistic to the domestic, to create model worlds of fantasy and symbolism as a means of inhabiting reality.

The Pale Fox is commissioned and produced in partnership with Kunsthal Charlottenborg, Copenhagen; Bétonsalon – Centre for art and research, Paris and Westfälischer Kunstverein, Münster, where the exhibition will be presented in 2014-15″

Justin Lieberman

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Justin Lieberman

Work from “Squeezed Reliefs” at Martos Gallery, New York

“Here’s what the frenetic pace of a price-tagged art world has wrought: Justin Lieberman’s “Squeezed Reliefs” recycle unsold­ sculptures tacked onto canvases, topped off with paint that recounts the artist’s financial ruin. The artist makes clear in a statement that the black-and-white chicness of these eight works (all 2014) is meant to be a capitulation to what’s in style. One wonders if to enjoy these paintings is to also take part in the unforgiving cycles that led the artist here.

Pieces of sculptures drown under the paint, their original meaning has been co-opted by their worthlessness—at least by market standards. A stray wire hanger, a mannequin, bowls, and handicap signs all stick out desperately from the canvas’ surface. Most of the works’ titles come from archaic torture devices—Brazen Bull (an ancient Greek roasting), Leng tch’e (Chinese slow slicing), Peine forte et dure (stones placed on the chest until confession or death). Warped, white painted text, however, communicates past-due bills, an eviction notice, termination of service, and bad poetry (is there a difference?). In The Judas Cradle a slanted text begins, “You are in danger of losing your home,” its stylish skewedness somehow making the message less grave. Similar admonitions of “You must respond . . .” or “You are in violation . . .” mask the dregs of older works in the crowded frame. These newer, more aggressive amalgams compete for dominance with the ghosts of underlying narratives.

Two sculptures accompany the hanging works, including Arbeitsbeschaffungsmaßnahme (job-creating measure), a glass vitrine packed with art of friends, letters to collectors, fliers, exhibition cards, and some of the artist’s own work. The tight and anxious display mocks the frenzy of creating and supporting, and, in doing so, makes another work. Everything eventually becomes a part of another paycheck, as collected art-world ephemera become works, and old works get compressed into the new. In all these pieces, art has been reduced and reduced again until it’s something opposite: It’s a bill.” - Ali Pechman, Artforum

Olivier Cablat

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Olivier Cablat

Work from Enter the Pyramid.

“The project Egypt 3000 deals with the complex relationship between contemporary Egypt and its glorious past. The project took shape between October 2003 and June 2004, when Olivier Cablat was working on a CNRS programme in Karnak, in the south of Egypt.
Enter the pyramid – first book of the project Egypt 3000 – is composed with a set of images found on the Internet using the keyword “pyramid”.” – RVB Books

Holger Kilumets

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Holger Kilumets

Work from Maps and Territories.

“Maps & Territories is an elaborate exploration of the meaning of representation through a series of slightly disparate images, designed to relate to each other through the notion of free association. Borrowing elements from the history of art, photographic practice and advertising imagery, the series attempts to reveal the fragility of the mechanisms that sustain representations and raise questions about photography’s role as a representational device.

Representation, by its very definition, can’t be the thing it represents. Representations don’t merely recreate existing objects or elements of the phenomenal world; they beautify, improve upon, and universalise them. As a result, things get caught up in simulacrum, spectacle and fetish, creating a fictional world, a plastic postmodernity of illusions, appearances and images in which there is no capacity for a non-mediated relationship to reality.

In the contemporary world more and more things first become visible to us via the images we see of them. There is a shift towards the process of the replacement of an object by its image as representations in the form of photographs have become the dominant way through which we perceive and interpret the world around us. Because of this it seems vital to face the fundamental questions about the act of representation, its influence on our perception and understanding of reality and the habitus, modalities and the productive capacity of it.” – Holger Kilumets

Olve Sande

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Olve Sande

Work from Suites at Galerie Antoine Levi.

“Suites, per definition, are to be considered as consequetive units or pieces following a specific order and harmony. Like multiple rooms opening up, following each other continuously, or windows allowing a view to emerge through a fixed space, suites both suggest and direct progression. Olve Sande’s works, then, follow this compositional logic, appearing as unified objects or extracts of a larger composition, which rather than functioning as fixed referents, invite the viewer to follow through. On a very practical basis, this manifests directly in the formatting of the works, as each piece is based on measurements from speci fic windows. The measurements were sourced from the architectural surroundings of Jørn Sværen, a Norwegian poet Sande has collaborated with for the exhibition. Through this, a bedroom, storefront, or café window may become displaced into the gallery and integrated into the sense of exchange and experience underlying the exhibition.

These standardised measurements function as a structural premise that contextualises the works in the exhibition and ties them to another. This is not only evident, however, in their formatting, but further in the materials employed by Sande for their realisation. The unpainted plasterboards are put into a direct relationship with paint-absorbent felt, entering the two into a mutual relationship characterised by the potential of spills. This becomes a clearly felt tension between the repellant and the absorbent; a tension that is highly emblematic of the spatial parameters Sande delineates in his practice. Each space becomes a space of dialogue between the materials and structures that form its existence, and by extension, inform our experiences within their con fines.

At that, there is an implicit poetry that lingers around the works, evoked in the elusive nature of the titles. As a viewer, one is made to wonder where the rigid measurements and architectural material vocabulary comes into relation with the sentimentality and enigmatical nature of the notes. They seem to hover on the sidelines, informing the work, almost distracting from its stark flatness. The titles and dimensions of the works, provided by Sværen through a series of exchanges with Sande, could be described as marginal notes; they become exposed as the internal commentary of the poet, responding in quiet, significant gestures to the experience of the Suites.” – Galerie Antione Levi

Soft Intensities

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Soft Intensities

Work by Rachel de Joode, Jaakko Pallasvuo and Yannick Val Gesto at Gloria Knight

“Recent developments in contemporary art frequently beg the question of what to do with art’s materiality. With an exponential increase in the flexibility of the artwork to move between material and immaterial states—for instance, a work that starts life as a digital file is made into a physical form only to be redigitised and circulated online as installation shots—it is clear that an artwork’s iteration in physical space is but one component of a constellation of social, cultural, institutional, technological, phenomenological and affective relations, the exact contours of which are often obscure to the individual.

Soft Intensities takes as its starting point the idea that a reexamination of materiality cannot take place without accounting for the networks that are now, and in fact have always been, inextricably part of material objects. It proposes a malleable space in which the distinctions between an artwork’s material and immaterial components are muddied and confused. Having already witnessed the dematerialisation and dispersion of ‘the image object post-internet’ across its networks of distribution, from this space of indeterminacy new forms of materiality emerge.

Soft Intensities takes as a particular point of departure philosopher Timothy Morton’s recently developed notion of the ‘hyperobject.’ For Morton, these are entities such as global warming or the internet, “things that are massively distributed in space and time relative to humans.” As such, they constitute a loss of critical distance. Unable to be apprehended as a discrete, temporally-bounded entity, hyperobjects are only detectable in their effects, in the interrelationships they produce between objects and their aesthetic properties. Like the contemporary art object, hyperobjects are simultaneously there but not-there, wavering between immediate, tangible effects and modes of distribution that are more often than not hidden from view.

The work of Berlin based artist Rachel de Joode is concerned at a fundamental level with interactions between form and matter. Often working with highly abstracted or ‘raw’ materials, de Joode instigates shifts in form, so that the final art object is frequently one, two or more steps removed from the material being depicted. For instance, a recent work of hers takes photographs of the artist’s own tears which are mounted onto plaster, cut into the shape of their path down her cheek and displayed as sculpture. These shifts in form are frequently complicated by uncanny intrusions of art display practices, as in de Joode’s collaboration with Kate Steciw, Open for Business, which includes framed works embedded in a central plinth and plaster seeming to drip out of another framed, wall mounted print.

Her work for Soft Intensities, ‘Puddle in Pedestal, There,’ exhibits a similar interest in the slippage between material and form, with material this time being understood at its most simple and generative. Consisting of a framed photographic print of a mysterious wet matter inserted into a plain white plinth, the image is abstract and ephemeral. Its flesh coloured tone suggests skin or some kind of rash, but it’s difficult to say with any certainty. Instead, the image evokes a kind of ‘precarious slime’4 whose abstract fleshiness stands in for the status of matter or life itself. The work’s pedestal becomes foundational in the same way. Often spurned as an old-fashioned or hackneyed method of display, its simplicity is the starting point for display, as matter is the starting point for life.

Jaakko Pallasvuo contributes two works to Soft Intensities. 2012’s ‘The Artist’s Statement’ video is displayed alongside a new printed shower curtain work, ‘I Was The One Who Told Snoopy About That Mindfulness App.’ With an art practice that comprises video, drawing, an ongoing series of digital paintings and writing, among other mediums. Pallasvuo’s work displays a repeated concern with how the individual navigates today’s hyper-connected art world.

‘The Artist’s Statement’ disparages the tired trope referred to in the work’s title, while strategically positioning it for a new media/post-internet art audience—in the video, a shirtless man drinking Jim Beam reads out excerpts from Rhizome artist profiles and from the Patty Hearst kidnap tapes, while someone smooshes ice cream onto to floor with their sandal covered feet. Messy materiality meets meta-critical cynicism.

‘I Was The One Who Told Snoopy About That Mindfulness App’ is the latest in a series of Snoopy themed shower curtain works that Pallasvuo describes as “a forced meme.” Featuring text outlining contemporary art cliches, a contemporary installation show and a blurred out image of Snoopy, the work points towards the systems of value and prestige that run the art world, cynically buying into them at the same time that it undermines them. It’s also, as the text on the work explains, something to hide behind. Pallasvuo’s interest in Snoopy stems from he/she/it’s “chill energy.” Snoopy becomes a vehicle for recalibrating the demands of a precarious, hyper-anxious art system, a symbol for soft gestures within vast networks. Yannick Val Gesto’s work has typically borrowed from the vernacular graphic languages of cyber and video game culture. His ‘YuYu’ series consists of four plexiglas works based on compositions taken from screenshots of the anime show Hunter x Hunter. These images have been reinterpreted, fed through different types of software and rendered in garish, nightmarish colours. While traces of its source style remain, very little is left to contextualise them. There is a tension between the digitalised, depersonalised nature of these works’ provenance and their raw, almost organic abstraction. They depict a kind of grotesque synthesis, the paradoxical locating of emotion in cybernetics.” -Tim Gentles

Paul Chan

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Paul Chan

Selected Works” at Schaulager, Basel

Work from ,

“For six months, Schaulager is presenting the art of Paul Chan, born in Hong Kong and based in New York. It is the most extensive exhibition ever of work by this artist, just 40 years old, who has already created a wide-ranging oeuvre that reveals him to be one of the most inventive and multifaceted practitioners in contemporary art. His studies of current political and social issues, as well as the great and timeless concerns of history, literature, and philosophy, are incorporated into his art with lighthearted verve.

Paul Chan is prototypical of his generation, exploiting the potential of the World Wide Web and its information overkill to excess, redesigning it and establishing links with goal-oriented, unbridled enthusiasm. He is as versed in making videos and installations, in drawing and painting, as he is in writing and lecturing. A closer look at this seemingly disjointed, rampant, and bewildering oeuvre proves it to be consistent, unswerving, and profound. It is our pleasure to invite you to enter into Chan’s exciting universe and discover his exceptional art.

Schaulager’s invitation to mount an exhibition has been an opportunity for Chan to review what he has done so far and to move ahead with his work. In the architectural setting devised specifically for the exhibition, he has playfully arranged existing and new works to create an ingenious display of exceptional impact. You, as viewers, will no doubt be instantly struck by the immediate effect of the works in space. It is your turn to decide how much you wish to invest in the countless issues and questions addressed by the artist. If you embark on this journey of discovery, you will experience and understand things differently, things initially perceived as beautiful and yet disturbing, deeply moving yet alien or even shocking.

A “challenging” exhibition? Yes, and one full of unexpected twists and turns that will inspire you to take your time and come back for another look. That is why the admission ticket is valid for three visits. The accompanying program of events, including tours and lectures, offers visitors the opportunity to enhance their appreciation of Paul Chan’s oeuvre even more. On September 12/13 a symposium will take place in the auditorium. It is open to the public and will give further insights into the exhibition and Paul Chan’s work.

Once again on Thursdays, Schaulager will stay open until 10 p.m. for the “Schaulager Night”, during which your ticket includes an attractive program of tours, art films in the “Artist’s Choice” program, talks, and poetry sessions.” – Schaulager, Basel