lens-based sculpture shifts the focus for the first time in an exhibition to the relations between photography and sculpture. The central question addressed is how modern sculpture detached itself from the millennial principle of statuary sculpture and evolved into a new artistic praxis. The photo camera serves as a primary tool for sculpture, as a sketchbook and facilitator for spatial and structural representation in mass and form.
The term lens-based sculpture, used for the first here, draws attention to the exhibition’s new vision of sculpture and art history of the 20th and 21st century. The influence of photography, with its technical possibilities and its potential for perceiving the condition of space and objects, contributed immensely and will continue to contribute to the change in the aesthetic of sculpture.
A particular highlight of this exhibition is the reconstruction of Marcel Duchamp's “Porte Gradiva” (1937), which will be shown for the first time in its original form, as a doorway to be passed through. Further works by Umberto Boccioni and Raymond Duchamp-Villon mark the point of departure for lens-based sculpture. At the show’s core are works done since the 1960s, for example, by John Ahearn, John Chamberlain, Tony Cragg, Valie Export, Sabine Groß, Rebecca Horn, Martin Honert, Edmund Kuppel, Ana Mendieta, Ron Mueck, Bruce Nauman, Giuseppe Penone, Hermann Pitz, George Segal, Roman Signer, and Kiki Smith.
The sculptors Bogomir Ecker and Raimund Kummer are building the exhibition architecture, in which two studioli spaces are integrated. Similar to an archive, densely packed and equipped with multimedia, these spaces offer additional insights into the complex artistic research on the phenomenon of lens-based sculpture.
lens-based sculpture, a cooperation of the Akademie der Künste and the Kunstmuseum Liechtenstein, shows 200 works from over 70 international artists. The exhibition is curated by Bogomir Ecker, Raimund Kummer, Friedemann Malsch, and Herbert Molderings. In direct exchange, artists and art historians have together developed a unique juxtaposition of artistic positions in uncommon forms of presentation for this exhibition.
A German-English catalogue will be published with texts by Michel Frizot, Ursula Frohne, Friedemann Malsch, Herbert Molderings, Dietmar Rübel, and Annette Tietenberg, with a pictorial essay by Bogomir Ecker and Raimund Kummer.
Supported by the Hauptstadtkulturfonds Berlin and the Gesellschaft der Freunde der Akademie der Künste.
It was an explicit wish of Helmut Newton to providea forum also for other photographers and artists at his Foundation. Upon invitation by June Newton, theAmerican portrait photographer Greg Gorman will present a series of male nudes in a show parallel to the Helmut Newton exhibition. Here in “June’s Room,” we encounter young, trained bodies in black & white prints in various formats, some of them nearly life-sized. For this accompanying exhibition“Men”, Greg Gorman and June Newton selected 25 motifs that were created between 1988 and 2012, forthe most part in Gorman’s studio in Los Angeles.
Pictured alone or in groups, the young men move before the camera like dancers on an empty stage.
Gorman was born in 1949 in Kansas City and currently lives in Los Angeles. He launched his career in photography while still a student in Kansas City, with pictures he took of Jimi Hendrix at a concert in 1968. Later in California, Gorman remained true to show business, and in addition to numerous commercial jobs, photographed primarily actors and musicians. Some of these iconic black & white photographs were used as film posters; others appeared on the covers of CDs or magazines such as LIFE, Newsweek, Rolling Stone, and Vogue.
On 31 October 2013 the double exhibition Helmut Newton: Paris-Berlin. Exhibition Grand Palais
2012 // Greg Gorman: Men will be opened at the Berlin-based Helmut Newton Foundation.
This retrospective exhibition had been shown at the Grand Palais in Paris in 2012; it was the first
comprehensive presentation of Newton’s work since his death in the French capital city where he lived and worked since 1961 for two decades. The show includes more than 200 photographs in black & white and color from all major work series and returns now to its source for a show in Berlin, and the path it has taken is reflected in its title.
While some of the images have been shown in earlier exhibition contexts at the Helmut Newton
Foundation, others are presented here for the firsttime. With every new combination, new dimensions of the work of this renowned photographer allow themselves to be discovered. Customary expectations are challenged by the side-by-side presentation of an iconic image such as “Rue Aubriot, Paris 1975” with a second shot of the same motif, to which a nude model has been added. Here, Helmut Newton photographed a tuxedo by Yves Saint Laurent for French Vogue; this is hardly unusual – notwithstanding the fashion designer’s revolutionary creation – but the manner of
photographic staging is unrivalled. A female model with short hair stands self-assured, smoking at night in a narrow, dimly lit alleyway; she appears to wait for no one. In his second photograph of the model, at the same location but now with a nude model at her side, Newton intensifies the already confounding androgyny of the dressed woman. The combination of a clothed with a nude woman in the context of fashion was radical for its time and unfitting for publication in a fashion magazine like French Vogue. Furthermore Newton expanded upon this combination of clothed and nude models starting in the 1980s with his famous series “Nakedand Dressed.” Two diptychs from this series are also included in the current show.
The exhibition also presents numerous portraits of notable figures ranging from Pierre Cardin to
Margaret Thatcher, fashion photographs for magazines from the 1960s through the 1990s, nudes, as well as product shots. Another highlight are the “Fired” images: the legendary Courrèges photographs that were first published in 1964 in the fashion magazine Queen, and which resulted in Newton’s immediate dismissal from Vogue. These images brilliantly translate the ultra-modern designs of the French designer into the photographic image, challenging convention with the women’s pants, the above-the-knee dresses, and above all the spectacular space-age look. At the time, the image and social status of women at the time were undergoing radical change....
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Kunstsaele Berlin specializes in contemporary art. Please contact gallery for more information.