In 1922, Hans Prinzhorn published "Artistry of the Mentally Ill", today a classic, which has been reissued regularly until today: the 7th edition was published this year to celebrate the 10th anniversary of the Prinzhorn Museum Collection.
Based on works of art sent from mental institutions all over Germany and collected in Heidelberg 1919-1921, Prinzhorn develops his own theory of expression. In his book, he illustrates his theory using works of art as examples; he introduces his ten "schizophrenic masters" in specific chapters and discusses important issues on the borders of psychiatry and art.
The publication was particularly noticed by national and international artists and people interested in art. A crucial factor in its success was the fact that it was illustrated with 187 images, partly in colour. For the first time, Prinzhorn made a chapter of artistic creativity visible, which previously had scarcely even played a role in psychiatric journals. The exhibition takes Prinzhorn's selection of works for his publication as a model, and presents his ideas from a historical and critical perspective.
Museum Sammlung Prinzhorn Klinik für Allgemeine Psychiatrie Universitätsklinik Heidelberg Voßstr. 2 69115 Heidelberg Germany
"The L.I.E.S" is an acronym of "London In Europe", a fact which, though not a real lie, is a reality accepted with reluctance by some. Wordplay is recurrent in the Hipkiss universe and a formal element essential to the idiosyncratic visual language that shapes the panoramic parallel worlds on the walls. Emblematic is an anarchic-style of hypnotic precision and restraint, intricately repetitive and laying bare an anthropomorphic, post-industrial world populated by mutant cyber-dominas – an army of Hipkiss alter-egos. For over 20 years Chris Hipkiss and Alpha Mason have been working together steadily on an uncompromising visual iconography which is mesmerizing, if not downright visionary. Turning their backs on the British suburban landscape they disliked, they moved to the French countryside in the early 2000s shortly after 9/11. The prolific body of Hipkiss-work is the result of a symbiotic interplay between two individuals, two co-conspirators in a creative process shaped by a relationship and its themes and the continuous exchange of ideas and techniques.
Self-reflexive and innovative, the works shown here lays bare the very processes of creation behind the concept of "The L.I.E.S.", allowing the viewer to catch a glimpse at the potential of revisiting and recreating landscapes. The exhibition is the culmination of a year's work and a mock-up of a museum show. It is precisely in the dialectic with the exhibition space that "The L.I.E.S" exposes the reinvented possibilities of large-format Hipkiss works which a restricted gallery space can only hope to allude to. The current body of work also highlights a fact often forgotten: that the drawings are not about repetitive detail drawn by an obsessive loner in seclusion, but about landscape, life and the world around us. Hipkiss work is represented in several collections such as the Collection Antoine de Galbert (Paris), the Cindy Sherman Collection (New York), the Museum Boijmans Van Beuningen (Rotterdam) and the John Michael Kohler Arts Center (Sheboygan, WI).
George Widener at John Michael Kohler Arts Center "Hiding Places: Memory in the Arts"
through December 2011
Memory is embedded in everything around us—in our culture, beliefs, possessions, relationships—it is a central component of human nature. Memory’s reach can be lifelong or fleeting. We define ourselves through memory, yet it can deceive us when we are least prepared. We continually search for new and inventive ways to keep memory alive: creating, preserving, and sharing memories through Internet databases, oral and written accounts, and visual records. All of this is in an attempt to keep memory out of the mind’s deep hiding places—to master time, hang on to things we no longer possess, and share recollections we hold dear. Many fear losing their memory, while others long to forget.
Hiding Places will draw on this complex and fascinating topic, breaking new ground in cross pollinated programming and engaging limitless audiences. The memory project will serve as a foundation for hosting intergenerational exchange, fostering new thinking about the aging process, finding new ways to apprehend and approach the Autism spectrum, examining the formation of personal and shared memories, and much more.
Because memory is a broad and inclusive topic, it is divided into four thematic components. Click on the names to view each component: From Memory, Holding Memory, Forget Memory, and Shared Memory.
The exhibition and accompanying book will delve deeply into each of the four areas. Artists involved in other programming areas—Performing Arts, Connecting Communities, and Education—will dovetail with the four components in various ways. The profusely illustrated book will include original writings by the exhibition’s curators and prominent scholars with expertise in savant syndrome, age and community, American culture, and art history.
John Michael Kohler Arts Center 608 New York Avenue Sheboygan, WI 53081 P 920.458.6144 F 920.458.4473 www.jmkac.org
Where can a secret still exist, if it’s exhibited in the public space of a museum? Does it lie in what is shown, in the conditions under which it originated, in the effect it has? It lies in all of the above. Secret Universe presents individual artistic positions that cannot be branded with any of the labels commonly used in the art world and do not follow a contemporary discourse, yet employ all of the strategies of contemporary art. With the series, secret universe, Hamburger Bahnhoff-Museum fur Gegenwart-Berlin is opening a project area in the museum’s eastern wing for a period of three years, which will present works of art that give insights into fascinating worlds of potentiality, as well as offering complex visual narratives.
Sava Sekulić , untitled, undated, oil on wood, 36 x 41 cm
THE KENO TWINS 5 curated by Michael Bauer From 4. November - 26. November 2011
“Colazione in Barriera”, in his fifth edition, is an appointment that every year takes place by hosting important contemporary art exhibitions during Artissima, the art fair of Turin. This year Barriera hosts The Keno Twins 5, a show curated by Michael Bauer, who on this occasion has selected more than sixty works, including drawings, sculptures, photographs, and paintings made by thirty-eight artists of different ages and origins. The idea behind the exhibition is to shed light on the possible affinities between apparently very different works and, as the artist explains, to trace out ‘hidden links, like surreptitious handshakes, in order to form a club that members do not even realise they belong to.’ The selection of works reveals Michael Bauer’s personal interest in independent research that is capable of inventing new worlds and private mythologies, and in obsessions that become forms of art.
‘The Keno Twins’ is a travelling exhibition project that acquires new forms and shapes at each stop. After being shown in Cologne and Esslingen (Villa Merkel), ‘The Keno Twins’ has now found space at Barriera, Turin, for its fifth event.
Keno Twins features: Horst Ademeit, Francesco Barocco, Michael Bauer, Georg Bauer, Scott Calhoun, Steven Claydon, Michaela Eichwald, Frank Haines, Charlie Hammond, John Hiltunen, Chris Hipkiss, Paul Humphrey, Aurel Iselstöger, Erwin Kneihsl, Fabian Marti, David Noonan, Dietrich Orth, Michail Paule, Stefanie Popp, Aurie Ramirez, Alan Reid, Salvo, Sava Sekulic, Renee So, Ghédalia Tazartès, Miroslav Tichy, Mark van Yetter, Oskar Voll, August Walla, George Widener, Agatha Wojciechowski.
Michael Bauer was born in Erkelenz (Germany) in 1973 and lives in New York. On 2011 he had a solo show as well as an exhibition that he himself curated at Villa Merkel, Esslingen. In 2009 he had a solo exhibition at the Kunsthaus Baselland, Basel; in 2007 he had solo shows at the Kunstverein in Bonn and at the Städtische Galerie in Delmenhorst. He works with Galerie Peter Kilchmann, Zurich; Norma Mangione, Turin; Lisa Cooley, New York.