Haim Steinbach,weitausweißenblütenschauernwächstihrweltverlorenseon, 2018. Courtesy the artist and Galleria Lia Rumma, Milano/Napoli. Museum Kurhaus Kleve. Foto: Simon Vogel
curated by Susanne Figner, Letizia Ragaglia
Vernissage: 17/05/2019 7 pm
18/05/ – 17/09/2019
Museion is pleased to present an exhibition by Haim Steinbach (*1944, Rehovot, Israel), one of the most influential contemporary artists, whose work is to be seen in a museum in Italy for the first time in over 20 years. The exhibition is a survey of selected works from the last thirty years, bringing together shelf works, containers, text pieces, wall paintings and large-scale installations.
For Steinbach, colours are objects. We give names to colours, like red, blue or green. Red is red, like a rose, or blood, fire and love. A rose could also be blue, yellow, or white. The Dulux paint company in Great Britain named a certain brown “Starbucks Roast.” Steinbach took that colour, made it into a wall painting and appropriated the title. It is in this respect that he considers both title and colour to be a found object. Thus, having become a form of speech, he retitled the work, starbucksroast. Starbuck is a character in Melville’s, “Moby Dick.” Starbucks is a coffee shop chain.
Vernacular sayings and titles traverse across the linguistic meanings of words. In print, they take on characters known as typefaces. It is a language of desires and relations. A letter, a word and a sentence may feel light or heavy, playful or serious depending on the context and form it is given. Haim Steinbach collects text statement that have been set to type and that appear in print. He transfers them to paper or a wall precisely as they were found. The poetics of the text in the field of typography is its architecture.
The solo exhibition by Haim Steinbach at Museion is a co-production with the Museum Kurhaus Kleve.
Ludwig Hirschfeld-Mack, Farbenlichtspiele, reconstruction 2000. A film by Corinne Schweizer, Peter Böhm (videostill).
curated by Andreas Hapkemeyer
Vernissage: 12/04/2019 7 pm
13/04/ – 03/11/2019
A hundred years since the foundation of the Bauhaus architecture, arts and design school in Germany (1919–2019), Museion presents Lichtspiel-Apparat (Light playing apparatus) by Ludwig Hirschfeld-Mack (1893–1965). The work, created by the artist between 1923 and 1924, is one of the very first to combine electrical light and movement to produce light plays that exist on the border between painting, cinema, theatre and light sculpture. In this sense, HirschfeldMack’s machine comes right at the beginning of the light work genre that later became extremely popular in twentieth century art and forms an important part of the museum’s collection. The apparatus presented at Museion is an authorised reproduction of the original that was lost in the 1930s. The exhibition has been created in close collaboration with the artist’s grandson and includes a wide range of documentation, photographs, construction plans, archive material, historic films and recent light shows created with the machine. Hirschfeld-Mack’s Lichtspiel-Apparat will also be used to inspire artists from the Alto-Adige region to create new artworks as part of an invitation-only competition promoted by the Festival Transart, Südtiroler Künstlerbund and Museion.
Sonia Khurana, Logic of Birds, Courtesy of the artist.
Artists and Archives:
Carla Accardi , Zehra Arslan, Marion Baruch, Moyra Davey, Bracha Ettinger, Claire Fontaine, Chiara Fumai, Nadira Husain, Sonia Khurana, Ketty La Rocca, Beatrice Marchi, Marisa Merz, Margherita Morgantin, Ariane Müller, Raffaela Naldi Rossano, Rosa Panaro, Gina Pane, Marinella Pirelli, Carol Rama, Cloti Ricciardi, Suzanne Santoro, Katarina Zdjelar.
curated by Ilse Lafer, guest curator 2019 at Museion
Vernissage: 12/04/2019 7 pm
13/04/ – 03/11/2019
Doing Deculturalization is inspired by the writings of the Italian art historian and critic Carla Lonzi (1931–1982). In particular, it focuses on using her concept of deculturalization, a way of (culturally) decoding life, labor and language, as a prerequisite for an antiregulatory and decolonial vision of gender and migration. The processes of withdrawal and alienation connected to this concept are highlighted both in reference to their historical feminist context and in possible ways of applying them to the present. So, the project is basically asking, to what extent can “deculturalization” processes liberate forms of empowerment and resistance. In other words, how can they develop a critique of the colonializing power structures? Against the backdrop of this question, the exhibition creates a speculative scenario, a topography of associations between archive material from feminist movements and contemporary and historic artistic positions with a particular focus on material from the Archivio di Nuova Scrittura in the Museion Collection.
Roni Horn, When Dickinson Shut Her Eyes # 1027 My Heart upon a Little Plate, (Detail), 1993. Sammlung Museion. Sammlung Enea Righi
curated by Frida Carazzato
28/05/ – 05/08/2019
My Heart upon a Little Plate is a poem by Emily Dickinson and the inspiration behind a series of minimalist sculptures by Roni Horn.
These consist of a number of aluminium bars with lines from the poem My Heart upon a Little Plate printed on one side and the same letters presented as a series of rhythmic lines on the other. The sculptures’ black and white characters, shapes and materials – plastic and aluminium – all recall American minimalism.
Since the late 1980s Roni Horn has dedicated various works to Emily Dickinson. Here, words that have already been used by the artist, become actual objects.
The American artist’s work has always investigated the subtle line between the visible and invisible, identity and mutability, and here it meets the sensibility with which Dickinson described the world around her in the late nineteenth century.
The exhibition is the second event in a series of presentations featuring works from the Museion Collection that focus on words and texts.
Foto courtesy of the artist Margrethe Kolstad Brekke
TIRED EYES DISLIKE THE YOUNG
Vernissage: 21/03/2019 6.30 pm
22/03 – 02/06/2019
Margrethe Kolstad Brekke
HOW TO IMPLEMENT UTOPIA
Vernissage: 06/06/2019 7 pm
07/06 – 25/08/2019
Utopia is by definition a place that does not exist but is drawn, like a map on the horizon to generate the possibility of change.
In the year marking the five hundredth anniversary of Leonardo da Vinci’s death, Margrethe Kolstad Brekke commemorates his genius by inviting us to reconsider the conquest of flight in human history. In her work, the hang-glider, the symbol of this implemented utopia, brings a new and contemporary utopian drive to urgent contemporary issues, like climate change and renewable energy sources. For the Bolzano project, the artist built two hang-gliders. The first is displayed in the Studio House, whereas the second is conceived as a flying sculpture and public work of art and will be used throughout the summer at the Garda Flying Paradise Flying School on the Garda lake. The hang-gliders were constructed with the technical assistance of Icaro 2000, a prominent Italian company in this sector and Europe’s leading hang-glider manufacturer.
Margrethe Brekke then hand-painted a combination of ornamental motifs on the Dacron fabric of the wings. There are 17 colours, which correspond to the 17 goals in the “2030 Agenda” for Sustainable Development, published by the United Nations in 2016. The artist uses an abstract language that draws on the influence of both Bruno Munari‘s work and Sonia and Robert Delaunay‘s simultaneous circles at the dawn of Modernism to become an encrypted manifesto of the modern world. “The 2030 Agenda, poetically transposed by the artist in the colour range of the hang-glider, can be seen as an instrument for reaching an achievable utopian goal by considering utopia as a method rather than an end, and therefore as the foundation of a constructive imagination for society.” Alessandra Tempesti, project curator.
Anna M. Rose
Vernissage: 05/09/2019 7 pm
06/09 – 27/10/2019
Piazza Piero Siena 1
39100 Bolzano, Italy