I am particularly pleased that my last year at Kunsthaus Bregenz was so successful. There are very few institutions in which the architecture, the staff, and the art encounter each other so productively
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KUB 2014 | Press Information Program 2015 24|01|2015 — 10|01|2016
Press Conference Tuesday, December 2, 2014, 11 am
www.kunsthaus-bregenz.at Kunsthaus Bregenz Report 2014 »I am particularly pleased that my last year at Kunsthaus Bregenz was so successful. There are very few institutions in which the architecture, the staff, and the art encounter each other so productively.« Yilmaz Dziewior Since taking up his appointment at Kunsthaus Bregenz more than five years ago, Yilmaz Dziewior has successfully exhibited such non-Western practices as the highly acclaimed show last year by African artist Pascale Marthine Tayou, the Mexican Gabriel Orozco, and the world-renowned Chinese artist Ai Weiwei. In addition to the increased showing of artists from Africa, Asia, and Latin America, his activities at Kunsthaus Bregenz have always been typified by an interdisciplinary approach. The highly regarded exhibition by the filmmaker and author Harun Farocki in 2011 (who sadly passed away last summer), is but one example of this. Besides the resounding names of such well-known artists as VALIE EXPORT, Ed Ruscha, Richard Prince, and Ai Weiwei, Yilmaz Dziewior has always been responsive to new and emerging approaches. Under his tenure the KUB Arena has established itself as an autonomous exhibition space on the ground floor. Innovative curatorial approaches have lent its program, in conjunction with the major exhibitions on the top three floors, a unique quality. Thanks to the exceptional exhibition spaces that Swiss architect Peter Zumthor created for Kunsthaus Bregenz, architecture and art are able to engage in a mutually fruitful dialogue. The particular ambience of the building motivated the majority of the invited artists to create new works in a response to the architecture, forming a symbiotic relationship with it. Barbara Kruger for example used differing architectural elements of Zumthor’s building for each of her works. No less important for Kunsthaus Bregenz’s perception of its self, as well as its public reception, is the KUB Collection Showcase. During Yilmaz Dziewior’s tenure, Vorarlberger Kulturhäuser Betriebsgesellschaft mbH has successfully acquired the old post office building as an additional venue for the Collection Showcase. In 2014, for the first time in the 18-year history of the institution, it was possible to display a small but high profile selection of KUB’s collection of contemporary art in these new spaces under the title New Acquisitions from Ai Weiwei to Zobernig. The selection focused on items acquired since the beginning of Yilmaz Dziewior’s tenure in 2009. Under his directorship KUB has been able, in close consultation with artists exhibiting at the institution, to acquire works from the exhibitions.
Total number of visitors: approx. 50,000 Estimated Income 2014 Contribution from the Federal State of Vorarlberg: 2.5 million Euros = 70% Independent income: 1.1 million Euros = nearly 30%
Johannes Halder, Deutschlandradio Kultur As is almost traditional for the large-scale summer exhibition, Richard Prince – It’s a Free Concert was a highlight. With more than 16,000 visitors, the American’s exhibition was the most attended in 2014. Both the international and regional press reported extensively on Richard Prince’s largest exhibition to date in Europe, which opened with a large summer festival on KUB’s courtyard. The Spiegel described Prince as a “master of artistic alienation,“ comprehensive reviews appeared in Basler Zeitung, Thurgauer Zeitung, Die Welt, Die Presse, Der Standard, Salzburger Nachrichten, and kunstart, as well as in such lifestyle magazines as Madame, bolero, and annabelle. In addition to ORF and the regional TV station rtv, the appropriation artist also attracted international television teams to Bregenz. Along with a program on arte, ARD also reported on the Bregenz exhibition in its program titel thesen temperamente, in which it described Prince as a “polarizing superstar.” The Canadian Jeff Wall’s solo exhibition, which runs until January 2015, has already attracted a great deal of public interest and outstanding media coverage. Despite shortened opening times, the exhibition in the KUB Collection Showcase in the neighboring post office building was also able to maintain continual interest. The display of New Acquisitions from Ai Weiwei to Zobernig has been extended until February 2015. Kunsthaus Bregenz will also be taking the opportunity of providing further insights into its collection in the future. Now in its fifth year, the direction of KUB Arena’s program has been established even more successfully as an autonomous exhibition platform, operating concurrently to the main exhibitions. This has been reflected in both regional and national press reports. KUB Arena exhibitions were covered by VN, Neue Vorarlberger Tageszeitung, ORF, and Der Standard, amongst others. The current presentation by Hannah Weinberger, which will run until January 2015, has been received with great acclaim. “Once Hannah Weinberger gets going, stones begin to sing, laptop orchestras are established, or even the sounds of an exhibition are made audible. This may suitably be called sound art.” The Gap Exhibitions 2015 Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më 24 | 01 – 06 | 04 | 2015
Trix and Robert Haussmann Reflexion und Transparenz Berlinde De Bruyckere 18 | 04 – 05 | 07 | 2015
Dexter Sinister Joan Mitchell 18 | 07 – 25 | 10 | 2015 KUB Arena Summer Program Dates to be published in due course Heimo Zobernig 07 | 11 | 2015 – 10 | 01 | 2016
Amy Sillmann KUB Collection Showcase Per Kirkeby Backstein: Skulptur und Architektur 27 | 02 – 27 | 09 | 2015 Exhibitions 2015 Kunsthaus Bregenz’s program for 2015 largely rests upon three strong female personalities. The internationally renowned artist Rosemarie Trockel has conceived a large-scale exhibition especially for the Kunsthaus, centering on her print works, whilst also boldly involving the Vorarlberg region, in whose capital Kunsthaus Bregenz is located. Working on site, she has immersed herself deeply in local customs, ranging from the dialect of the inhabitants of Bregenz Forest to the region’s traditional Tracht costumes. In spring Berlinde de Bruyckere’s atmospherically dense installations and sculptures will submerse KUB’s spaces in an apparently sinister ambience. The exhibition will revolve around the large-scale work she created in 2013 for the Belgian Pavilion at the Venice Biennale. In addition she will be developing new works especially for the exhibition in Bregenz. A highlight of the program in 2015 will be the large-scale survey exhibition of the legendary American painter Joan Mitchell. The development of this outstanding artist, a leading light of second generation abstract expressionism, will unfold across all four floor of KUB. An exhibition display designed by the architect Bernardo Bader will provide the first comprehensive look at Joan Mitchell’s archive, introducing diverse aspects of the artist’s personality by means of photographs, letters, invitations cards, and other documents. The year’s program will conclude with a large-scale solo exhibition by Austrian artist Heimo Zobernig. He too will be specifically addressing the unique conditions of display in Bregenz, presenting some of his most renowned works as well as new ones especially produced for the occasion, in which his staging of the Austrian Pavilion at the Venice Biennale 2015 will play a significant role. Concurrently to the large-scale survey exhibitions on the upper three floors, more experimental formats will be presented in the KUB Arena along with its summer program. In the neighboring post office building, Kunsthaus Bregenz will be presenting, for the first time, a large body of sketches and drawings by Per Kirkeby from its comprehensive collection, that relate to his brick constructions. As a result Kunsthaus Bregenz’s cultural record will once again be activated and another focus of the institution’s collection – art and architecture – will be made accessible to a wider public. KUB Arena 2015 Presentations in the KUB Arena are characterized by a wide range of interdisciplinary, experimental and often process-oriented approaches. This focus was broadened last year in addressing notions of exchange. This structural element was not only apparent in terms of KUB Arena 2014’s exhibition formats but also in terms of curatorial exchange: whilst Eva Birkenstock, the previous curator of KUB Arena, spent one year at the MINI / Goethe-Institut Curatorial Residency Ludlow 38 in New York, the American curator Scott Cameron Weaver arrived in Bregenz to supervise the KUB Arena’s program.
KUB 2015.01 Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më 24 | 01 – 06 | 04 | 2015 Rosemarie Trockel (born 1952) counts amongst the most internationally renowned artists of her generation. She achieved initial and ongoing attention in the 1980s with her knitted work – machine-knitted woolen fabrics, which were subsequently presented as images on stretchers. In these works, which are today legendary, she for example employed the pictogram for wool, the Playboy bunny, and the hammer and sickle, for example, as symbols reflecting institutions or relating to feminism and politics. Her so-called »hot plate« works, which are of no less art historical significance, can likewise be interpreted as a commentary on such art historical movements as the primarily male-dominated Minimal Art. Over the course of a more than 30 year career, Rosemarie Trockel has succeeded in being continually surprising, as new complexes of work have emerged, making it impossible to reduce her to either one particular medium or area of subject matter. The artist will be developing an exhibition for Kunsthaus Bregenz that mainly comprises new works. Along with her print works, which she presents in installational displays, she will, above all, be creating works which specifically engage with the architecture of Peter Zumthor’s building. During her preparations for the exhibition, Rosemarie Trockel has taken a particular interest in the local craft techniques of the Bregenz Forest, and not least the traditional Tracht costumes and the specific manner in which the fabrics are hand-processed. As a result of her involvement with such subjects, the Bregenz presentation—the first large-scale solo exhibition by Rosemarie Trockel in Austria for more than twenty years—promises not only many surprises but also new insights into the work of this well-renowned artist. Biography Rosemarie Trockel Rosemarie Trockel, born in 1952 in Schwerte, lives and works in Cologne. From 1974 to 1978 she studied under Werner Schriefers at Cologne University of Applied Sciences, formerly the schools of visual art, architecture and design. In 1983 her first gallery exhibitions took place with Monika Sprüth in Cologne and Philomene Magers in Bonn. The Rheinisches Landesmuseum Bonn was the venue of her first exhibition in a museum in 1985. Her work was shown to great acclaim in 1988 at the Museum of Modern Art, New York, in 1991 at the Museum of Contemporary Art, Chicago, and the Institute of Contemporary Art in Boston. She has also participated in numerous exhibitions in Europe. Highly regarded solo exhibitions have been staged at the Museo Nacional Centro de Arte Reína Sofia in Madrid, the New Museum in New York, as well as the Serpentine Gallery in London (2012/2013), at WIELS-Centre D’Art Contemporain in Brussels, at Culturgest in Lisbon, along with the Museion Bozen (2012/2013), and the Kunsthalle in Zürich (2010). In 1999 she was the first female artist to stage the German Pavilion at the Venice Biennnale, which she took part in again in 2013. She was a participant in documenta in Kassel in both 1997 and 2012. In addition to numerous other prizes she was awarded the Goslar Kaiserring in 2011 and the Roswitha Haftmann Prize in Zürich in 2014. KUB Arena Trix und Robert Haussmann Reflexion und Transparenz 24 | 01 – 06 | 04 | 2015 The Zürich architects and designers Trix and Robert Haussmann have been invited to stage the first exhibition in KUB Arena’s program for 2015. Since founding »Allgemeine Entwurfsanstalt« (General Design Institute) in 1967, the duo have been working together, critically and ironically questioning the rigid doctrines in the teaching of architectural history. Evading the modernist dictum of »form follows function« their playful designs pursue their own form of critical Mannerism. By employing illusionism as a means of material alienation and through the optical dissolution of volume through mirroring, they create complex, illusionary, apparently infinite spaces, furniture, and objects, which humorously undermine the canonization of concepts of value and order. Their Da Capo Bar in Zürich, the Kronenhalle, and their redesign of part of Zürich’s main station have become legendary; furniture designed by them, such as the mirror chairs, a fluted column with fold-out drawer segments, and the skyline cupboard have since become some of the most significant icons of Swiss postmodern design. Biography Trix & Robert Haussmann Trix Haussmann-Högl is an architect BSA SIA. She studied at ETH, the Swiss Federal Institute of Technology, Zürich, and completed her post-graduate studies at the ORL Institute for Local, Regional and National Planning at ETH, Zürich. Since 1967 she has been running an office in partnership with Robert Haussmann. Until 2002 Trix Haussmann taught at ETH, Zürich. Robert Haussmann is an architect BSA SIA. After studying in Zürich and Amsterdam he founded his own office, which he has been running in partnership with Trix Haussmann since 1967. Until 1996 he was Professor of Architectural Design at the Staatliche Akademie der bildenden Künste in Stuttgart. Trix and Robert Haussmann have been active internationally for more than three decades, and in addition to the design, construction, reconstruction, and upgrading of architecture, they also design furniture, textiles, and appliances. KUB 2015.02 Berlinde De Bruyckere 18 | 04 – 05 | 07 | 2015 Berlinde De Bruyckere was born in 1964 in Gent, Belgium, where she still lives and works today. The artist rose to prominence as a result of participating in the 4th Berlin Biennale 2006, as well as through numerous solo and group exhibitions in The Hague, Graz, Melbourne, Istanbul, London, Bern, Montreal, Paris, and New York. In 2003 she exhibited in the Italian Pavilion at the Venice Biennale and in 2013 she represented Belgium in its national pavilion with her installation Kreupelhout / Cripplewood which is currently on display at S.M.A.K. in Ghent. In Bregenz this large-scale work will be displayed on one floor, along with numerous other sculptures and drawings across two further floors. For the third floor of Kunsthaus Bregenz the Belgian artist will be developing a new large-scale spatial work. Berlinde De Bruyckere works with wax and synthetic resin casts from trees, animals, and people, whose partially transparent surface permits the underlying color and structures to remain visible. Her sculptures possess a direct and powerful physical presence, combining great sensuousness and sensitive aesthetics with a horror of mortality and decay.
The exhibition in Dornbirn curated by Thomas Häusle will open a day before the exhibition in Bregenz, on April 16. Both exhibitions provide a fascinating overview of the Belgian artist’s work. The exhibition at Kunsthaus Bregenz will be organized by its curator Rudolf Sagmeister. On the occasion of the two exhibitions a catalogue will be co-published by Kunsthaus Bregenz and Kunstraum Dornbirn, which will include installation views of both exhibitions together with texts by Benjamin Delmotte, Thomas Häusle, and Rudolf Sagmeister. Biography Berlinde De Bruyckere Since her first exhibition in the mid-eighties, De Bruyckere’s sculptures and drawings have been the subject of numerous exhibitions in major institutions worldwide. Recent exhibitions include S.M.A.K. Ghent, Belgium (2014); Kunsthaus Graz, Austria (2013); Museum De Pont, Tilburg, Netherlands (2012) as well as La Maison Rouge – Fondation Antoine de Galbert, Paris, France (2014); Australian Centre for Contemporary Art, Melbourne, Australia (2012); ARTWE – Space for Art, Istanbul, Turkey (2012); Kunstmuseum Moritzburg, Halle, Germany, and Kunstmuseum Bern, Switzerland (2011). KUB Arena Dexter Sinister, New York 18 | 04 – 05 | 07 | 2015 Dexter Sinister is a New York-based collaboration founded in 2006 by Stuart Bailey (UK) and David Reinfurt (USA) to model a just-in-time economy of print production, counter to the assembly-line one of large-scale publishing. Since then the name has variously referred to a publishing imprint, a workshop/bookstore on New York's Lower East Side, and work produced for and often within art institutions. Following Dot Dot Dot, a journal originally co-founded by Stuart Bailey, in 2010 the Duo initiated the Bulletins of The Serving Library as a new, biannual publication. They are published as online PDFs and as analog hard copies twice-yearly. Each of its issues can be considered as a cooperatively-build archive, that assembles itself by publishing and is host to a wide variety of artistic and critical voices across disciplines. The issues are often the product of specific events or exhibition-related circumstances. For KUB Arena Dexter Sinister will be developing a site-specific presentation providing insights into their ”publishing“ work at the intersection of design, editing, publishing and distribution. Biography Dexter Sinister, New York
Recently Dexter Sinister participated in exhibitions at Tate Liverpool (2014), the Cypriot-Lithuanian pavilion at the Venice Biennial (2013), MoMA (2012), and the Whitney Biennial (2008). KUB 2015.03 Joan Mitchell 18 | 07 – 25 | 10 | 2014 Together with the Museum Ludwig in Cologne and in cooperation with the Joan Mitchell Foundation New York, Kunsthaus Bregenz will be presenting a large-scale survey exhibition, in 2015, of the legendary artist Joan Mitchell (1925–1992). The show’s focus is on her painting – ranging from the early work of the 1950s to the late work of her last years. In terms of art history, her œuvre will be located within developments subsequent to Abstract Expressionism, that is the milieu of the New York School. Comprising nearly thirty pictures, including many large-format, multi-part works, the show at Kunsthaus Bregenz will be a presentation of one of 20th century art’s most significant protagonists. Whilst she experienced her first formative influences in her American homeland – born in Chicago in 1925 and living mostly in New York until her move to France in the 1950s – European art became increasingly important to her. Perhaps more than any other female artist, she succeeded in transcribing such natural phenomena as light, water, and plants into atmospherically charged paintings, whilst simultaneously maintaining a totally autonomous abstraction. In her deeply distinctive pictorial language, and sometimes very large-scale formats, the rational and emotional enter into a dialogue, both sensually seducing and intellectually stimulating viewers. Above all in her late multi-part works, pictorial spaces open up, whose accentuation of depth and color evade unequivocal apprehension whilst virtually drawing the viewer into the image. The exhibition unites works from museums such as the Museum of Modern Art in New York, the Centre Pompidou in Paris, as well as the Joan Mitchell Foundation with works from private collections which have, to date, rarely or never been publicly shown. In addition, a large part of the exhibition will be dedicated to the first public presentation of archival materials from the Joan Mitchell Foundation. With the aid of film and photographic records, correspondence, invitation cards, as well as posters and other ephemera, light will be shed on Joan Mitchell’s colorful personality and her multifaceted relationships to visual artists, writers, and other cultural figures. She maintained close contact with, for example, Elaine de Kooning, Franz Kline, and Jean-Paul Riopelle, as well as with Frank O’Hara and Samuel Beckett. Already in 1959, at the beginning of her career, Joan Mitchell was taking part in documenta II in Kassel, and her work is represented in the collections of the most important museums in the USA and France. Nevertheless she has not, until today, received as much attention in the international exhibition world as her only slightly older, male, fellow painters Jackson Pollock, Franz Kline, and Willem de Kooning, a fate she shared with other women painters of her generation. In the meantime however, not only the art market – one of her early works was recently sold as the most expensive work ever by a woman artist – but also and above all a young generation of artists have rediscovered Joan Mitchell and her art. This has not least been due to her emancipated behavior, but also to the unique positioning of her painting, located – just as her biography is – between the differing cultural worlds of the USA and Europe. On the occasion of the exhibition, Kunsthaus Bregenz will be publishing a catalogue with essays by Yves-Alain Bois, Yilmaz Dziewior, Isabelle Graw, statements by such contemporary artists as Jutta Koether, Ken Okiishi, and Amy Sillman as well as a comprehensive illustrated biography including archival documents, some of which are being published for the first time. Exhibition Schedule Kunsthaus Bregenz: July 18, 2015 – October 25, 2015 Museum Ludwig, Cologne: November 14, 2015 – February 22, 2016 Biography Joan Mitchell
Joan Mitchell was born in Chicago in 1925. After graduating from the School of the Art Institute of Chicago in 1947, she was awarded a James Nelson Raymond Foreign Traveling Fellowship, which took her to France for a year in 1948-49, and it was there that her paintings moved toward abstraction. Returning to New York, she participated in the famous 9th Street Show in 1951, and soon established a reputation as one of the leading younger American Abstract Expressionist painters. She exhibited regularly in New York throughout the next four decades and maintained close friendships with many New York School painters and poets. In 1955 she began dividing her time between New York and France, and in 1968 she settled in Vétheuil, a small town in the countryside outside of Paris, where she worked continuously until her death in 1992. During the almost 50 years of her life as a painter, Mitchell’s commitment to the tenets of gestural abstraction remained firm and uncompromising. Mitchell gave personal support to many young artists who came to stay with her at Vétheuil— sometimes for just one night; sometimes for an entire summer. Correspondence in her papers reveals that this generosity often had a life-changing impact on those that spent time with her. Her generosity in her own lifetime continued after her death with the formation of the Joan Mitchell Foundation, called for in her will in order to create support and recognition for individual artists. In addition, the Foundation mission includes the promotion and preservation of her legacy, which includes her remarkable body of work, her papers, including correspondence and photographs, and other archival materials related to her life and work. KUB Arena Summer Program Dates to be published in due course KUB Arena represents an unusual program, one that not infrequently addresses art institutions in a critical manner. It is the venue at Kunsthaus Bregenz where art engages in an ongoing dialogue with other areas of cultural production, delineating new spaces, and making contemporary art accessible in unconventional ways. As in previous years, KUB Arena will temporarily abandon the Kunsthaus for its summer program, to transform Karl Tizian Platz into a dynamic public space, not only offering entertainment but also the experimental, along with all the opportunities mutual exchanges can provide. KUB 2015.04 Heimo Zobernig 07 | 11 | 2015 – 10 | 01 | 2016
Heimo Zobernig’s work is striking in its extremely precise use of form and content. He frequently succeeds in addressing both the viewer’s intellect and senses, his media ranging from drawing and painting via installation and sculpture to video and spatial settings in their functional character. From the very beginning of his career, Heimo Zobernig was apt at questioning the essential premises of art both critically and passionately, by employing the exhibition, or even catalogues and books as media in themselves, for his analytical reflections. In this sense the individual building blocks of art sometimes become the actual work. He lays the mechanisms of the art system bare, addressing hierarchies, and exploring concepts not only tangibly but also in terms of their metaphorical significance. Even more impressive is the mode in which he succeeds in negotiating these issues, in apparently autonomous images on canvas and sculptures of an almost classical manner, as well as by means of specific architectonic interventions and installations. Like almost no other artist, Heimo Zobernig has not only substantially shaped the art scene within his native country, but is also one of the most renowned practitioners in international discourses on art and the exhibition world. As a professor at the Academy of Fine Arts Vienna, where he has been teaching for 14 years, Zobernig continues to influence younger generations of upcoming artists. His exhibition activities range from participating, on many occasions, in such large-scale events as the Venice Biennale (1988 & 2001), documenta in Kassel (1992 & 1997), and the Skulptur Projekte Münster (1997), to comprehensive solo exhibitions in such renowned institutions as Palacio de Velázquez/Museo Reina Sofía in Madrid (2012), Kunsthaus Graz (2013), Mudam Luxembourg, as well as the Kestnergesellschaft in Hannover (both 2014) – to name but a selection from just the last three years. In the summer of 2015 Zobernig will be representing Austria at the Venice Biennale. For Kunsthaus Bregenz he will be staging a large-scale exhibition specifically conceived for Peter Zumthor’s architecture, and will be working on the development of an open opera studio in cooperation with the Bregenzer Festspiele. Biography Heimo Zobernig Heimo Zobernig, born in 1958 in Mauthen, lives in Vienna. From 1977 to 1980 he studied at the Academy of Fine Arts Vienna and from 1980 until 1983 at the University of Applied Arts Vienna. In 1994 and 1995 he was a guest professor at the University of Fine Arts of Hamburg. In 1999 and 2000 he taught sculpture at the Staatliche Hochschule für Bildende Künste – Städelschule, Frankfurt. Since 2000 he has been Professor of Sculpture at the Academy of Fine Arts Vienna. KUB Arena Amy Sillmann 07 | 11 | 2015 – 10 | 01 | 2016 Amy Sillman has been approaching painting as an ambitious endeavor. In her works gesture, color, and drawing-based procedures are imbued with questions of feminism, performativity, and humor. Recently Sillman expanded her practice from the canvas to the screens of iPhones and tablets, to transform drawings into digital animations while delving into the current roles of abstraction, color, and the diagram. Following her large-scale survey show "one lump or two" at ICA – The Institute of Contemporary Art/Boston, and the College Annandale-on-Hudson/Bard, Sillman is currently teaching professor at the Städelschule/Frankfurt. Biography Amy Sillmann
KUB Collection Showcase Per Kirkeby Backstein: Skulptur und Architektur 27 | 02 – 27 | 09 | 2015 Per Kirkeby (*1938 in Copenhagen) is internationally the most important representative of contemporary Scandinavian art. In 1962 the aspiring geologist was accepted at the Experimental Art School in Copenhagen where he developed a pictorial language, revolving round metamorphosis in nature, a multifaceted approach in the most differing of artistic media. Kirkeby has always emphasized that he regards himself to be a painter. It is against this background that his three-dimensional work – bronze casts, in addition to his famous brick sculptures that he has been creating since the early 1980s – should be considered. Per Kirkeby’s comprehensive education in, and knowledge of, historical forms of building, as well as his numerous research trips both inside and outside Europe are echoed in his brick sculptures. The brick works, which had an architectural character from the very beginning, began developing from the end of the 1980s onwards away from sculpture towards architecture, providing solutions to fundamental questions around architecture, to the relationship of the creative with the functional, and the everyday with the disturbing. His departure from basic additive forms, simple grids and ornamentation, such as nine squares and the meander, results in complex and mysterious works which in addition to rational structures, also display »metaphysical shadows«. In 1997 a large Per Kirkeby solo exhibition took place at Kunsthaus Bregenz, and a comprehensive catalogue raisonné of the brick sculptures and architecture was published. During preparations for the exhibition and publication Per Kirkeby arranged for a gift of over 200 original large-scale drawings to the Kunsthaus, consequently today the archive of Kunsthaus Bregenz possesses the most important collection of Kirkeby’s architectonic output. The exhibition will display the large-format preparatory drawings in ink and red chalk for Per Kirkeby’s brick sculptures along with small-scale sketches, sketchbooks, and photographs. Furthermore over a hundred of Per Kirkeby’s books will be on show which Kunsthaus Bregenz also received as a gift. These are valuable, and today much sought after, small editions, revealing the artist as author, art theorist and educator. KUB Collection Showcase Seestraße 5 | 6900 Bregenz | Austria Entrance from the Kornmarktstraße side, next to the Nepomukkapelle church Telephone +43-5574-485 94-0 | Fax +43-5574-485 94-408 kub@kunsthaus-bregenz.at | www.kunsthaus-bregenz.at
Karl-Tizian-Platz | 6900 Bregenz | Austria Ticket Prices Adults 6 Euros | Concessions 5 Euros Free entry for children and adolescents Combined ticket KUB and KUB Collection Showcase 11 Euros | Combined ticket for concessions 9 Euros
Friday to Sunday 10 am – 6 pm Reception desk ext. -433
July 18 to August 31, daily 10 am to 8 pm, Thursdays 10 am to 9 pm KUB 2015
KUB Billboards Rosemarie Trockel Märzôschnee ûnd Wiebôrweh sand am Môargô niana më 12 | 01 – 06 | 04 | 2015 Berlinde De Bruyckere 06 | 04 – 05 | 07 | 2015 Joan Mitchell 06 | 07 – 25 | 10 | 2015 Heimo Zobernig 27 | 10 | 2015 – 10 | 01 | 2016 Since the opening of Kunsthaus Bregenz in 1997 there has been an ongoing program of inviting national and international artists to develop art projects especially for the seven KUB Billboards, each measuring 342 x 342 cm, located along Seestraße in Bregenz. Due to their unique location on the busy road leading from the station through the town center to the Kunsthaus, the Bregenz Billboards are one of the highest-profile and most intensely discussed artistic interventions in public space.
KUB 2015
Publications Kunsthaus Bregenz publishes catalogues and edited volumes focusing on particular issues, which are produced in close collaboration with the artists and renowned graphic designers. The design of the catalogues accompanying the exhibitions initiates a dialogue between the artist’s subject matter and imagery and the graphic designer, resulting in a catalogue that not only provides documentation but is also a part and a continuation of the exhibition and work. Comprehensive catalogues will be published for the exhibitions by the internationally renowned artists Rosemarie Trockel and Berlinde De Bruyckere as well as this year’s Austrian Biennale artist Heimo Zobernig, in which essays will offer highly current discussions of their works as well as generous documentation of the exhibitions at Kunsthaus Bregenz. The extensive catalogue for the large-scale summer exhibition by Joan Mitchell will present the American artist’s painting and drawing. Mitchell’s œuvre will be examined in numerous contributions, along with her roots in American and European art history. Furthermore, numerous documents, such as correspondence, invitations, notes, and photographs from the Joan Mitchell Foundation’s archives, some of which are going on public display for the first time, will shed new light on the life and work of Joan Mitchell, as well as the enormous influence she had on her contemporaries and their work. The catalogue will be published in collaboration with the Joan Mitchell Foundation, New York. Additionally KUB Arena’s series of publications, which to date comprises three volumes, will be complemented by a further two. All the publications are fundamentally conceived as bilingual, and for worldwide distribution as well as being on sale at KUB. KUB 2015
Editions Exclusive special editions for Kunsthaus Bregenz are a result of close collaboration with artists and their production processes. In 2014 editions were published to accompany exhibitions by Pascale Marthine Tayou, Maria Eichhorn, Richard Prince, and Jeff Wall. Developed within the context of their exhibitions and in cooperation with the artist, these appear as limited editions and are particularly attractive to collectors of contemporary art. In 2015 editions will be published to accompany the exhibitions by Rosemarie Trockel, Berlinde De Bruyckere, and Heimo Zobernig. KUB 2015
Friends and Partners A fundamental premise of KUB’s successful work is the long-term cultural-political security that the Federal State of Vorarlberg provides as its guarantor. The Vorarlberger Kulturhäuser Betriebsgesellschaft mbH as the central service provider plays a vital role in this. An important partner since the founding of the institution has been the Society of Friends of Kunsthaus Bregenz. The association supports KUB both in realizing its concepts and in particular in implementation its educational program.
Partners and Sponsors Kunsthaus Bregenz would like to thank all its partners for their generous financial support and their commitment to culture.
Venue | Organization Kunsthaus Bregenz
Yilmaz Dziewior | from May 2015 Thomas D. Trummer Commercial Director Werner Döring Curator Rudolf Sagmeister Curator KUB Arena Eva Birkenstock Marketing | Sponsoring Birgit Albers | ext. -413 b.albers@kunsthaus-bregenz.at
Martina Feurstein | ext. -410 m.feurstein@kunsthaus-bregenz.at
www.kunsthaus-bregenz.at Art Education Kirsten Helfrich | ext. -417 k.helfrich@kunsthaus-bregenz.at
Katrin Wiethege | ext. -411 k.wiethege@kunsthaus-bregenz.at
Caroline Schneider | ext. -444 c.schneider@kunsthaus-bregenz.at
Tuesday to Sunday 10 am – 6 pm | Thursday 10 am – 9 pm Summer Opening Times 2015 July 18 to August 31, daily 10 am to 8 pm, Thursdays 10 am to 9 pm Seite 1 | 31 Download 109.76 Kb. Share with your friends:
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