#Birgit Megerle

[thunderstruck9]

Birgit Megerle (German, b. 1975), Monica Vitti, 2017. Watercolour, India ink and silver leaf on paper, 41.5 x 36.5 cm.

Monica Vitti (1931-2022) was an Italian actress

[collectionarchive]

by Birgit Megerle

source: collectionarchive.tumblr.com

[marcogiovenale]

images for sounds == artist covers for music records [.en]

images for sounds == artist covers for music records [.en]

images for sounds == artist covers for music records PRIVATE VIEW Wednesday 23 February 2022 5–9pm VILLA LONTANA Via Cassia 53, Roma villalontana.it — Instagram Rita Ackermann, Josef Albers, Kai Althoff, Andreco, Tauba Auerbach, Irma Blank, Sylvano Bussotti, Francesco Clemente, David Kennedy Cutler, Nathalie Du Pasquier, Matteo Fato, Reverend Howard Finster, Urs Fischer, Luigi Ghirri, Piero…

[contemporaryartdaily]

Birgit Megerle at Emanuel Layr

[isabelleflores]

[moma-prints]

Untitled, Birgit Megerle, 2003, MoMA: Drawings and Prints

The Judith Rothschild Foundation Contemporary Drawings Collection Gift Size: 16 1/2 x 11 5/8" (41.9 x 29.5 cm) Medium: a: Pencil and colored pencil on paper; b: Pencil and colored pencil on paper

http://www.moma.org/collection/works/96698

[nevver]

The Endless Summer, Birgit Megerle

[thisisnthappiness]

The Endless Summer, Birgit Megerle

[asbfyi]

Including works by Arakawa and Madeline Gins, Lutz Bacher, Günter Brus, Sarah Charlesworth, COBRA, Moyra Davey, Manfred Deix, Gina Folly, Nathaniel Goldberg/Inge Grognard, Lyle Ashton Harris, Benjamin Hirte, Birgit Jürgenssen, Marc Kokopeli, Nicolas de Larmessin, Tobias Madison, Till Megerle, Johnny Moke for Adeline André, Moschino, Ebecho Muslimova, Kayode Ojo, Meret Oppenheim, Walter Pichler, Lucia Elena Průša, Diamond Stingily, Marija Tavčar, Rosemarie Trockel, Heimo Zobernig

life and limbs is the fourth exhibition in Swiss Institute’s Architecture and Design Series, curated by Austrian artist Anna-Sophie Berger. Considering corporeality as a primary concern for design, Berger here assembles a group of works that register the body as a habitat that can be imaginatively stretched, altered, modified, adorned, replicated or destroyed. Including works from a variety of disciplines, movements and periods, Berger takes as a starting point two designs for necklaces by the Swiss surrealist Meret Oppenheim: one resembling a baby’s legs wrapped around a neck, and the other featuring a pendant with a grinning toothy mouth smoking a cigarette, designed to hang at the softest part of the throat. Combining morbid humor with glee, vulnerability with threat, life with limbs, the drawings represent prevailing concerns within Berger’s art practice and the constellation of works in this exhibition.

Berger originally trained in fashion and has explored issues of protection and care – as they might refer to clothing, housing, public space and law – in her work as an artist. The exhibition’s emphasis on risk, alluded to in its title, relates to the idea that the human body, as Jean Paul Sartre described it, symbolizes “our defenseless state as objects,” and that getting dressed means to camouflage this fact: “to claim the right of seeing without being seen; that is, to be pure subject.”[1]

Simultaneously, Berger often invokes transgressive figures such as fools, jesters, and artists who test social boundaries or are given license through states of exception such as carnivals, costumes and theater, and the design tradition of the grotesque. Such themes are synthesized in the seventeenth century engravings of Nicolas de Larmessin named Costumes of the Trades, in which the professions become wearable garments. An architect’s apparel is constructed from pillars and bricks, while a confectioner’s dress is made from decorative boxes of almonds and chocolates, so that the bodies become hybridized into buildings or foodstuffs.

Like these figures, each work in the exhibition troubles the limits of what a body can consume, process, reach and become, from the metamorphosis that comes from wearing a garment to complete transfigurations into surreal, new beings.

[cuadernodereferencias]

Including works by Arakawa and Madeline Gins, Lutz Bacher, Günter Brus, Sarah Charlesworth, COBRA, Moyra Davey, Manfred Deix, Gina Folly, Nathaniel Goldberg/Inge Grognard, Lyle Ashton Harris, Benjamin Hirte, Birgit Jürgenssen, Marc Kokopeli, Nicolas de Larmessin, Tobias Madison, Till Megerle, Johnny Moke for Adeline André, Moschino, Ebecho Muslimova, Kayode Ojo, Meret Oppenheim, Walter Pichler, Lucia Elena Průša, Diamond Stingily, Marija Tavčar, Rosemarie Trockel, Heimo Zobernig

life and limbs is the fourth exhibition in Swiss Institute’s Architecture and Design Series, curated by Austrian artist Anna-Sophie Berger.

https://www.swissinstitute.net/exhibition/swiss-institute-annual-architecture-and-design-series-fourth-edition-life-and-limbs-curated-by-anna-sophie-berger/

[thunderstruck9]

Birgit Megerle (German, b. 1975), Untitled, 2006. Oil on canvas, 150 x 105 cm.

[paolatelesca]

Paola Telesca Heute Raumbesichtigung Kunst "nacht & tag" in den Gerichtshöfen Sa. 10.09.2022 - 16:00-24:00 Uhr So. 11.09.2022 - 13:00-18:00 Uhr Veranstaltung organisiert von Birgit Bayer/Eva Sörensen/Andrea Wallgren (Kunst in den Gerichtshöfen e.V.) Führungen: Dr. Karin Rase (CundKGalerie) Dr. Sabine Ziegenrücker (Kunsthistorikerin) Kunst in den Gerichtshöfen Zugang über Gerichtstraße 12-13 und Wiesenstraße 62 13347 Berlin-Wedding Gäste-etage: Heather Halliday Johanna von Oldershausen Sylvia Seelmann Paola Telesca Nadia Valeska Devonish Nikolas Kraneis Sandra Hilleckes Natascha Paulick Riccarda Raabe Sabine Zentek Bettina Paschke Edvardas Racevicius Petra Steeger Ateliers: Helene Appel Silke Bartsch Christine Bayer Leda Bourgogne Mariechen Danz Kerstin Ergenzinger Sibylle Gädeke Annette Goessel Helmut Gutbrod Anette Haas Michael Hakimi Amélie von Heydebreck Patrick Huber Alanna Lawley Peter Kortmann Birgit Megerle Anton Milagros Simon Olley Valerie Otte Ilke Penzlien Tim Plamper Jakob Roepke Wolfgang Rohloff Matthias Rühl Wolfgang Rüppel Susanne Schirdewahn Helga Schmelzle Kate Schneider SENNF (Sennert) Christine Sinner Wolfgang Spahn Eva Sörensen Andrea Wallgren Ulrich Werner Anna Zett Gäste in den Ateliers: Anke Aust Matt Davis Helmut Draxler Tobias Ecke Sam Grigorian Bnaya Halperin Kaddari Barbara Hindahl Jakob Knapp Regine Kuschke Matthias Maus Megan Francis Sullivan www.gerichtshoefe.de mit freundlicher Unterstützung der GESOBAU #gerichtshoefe #paolatelesca #gästeetageindengerichtshöfe #nachtundtagindengerichtshöfen (hier: Weddinger Gerichtshöfe) https://www.instagram.com/p/CiIoQv1s2Zd/?igshid=NGJjMDIxMWI=

[marcogiovenale]

intervento di giuseppe garrera per la mostra "images for sounds: artist covers for music records"

intervento di giuseppe garrera per la mostra “images for sounds: artist covers for music records”

Intervento di Giuseppe Garrera sulle copertine di dischi di Bruno Munari e Luigi Ghirri. La mostra IMAGES FOR SOUNDS: Artist Covers for Music Records è a cura di Vittoria Bonifati. Regia e montaggio del video di Michele Ferrari. http://www.villalontana.it/ * A Villa Lontana, sulla via Cassia (Roma), IMAGES FOR SOUNDS ha esposto in mostra oltre 150 dischi con copertine d’artista selezionati in…

[contemporaryartdaily]

"Revelations" at Emanuel Layr

[nofomoartworld]

Art F City: Material Light on Substance, Heavy With Dick Pics

Jesse Harris at Toronto’s Cooper Cole.

MEXICO CITY- Is a bigger fair necessarily a better fair?

Having doubled in floorspace since last year, Material Art Fair feels like a totally different beast. The fair has moved to two lower floors of Expo Reforma, with larger booths arranged around “courtyards” for conversation and concessions. There are plenty of new exhibitors, and much of the work looks far more market-friendly than the wares last year.

Opinions remain divided over whether or not these changes are a good thing. Several people praised the new layout and expansion. Last year’s fair felt chaotic—construction workers were still putting the finishing touches on the build-out as the doors opened—with a labyrinthine booth layout squeezed between a bar/performance area and panoramic windows looking out over the city. It was cramped but intimate, with a relaxed, party-like atmosphere. Importantly, I found this complimentary to (rather than distracting from) the artwork itself. One of the things that impressed Paddy and I so much was the sense that artists and galleries were here to network and the culture of display felt peer-oriented.

Nathalie Du Pasquier at the joint Sala Seis by MARSO & Apalazzo Gallery booth.

This year, though, the atmosphere was tense. During the VIP preview, it didn’t seem like much was happening in the way of sales or conversation. Exactly two gallerists seemed eager to talk about the work they were showing. Not looking like a collector (apparently), even simple inquiries about artists’ names were often met with exasperation. Several exhibitors were so unenthused about their booths they seemed downright embarrassed. And honestly, I can understand why—a majority of the work here is kinda boring. Most people I spoke with conceded that they found this year underwhelming after how much everyone enjoyed the last iteration. My friend described many booths—characterized by decor-friendly small paintings and ceramics—as akin to an interior decorator’s trade show. We joked that so many booths with faux-naïve paintings of flowers or “kooky” pottery looked like set dressing for a late-90s sitcom episode wherein the comic relief gets her “big break” with a show at a local coffee shop.

Maybe that assessment is unfair—looking back through my photos, there were plenty of good booths, but the majority of pieces don’t lend themselves to much discussion. The fact that they’re dispersed amongst so many unengaging booths doesn’t help—maybe last year’s smaller, more crowded presentation distilled the art-viewing experience? It doesn’t help that some of our favorite galleries from last year didn’t return. But no one seems quite sure of why the mood and quality is so uneven. One gallerist I spoke with (who asked to remain anonymous) praised the fair’s new layout and centering of project spaces, even as they conceded that the show leaves a lot to be desired:

“I think some of the booths fell flat—I’m not sure why exactly but I think it’s a combination of the distance some galleries traveled, getting work across the border/customs (which is notoriously difficult and problematic) or if it was just a weird year”

And a weird year it is. Perhaps the near-total lack of acknowledgment of current events weighed awkwardly over the fair (some friends have said they spotted Ivanka-Trump-inspired art, but I must’ve missed it). It seems so strange to have an art event (which we once praised for being more discursive than commercial) almost completely avoid political topics, particularly one where pieces are sold in US Dollars as the local currency plummets, with a majority of exhibitors from two countries threatened by a militarized border wall between them. Contrast this with Zona MACO, where discussion of Trump and socio-economic crises where never more than a few meters from polite abstraction.

Birgit Megerle at Vienna’s Galerie Emanuel Layr

At Material, I felt almost guilty for the escapism of pieces I liked—which, predictably, mainly comprised some combination of wigs, dicks, plants, and neon. Don’t get me wrong, I’m a big fan of genitalia and houseplants (really, though, aren’t we all?) but it bothers me that these age-old, lowest-common-denominator motifs are the highlights of a fair with an artist-centric reputation at such a politically fraught time and place. Gleefully snapping pictures of crude dick-and-foliage paintings, I had the sudden impression of an ancient Roman libertine—drunkenly admiring a bathhouse orgy fresco while the Republic burned outside.

Joani Tremblay, “Storming the Gates of Paradise: Landscapes for Politics,” 2017 at Projet Pangée. Of all the plants-and-ceramics booths, Projet Pangée stood out as the best curated group show (and nicest!)

That being said, two booths stand out for their engagement with politics: Tijuana’s Periférica and Miami’s perpetually-on-point Michael Jon & Alan. Though technically, neither the curators nor the artist behind Siebren Versteeg “Fake News” at the latter had control over its political content. The piece is an algorithm which grabs images from trending topics online and assembles them into surprisingly nice “paintings” in real time. These are displayed in stock-photo-looking white rooms that evoke pristine domestic spaces, displayed on a monitor that refreshes every few minutes. It felt like a ghost in the machine was reminding us of the awful world outside Expo Reforma, despite everyone’s collective best-effort to ignore it.

Siebren Versteeg “Fake News” at Michael Jon & Alan.

Periférica is showing prints by Omar Pimienta, who works with passports and notions of nationality. Here he’s reproduced his childhood passport as an editioned screen print, stamped with the name of the fair as if it’s a visa for exhibiting the work. The artist also invites people to trade in their old passports for new “Free Citizenship” ones he fabricates, so anyone can call his invented nation-state home. The gallerist showed me a photo of his collection of passports, which is in itself an inspiring image: I like the thought that so many people would trade a symbol of their national identity for a piece of artwork.

Omar Pimienta at Periférica

Also at Periférica, Juan Villavicencio. There’s something so satisfying about how snuggly these wigs fit these ceramics.

Wickerham & Lomax, “The Ginevra” and “The Deana” at Springsteen.

I loved these Wickerham & Lomax purse-shaped prints before I even realized they’re named after two of my favorite people in Baltimore: The Contemporary’s Artistic Director Ginevra Shay and outgoing Director Deana Haggag. The whole booth is great, including abstract pieces by Sofia Leiby.

Chelsea Culprit at Mexico City’s Yautepec.

Another random/personal highlight: I was immediately drawn to this mobile of a dancer in platform shoes. Then it struck me: I once stayed in a friend-of-a-friend’s apartment here in Mexico City and snapped a photo of a massive painting that looked similar because I loved it so much. The artist happened to be in the booth and overheard me telling this story, and told me that piece was actually a “sketch” to plan this! What a small, great world.

Mario García Torres at josé garcía.

The excellent Mexico City gallery josé garcía also has this wig on display, from Mario García Torres. It’s flattened and framed, and convincingly looks like a delicate painting from a distance. I also recognized this José León Cerrillo from a show Paddy and I loved at josé garcía’s brick-and-mortar location last year:

José León Cerrillo

A model being covered in band-aids, for Ryohta Shimamoto’s “Adhesive Plaster Man,” also at eitoeiko.

Chez Mohamed’s booth, featuring Ren Hang (photo), Thomas Mailaender (ceramics), and Luka Arbay (neon).

This Parisian gallery is named Chez Mohamed, but what they’re serving is anything but halal. I respect the fact that they’ve fully committed to obscenity with such gusto, including a Ren Hang photo, titled “Little Buddha,” which features a naked man ashing into an ashtray that he’s using to cover his anus while reclining at another person’s feet in an unhuman-looking pose. Also, a giant neon dick from Luka Arbay. This is what I imagine the anti-NEA Republicans think all big-city, taxpayer-funded art museums look like.

Celia Hempton at Sultana.

Sultana presented a solo show of paintings by Celia Hempton, each one of a blurry man’s crotch, with titles such as “Romania 25th of May, 2016” and “South Africa 5th November, 2015.” The names and distorted quality of the images evokes homemade webcam porn, buffering as it traverses international boundaries. These are really nice paintings, each with their own mark-making vocabulary that suggests haste but thoughtful color palette.

Ryan Patrick Quast at Wil Aballe Art Projects, of Vancouver. This cigarette is made entirely out of paint (no surface). So it’s technically a “painting”.

Nando Alvarez-Perez at Oakland’s City Limits.

Pablo Ravina at Lima’s Ginsberg Galería.

Kevin Rhinehart at L.A.’s Grice Bench.

I’m ending on this Kevin Rhinehart painting because A) it’s one of my favorite pieces from the fair. Rhinehart is an architect who paints things that are a little fucked up, like these ruffled Venetian blinds. It’s so quiet but so lovely up close—down to the care with which he physically embroidered the thread running down the canvas. And B) because it’s a bit of a caveat: I almost totally missed this until a friend pointed it out to me.

I’d like to head back to Material, because I’m sure there are more small highlights I’ve overlooked due to fair fatigue and how generally stressed the vibe felt opening day (several acquaintances remarked that many people were concerned about lack of collectors, a noticeable difference from last year). Maybe those of us complaining about the fair are just disappointed that last year’s magic is impossible to reproduce. At any rate, there’s good art in there—it’s just in a bigger playing field now.

from Art F City http://ift.tt/2keFpWW via IFTTT

[moma-prints]

Untitled, Birgit Megerle, 2003, MoMA: Drawings and Prints

The Judith Rothschild Foundation Contemporary Drawings Collection Gift Size: 12 x 15 1/4" (30.5 x 38.7 cm) Medium: Colored pencil and pencil on paper

http://www.moma.org/collection/works/96700