Wednesday, 28 September 2016
Opening on Sunday 2 October 2016
10.00 – 19.00 hours
Thomas A Clark
Anne Vibeke Mou
herman de vries
curated by Peter Foolen
Christina Lackner & Norbert Fleischmann
open from 2 October 2016 until 2017 (to be announced)
every first Sunday of the month 10.00 – 19.00 hours
and by appointment
tel +43 (0) 2734 21229 / +43 (0) 664 3685367
photograph Diane Howse – Acorn, 2007, cast bronze, actual size
John Cage: Lecture on the weather
16 September – 17 December 2017
Frith Street Gallery
60 Frith Street
London W1D 3JJ
This exhibition is curated by the artist Jeremy Millar, who conceived the exhibition Every Day is a Good Day – The Visual Art of John Cage for Hayward Touring (2010-11).
‘I dedicate this work to the U.S.A., that it become just another part of the world, no more, no less.’
— John Cage, Prelude, Lecture on the Weather (1975)
In the lead-up to America’s presidential election, Frith Street Gallery and the John Cage Trust join to present a unique iteration of a still prescient work by the seminal American composer, artist, and writer, John Cage. Lecture on the Weather (1975) was originally conceived as a work for either radio or the stage, as a commission from the Canadian Broadcasting Corporation to mark the Bicentennial of the USA. It will be presented at Frith Street Gallery in a new installation based on materials captured at an important 2007 performance at Bard College in upstate New York, featuring an extraordinary cast, including Merce Cunningham, Jasper Johns, Leon Botstein, John Ralston Saul, and others. Theirs was a tour de force realization of a masterpiece, now presented for the first time in Europe.
John Cage was devoted to Henry David Thoreau, and, like Ralph Waldo Emerson, believed there to be ‘no truer American’. For Lecture on the Weather, Cage drew excerpts from Thoreau’s classic texts, which he then cast into a score using I Ching-derived chance operations; additionally, each score was intermittently graced with chance-determined fragments of Thoreau’s nature drawings, which were to be interpreted as music, in the manner of graphic notation. At the start, Cage delivers a softly polemic prelude, and when the readings and musical realizations commence, so also begins a slowly escalating weather soundscape created by Maryanne Amacher. The work culminates with a film by Luis Frangella: Thoreau’s elemental nature drawings, now stark white on black, simulating flashes of lightning on a dark and stormy night. All of the elements — speech, music, film, lighting, and weather — combine to create a stunningly sensorial experience.
Complementing the installation will be a number of Cage’s early prints that also take inspiration from Thoreau. These include works from the series 17 Drawings by Thoreau (1978), Score Without Parts (40 Drawings by Thoreau) (1978), Signals (1978), Changes & Disappearances (1979-82), and Dereau (1982).
press release Frith Street Gallery
images © 2016, Frith Street Gallery
At Frith Street Gallery Golden Square there will be the exhibition Tacita Dean: La Exuberance from 16 September – 4 November 2016
herman de vries
hop cones in a cardboard box, edition of 19 signed and numbered copies
edition published on the occasion of the exhibition
herman de vries – no beginning, no end
10 September – 16 October 2016
Galerie der Stadt Tuttlingen
edition available at email@example.com
Gesammelte Schriften – Texte, Gespräche, Vorträge, Briefe
10 volumes in cassette
redaction Eva Schmidt
each volume 24 x 17 cm, total circa 3000 pages
published by Museum für Gegenwartskunst, Siegen
in collaboration with Le Consortium, Dijon and Verein der Freunde von Rémy Zaugg
Snoeck Verlagsgesellschaft mbH
published on the occasion of the exhibition Rémy Zaugg. Die Frage der Wahrnehmung
1 November 2015 – 6 March 2016
Museum für Gegenwartskunst Siegen
Unteres Schloss 1
French edition published by les presses du réel, Dijon, 2016
on the occasion of this exhibition the catalogue Rémy Zaugg. The Question of Perception was also published by Museum für Gegenwartskunst Siegen
Anne Vibeke Mou – A Window for Shandy Hall
Publication, with an essay by Patrick Wildgust, curator of The Laurence Sterne Trust at Shandy Hall.
Published on occasion of the commission for Diamond Windows, engravings on the windows of Shandy Hall, Laurence Sterne Trust, Coxwold, York, UK, 2016
softcover, 12 pages, 24 x 17 cm
The Laurence Sterne Trust
York YO61 4AD
photographs © 2016, Anne Vibeke Mou, Laurence Sterne Trust
herman de vries – harvest
an edition with a javanese rice sickle (arit) from Bogor, Indonesia
published by Roel Arkesteijn in 2015/2016
edition of 13 + V copies
in plywood box with silkscreened lid
sickle wrapped in Indonesian news paper
sickle and colophon sheet signed and numbered
typography Peter Foolen
silkscreen Margriet Thissen, Van Eyck, Maastricht
price on request
the book Becoming Invisible and the new print The changing of bodies into light... of Ian Whittlesea are included in the exhibition:
21 July – 30 September 2016
Tuesday, 27 September 2016
Nono Reinhold – Etsen / Etchings
revised publication of Nono Reinhold – Etsen / Etchings, published by October Foundation in 2000 on the occasion of the exhibition Nono Reinhold – Rue Hautefeuille at the Van Abbemuseum.
soft cover, 32 pages, 21 x 15 cm
published by Peter Foolen Editions
texts: Ernst van Alphen, Jean-Clarence Lambert, Bert Schierbeek, Pierre Courtin
translations: Beth O'Brien, Laurens Vancrevel, Charles McGeehan, Delphine de Pury
design: Wim Crouwel
pre-press and editing: Peter Foolen
photography: Peter Cox
lithography & printing: robstolk® Amsterdam
edition 300 copies
price € 12,50
Callum Innes – I'll Close My Eyes
15 October 2016 – 26 February 2017
De Pont Museum
5041 EA Tilburg
Thomas A Clark & Diane Howse – a slow air
publication, softcover, 64 pages, 200 x 150 mm
printed in 5 colours on Lessebo Smooth 1.2 White 240 & 150 gsm
production overseen by Peter Foolen
lithography and printing by robstolk® Amsterdam
binding by Patist, Den Dolder
edition of 750
published by Harewood House on the occasion of the exhibition Thomas A Clark - the grove of delight at Harewood House (29 July – 30 October 2016)
The publication is available for £10 during the exhibition in the Entrance Hall of Harewood House
more info: http://harewood.org/whats-on/event/the-grove-of-delight/
Wordsworth and Basho; Walking Poets; Encounters with Nature
17 September – 3 November 2016
5-20, 2-chome Miyanomae
Original manuscrips of Matsuo Basho as well as of William and Dorothy Wordsworth are shown together with work by twelve British and Japanese artists, a.o. Hiro Sato, Ayako Tani, Tohkei Naomi Yanai, Christine Flint-Sato & Manny Ling and Alec Finlay
curated by Dr. Mike Collier and Ms. Imai, co-ordinaton of this exhibition by WALK.
for more info:
Alec Finlay, Word-Mntn – HAGURO–YAMA
Four Postal Objects, sent from US (wooden flute) and UK (hammer shank and two rulers), delivered on 22 September (wooden flute and hammer shank) and 23 September (two rulers).
Wood, plastic, stamps, postal labels and acrylic paint.
1 October – 17 December 2016
Judd Foundation New York
101 Spring Street
New York, NY 10012
For the temporary installation at 101 Spring Street, Long has used a terracotta slip to make works on the two east walls that extend the length of the building, measuring nearly 60 feet. Though Judd historically used the ground floor of 101 Spring Street for the exhibition of his work and others, Long’s work has never before been exhibited in the space.
Judd wrote on Long throughout the 1970s and into the late 1980s, with regard to the location, process, and exhibition of an artist’s work; and the lack of such support in New York. For Judd, “Competent art made in a place should be shown in that place.” Further, in an essay regarding the current state of the European art world, Judd definitively stated, “… Richard Long is the best artist in Europe.” Select essays will be included in the forthcoming publication Donald Judd Writings, to be released in November 2016.
Curated by Flavin Judd, the installation is part of an ongoing series that aims to highlight and contextualize the interrelated aspects of Judd’s work and that of his contemporaries. Judd Furniture, writings from the Donald Judd Archives, and selections from the Donald Judd Library in Marfa, Texas will accompany the installation, open to the public on Thursdays, Fridays, and Saturdays from 1:00pm to 5:30pm through December 17, 2016.
Public programming will be included throughout the duration of the exhibition, and announced at a later date.
This installation by Richard Long is made possible with support from Sperone Westwater.
image © 2016, Richard Long, Judd Foundation
Ian Hamilton Finlay – Early Works (1963-1970)
11 October - 26 November 2016
6 Calton Terrace
Edinburg EH7 5DD
It is exactly fifty years since Ian Hamilton Finlay moved to Stonypath, the little farm deep in the Pentland Hills which became Little Sparta, one of the finest artist-gardens of all time and one of Scotland’s greatest 20th century artworks. Finlay arrived at Stonypath in the early days of October 1966 with his wife Sue and their six month old son Alec. A daughter Ailie was born soon after and in the years that followed Ian and Sue transformed their bleak surroundings into a poet's garden in the classical style. He the poet-artist, and she the gardener, tending the poems, as Sue put it, in the ever-changing landscape.The years immediately before and after this move to Stonypath represent one of the richest seams of Finlay’s career - a flourishing in which the concrete poetry that had begun to make his name found an even more concrete form as sculptures and poem-objects in the garden. In recognition of this anniversary, and also marking ten years since Ian Hamilton Finlay’s death, we are pleased to present a small exhibition centred around the year 1966, and extending a few years either side to include some of Finlay's seminal early works.
press release Ingleby Gallery
photograph © The Estate of Ian Hamilton Finlay
Ian Hamilton Finlay beside the new pond at Little Sparta, 1968
Esther Kokmeijer – Dagboek van een poolreiziger / Diary of a Polar Traveller
10 September – 13 November 2016
The exhibition is a reflection about the migration of the Arctic Tern, who annually migrate ± 70.000 - 90.000 km from the Arctic to the Antarctic and back. Science makes it possible to monitor the Arctic Tern in his flight and shows us a different perspective of our world.
The work of Esther Kokmeijer in this exhibition comes from her travels in the Arctic and Antarctic regions and her research of this Arctic Tern.