Paul Valentin: „Nichts“ in Berlin

28 Oct – 03 Nov 2019
12 pm – 6 pm
Institut für Alles Mögliche, Ausstellungsraum Teufelsberg, Berlin (Grunewald)

Nichts (nɪçt͡s, german: nothing, emptiness) is an animated film about the history of „nothing“.

The fragmentary scenes of the fable-like narrative are presented in the form a philosophical report, which quotes different sources on the theme of the nothing.
In Nichts the anthropomorphic female hare Judy, explores this old idea of nothingness with the help of a message that she finds on a dictaphone thats shaped like a carrot. Her well-known character is from the Oscar-winning animated film „Zootopia“ from 2016. The story unfolds the the path of scientists and thinkers who have dealt with the question of what the nothing realy is and how to track it down – and also presents its very own perspective and answer.

The so-called transitory idea of „the nothing“ and how it‘s been discussed in philosophy and its exploration in phisics show us that we can attain truths about phenomena and ideas of which some would claime that it were futile to even speak about them.

2K Video / 25 Min / Dolby 5.1 / 2:1

Grimanesa Amoros – CETHA in Civita di Bagnoregio

CETHA, a light sculpture installation ©︎ 2019 Grimanesa Amorós


Civita di Bagnoregio
Palazzo Colesanti, Viterbo, Italy

The sun is an important star and has been for centuries. During my stay in Civita di Bagnoregio, I woke up early one morning and decided to explore my new surroundings. During my stroll, I was dazzled at the strength of the sun beaming on the square. It got me thinking about the town of Civita, it’s history, and it’s relation to the sun. I began researching about The Etruscan’s, who were an ancient people that founded the city, and the remnants of their civilization still linger. The name of this piece is CETHA, which was inspired by the town and its past, translating to sun in Etruscan. CETHA has red lighting with pink hues in its sequence, which represents the sunrise that burns red in the morning and streams its light throughout the town.

Grimanesa Amorós is a New York-based American interdisciplinary artist with diverse interests in the fields of social history, scientific research and critical theory. Through her art she conveys an ephemeral wonder, entrancing viewers from all different backgrounds and communities to become agents of empowerment. She makes use of sculpture, video and lighting to create works that illuminate our notions of personal identity and community. She was a guest speaker at TEDGlobal 2014, earned an NEA Visual Artist Fellowship and an NEA Artist Travel Grant, and participated in the Art In Embassies Program. Her work has been exhibited in the US, Europe, Asia and Latin America.

Grimanesa Amorós is presented in Germany by epodium Gallery.

Paul Valentin: NICHTS ♦ 2019

Nichts ist eine Animations-Kurzfilm-Fabel über das Nichts.

Die fragmentarischen Szenen verbinden sich zu einem reportagenhaften Narrativ und lassen fiktive und echte Quellen zum Thema Nichts zu Wort kommen. In der Erzählung erkundet die Häsin Judy, deren Charakter dem oscarprämierten Animationsfilm „Zootopia“ (2016) entspringt, die Untiefen dieser alten Idee mit Hilfe einer Botschaft auf einem Recorder der ausseht wie eine Karotte. Der Film entfaltet die Geschichte über den Weg der WissenschaftlerInnen und DenkerInnen und legt zugleich auch eine eigene Perspektive vor. Die Faszination an dieser alten Idee „des Nichts“ ist, wie dessen Erforschung uns zeigen kann, dass wir Wahrheiten über Phänomene und Ideen erlangen können, von denen Manche sagen würden, dass es vergeblich ist auch nur darüber zu sprechen.

Von der Animation, dem virtuellen Set- und Lichtdesign, bis hin zum Charakter Rigging entstanden die geheimnisvollen Inseln in der Leere mit großer Liebe zum Detail.

Nichts (nɪçt͡s, german: nothing, emptiness) is an animated film about the history of „nothing“.

The fragmentary scenes of the fable-like narrative are presented in the form a philosophical report, which quotes different sources on the theme of the nothing.
In Nichts the anthropomorphic female hare Judy, explores this old idea of nothingness with the help of a message that she finds on a dictaphone thats shaped like a carrot. Her well-known character is from the Oscar-winning animated film „Zootopia“ from 2016. The story unfolds the the path of scientists and thinkers who have dealt with the question of what the nothing realy is and how to track it down – and also presents its very own perspective and answer.

The so-called transitory idea of „the nothing“ and how it‘s been discussed in philosophy and its exploration in phisics show us that we can attain truths about phenomena and ideas of which some would claime that it were futile to even speak about them.

2K Video / 25 Min / Dolby 5.1 / 2:1

Images © Paul Valentin

Georg Gaigl: metamorph.diary


Erinnerung gleicht einem Schock.                  Memory is like a shock.

Die Erinnerung an einen bestimmten Tag speist sich oft durch ein besonderes Ereignis, das verbunden ist mit Bildern aus Zeitungen, Nachrichtensendungen oder Online-News. Die angestoßene Erinnerung befreit Assoziationen und setzt sie zum individuellen Leben in Beziehung.Jedoch bleibt der Rückblick nicht wie eine Momentum stehen, sondern vollzieht sich als einzigartiger Prozess im Einfluss von emotionalen Erfahrungen und prägenden Erlebnissen. Die Erinnerung befindet sich stets im Fluss. Das Bild davon ist gleichsam eine oszillierend schillernde Oberfläche, die sich fortwährend ändert, unscharf wird und im nächsten Moment sich wieder aufklärt und Augenblicke der Wahrheit preis gibt.

Täglich erfolgt zu einem Newsclip eine bildliche Transformation.

Eine filmischen Information, zum Beispiel ein Newsclip, wird zu einem statischen Bild transformiert.

Durch digitale Bearbeitung und Manipulation entsteht eine Umdeutung und Verschleierung der Filmquelle. Diese kann aber über den zu jedem Bild beigefügten verlinkten QR-Code eingesehen werden.Dadurch kann beim Betrachten des Bildes ein gewonnenes ästhetisches Empfinden beträchtlich gestört und verwirrt werden, sobald der Inhalt des Videos bekannt wird.

Ebenso ermöglicht es auch einen positiven Schock, der eine besondere, vielleicht persönliche Beziehung zu dem Bild entstehen lässt.

The Uncanny Valley by Paul Valentin

Video HD / CGI Animation / Stereo / 12 min
Brooklyn Exchange Rates Biennial, New York City / October 2016

Video/ Images © Paul Valentin

Add FX – Exhibition View

Installation / Blacklight, Thermoplastic PVC / Animated Photoseries “Unsupported Files”, VHS, Sound Installation and Paintings
Sluice Gallery, London / 23. October 2017
Video/ Images © Paul Valentin Kalas Liebfried



June 04, 2019 at 10:00am

New York City’s Office of Strategic Partnerships has established a new fund to support opportunities for young New Yorkers to connect with local arts productions and civic projects. The Civics and Arts Fund will work with cultural organizations and community groups across the five boroughs to promote civic learning, engagement, and discourse. “New York City is home to some of the world’s best art and theater, and yet it’s not accessible to all,” said Mayor Bill de Blasio. “With this initiative the city is taking steps to change that.”

The fund’s first partnership will be with Tony-nominated Broadway play What the Constitution Means to Me. Written by Heidi Schreck, who also stars in the production as herself, and directed by Oliver Butler, the play reflects on Schreck’s journey from the fifteen-year-old girl who gave speeches about the US constitution to put herself through college to adulthood and a new state of awareness about the document, which she notes does not guarantee women’s rights—it actually doesn’t even mention the word woman. The ninety-minute performance is currently being staged at the Hayes Theater on West Forty-Fourth Street through August 24.

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The Whitney Biennial aims to keep the focus on artists but cannot escape politics

13th May 2019 11:29 BST

via The Art Newspaper

The Whitney Museum has turned to two in-house curators to put together a show that celebrates diversity in American art—but as in 2017, the biennial is already mired in controversy

The Whitney Biennial in New York often proves a pressure cooker for US social politics, especially since the curator Elizabeth Sussman’s landmark 1993 edition directly tackled the Reagan-era Culture Wars with provocative works by women and LGBTQ artists. The last edition in 2017 was marked by protests prompted by the white artist Dana Schutz’s depiction of Emmett Till, a black teenager who was lynched in 1955. The episode remains a hot-button issue for the biennial’s organisers two years later.

Jane Panetta and Rujeko Hockley, the curators behind the 2019 edition, are perhaps unusually positioned to navigate these tricky political waters. In a departure from previous editions, where guest curators have been brought in, this year’s organisers are on staff and know first-hand the controversies that the biennial can inspire.

“We’ve tried to use the challenges and conversations that came out of the last [edition] as a productive lens for our work,” Panetta says. To that end, there is a great deal of work in the show that grapples with socio-political concerns around race and gender, financial inequality, gentrification and the vulnerability of the body.

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Grimanesa Amoros – XII Bienal De La Habana / Detrás del Muro

The Construction of the impossible / Escenario Liquido

The 13th Havana Biennial, the largest visual arts event in Cuba, will be held from April 12 to May 12, 2019, with the commitment that the capital city of the island become a “cultural corridor” in which the creators and the public interact, announced their organizers today. Under the general theme “Construction of the Possible” the next edition of the Havana Biennial was presented as a space for those types of contemporary art that understand creation as “living event or experience in progress”.

“Detrás del Muro” is a socio-cultural project that emerged in 2012 as a special project. It is recognized for the high socio-cultural impact that its artistic intervention on the Havana Malecon has had during the 11th (2012) and 12th (2015) editions of the Biennial of Havana.

„We defend art as an opportunity to transform the way in which human beings interact in public space. That is why we have been invited by the Office of the Historian to join the celebrations for the 500th Anniversary of our beautiful capital.“
-Juan Degado Calzadilla

Mittendrin im Geschehen statt unbeteiligt außen vor

Fürther Nachrichten/Zeitung, 11. März 2019

Louisa Marie Summer zeigt aus dem Leben gegriffene Fotoarbeiten in der kunst galerie fürth – Starke Stimmungen im Fokus

Es kommt auf den Moment an. Die Fotokünstlerin Louisa Marie Summer zeigt in der kunst galerie fürth „A Series of Life“. Ihre Arbeiten geben dem Augenblick Dauer und erzählen unendlich viele Geschichten.

Wenn deine Bilder nicht gut genug sind, dann warst du nicht nah genug dran. Robert Capa, der legendäre Fotoreporter, hat das gesagt. Louisa Marie Summer geht mit ihrer Kamera stets exakt so dicht an ihre Motive, dass es intim wird. Doch niemals überschreitet die junge Fotografin die unsichtbare Linie, die sie zum Eindringling machen würde. Die Menschen, die sie auf ihren Bildern zeigt, sind deshalb ganz bei sich. Sie nehmen – und das ist ein großer Wert – in den weitaus meisten Fällen keinen Kontakt auf mit der fremden Frau, die vor ihnen steht. Sie nehmen sie allenfalls wahr, bleiben aber ansonsten ungestört bei ihrem Tun.

Wahrscheinlich ist genau das der Grund, weshalb Summers Arbeiten so authentisch sind. Da ist zum Beispiel der Junge, der vor einem beleuchteten Globus selbstvergessen mit einer Action-Puppe spielt. Oder das Mädchen, das sich beim Warten auf die U-Bahn in sein Smartphone vertieft hat. Der Zuschnitt der Aufnahmen, das Licht, die Arrangements sind von auffallender Perfektion. Umso faszinierender bleibt die selbstverständliche Natürlichkeit, mit der die Dargestellten agieren.

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Goethe Institut unterstützt Ausstellung

Das Goethe Institut unterstützt die Ausstellung „Louisa Marie Summer: A Series of Life“ in der kunst galerie fürth (8. März – 21. April 2019).



The Stedelijk Museum in Amsterdam and its former director Beatrix Ruf released a statement today in which they announced that they have “agreed to leave the past” behind them. The embattled ex-leader of the institution came under fire in October 2017 after reports of conflicts of interest began circulating in the Dutch media. Journalists raised questions about the conditions of several donations made to the museum and her outside income. Ruf eventually stepped down over what she described as a “misunderstanding” in order to protect the reputation of the institution.

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2018 in museums: big ethics questions dominate the field

Museums are facing greater scrutiny over sponsorship and the artists they choose to display
10th December 2018 14:27 GMT

via The Art Newspaper

Museums have been reckoning with the momentum of the #MeToo movement in 2018, as accusations of sexual harassment and misconduct have been brought against artists, directors, curators and patrons in the US and beyond. The year has seen high-profile resignations and suspensions, exhibitions cancelled or modified in light of unfolding claims, and considerable debate over how now to interpret the work of problematic male artists of the past, from Pablo Picasso to Egon Schiele. Ever alert to art-world misogyny and abuses of power, the activist collective Guerrilla Girls even produced a tongue-in-cheek guide to rewriting the humble museum label in the age of #MeToo. The crux of the problem, they say, is the persistent belief that “art is above it all”.

There has also been greater scrutiny of the ethics of museum sponsors. The photographer Nan Goldin launched the anti-opioid activist group Prescription Addiction Intervention Now (PAIN), calling on museums to boycott donations from some members of the Sackler family, whose firm Purdue Pharma manufactures the highly addictive drug Oxycontin. The group also demands that the prominent cultural patrons channel their wealth into the treatment and prevention of opioid addiction in the US.

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GEDENKTAFEL – New work from epodium artist Paul Valentin

2018 Annual Exhibition of the Academy of Fine Arts
Saturday 14.07.2018 from 14h – 21h.
and 15.07.2018 – 22.07.2018   14 – 21h daily

The memorial plaque in the western staircase of the foyer of the Munich Academy of Fine Arts is not what it seems to be. The artist Paul Valentin has made a replica of it and has pulled it over the original like a second skin – what’s unseen is that he had changed the original lettering like an anagram into these new words:





Despite its prominent place, the historical plaque, which is established 1889, is not remembered by many students or annual visitors. Especially during the summer exhibition at the academy, it is, like many other artistic positions, easily overseen in the flood of presented works. The modest sculpture plays precisely with this problem of lacking attention.

The concept „Fals-Memory“ is the turning point of the work – It describes that incorrectly stored memories (such as the false encounter of Bugs Bunny at Disneyland) can hardly be erased from ones memory, even if one anknowledges that it never happened. It may also happen that the original text of the historical plaque is permanently overwritten in the collective memory of the visitors – Both physically during the annual exhibition, as well as mentally in the memory. The Replica takes the place of the original and „covers“ it in the truest sense. According to this verdict of cognitive research, Paul Valentin therefore stages his plaque as a memorial for attention – it should be a reminder that the great works of art, the changing experiences, which resonate with us inconspicuously, pass unseen without our attention.

(oxidizing process on the replica foto: Peter Pfitzner)

epodium founder Andreas Backoefer speaks at Philanthropy Conference

“Philanthropy, Development and the Arts – Histories and Theories“
International Conference, organized by the ERC project Developing Theatre, Ludwig Maximilians University Munich, Germany
23-25 July, 2018, Carl Friedrich von Siemens-Stiftung, Munich

We welcome guests to attend the conference and/or the keynote lectures. For external guest (not the invited speakers) registration is mandatory due to the house rules of the venue. If there are guests you’d like to invite, please ask them to send an e-mail to our project assistant Gwendolin Lehnerer to


New Work by Grimanesa Amorós on view in Brooklyn


BRIC Celebrate Brooklyn! · Prospect Park Bandshell · Brooklyn

On view from June 5th to August 11th, 2018

Opening and Artist Talk
June 23th, 6:30 pm

Prospect Park Bandshell
Prospect Park West and 9th St. Brooklyn, NY 11215

Grimanesa Amoros – A Women’s Thing Magazine feature

You can pick up a copy from the MoMA and these independent NYC bookstores: Strand Book Store, Books Are Magic, McNally Jackson Books, Quimby’s Bookstore NYC, Oliver, Whole Foods, Barnes and Nobles. Alternatively, you can purchase a copy on the official website:

Grimanesa Amorós is a TEDGlobal guest speaker, a recipient of The NEA Visual Artist Fellowship, Art In Embassies Program, X Tumi USA Award, and Visionary Art Exhibition Lifetime Achievement Award.

A Women’s Thing Magazine is a print and digital publication dedicated to reshaping society’s ideas of what “women’s things” are. They find and highlight the women who are making history today.

2 Books

Art – Institution – Capital: 2 books by epodium founder Andreas Backoefer

Download/Buy here

Louisa Marie Summer: Group Exhibition in Istanbul

WATER / SU  | March 2-31 Mart, 2018 | OrjinSanat Galerisi, Orjin MASLAK İş Merkezi, Kat:-2
Açılış Kokteyli / Opening: 02.03.2018, 18:00-20:00
Space Debris’in OrjinSanat’ta başlattığı “Noise-Water-Meat” sergi serisinin ikinci serisi “Su”2-31 Mart tarihleri arasında Orjin Maslak’ta görülebilir.
Artists/ Sanatçılar: Zeynep Birced, Melis Bürsin, Sırma Doruk, Christian Hansen, Seyhan Musa, Alison Luntz & Katie Nadworny, Louisa Marie Summer, Ayça Telgeren

The exhibition “Water” reflects upon the notion of the phenomenon water memory and how memory itself is formed through diverse lenses ranging from personal to collective ones, featuring digitized and manipulated versions of ourselves, and utilizing the lexicon of nature and human physique with corresponding sound elements. The qualities of water is taken as a metaphor in creation of the works displayed.

The fourth century B.C.E. Greek philosopher Aristotle compared memorizing to making impressions in wax, and the belief that memories are copies of reality that a person stores and later retrieves has been widespread. In 21st century, we trust what our ‘smart’ gadgets store for us to ‘remember’ and to be ‘remembered’. In reality, much that is remembered captures the gist rather than the details of the original experiences, and we forget remembering is often a process of reconstruction, manipulated through the neural passages of our brain.

The works included in the exhibition re-visits and re-consolidates echoic (aural) memory tandem with iconic (visual) memory as a mental process, in a playful way, suggesting the tragedy of romantic memory in relation to personal and collective spatial instances.
“What has touched us on the surface and what we recreate to recall is translated here before your eyes to experience. “

Visiting Hours/Ziyaret Saatleri: Salı’dan Cuma’ya 11:00- 18:00, Cumartesi 12:00-17:00
Adress/Adres: Eski Büyükdere Cad. No:27 Maslak/Sarıyer  Istanbul, Turkey
ITÜ Ayazağa Metro İstasyonu Çıkışı Karşısı


Out now:
Andreas Backoefer:
Philanthropie – Museen – Performance
off epodium #9
ISBN 978-3-940388-68-1
Download here

Die drei in diesem Band versammelten Texte weisen zahlreiche Schnittmengen auf. Eine davon ist der Ort der ‚Handlung‘: thematisiert werden historische und zeitgenössische US-amerikanische Besonderheiten der Aneignung europäischer Kunst, der Kunstförderung sowie der Sammel- und Ausstellungspraxis. Des Weiteren bildet das Verhältnis von Kunst und Kapital einen roten Faden entlang der Essays. Die Tätigkeit des Sammelns als Kapitalsicherung und ästhetische Vision ist ebenfalls ein durchgehender Schwerpunkt – genauso wie die kritische Diskussion des Verhältnisses, das die verschiedenen Player (Künstler, Kuratoren, Galeristen, aber auch die Öffentlichkeit) im Feld der Kunst mit der Institution bzw. mit der institutionellen Praxis verbindet. Die drei Abhandlungen rücken diese Themen aus verschiedenen Perspektiven mit unterschiedlicher Tiefenschärfe in das Lese- und Blickfeld.

epodium art stick

Konfigurieren Sie aus der Collection der epodium gallery Ihre persönliche Kunstsammlung (Videos/Videostills) für Ihr Fernsehgerät oder Home Entertainment System. Senden Sie Ihre Wünsche an

Pioneering curator Harald Szeemann celebrated in two Los Angeles shows

Getty draws on vast archive while ICA LA reconstructs 1974 exhibition in Swiss apartment
2nd February 2018 17:58 GMT
via The Art Newspaper


Harald Szeemann is often called the first curator, in the modern sense of the word: a peripatetic, independent artistic agent, commissioned to make thematic exhibitions. The Swiss art historian was appointed director of the Kunsthalle Bern in 1961 at the young age of 28. There, he organised a series of progressively experimental shows, from Christo and Jeanne-Claude’s first wrapped building to, most notoriously, Live in Your Head: When Attitudes Become Form, the controversial exhibition of Conceptual art that led to his resignation in 1969.

The packed show—which drew artists such as Joseph Beuys, Richard Serra and Lawrence Weiner to make new works in Bern—involved the destruction of parts of the museum, including a wrecking ball dropped by Michael Heizer on to the pavement outside. There were also protests against the show; a pile of manure was dumped by disgruntled local artists.

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Grimanesa Amorós Video Exhibition and Lecture / Artist Talk



epodium artist Grimanesa Amorós in Havanna

Museo Nacional de Bellas Artes de Cuba
Theater of the Cuban Art Headquarters
San Rafael between Zulueta and Monserrate, Havana, Cuba

Exhibition Opening and Lecture / Artist Talk: Wednesday, January 24th, 2018 at 4:00 PM
Curated by Caridad Blanco de la Cruz
For more info, please visit:

Unveiling Performance Space New York

Performance Space 122 has a new name and renovated digs. Jenny Schlenzka, its director, envisions a “vital center for community.”
via The New York Times

Nomadic since 2011, Performance Space 122 has returned to its East Village home. For anyone who frequented the old PS122 — the site of rebellious experiments in dance, theater and hard-to-classify performance — the new, extensively renovated one may take some getting used to. There’s an elevator. And a lobby. And a 3,600-square-foot theater that feels larger than the two old, grittier theaters combined, with soaring ceilings, flexible seating and windows overlooking Lower Manhattan. There’s a brand-new smaller theater, too, that can double as an exhibition space.

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Lubaina Himid wins Turner Prize for ‚uncompromising‘ approach to race relations

At 63, she is the oldest artist to receive the Tate’s prestigious £25,000 award
6th December 2017 12:13 GMT

via The Art Newspaper

Lubaina Himid has become the oldest artist ever to win the Tate’s Turner Prize, at the age of 63. The DJ and musician Goldie presented this year’s £25,000 award at a ceremony in Hull last night (5 December)—the first since the museum did away with the upper age limit of 50 for shortlisted artists (in place since 1991). Himid was chosen ahead of Hurvin Anderson, Andrea Büttner and Rosalind Nashashibi, who each took home £5,000.

“This year we opened the prize up to artists of all ages, recognising that breakthroughs can happen at any point in an artistic career,” said the Tate’s director, Maria Balshaw. Established in 1984, the annual award is aimed at UK-based artists who have had an outstanding exhibition in the previous year. In her acceptance speech, Himid thanked her supporters during the “wilderness years” and described her win as “a complete shock”. In 2017 Himid had solo shows at Modern Art Oxford and Spike Island in Bristol and participated in Nottingham Contemporary’s The Place is Here survey of 1980s black artists. She has only recently been represented by a gallery, Hollybush Gardens, which also represents Büttner.

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Artists are getting poorer

Survey finds most earn less than £10,000 a year
30th November 2017 08:03 GMT
via The Art Newspaper

The majority of artists in the UK earn less than £5,000 a year after tax—and below $10,000 in the US—according to a survey of 1,533 practitioners, conducted this month by the online artist-to-market website Artfinder.

Dubbed the “Artist Income Project”, this first survey of anonymous data across several platforms, including Artfinder, finds “artists are still not paid fairly. Or at all.” All the surveyed artists are described as “independent”, meaning they sell their art directly, rather than through a gallery.

In the UK survey of 823 artists, 55.1% say they earn between £1,000 and £5,000 net per year while 17.7% earn between £5,000 and £10,000. At the raw end, 9.3% of UK artists state their income as zero. This combined figure of 82.1% is worse than the findings of a previous survey of 1,061 artists, conducted by a-n, an artist data company, which in 2013 found that 72% of artists earned under £10,000.

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epodium artist Grimanesa Amorós at Metcalf Auditorium, Chace Center/RISD Museum


Photo Credit: Gigi Stoll

Rhode Island School of Design Event

VISITING ARTIST | GRIMANESA AMORÓS Reception: Tuesday November 14, 6 pm at Chace Center Lobby. Artist Talk: November 14, 7-9 pmMetcalf Auditorium, Chace Center/RISD Museum, 20 North Main St. Providence, RI

Grimanesa Amorós is an interdisciplinary artist with diverse interests in the fields of social history, scientific research and critical theory. Through her art she conveys an ephemeral wonder, entrancing viewers from all different backgrounds and communities to become agents of empowerment. She makes use of sculpture, video and lighting to create works that illuminate our notions of personal identity and community. She was a guest speaker at TEDGlobal 2014, earned an NEA Visual Artist Fellowship and an NEA Artist Travel Grant, and participated in the Art In Embassies Program. Her work has been exhibited in the US, Europe, Asia and Latin America. For more info, please visit the link below:

Art Galleries Rethink Their Strategies as Art Fairs Proliferate

By ROBIN POGREBINvia The New York Times

In August 2015, Janine Foeller finally closed her gallery Wallspace, which she had started with Jane Hait 12 years before in Chelsea. “It was no longer sustainable,” Ms. Foeller said in a recent interview.

But she did not give up on the art world altogether. Instead, in September Ms. Foeller opened the Park Slope pop-up gallery and cafe Wifey with the artist and floral designer Simone Shubuck.

“The idea is to create a model that is more affordable and flexible and allows galleries to come and occupy a space for a designated period of time,” Ms. Foeller says. “There has to be a new way forward, and new models have to be investigated and explored because it’s just not working. We’ve seen too many of our colleagues having to close because of rent and other factors.”

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Videoworks by Roger Kausch at Sluice Biennial (London)



The curatorial team of the Sluice Biennial (London) selected two videoworks („homo faber“ and „aerotektur“) by Roger Kausch for „Sluice Screens“ – a non-thematic programme of projected moving image artworks.

Public Opening Hours:
Sunday 1 – Tuesday 3 October 2017
12 – 6 pm

Opening Saturday 30 September

Arch 11 & 12 Bohemia Place
Hackney Central
E81JB London

Visit us in London


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epodium gallery presents Kalas Liebfried and Paul Valentin in the international exhibition – Sluice Biennal – at Hackney Central in London

The exhibition “ADD FX” focuses on how the narrative potential of “effects” can bestow content-related dimensions to an artifact. The works on display are constructed to form a multi-part installation and explore the possibilities of inducing emotion through superficial impressions so as to investigate their narrative potential. Through a combination of moving and still images and objects, the ontology of the various artistic approaches is brought to the fore. Kinetics and stasis are found to relate to one another dialectically.

Public Opening Hours:
Sunday 1 – Tuesday 3 October 2017
12 – 6 pm

Opening Saturday 30 September

Arch 11 & 12 Bohemia Place
Hackney Central
E81JB London


New Artist at epodium gallery: Henriette Olbertz-Weinfurter

Henriette Olbertz-Weinfurter'...Im-Blütendampfe-die-volle-Welt.'-1

Henriette Olbertz-Weinfurter

born 1985 in Halle (Saale)
lives in Munich

apprenticeships in glassdesign and glassblowing at the technical college for glass in Zwiesel

glassblowing assistant at the “glass tower” Gernheim

studies at the Academy of Fine Arts in Munich with Prof. Peter Otto (Netherlands), Benedikt Wiertz (Brazil), Markus Karstieß (Germany) and Nicole Wermers (GB)

Tefaf focuses on online market in addendum to annual art market report

Findings detail the supply side of the digital sales equation, point toward hybrid models
by SARAH P. HANSON  |  29 June 2017
The Art Newspaper


The size of the online market depends on the definition and price range of artworks, Tefaf's addendum report finds

The European Fine Art Fair (TEFAF) in Maastricht today (29 June) released its Art Market Report: Online Focus, a supplement to the annual Art Market Report released in March.

Her findings mostly confirm the most noticeable trends, namely that large auctioneers who have embraced their digital platforms—Heritage, Christie’s, and Sotheby’s—claim the largest share of an estimated $3.1b market (which the Hiscox Online Art Sales Report puts it at $3.75b; Art Basel’s The Art Market 2017 report, $4.9b). Pownall’s report further qualifies that of the $3.1b, fine art and antiques account for only $2.6b (the rest being other collectibles, automobiles, wine, etc).

The data is derived from “profiles of 100 companies”, 39 of which responded to a survey; a survey of more than 8,000 dealers, with a response rate of 8%; and a sample of data from 3,349 auction houses who list on Tefaf partner Invaluable. In her surveys, Pownall defined art as “objects including fine art, antiques, decorative art, collectibles, haute jewellery, photography, and design”, but the queried companies include e-tailers like Etsy and RubyLane alongside art-specific businesses.

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In the wake of a wave of closures, galleries are adapting to survive

Dealers are rethinking the bricks-and-mortar model in favour of temporary, collaborative and virtual platforms
by ANNY SHAW  |  13 July 2017
The Art Newspaper

For dealer Anthony Reynolds, the turning point came when the lease on his London gallery ran out and his landlord announced he was tripling the rent. “I thought to myself, I can either find another space or I can find a different way to do this,” the gallerist says.

Reynolds chose the alternative route and, after 32 years in three successive premises, closed his permanent venue in 2015. “Essentially I abandoned the tyranny of the single space,” he explains. “You have to keep funding it and filling it, and artists have to think about how to use it. What was more interesting was to think about operating a gallery as normal, but without a fixed space.”

Representing the same 20 artists as he did before he closed, for the past two years Reynolds has been staging exhibitions in other commercial galleries, including London’s Annely Juda Fine Art, Independent Régence in Brussels, and Àngels in Barcelona. There are further plans to show in Tehran and Tokyo. The aim is to develop “collaboration between galleries rather than an alternative to galleries”, Reynolds says, noting that costs and proceeds are usually split down the middle with the hosting gallery.

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New Artist at epodium gallery: Norbert Heyers

#DSCN4165+ SW2


b DSCN9449_C.EN ALGÚN-gótico


Norbert Heyers, born 1944 in Germany, lives in Aix-la-Chapelle and Barcelone. He studied architecture at RWTH Aachen, his firm has partnered with Sir James Stirling for Venice Biennale Project 1991. He has been exhibiting as a visual artist and photographer since 1974 in various cities in Germany, Belgium, Netherlands.

2011 Carte Blanche (Aachen)
1995 Retrospektive (Kornelimünster)
1992 Rauminstallation (Aachen, Galerie Signe)
1991 Kreuze Werk 4 (Maastricht)
1990 Die anderen Zehn (Aachen, Neuer Aachener Kunstverein)

1996 EANKBUT, Fadenskulptur (Essaouira)
1995 Dynamisches Farbkonzept (Aachen, Commerzbank)
1991 Scala, Wandbild (Aachen, Ludwigforum für internationale Kunst)

Fotoveröffentlichungen für Johns Hopkins University Press (Baltimore) u.v.a.

Exhibition in New York: Roger Kausch at Slag Gallery

Reducing Distance: Roger Kausch and Margarita Sanchez Urdaneta

June 2 – July 2, 2017
Opening Reception: June 2, 7-9 PM


Roger Kausch


Margarita Sanchez Urdaneta

Roger Kausch and Margarita Sánchez Urdaneta

Reducing Distance

June 2-July 2, 2017

Opening Reception: Friday, June 2, 7-9 PM

Slag Contemporary
56 Bogart St.
Brooklyn, NY 11206
T 212 967 9818
Thursday – Sunday 1-6PM
Monday – Wednesday by appointment

Slag Gallery is presenting Reducing Distance, a two-person show of works by epodium artist Roger Kausch and Colombian artist Margarita Sánchez Urdaneta. This will be Kausch’s first exhibition in the United States and Urdaneta’s first exhibition at Slag Gallery.

Roger Kausch is best known for his multi-process work, often integrating music and performance — particularly in video and drawing. Reducing Distance will present a selection of Kausch’s work over the past ten years. In the media of drawing and painting, his layered yet spontaneous method leaves behind temporal marks, illustrating seismographic time traceable in layers of continual adjustment.

Manifold forms of technical processing primarily mark the origination process of Kausch’s diverse videos. The works are committed to the exertions of being human and to humanartifacts, tools and strategies, aiming to reveal the emotions, desires and hopes these are charged with. Through the fragmentation of the video stream into single image sequences, processes of movement are made to expose their hidden choreographies. The rhythm of their arrangement gives them the expressivity of music and dance.

Margarita Sanchez Urdaneta’s beguilingly mysterious works combine installation, video, sculpture, and writings. Her eerie yet strangely calming works depict places of, as she describes, “Forced disappearances, mass graves, and terror tactics.” Sánchez Urdaneta’s new 2D works are inspired by burial methods in Colombia’s perpetual complex landscape and history. The work focuses on the relationship between the landscape and the violent event, between the time of occurrence and the time of telling.

“The continuous violence in Colombia has left millions of victims and has created the necessity for a collective mourning process, a process that has been put on pause since bodies are hidden, communities are threatened if they bury their dead, and most violent acts are overlooked as soon as a new violent act is perpetrated. The interest in mourning and memorizing these violent events has become, for most grievers, not only a way of remembering but also a way of facing the present and denouncing the atrocities.”

Roger Kausch studied Art History and Philosophy at the Academy of Fine Arts in Munich. He was previously head of “Werkstatt für Bild und Tonsequenzen“, a forum for presentation and discussion of video works at the „Hochschule für Musik und Theater“ in Munich. He has exhibited and performed in galleries and concert venues throughout Germany and Austria.

Sánchez Urdaneta holds an MFA from Parsons The New School for Design (NY), a postgraduate degree in Journalism from the Universidad de Los Andes (Bogota), a BA in Visual Arts at the PUJ (Bogota), and attended the Whitney Independent Study Program (NY). Sánchez Urdaneta has participated in exhibitions at venues such as The Kitchen (NY), The EFA (NY), El Museo del Barrio (NY), Instituto Cervantes (NY), Museo de Arte Contemporaneo (Bogota), Galería Die Ecke (CL), The Arlinton Art Center (VA), and The BID Headquarters Atrium (WA).

epodium artists Kalas Liebfried + Paul Valentin: Blind Carbon Copy


Kalas Liebfried & Paul Valentin:
„Blind Carbon Copy“ 

Eröffnung: 16.05.17, 19 h
Ausstellungsdauer: 17. – 26.05.17
täglich 19 h Performance
Finissage: 26.05.17, 19 h

Die Ausstellung „Blind Carbon Copy“* ist das Resultat der Verschränkung zweier künstlerischer Ansätze, die um Found Footage, Animation und Sound kursieren. Paul Valentins und Kalas Liebfrieds gemeinsames Interesse an den Themen Sprache, Psychologie und Wahrnehmung mündet in einer Erzählung über die Manifestation von Stimmen, über den Wahrheitsgehalt von Phänomenen und das Auf- und Verdecken ästhetischer Formen. Das Herz der Ausstellung ist eine gemeinsam erarbeitete Videoinstallation, welche sich mit den psychoanalytischen Seiten des Electronic Voice Phenomenon (EVP) und dem Verformen von Objekten auf der Mikro- und Makroebene auseinandersetzt: Ein Tuch schwebt über die verlassenen Plätzen einer Stadt und bleibt an Laternen hängen; eine Sopranstimme singt ein Klagelied über die Mutter; im lichtlosen Raum der Mikroskopie geraten die Elektronen, angeregt von Tonbandstimmen, in ungewöhnliche Schwingungen. Etwas Unhörbares wird hörbar, etwas Sichtbares nimmt eine andere Gestalt an und verweist auf die feinstöffliche Anwesenheit eines unbekannten Absenders und Empfängers.

* „Blind Carbon Copy“ bezeichnet einen nicht rückverfolgbaren Durchschlag einer Mitteilung unter Verwendung von Kohlepapier. Im digitalen Bereich als BCC abgekürzt, dient es zur Verschleierung der Empfänger einer E-Mail.

epodium artist Kalas Liebfried: Exhibition pOsteuropa in Munich


Die Welt scheint außer Kontrolle: Krieg, Terror und menschenverachtende Ideologien sind allgegenwärtig. Und Europa? Unter dem Titel „pOsteuropa“ setzen sich die Künstlerinnen und Künstler Tamara Flade aus Georgien, Olga Golos aus Rußland, Kalas Liebfried aus Bulgarien und Tim Wolff aus Rumänien mit verschiedenen Werken wie raumbezogenen Installationen oder Medienkunst mit der Frage „Wo steht Europa?“ auseinander.

Die Installation „The Whale Method“ (AT) von Kalas Liebfried befasst sich mit Sergej Eisensteins Kultfilm „Panzerkreuzer Potemkin“. Ein Anlass dafür ist der hundertste Jahrestag der russischen Oktoberrevolution (1917). Eisensteins Film handelt vom vorangegangenen Arbeiteraufstand 1905 und der Zeit vor dem endgültigen Umbruch. Ausgehend vom Film entstehen mehrere zusammenhängende Arbeiten um das Thema Revolution in der Kunst.

Olga Golos‚ Raum-Installation aus mit geometrischen Mustern versehenen 120 kopfähnliche Kunststoffbällen soll eine Assoziation mit Haaren erwecken. Zugleich verweist die Komposition auf die „Apotheose des Krieges“ des russischen Malers Vasily Vereshchagins (1842-1904) oder auf die Schädelaufbewahrungsstätte auf dem Berg Sinai, auf dem Gott Mooses die 10 Gebote übergeben haben soll.

Tamara Flade greift mit ihrer Installation „Auf Augenhöhe“ das heute aktuelle und immer noch viel bewegende Thema Religion als kultureller Wert auf und stellt das einende und trennende der christlichen und muslimischen Religion gegenüber. In ihrer Arbeit werden zwei Bücher durch eine quer gespannte Baustange getrennt und an der Wand gehalten, die zum einen die Bibel und zum anderen den Koran darstellen.

Die Videocollagen „War Drum“ vom Tim Wolff basieren häufig auf rhythmischen Mustern. Filmfragmente werden mit O-Tönen so zusammengefügt, dass sie durch loophafte Wiederholungen Rhythmen ergeben und gleichzeitig den narrativen Faden der Erzählung bilden. Präsentiert wird die Videocollage, als ein aus Monitoren zusammengesetztes Schlagzeug: gebaut aus vier Röhrenfernsehern und weiteren vier LED- Monitoren.

Die Ausstellung „pOsteuropa“ wird am Dienstag, 25. April, 19 Uhr, mit einer Einführung von Oliver Flade (Historiker) eröffnet. Die Ausstellung ist vom Mittwoch, 26. April bis Samstag, 20. Mai, Dienstag bis Samstag von 13 bis 19 Uhr in den Kunstarkaden, Sparkassenstraße 3, zu sehen. Der Eintritt ist frei.


NOVEMBER 1–19, 2017

YTO BARRADA (Morocco/France)
TARIK KISWANSON (Sweden/Palestine)
ZANELE MUHOLI (South Africa)
TRACEY ROSE (South Africa)

NEW YORK – Performa, the internationally acclaimed organization dedicated to live performance across
disciplines, announces select commissions and the historical anchor for Performa 17—the seventh
edition of the Performa Biennial, to take place November 1–19, 2017, at locations throughout New York

Since its inception, Performa has been a leader in commissioning artists whose work has collectively
shaped a new chapter in the multi-century legacy of visual artists working in live performance. Founded
by art historian and curator RoseLee Goldberg, the organization is dedicated to exploring the critical role
of live performance in the history of twentieth-century art, as well as its enormous significance in the
international world of contemporary art.

Performa 17’s team of curators and producers will present commissions and projects around curatorial
research themes focused on a cross cultural dialogue between Africa and the West, the legacy of Dada,
and the intersection of architecture and performance, that represent timely opportunities to work with a
diverse range of global contemporary artists. The resulting commissions and scholarship examine
immediate and critical concerns confronting our urban centers, the shifting political and cultural currents
of our turbulent world today, and ultimately the role of the arts and of artists in supporting afflicted
communities. This edition of the Biennial will focus on the sociopolitical context informing contemporary
art today, and how best to engage audiences in significantly understanding and absorbing its aesthetics
and intrinsic values. Additional commissions, projects and details will be announced in the coming

Hands off our Revolution


epodium founder Andreas Backoefer participates in the project „Hands off our Revolution„.


Wir sind eine globale Vereinigung, die radikale künstlerische Inhalte unterstützen und bestärken will. Wir glauben, dass Kunst hilfreich sein kann der wachsenden Rhetorik des rechten Populismus und des Faschismus – dem stärker werdenden Ausdruck von Fremdenfeindlichkeit, Rassismus, Sexismus, Homophobie und unentschuldbarer Intoleranz – etwas entgegen zu setzen.

Wir wissen, dass Freiheit niemals vorausgesetzt werden kann, sondern gewonnen werden muss, Gerechtigkeit nicht gegeben, sondern einzufordern ist. Beides gilt es zu erkämpfen und zu beschützen und beides war in der westlichen Nachkriegsgesellschaft noch nie so zerbrechlich, noch nie so nahe daran uns zu entgleiten wie in diesem Augenblick. Als Künstler ist es unsere Aufgabe und unsere Pflicht soziale Beziehungen, die von rechtspopulistischer Herrschaft bedroht werden, zu überdenken und neu zu erfinden. Es ist unsere Verantwortung solidarisch zu sein. Wir werden nicht klein beigeben. Wir sehen uns in dieser Rolle und es ist gleichzeitig unsere Chance Menschen dazu zu bringen klar und offen über Ideen zu debattieren, indem wir die uns eigenen Ausdrucksformen und unsere öffentlichen Räume nutzen.

At Volta and Nada fairs, two takes on politics

Artists respond to the new global order with works that range from amusing to acidic
by GABRIELLA ANGELETI  |  3 March 2017
(via The Art Newspaper)

The effects of fractured political systems are looming themes at Armory week satellite fairs geared toward younger dealers and artists. At Volta, running 1-5 March at Pier 90, the centerpiece is a curated section, organised by the Brooklyn-based curator Wendy Vogel. Titled Your Body is a Battleground after the famous Barbara Kruger photomontage, created on the occasion of the 1989 Women’s March on Washington, the mini-exhibition comprises works by eight artists dealing with the idea of resistance, including a colossal installation titled PATRIOT (2017) by the Kentucky-based artist Melissa Vandenberg that spells out its title with sewn and stuffed surplus military fabric.

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#ALTWOKE MANIFESTO – Published by ANON, a New York-based collective

There is no term more ubiquitous, obnoxious, and self-serving in our current lexicon as “woke.” Woke is safety-pin politics, masturbatory symbolism, and virtue signaling of a deflated Left insulated by algorithms, filter bubbles, and browser extensions that replace pictures of Donald Trump with Pinterest recipes.
Woke is a misnomer — it’s actually asleep and myopic. Woke is a safe space for the easily distracted and defensive pop culture inbred. Woke is the Left curled up in a fetal ball scribbling think pieces about Broad City while its rights get trampled by ascendant fascism, domestically and globally.

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Teaser Disconnected

Teaser Disconnected

Disjointed. Broken. Not coherent. Seemingly irrational: It’s a disconnected argument. Confused. Rambling. Incoherent. Got it? It’s not: Cogent, logical, coherent. We were disconnected. We are here to disconnect you. Listen. State your business and disconnect. When social pressures become too great, you should simply disconnect. So, let your senses flow and disconnect with us. Be broke. Got it?

Performance / with Gregor Peschko, Kalas Liebfried and Paul Valentin

At Booklyn Fire Proof Building, New York City / 23. October 2016

Images/Video © Paul Valentin

epodium Founder Andreas Backoefer at Guestspot (Baltimore)


THE REINSTITUTE SALON |  Andreas Backoefer | Cultural Philanthropy and Art Museums – A Historical Approach |  Wednesday, December 7, 2016 | 7pm

Guest Spot @ THE REINSTITUTE would like to invite you to participate as our special guest in THE REINSTITUTE SALON. We will be welcoming our topic presenter Andreas Backoefer for an evening of awareness, knowledge exchange, dinner, and conversation. Andreas Backoefer will present research from his upcoming book on cultural philanthropy. As an invited Salon participant, we are excited for your contribution in our intellectual exchange in hopes to further Andreas Backoefer’s ongoing research.  Please join Guest Spot for an evening of insight in the development of innovative strategies surrounding cultural

We have provided supplementary text below. Feel to contact me with any further questions. Space is Limited please RSVP here and let us know of any dietary restrictions or food



////// THE REINSTITUTE — The Public is Self-Organized.

epodium artist Jianan Qu at “INTERMEDIA BODY: artistic research meetings”


November 5th, 9:30 – 17:00h, Sky Loft, Ars Electronica Center Linz, free entrance
The symposium “INTERMEDIA BODY: artistic research meetings” will gather artists from different fields, working in the multi-faceted realm of Intermedia Performing Arts. Austrian and international artists will present their projects & research, share working experience and take part in pannel discussions.

Participants: Antoni Rayzhekov (AT/BG), Christian Mio Loclair (DE), Mihaela Kavdanska (RO/BG/AT), Gerhard Funk (AT), Jianan Qu (CN,AT), Simona Deaconescu (RO), Venelin Shurelov (BG), Cinty Ionescu (RO), Cristian Iordache (RO).

The project is initiated and curated by Mihaela Kavdanska/ AVmotional Platform and realised with the support of Rumänisches Kulturinstitut Wien, Förderungsverein der Kunstuniversität Linz, Interface Cultures Lab, National Centre for Contemporary Dance Bucharest & International Graduates Club Linz.

November 5th, 13:45h, Sky Loft, Ars Electronica Center, free entrance

epodium artist Louisa Marie Summer in Tallinn

Opening / Vernisage STORIES Viernheim 18 June 2016

epodium artist Louisa Marie Summer is invited to the Fotomuseum Tallinn. The exhibition „Grenzgänge“ opens at Oct. 19th. (until Dec. 11th)

Im Rahmen der Fotografenresidenz, die ein Gemeinschaftsprojekt des Institut français d‘Estonie und des Goethe-Instituts Tallinn mit Unterstützung des Deutsch-Französischen Kulturfonds ist, findet vom 19.10. bis zum 11.12.2016 eine Gesamtausstellung im Fotomuseum Tallinn statt, bei der in Narva und in Tallinn entstandene Bilder zum Thema „Städte an der Grenze“ gezeigt werden.

Eine deutsche Fotografin und ein französischer Fotograf verbringen einige Tage in den estnischen Grenzstädten Narva und Tallinn und vermitteln mit ihren Fotografien ihren ganz persönlichen Blick auf die Städte als physische Grenze sowie auf psychologische und politische Grenzen.

New Artist at epodium gallery: Jianan Qu


Jianan Qu, born 1985 in Shandong/China, lives and works in Vienna/Linz, Austria

Jianan Qu is an interdisciplinary artist works with installations, performances, objects, video and photography. Working conceptually and minimally. He researches the boarders between visual arts and performance.
Jianan’s works have been shown at ImpulsTanz Vienna (Austria), Hong Kong Arts Festival (China), Oslo LUX (Norway), Lentos Museum Linz (Austria), euro-scene Leipzig (Germany), OK Center for Contemporary Art (Austria), Bruckner Haus (Austria), Monotonic Budapest (Hungary) the St. Pölten Festspielhaus (Austria), Atelier Salzamt (Austria) amongst others. Since 2007 Jianan Qu teaches Contemporary Dance at The Anton Bruckner University, Linz.

Jianan Qu has been awarded several different prizes, including the “Best German Dance Solo“ of Euro-Scene Leipzig 2007 and the first prize of “1. Szene Bunte Wähne Choreographie-Wettbewerb 2006” Vienna.

Interview mit Jianan Qu: „whiter than sky“

Jianan Qu‘s Arbeit »whiter than sky: A – sky« und «whiter than sky: B – white« ist eine poetische Auseinandersetzung mit dem Tod seines Großvaters und eine Reflexion auf die schwere Vermittelbarkeit von Gefühlen wie Trauer. Außerdem wird die Wirkungsweise und das Verblassen von Erinnerung thematisiert. Als Ausgangsmaterial dient dem Künstler das Fotoarchiv seiner Familie. Diese Fotos wurden von Qu manipuliert und die Bildinformation auf Umrisse reduziert. Während in der Videoinstallation nur der Himmel bleibt, finden wir in der Fotoinstallation die Silhouetten der Personen und die Umrisse der Umgebung wieder. Diese heben sich gegen den verhältnismäßig dunkleren Himmel ab. In einem Gespräch erzählt uns der Künstler über die Entstehungsgeschichte, Konzeption und Konsequenzen des Projekts.

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Untitled’s gone surfing: Miami Beach satellite fair hits the waves with artist collaborations

Expect to see participatory work by Rirkrit Tiravanija and Tomas Vu, Pussy Riot-themed surfboards and jungle photography
(via The Art Newspaper)


This year’s edition of Untitled, Miami Beach (30 November-4 December)—a major satellite fair that runs concurrently with Art Basel in Miami Beach—will feature a number of special artist projects from the likes of Rirkrit Tiravanija and Tomas Vu, along with a collaboration with Miami’s Institute of Contemporary Art.

The biggest collaborations are surfing-based, a fitting theme for a beach town, though it should be said: Miami is not known for its waves, nor its surfing culture. Tiravanija and Vu will present RT TV Boards in collaboration with Nathalie Karg Gallery: an installation that includes a number of different elements including surfboards with Beatles lyrics and a t-shirt silkscreening stand staffed by MFA candidates from Columbia University, where Tiravanija teaches. There will also be a number of Pussy Riot-inspired surfboards that attendees can borrow, and a shower for rinsing off later.

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epodium artist Grimanesa Amorós at Grand Palais


Timeless Motion (in Life and Light) 2016, 3D Rendering


TIMELESS MOTION (in Life and Light)
#timelessmotion #grimanesaamoros #cindychao #BiennaledesAntiquaires @cindy_chao @grimanesaamoros

September 9th – 18th, 2016 at Grand Palais, 3 Avenue du Général Eisenhower Paris, France
“Timeless Motion (in Life and Light),” a site-specific installation by artist Grimanesa Amorós in collaboration with CINDY CHAO The Art Jewel, will be on view at Grand Palais in Paris, during the Biennale des Antiquaires . The piece will serve as a striking setting to Chao’s 12 new masterful art jewels.The atmospheric, ephemeral quality of the setting is further reinforced with a slow movement of lights, which reflect on Chao’s art jewels making each piece come alive. Viewing jewels in this environment thus aims to transcend a purely aesthetic experience and become a meditation on the theme of nature and life.After Biennale des Antiquaires, “Timeless Motion (in Life and Light)” will travel internationally with the first stop at the LONG MUSEUM, Shanghai China. Other destinations will include Taipei, Hong Kong, Moscow, and Dubai.

Jeff Koons’s Gazing Ball sculpture at centre of legal tussle between art dealers

In new court filings, Fabrizio Moretti reveals the work he says David Zwirner has failed to deliver—and is now seeking $6m in damages

(via The Art Newspaper)

Lawyers for Blue Art Limited, the London-based company owned by the Italian Renaissance dealer Fabrizio Moretti, filed an amended complaint Wednesday night (17 August) against the New York art dealer David Zwirner and his gallery, which Moretti says failed to deliver a work of art he bought for $2m. The new complaint comes after Zwirner’s motion to dismiss named the previously anonymous purchaser and called the lawsuit “a case of buyer’s remorse”. In response, Moretti’s recent court filings reveal the work at the heart of the case—Jeff Koons’s Gazing Ball (Centaur and Lapith Maiden) (2013), from the gallery’s show that year. And while he previously asked for the original purchase price for the work plus fees, Moretti’s updated suit seeks $6m in total damages.

In the new filing, Moretti’s lawyers say Zwirner and the gallery played “a kind of ‘three card monte’ in which the numbered casts of the sculpture”—an edition of three, plus an artist’s proof—“were distributed to their buyers willy-nilly”.

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New Artist at epodium gallery: Peter Rauscher


After more than 20 years autodidactic work with woodcarving:
2001-2004 Education at the „Fachschule für das Holzbildhauerhandwerk“ in Munich
2005-2007 Masterschool for Woodsculptor in Munich
since 2004 selfemployed with an Atelier in Munich, Amalienstr.15
Exhibitions in Germany and Switzerland

Die elementare Natur, die Beziehungen zu und zwischen den Menschen sind meine Themen. Die Reduktion auf das Wesentliche, das unter der Oberfläche Verborgene sichtbar zu machen und in eine archaische, fragmentierte Formensprache zu bringen ist mein Ziel.

Gestalterische und handwerkliche Fähigkeit, Wissen um Material und Technik, bewusstes Einbeziehen von Zufälligkeiten, Verarbeitungsspuren, Risse und Kratzer betonen, das Unvollkommene hervorheben gehören zu meiner Arbeitsweise.

New Artist at epodium gallery: Georg Gaigl


1968 born in Erding, Germany
1991-1993 LMU Munich
1993-1997 Academy of Fine Arts Munich
1996/97 Grant »DFJW«, Angers, France

The central themes in his pictures are the “softfacts”-the thoughts, the awareness of life.
In a surprising way he joins textures, landscapes, contemporary and historic photos of persons, houses, objects, landscapes and even words.
He has created his very own artistic technique – Décalcage.
Digital prints were attached to woodenboards by adhesive.
It’s the work done by hand that makes the décalcage a unique technique. Additionally it gives them an aesthetic presence and a painting-like structure and quality.

(Photo Credit : Masayuki Nagata)


epodium gallery at Exchange Rates 2016

Save the Date:

20.-23 Oktober 2016:
„noises“ video works by Kalas Liebfried, Gregor Peschko and Paul Valentin
Exchange Rates 2016 in Brooklyn (NY) (an international exposition of artworks and art galleries in and around Bushwick, Brooklyn)
Temporary Storage, at Brooklyn Fire Proof, 119 Ingraham Street, Brooklyn, NY 11237

Ausdruck der Gefühle im Vordergrund

KUNSTVEREIN: Die drei Künstler Steffen Osvath, Jenny Winter-Stojanovic und Louisa Marie Summer zeigen ihre interessanten Arbeiten in Viernheim

Von unserem Mitarbeiter Frank Kostelnik

(via morgenweb)

Nicht alle Tage trifft man beim Betreten einer Kunstausstellung auf einen schwarzen Sarg. Noch seltener wird dabei der Besucher auch noch motiviert, in den Sarg hineinzugreifen, um sich etwas herauszuholen. Bei dieser Ausstellung im Kunsthaus Viernheim mit dem Titel „Stories“ aber schon.

„Kunst darf das“ – so der Stuttgarter Galerist und Kunsthistoriker Marko Schacher in seinen einführenden Worten zur Ausstellung „Stories“ der beiden Künstler Steffen Osvath und Louisa Marie Summer.

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Ätzende Kunst regt zum Nachdenken an

Südhessen Morgen, Donnerstag, 16.06.2016

VIERNHEIM. Am kommenden Samstag eröffnet der Kunstverein Viernheim gleich zwei bemerkenswerte Ausstellungen. In den Räumen des Kunsthauses Rathausstraße geht es unter der Überschrift Stories um ungewöhnliche und intensive Fotografien von Louisa Marie Summer und Steffen Osvath, während im Gewölbekeller in der Hügelstraße unter dem Begriff Clouds einzigartige Rauminstallationen von Jenny Winter-Stojanovic zu sehen sind.

„Alle drei Künstler stellen Werke aus, die den Betrachter herausfordern und zu unterschiedlichen Ergebnissen kommen lassen“ verspricht der Stuttgarter Gastkurator Dr. Raimund Menges den Besuchern ganz besondere Denkanstöße.

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Grimanesa Amorós: Interview with Brainard Caray on Yale Radio

Lives of the Most Excellent Artists, Curators, Architects, Critics and more, like Vasari’s book updated. The Art World Demystified, Hosted by Brainard Carey

Grimanesa Amorós is an interdisciplinary artist with diverse interests in the fields of social history, scientific research and critical theory, Through her art she conveys an ephemeral wonder, entrancing the viewers from all different backgrounds and communities to become agents of empowerment. She makes use of sculpture, video, and lighting to create works that illuminate our notions of personal identity and community. She is the guest speaker of TEDGlobal 2014, a recipient of NEA Visual Artist Fellowship, NEA Artist Travel Grant, Art In Embassies Program of the U.S.

Listen to the interview here.

These Photos Will Change How You Look At Poverty In The U.S.


(via Refinery29)

MAY 16, 2016 1:50 PM

There are over 45 million Americans living below the poverty line. Photographer Louisa Marie Summer has captured the story of one such family. In her book, Jennifer’s Family, she photographed the highs and lows of the life of a 26-year-old Rhode Island woman, her partner, and their four kids. They’ve struggled with illness, money troubles, and incarceration, but at the center of the book is hope.

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Mona Hatoum honored at 2016 Medal Award Gala

(via e-flux)

Throughout her distinguished career, Mona Hatoum has questioned and explored themes of themes of home, displacement, and self. Whether taking shape as installation, sculpture, video, photography, or works on paper, Hatoum’s art elicits strong psychological and emotional responses. In celebration of her internationally acclaimed work, the School of the Museum of Fine Arts, Boston (SMFA), will honor Hatoum at the Medal Award Gala on May 23, 2016, in the Ruth and Carl J. Shapiro Family Courtyard at the Museum of Fine Arts, Boston. First presented in 1996, SMFA’s annual Medal Award recognizes notable artists and influential art patrons for their commitment to and impact on the art world.

“Mona Hatoum is one of the essential creative voices of our time, an artist whose work challenges us to rethink a world fractured by conflict and imagine new forms of connection,” says SMFA President Chris Bratton. “We are privileged to be honoring her with this year’s SMFA Medal Award.”

Hatoum first became widely known in the mid 1980s for a series of performance and video works that focused with great intensity on the body. In the 1990s her work moved increasingly towards large-scale installations and sculpture. Working in a diverse range of media, she has developed a language in which domestic, everyday objects are often transformed into foreign, threatening, or surreal sculptures.

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epodium Edition Vol. 2


Brainard Carey

The Art World Demystified
How Artists Define and Achieve Their Goals

Allworth Press, New York 2016
308 Seiten, 19,19 €

Das Buch ist im epodium Bookshop erhältlich.

The Art World Demystified unfolds the confusing and often treacherous terrain of the art world, revealing the inner workings of a system that has few rules but many opportunities. In this volume, artists will find their own questions reflected and addressed, including:

  • How does an artist penetrate the inner circle of the art world?
  • How do museums choose exhibits?
  • How can an artist reach critics and get feedback?
  • How do artists make a living, and how much can they expect to make?
  • What are the “rules” of the art world?
  • Why is it all so mysterious?


UNBOXING PANDORA at Kunstpavillon München



Exhibition „Unboxing Pandora“ at Kunstpavillon München with works by epodium artists Kalas Liebfrief and Paul Valentin
Vernissage: Donnerstag, 14.04.2016, ab 19.00 Uhr
Ausstellung: 15.04. — 08.05.2016

Die Klasse Stephan Huber (Akademie der Bildenden Künste München) widmet sich in einer Gruppenausstellung im Münchener Kunstpavillon unter dem Titel „UNBOXING PANDORA“ den Themen Gewalt, Angst und Repression. Mittels einer multimedialen Installation in Form eines Kubusverbinden sich alle Einzelpositionen der Studierenden zu einem assoziativem Narrativ. DieAußenwände der Installation sind mit Skulpturen, Zeichnungen, Collagen und Fotografien bespielt. Im Inneren des Würfels dominiert hingegen mit einer Vielzahl an Videoarbeiten das bewegte Bild. Derschräg eingebaute Kubus dient als Träger aller Themenkomplexe und lässt die Wände, wie auch denBoden des Ausstellungsraumes von den Arbeiten unberührt: Die Gewänder, in denen ‚das Böse‘ in derWelt – konkret die Welt aus der Sicht der KünstlerInnen – erscheint, werden so in einem autonomenKonstrukt verdichtet. Die einzelnen Arbeiten, welche sich unter anderem mit Selbstoptimierung, zwischenmenschlichen Beziehungen, Mord, Überwachung und Schmerz auseinandersetzen, generieren ein umgreifendes Panoptikum der Allgegenwart.
Die Ausstellung wird von Prof. Stephan Huber und Verena Seibt kuratiert und von einem Rahmenprogramm begleitet.
Kalas Liebfried



Expansion of the Moment
a Lecture Performance Video by Andi Kurz now at epodium gallery

Philanthropist Yana Peel appointed chief executive of London’s Serpentine Galleries

Outset Contemporary Art Fund founder succeeds Julia Peyton-Jones after 25 years

(via The Art Newspaper)

The Hong Kong-based philanthropist and entrepreneur Yana Peel has been appointed chief executive of the Serpentine Galleries in London. The high-profile institution’s trustees took the unusual decision to choose a fellow trustee to fill the new post. Julia Peyton-Jones, who put the institution on the international map, is stepping down as co-director this month after 25 years at the helm.

Peel will work in partnership with Hans Ulrich Obrist who has been at the Serpentine since 2006 as co-director of exhibitions and programmes. He takes on the new role of artistic director.

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Out now: Catalog OCUPANTE



Out now!


Organische Formen und eine instinktive Herangehensweise kennzeichnen das Werk der vielfach ausgezeichneten peruanisch-amerikanischen Lichtkünstlerin Grimanesa Amorós. Die Grundlage ihrer faszinierenden Skulpturen stellen jedoch Naturwissenschaften, Sozialgeschichte und kritische Theorie dar. So treten in ihren Werken Forschung und Gefühl in Kommunikation.
Die raumgreifenden Skulpturen und Videoinstallationen von Amorós wurden bereits über den Globus verteilt gezeigt: von Mexiko über Tel Aviv und Peking bis hin zum Times Square in New York. Ihre neuesten Arbeiten OCUPANTE und GOLDEN SECRET ROOM präsentiert sie nun im Ludwig Museum Koblenz. Die Künstlerin erschafft spielerische Licht-Installationen, die in ihrer Rätselhaftigkeit vielschichtige Deutungen zulassen. Gemeinsam mit einer Werkübersicht gibt der Band diese Arbeiten in großformatigen Abbildungen wieder und bringt deren Fluidität und Leuchtkraft zum Ausdruck.
Mit einem Beitrag von Andreas Backoefer sowie einem Gespräch zwischen Grimanesa Amorós und Tim Goossens
Text: deutsch/englisch
128 Seiten, 60 Abbildungen
24 x 28 cm, gebunden
ISBN: 978-3-7774-2648-8
Order here

Andreas Backoefer and Grimanesa Amorós


epodium gallery founder Andreas Backoefer and New York artist and friend Grimanesa Amorós in between her light installation OCUPANTE at Ludwig Museum Koblenz

Director Professor Dr. Beate Reifenscheid interviews New York artist Grimanesa Amorós

German Museum Director Professor Dr. Beate Reifenscheid of the Ludwig Museum (Koblenz, Germany) interviews New York artist Grimanesa Amorós on the occasion of the exhibition „Grimanesa Amorós: OCUPANTE“ featuring her latest light sculpture and video installations „OCUPANTE“ in the Ludwig Museum in Coblence (2016).

„Hit and Run“ – Video Trailer


Video Trailer

Hit and Run, 2016
by Kalas Liebfried, Stefan Natzel, Patrik Thomas, Mathias Reitz Zausinger
2 Channel Digital Video, Color
Full Length: 5 min 22 sec


A trifecta of shows on Felix Gonzalez-Torres to open in London, New York and Milan

by ANNY SHAW  |  28 January 2016
(via The Art Newspaper)

As the traditional role of the art dealer continues to be redefined, collaborations and joint exhibitions are becoming more commonplace. But three galleries are taking it a step further this spring when Hauser & Wirth in London will present a show of works by Felix Gonzalez-Torres in conjunction with Andrea Rosen in New York and Massimo de Carlo in Milan.

The artists Roni Horn and Julie Ault are organising the three exhibitions; each will focus on an aspect of the Cuban-born American artist’s practice. The London leg (27 May-30 July 2016) will feature all of Gonzalez-Torres’s photographic puzzle works from 1991 as well as three other works created the same year. Four textual portraits will go on show at Andrea Rosen gallery, while three beaded curtains are among the works due to go on display at Massimo de Carlo gallery.

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epodium gallery presents Kalas Liebfried


Kalas Liebfried: the time: anti, 2015, Videostill

epodium gallery is now presenting the video works of Kalas Liebfried.

the time: anti
A burning house in the middle of a snowy nowhere. A ghostly sounding voice that speaks: “You are sleeping. You do not want to believe.” And a atonal piano piece. “the time: anti” is a video work about the relativity of time and perception. Made out of a conceptual transcription from the official instruction of how to behave when a building is on fire into a music score, a text which is inspired by the EVP (electronic voice phenomenon) recordings of the Latvian writer an intellectual Konstantin Raudive and images from a found footage material.

suche: „meer+sturm“
This is the third part of a found footage trilogy about the places of solitude in Friedrich Nietzsches “Thus spoke Zarathustra”. While the other parts are dealing with the mountains and the desert, this one is exploring the sea as a rough and dangerous place for the one who lives in a positive solitude. The one who is deconstructing all the social influenced values and perceptions, aiming a way to create his own individual mind.

epodium founder Andreas Backoefer on Jan Fabre

Andreas Backoefer:

Jan Fabre’s Insects:
on real Presence

Jan Fabre was born in the Belgian city of Antwerp in 1958 where he also later studied at the Municipal Institute of Decorative Arts and the Royal Academy of Fine Arts. In the late seventies, while still very young, he created a furore with his solo performances, whose nature lay somewhere between theatre and art. For example, in his ‘money’ performances he set light to bundles of money collected from the audience and did drawings with the ashes. In 1984 he performed with De Macht der Theaterlijke Dwaasheden at the invitation of the Venice Biennale. This performance, which subsequently toured the world, is chronicled in every book on the history of contemporary theatre . In 1979 Fabre was invited to the documenta IX in Kassel (Germany).

Fabre integrates different animals with mythological connotations – like rabbits and owls – in his performances and many other art-projects such as films and sculptures. His ancestor was the famous entomologist Jean-Henry Fabre (1823-1915) and this explains Fabre’s obsessively interest in insectology. He has long pursued the idea of adding ‘a few pages to the history of insects’ without owing anything to scientific training. In his collages Fantasie – insecten – sculpturen (1979) he combines insect corpses with modern utensils as a plethora of surreal creatures: a winged spider, a beetle-pen, and a beetle-beer bottle opener. Another example is Metamorphoses (1993), a “mythological poem”, in which he draws the transformation process of all kinds of existing and imaginary insects. Since the early nineties Fabre ‘designs’ exhibitions with angels, for example Mur de la montée des anges (Wall of the Ascending Angels, 1993). The used materials are jewel beetles and iron wire. Fabre explains his preoccupation with beetles in an interview:

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Anselm Kiefer: ‚Art is difficult, it’s not entertainment‘

Celebrated German artist reflects on his work before opening of his biggest UK show, at White Cube gallery in London
(via the guardian)

Anselm Kiefer works on a grand scale. On Friday the artist will sign a contract to buy the Mülheim-Kärlich reactor, a decommissioned nuclear power station near Koblenz, Germany. And on the same day Kiefer, one of Germany’s most celebrated postwar artists, will attend the opening night of his biggest show ever in Britain, spread over 11,000 sq ft of the newly opened White Cube gallery in south London.

Kiefer’s art is deeply serious, dense with both esoteric symbolism and political meaning. The show, Il Mistero delle Cattedrali, takes its title from a 1926 book by Fulcanelli, a mysterious figure who practised alchemy, and contains monumental paintings and sculptures alluding to ideas from the philosopher’s stone to the second world war.

„Art is difficult,“ says the 66-year-old firmly. „It’s not entertainment. There are only a few people who can say something about art – it’s very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it’s art or not. Buying art is not understanding art.“

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20 Emerging Female Artists to Keep on Your Radar

(via artnet news)

his year was a strong one for female artists, and next year it appears that it might be even better. In 2016, all of the solo shows at SculptureCenter in Queens, New York, will be by women. We’re also looking forward to Catherine Opie’s „Portraits and Landscapes“ at Lehmann Maupin gallery in New York in January, and „Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016“ in March at Hauser & Wirth in Los Angeles.

Below, we’ve found 20 emerging female artists who we’ll also be tracking in 2016.
1. Martine Syms
Los Angeles-based artist Martine Syms works across publishing, video, and performance. She runs the site Dominica, and was a participant in the 2015 New Museum Triennial in New York. Syms’s current project NITE LIFE will be on view at Locust Projects in Miami until the end of the year.
2. Meriem Bennani
Moroccan-born and New York-based artist Meriem Bennani creates films and animated Instagrams that are playfully surreal. She currently has a solo show „Gradual Kingdom“ at Signal in Brooklyn and work in the Jewish Museum’s „Unorthodox“ exhibition.
3. Casey Jane Ellison
You may know Los Angeles-based arty comedian Casey Jane Ellison from her webseries ‘Touching the Art,‘ and her newest endeavor, The Right & Left Brains of Casey Jane’s. Performance artist and comedian Ellison has brought her unique brand of art world critique to Frieze New York and exhibited at the New Museum’s Triennial and NADA in Miami Beach this year.

Assemble wins UK’s Turner Prize

The artist collective has worked with local communities on neighbourhood regeneration projects
by The Art Newspaper  |  7 December 2015
(via The Art Newspaper)


Assemble, the artist collective that works with local communities in the UK on neighbourhood regeneration projects, has won this year’s Turner Prize. The £25,000 award, one of the largest given to a contemporary artist in the UK, was presented by artist and musician Kim Gordon at the Glasgow art space Tramway, in partnership with Tate.

Assemble’s long-term collaboration with the Liverpool land trust Granby Four Streets to create affordable housing “shows the importance of artistic practice being able to drive and shape urgent issues in the post-industrial era,” the prize press release states.

The other shortlisted artists, who will receive £5,000 each, are: Bonnie Camplin, for The Military Industrial Complex, a study room installation exploring “consensus reality”; Janice Kerbel, for DOUG, a musical performance consisting of nine songs for six voices; and Nicole Wermers, for Infrastruktur, an installation on the theme of consumerist culture. For the first time, the exhibition of the nominated artists was held in Scotland, at Tramway gallery, where it remains on view until 17 January 2016.

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Top shows to see during Art Basel in Miami Beach

Our pick of exhibitions at museums in and around Miami
by Gabriella Angeleti, Aimee Dawson, Victoria Stapley-Brown, Pac Pobric, José da Silva  |  29 November 2015
(via The Art Newspaper)


Anselm Kiefer: Paintings, Sculpture and Installation, until 30 April 2016, Margulies Collection at the Warehouse

Anselm Kiefer’s work, which often refers to Germany’s Nazi past, has been accused of glossing over that history. Katherine Hinds, the long-time curator of Martin Margulies’s private collection, says visitors to its Miami show have felt differently. “All I can tell you is that audiences find it a very powerful exhibition onto which they can project and through which they can think about the loss of humanity throughout the 20th century,” she says. Kiefer’s show is being put to good use: all admission fees for the Margulies Collection ($10 for adults, $5 for students and free for students from the State of Florida) goes directly to the Lotus House Shelter for homeless women and children in Miami. P.P.

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Emphasis is on the Americas at this year’s Art Basel in Miami Beach

2015 edition has more art from the Midwest to Mexico
by Melanie Gerlis  |  26 November 2015
(via The Art Newspaper)

For its 14th edition, Art Basel in Miami Beach (3-6 December) is emphasising its “Americas” credentials, encompassing the length and breadth of its vast home turf. Noah Horowitz, who in July was poached fr om directing New York’s Armory Show to fill Art Basel’s new position of director Americas, defines the region he represents as “from Canada to South America”.

The subtle shift seems to be reflected in the varied list of newcomers to this year’s edition. Of the 11 new galleries from the Americas, relatively few (five) are New Yorkers. Three come from Los Angeles: François Ghebaly and Thomas Duncan in the Positions section and Hannah Hoffman in the Nova section, with a booth dedicated to new works by the Los Angeles artist Matt Sheridan Smith. Others come from San Francisco (Jenkins Johnson in the Survey section), Curitiba in Brazil (Sim Galleria in Positions with the local artist Romy Pocztaruk) and Mexico City (Arredondo\ Arozarena in Positions with the Mexican artist Fritzia Irizar).

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Guerrilla Girls take aim at ‘cartels of collectors’

Feminist art activists plan “anti-billionaire” campaign to highlight discrimination, which kicks off in Minneapolis
by Rachel Corbett  |  18 November 2015
(via The Artnewspaper)

Billionaires are the target of a new campaign by the feminist activist group Guerrilla Girls. “Cartels of collectors get behind the work of a few sel ected artists; galleries are paying for exhibitions of their artists at museums; and art fairs are showing the same bankable work over and over,” they told us in an email statement.

The anonymous group turned 30 this year, and is still raising hell in its fight against art-world discrimination. It plans to “take over” Minneapolis-St Paul next year with an “anti-billionaire” campaign. The group says we should expect more “stealth projections” like the one displayed on the side of the Whitney Museum of American Art in May that read: “Dear art collector: art is sooo expensive, even for billionaires! We totally get why you can’t pay all your employees a living wage #poorlittlebillionaires.”

The campaign is part of the Guerrilla Girls Twin Cities Takeover, which includes a week-long festival, from 29 February to 6 March 2016, bringing together more than 20 local institutions. These include the city’s Walker Art Center, which will display protest posters created by the Guerrilla Girls between 1985 and 2012. (The museum bought a portfolio of 88 posters earlier this year.)

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Aufführung mit Drohnen

by Eva Clausen
(via Handelsblatt)

Die Artissima in Turin ist zwar eine Messe und damit dem Markt verpflichtet. Zugleich zeichnet die Verkaufsplattform für zeitgenössische Kunst jedoch ein eindringliches Spiegelbild gesellschaftlicher Befindlichkeiten. Das gilt namentlich für das inzwischen etablierte Performanceprogramm.

Turin. Wer an diesem Wochenende die Turiner Kunstmesse „Artissima“ besucht, sollte, bevor er den Lageplan der Kojen studiert, einen Blick auf den „Bühnenplan“ werfen. Zwölf Performances stehen im Programm, und für viele der Darbietungen dürfte der vorgesehene Raum eingangs der Messehalle rechts im Zweifelsfall nicht genügen. Die Sektion „Per4M“ erfreute sich schon bei ihrer Premiere im vergangen Jahr großer Beliebtheit.

Am Freitag um 15 Uhr zeigt die Hamburger Künstlerin Annika Kahrs in ihrer bereits mehrfach aufgeführten Performance „Strings“, wie labil vermeintlich feste Strukturen sind. Vier Kammermusiker interpretieren das Streichquartett Opus 18, Nr. 4 C-Moll von Ludwig van Beethoven. Doch die anfängliche Harmonie findet bald ein Ende, denn nach jedem Satz lässt Kahrs die Musiker den Platz und das Instrument mit dem rechten Nachbarn tauschen. Mit jedem Platztausch wächst die Verunsicherung und mit ihr der Missklang. Das 8:20 Minuten lange Video einer früheren Strings-Performance kostet bei der Hamburger Produzentengalerie 13.000 Euro. Es ist das letzte Exemplar von fünf.

epodium artist Louisa Marie Summer at Space Debris (Istanbul)


Louisa Marie Summer „Sockeye (Red) Salmon“, Kijik River, Lake Clark, Alaska, 2015

Water Memory

October 1-25, 2015
Melis Bürsin, Sırma Doruk, Seyhan Musa, Bahar Yürükoğlu, Louisa Marie Summer

The exhibition Water Memory reflects upon the notion of memory and how it is formed through diverse lenses ranging from personal to collective ones, featuring digitized and manipulated versions of ourselves, and utilizing the lexicon of nature and human physique with corresponding sound elements.

The fourth century B.C.E. Greek philosopher Aristotle compared memorizing to making impressions in wax, and the belief that memories are copies of reality that a person stores and later retrieves has been widespread. In 21st century, we trust what our ‘smart’ gadgets store for us to ‘remember’ and to be ‘remembered’. In reality, much that is remembered captures the gist rather than the details of the original experiences, and we forget remembering is often a process of reconstruction, manipulated through the neural passages of our brain.

Space Debris is a multi-purpose art space founded by Seyhan Musaoglu in New York, USA, and is now based in Karaköy, Istanbul. As a hub space for innovative dialogue with a collective soul, the aim is to gain recognition for interactive new media works and interdisciplinary subjects that challenge traditional boundaries.

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epodium gallery presents Gregor Peschko


Gregor Peschko: Genua, 2015, Film

epodium gallery is now presenting the video works of Gregor Peschko.

“Genua“ is a film composed of self-made video recordings (boat trip),  found footage from the internet (swimming scenes) and a super 8 film with footage from the coastal area. Apart from the very associative storyline, the source of the material plays an important role. The image is accompanied by a collaged sound backdrop. The fictional combination of elements are related to an area between a social and subjective visual memory or rather to an oscillation in between.

The displayed atrium is located in the old guesthouse of the GDR´s council of ministers in Leipzig. During the 70s and 80s the building was used as an accommodation for foreign representatives and other guests of state. The building was isolated from the outside area by enormous safety precautions. This was in strong contrast to the hospitality the house stood for. The whole complex was surveilled and shielded by the Stasi. (State Security Service) High industrialized buildings around the complex served as bomb shields for potential attacks. On the inside a little enclave of western consume standards with Milka chocolate and Coca Cola was established in favor of SED officials and guests of state. For the citizens of Leipzig the events within the house remained non-transparent and secretive. The video loop was recorded inside of the guest house which is falling into ruin. Except for the light, almost invisible snowfall at the outside space of the atrium the picture in the interior is completely motionless. No sound.


London and New York forge ahead

Forget opening galleries in far-flung territories—globalisation is benefiting the traditional hubs
by Melanie Gerlis  |  14 October 2015
(via The Art Newspaper)


Global financial hubs: London and New York remain the go-to cities for the art world

Although international galleries have spent the past decade wooing collectors in far-flung countries, opening spaces in Asia in particular, the next set of moves will result in an even greater concentration of the market in its two traditional hubs: London and New York.

London’s White Cube (FL, D4) is looking for office space in New York to “service its international client base”, a spokeswoman for the gallery confirms. Peter Brandt, who was the co-director of its space in São Paulo until it closed in August, could soon be spending more time in Manhattan. The Paris- and Salzburg-based dealer Thaddaeus Ropac (FL, A5) is known to be looking for a space in London, having originally considered opening in Istanbul. The Cape Town- and Johannesburg-based dealer Liza Essers of Goodman Gallery (FL, A17; FM, G17) is also seeking a space in London. London-based Lisson Gallery (FL, B5; FM, E7) is due to open a huge space in New York next year, while Hauser & Wirth (FL, D6; FM, D1) plans to upgrade to a new five-storey building in New York in 2018.

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Grimanesa Amorós – PINK LOTUS, The Peninsula New York, Oct. 1 – Nov. 15, 2015


PINK LOTUS, a light sculpture installation by epodium artist Grimanesa Amorós installed on the The Peninsula New York landmark facade and as a part of “The Art of Pink” campaign, curated by Circa 1881 and sponsored by The Peninsula Hotels in honor of breast cancer awareness month. The work is on view from Oct. 1 to Nov. 15.

Limited edition PINK LOTUS tote bags can be purchased at The Peninsula New York. All proceeds will benefit SHARE, a nationwide community offering support, information and the benefit of experience to women diagnosed with breast and ovarian cancers.

epodium gallery presents Paul Valentin


Vanillery I+II, Munich 2015, HD Video

epodium gallery is now presenting the video works of Paul Valentin.

The so-called “Mise en abyme” or Droste effect, which can be observed by standing between two parallel mirrors was the trigger to this work. In the videoloop, the viewer experience a simulated camera flight, through a world of reflection and illusion. Precise and abstract moments happening in a tranquil atmosphere.

Vanillery I+II
The control and be controlled is central to the work “vanillery”. For this reason, the artist works, in this 10 min loop, with the aesthetics of computer games. Dramatic and ceremonial stands beside the intimate loneliness, that came from been foaled in a cryptical and artificial world. The program and the working space be like the process it self, a part of the story because it revolves around the blurred boundaries of virtual spaces.

MoMA: Zoe Leonard: Analogue

June 25–August 30, 2015


Zoe Leonard: Chapter 17 from Analogue. 1998–2009. Twelve chromogenic color prints from 412 prints, each 11 x 11″ (27.9 x 27.9 cm). © 2015 Zoe Leonard

Analogue, by Zoe Leonard (American, b. 1961), is a landmark project comprising 412 photographs conceived over the course of a decade. Displayed in serial grids and organized into 25 chapters, Analogue documents the eclipsed texture of 20th-century urban life as seen in vanishing mom-and-pop stores and the simultaneous emergence of the global rag trade. Leonard took her own New York neighborhood, Manhattan’s Lower East Side, as a point of departure in the late 1990s. She then followed the circulation of recycled merchandise—used clothing, discarded advertisements, and the old technology of Kodak camera shops—to far-flung markets in Africa, Eastern Europe, Cuba, Mexico, and the Middle East.

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Golden Waters: Light Installation by epodium gallery artist Grimanesa Amorós

Golden Waters: Light Installation by Grimanesa Amorós To Extend
From Soleri Bridge in Scottsdale, Arizona


Scottsdale – Golden Waters, a temporary light installation by artist Grimanesa Amorós that will extend from the famous Soleri Bridge, will be on view June 10-September 30, 2015.  Scottsdale Public Art, a leader of defining art in the public realm, is the sponsor of the installation.

Inspired by and reflecting the natural elegance of the Arizona canal, a nearly fifty mile long body of water that runs through Scottsdale, Golden Waters will be mounted on a secure structure attached to the bridge, designed by artist, architect and philosopher Paolo Soleri. The hovering light sculpture will extend parallel to the canal channel eighty feet west of the bridge. Golden Waters’ LED tubing system will appear to rise from the canal waters below, celebrating the union of light and water.

The vertical and horizontal lines of the installation are a metaphor for the dynamic balance between urban and natural forces that can be experienced simultaneously. Golden Waters hopes to engage the viewer by emphasizing a unique perspective on nature and landscape.

There will be an artist talk with Amorós at 6pm – 8:30pm, on June 18th, 2015, with details available

On June 19th, you can meet and greet the artist at the Soleri Bridge at 6:30pm – 8:30pm.

For event updates, visit

Panel Discussion: Hosted by Deep Lab and NEW INC at IDEAS CITY

New Museum: Panel discussion on the anxieties of surveillance, hosted by Deep Lab cyberfeminist research collective and NEW INC, with panelists Simone Browne, Biella Coleman, Jade E. Davis, and Karen Levy, moderated by Kate Crawford

Grimanesa Amoros – MoMA / World Monuments Fund short film Magical ISA


The short film MAGICAL ISA by epodium gallery artist, Grimanesa Amorós, about the National Art Schools of Cuba will be featured during the reception following the panel discussion Latin American Modernism at Risk: Preservation Challenges for World Monuments Watch Sites.

Tuesday, May 5th, 2015 Program: 6 – 7:30 PM and Reception: 7:30 – 8 PM
The Museum of Modern Art Celeste Bartos Theater Education and Research Building, 4 West 54th Street New York City

Out now: „Kunsttheorie und Museumspraxis“

Andreas Backoefer

Kunsttheorie und Museumspraxis zwischen 1987 und 2012
Subject – Site – Center



Andreas Backoefer

Kunsttheorie und Museumspraxis zwischen 1987 und 2012
Subject – Site – Center

ISBN 978-3-940388-41-4
180 Seiten, 24 Euro

Das Buch ist hier und in jeder Buchhandlung erhältlich.

Kunsttheorie und Museumspraxis zwischen 1987 und 2012 unternimmt den Versuch, den Zusammenhang der zeitgenössischen Theorie-, aber auch Kunstproduktion mit der Ausstellungspraxis von Museen anhand ausgewählter Beispiele zu beschreiben. Die Ordnungslogik der Begriffe Subject – Site – Center etabliert innerhalb eines Feldes eine Überlagerung von theoretischem Denken, künstlerischem Tun und institutioneller Strategie, wobei diese Felder nicht eindeutig voneinander abgrenzbar sind.

Auf verschiedenen Ebenen ist dabei die Beobachtung des Wechselspiels von künstlerischer wie wissenschaftlicher Performativität (Handeln) und institutioneller Reflexion (Zeigen) möglich. Diese Analyse führt nicht zu Resultaten, sondern stellt eine probeweise Inszenierung von Wissen und Wissensformen dar.

Louisa Marie Summer at KOLGA TBILISI PHOTO

Philip Metz, LMS

epodium gallery artist Louisa Marie Summer at KOLGA TBILISI PHOTO.
Her photo series „Jennifer’s Family“ will be shown in the exhibition ‚The Best Photos of the Year‘.
Opening:  Mai, 1st, Hotel „Rooms“, Tbilisi,  14 Kostava Str., Georgien.

Workshop of epodium Founder Andreas Backoefer


Alle auf Rouge, Scham – Beschämung – Schamlosigkeit

Scham ist eine Folge des Entdeckt-werdens einer Person (Sartre). Die Schamreaktion offenbart Schuld oder bewirkt neues Verschulden, wenn das Subjekt gewaltsam versucht, sich einer beschämenden Situation zu entledigen.

Theologisch gilt, dass aus der Versöhnung mit Gott ein Aufrichten der Person folgt, die nicht mehr schamlos ihre Grenzen verleugnen bzw. schamhaft ihren Unwert beschwören muss. Sozialethisch relevant sind die öffentliche Beschämung von Personen (Schule!), die Lust am Fremdschämen oder die These von der Vertiefung des Nahostkonfl iktes durch die »verhängnisvolle Scham« der Christinnen (Braverman).

In der Gegenwartskunst geht es wirkungsästhetisch z. B. um »Inszenierung« von Schamlosigkeit zwischen Provokation und Authentizität sowie Scham im »narrative act«.
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Leitung: Prof. Dr. Knut Berner, Dr. Andreas Backoefer
Veranstaltungsort: Haus Villigst

Dauer: 7 Tage
Zeitraum: 23. bis 29. August 2015

EPHEMERA DIALOGUES AT ART BASEL 2015 with epodium artist Grimanesa Amorós


An afternoon of creative exploration, dialogue, and exchange of ideas
Hosted by Pablo Ganguli, Founder of LiberatumSwire Properties Lounge, Level 1, Hong Kong Convention & Exhibition Centre


Moderated by Simon de Pury, Auctioneer, Artist and Photographer, DJ


Hans Ulrich Obrist
Director of Exhibitions and International Programmes, The Serpentine Gallery, London
Grimanesa Amoròs
Isaac Julien
Artist and Film Maker
An afternoon of creative exploration, dialogue, and exchange of ideas
Hosted by Pablo Ganguli, Founder of Liberatum

Die Welt auf Fotos und im Film

Expedition G20

Der Kunstverein Bobingen zeigt in seiner Galerie im Unteren Schlösschen ab Sonntag Bilder auf eine ganz neue Art
von Anja Fischer

Augsburger Allgemeine, 21.2.2015

Zwei neue Gesichter zeigt die Galerie im Unteren Schlösschen Sonntag. Um 15 Uhr ist die Eröffnung der Ausstellung „certain places“ der beiden Künstler Roger Kausch und Louisa Marie Summer. Sie zeigt Fotografien und er Videoinstallationen.

Beide Künstler haben sich über ihren gemeinsamen Galeristen Andreas Backoefer kennengelernt und sich nun für diese Ausstellung in Bobingen zusammengefunden.

Louisa Marie Summer zeigt Fotografien, die 2013 bei einer Exkursion entlang des Amur-Highways in Sibirien entstanden. „Ich bin die Straße entlang gefahren, um zu sehen, wie dieser das Leben der Menschen in Sibirien beeinflusst“, erzählt sie.

Der breite Asphaltstreifen sei erst vor wenigen Jahren fertiggestellt worden, eine Straße in der Einsamkeit, durch menschenleere Gegenden. „Es war sehr interessant zu sehen, wer dort wie lebt“, so Summer, die die Gegend im Sommer bereiste. „Es ist eine ethnisch sehr gemischte Gegend.“ Die dort entstandenen Bilder wirken als Einzelbild in der Ausstellung. Sie erzählen aber auch demjenigen Betrachter eine Geschichte, der sich Zeit nimmt, sie alle anzusehen. „Ich gebe den Gedanken der Besucher keine Richtung vor“, sagt Summer. „Sie sollen Raum haben, sich selbst hineinzudenken.“ Spannend wird das durch die verschiedenen Ebenen, die manche Bilder aufweisen. Nichts ist daran inszeniert, nichts gestellt: „Ich finde die Bilder in dem Moment, in dem ich sie mit der Kamera festhalte.“

epodium gallery: Ausstellung „certain places“


Roger Kausch: „public-banana“

certain places: Roger Kausch + Louisa Marie Summer
photography, video and mixed media

epodium gallery im Kunstverein Bobingen; Galerie im Unteren Schlösschen, Römerstr. 73, 86399 Bobingen
22 Feb. 2015 – 08 März 2015
Eröffnung am Sonntag, 22. Februar 2015, um 15 Uhr

So wie ein Ort durch Identität, Relation und Geschichte gekennzeichnet ist, so definiert ein Raum, der keine Identität besitzt und sich nicht als relational bezeichnen lässt, einen Nicht-Ort. Dabei gilt für den Nicht-Ort geradeso wie für den Ort, dass er niemals in reiner Gestalt existiert; vielmehr setzen sich darin Orte neu zusammen – Relationen werden rekonstruiert. Diese Rekonstruktion erfolgt durch „aufeinanderfolgende Bilder“ mit der der Erfinder der Chronofotografie Etienne-Jules Marey gegen Ende des 19. Jahrhunderts das „nie Gesehene“ sichtbar machen wollte.

Roger Kausch greift in seinen Videoarbeiten direkt in die zeitliche Dimension ein: Verlangsamung, die Zerlegung in Einzelbildsequenzen nehmen Bewegungsabläufe so unter die Lupe, dass sie verborgene Choreografien offenbaren. Die Betonung von Bildraum, Perspektive, Standpunkt des Betrachters, Bewegung der Kamera sind die Mittel einer durchaus auch spielerischen Suche nach dem magischen Moment, in dem sich die Gewissheit der jeweiligen Orte auflösen oder als vielschichtig und mehrdeutig erweisen kann.

Im Gegensatz dazu universalisieren die Fotos von Louisa Marie Summer die betrachteten Orte. In der Fotoserie „Waves of Amur“ – eine 2.165 km lange Exkursion entlang des östlichsten Teilstücks der transkontinentalen Route von St. Petersburg nach Wladiwostock – dokumentiert sie diese Region fotografisch Bild für Bild. Eine Bewegung, die Linien verschiebt und durch Nicht-Orte hindurchführt, Augenblickseindrücke hervorbringt, die ein fotografisches Gedächtnis speichert.

Visit our exhibition at Kunstverein Bobingen.

Die epodium gallery wurde von Andreas Backoefer gegründet. Sie besteht aus einer Online-Plattform und veranstaltet/kuratiert darüber hinaus Ausstellungen und Projekte.

Pinterest Project


People watching art” is a Pinterest project by epodium gallery. We will display randomly on the internet found pictures which show people watching art and how they relate to art objects. The (non)structure of the pinboard mirrors the flatness and surface of online distribution and social media communication.

„Like the Histories of ideology and the social before it, the History of depth, of the behind or beyond, too, it seemed, had come to an end—or at least was cut short.“
(Timotheus Vermeulen: The New “Depthiness”)


epodium gallery presents Louisa Marie Summer

Expedition G20

Perspective, Siberia, 2013

epodium gallery is now presenting the photographs of Louisa Marie Summer.

The series Jennifer’s Family was born out of the encounter of Louisa Marie Summer with the protagonist Jennifer, a 26-year-old first generation Puerto Rican woman, her partner Tompy, and their four children. They live in a small rundown apartment in South Providence, Rhode Island, an urban neighborhood with a large Afro-American and Hispanic population, where many families live below the poverty line. Crime and unemployment are rampant and foreclosure rates among the highest in the United States.

In summer 2013 she was invited to represent Germany at The Russian Moment – 20 World’s Leading Photographers’ Expedition in Russia and to produce a body of work on the occasion of the G20 Leaders Summit on Financial Markets and the World Economy, Saint Petersburg, Russia, September 2013. The resulting project is Waves of Amur.

The Subversives the Post Feminists and the Category Expanders: Bushwick Art Crit Group










Kelsey Shwetz presenting at crit

(via whitehot magazine)


There is only standing room left as the first artist begins to delve into her current body of work. Pale legs opened wide appear on the walls, the projector washing out some of their hues, as the captivated audience listens. For eight minutes, the artist tells us where the ideas for the paintings come from, about her artistic process, and real life anecdotes masked in the lexicon of art school. The speaker is artist Kelsey Shwetz, who soon would become the Director of Exhibitions for Bushwick Art Crit Group.

Moving past the media headlines dubbing Bushwick Hipster Heaven and The 7th Coolest Neighborhood in the World, what does being an artist in Bushwick actually mean? As Bushwick Art Crit Group (BACG) founder Christopher Stout will tell you, “It’s not just the fact that Bushwick is where people are making it, it’s that the things that are going on at this point in our history are of crucial importance and are changing the game.” There is real passion here, demonstrated by both the DIY attitude that crams art shows into basements, rooftops, and tiny apartments as well as the work being exhibited at some of the neighborhood’s top galleries.

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Grimanesa Amoros on Her Favorite Work of Art












(via WSJ)

By Kelly Cro

What’s your favorite work of art?

Every artist has one, a wish-I’d-done-that creation that inspires envy and admiration in equal measure. Some of the world’s top artists’ eyes light up whenever they’re asked to name an artwork they saw early on in their careers that triggered their imaginations and got their hearts racing.

Turns out, artists often go back and visit these first loves, to reencounter that painting, sculpture or ancient object that made a turning-point difference in their own creative careers. WSJ’s Kelly Crow and filmmaker Sarah Hanssen visited Peruvian-born artist Grimanesa Amoros who took us to visit her favorite artwork at the Metropolitan Museum of Art. Best known for using light and resin to create installations that dangle and pulse, Ms. Amoros’s favorite artwork might surprise. Go with us as we check it out.

Artist Grimanesa Amorós throws light into the deepest corners of creativity








(via The Fashionable Truth)

New York-based, Peruvian-born artist Grimanesa Amorós  is rapidly becoming one of the art world’s hottest properties with her extraordinary essays in light rendered with some of the most advanced LED technologies. “This technology is a tool for me, like a brush,” she says. “A painter has their colors. I use light and technology.”

Amorós’s most recent work “Surveillance” will soon be on display at the MACRO Museum in Rome in January and will the travel to the MACBA Argentina in May. With a recent feature in her work in the New York Times T magazine Amorós is an artist to watch and one whose career is poised for a spectacular breakout.

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for private collections, corporate clients and public institutions

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New Yorker of the Moment: Grimanesa Amorós







Our latest New Yorker of the Moment is Grimanesa Amoros who recently connected with us here at AANY for a short interview.
The Peruvian-born interdisciplinary artist is known for her other-wordly art installations, often focused on personal identity and the interplay between humans and their environments.

Eternally prolific, she was just in Rio de Janeiro for a TEDGlobal conference in which she was a featured speaker. Amoros’s previous public art installations have been featured everywhere from Tribeca to Harlem and even Times Square making her an integral part of the city’s canvas. So we at AANY were thrilled to be able to ask her a few questions and it is with pride that we present that short exchange below.

How long have you lived in NYC? 30 years.

What is your favorite thing about the city? It is forever changing.

What is your least favorite thing about NYC? Rats!

Where would you be if you weren’t here? Eating gelatos, in the south of Italy.

What are you doing right now that you are passionate about? Researching and developing new work.

To learn more about Grimanesa Amoros and see her portfolio, visit her on

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