13 Sep - 10 Nov 2019
10 November 2019
In his exhibition Im Dom in the Secession’s main gallery, Tillman Kaiser presents mostly new large-format pictures and sculptures.
As the artist sees it, a church or cathedral is not a functional structure; synthesizing diverse arts—architecture, sculpture, and painting—it possesses a beauty that is an end in itself. With a nod to the Kantian idea of disinterested pleasure, Kaiser argues that all art—his, certainly—aspires to beauty in this sense. Made in the studio, his work does not depend on the interaction with a specific exhibition site. And yet the half-laconic, half-ironic title he has chosen for his show, which translates as In the Cathedral, transplants us into an ecclesiastical space and hints at the possibility of a spiritual experience. It is a deft stratagem, drawing a connection between the Secession—conceived at the dawn of modernism as a total work of art and “temple” of beauty—and his own oeuvre while questioning the institution’s status and signaling critical distance
Guido W. Baudach
Erik van Lieshout
The Beer Promoter
14 Sep - 19 Oct 2019
Galerie Guido W. Baudach is pleased to present Erik van Lieshout’s "The Beer Promoter", the artist’s fourth solo show with the gallery. The opening on September 13th, 2019 also marks the inauguration of the gallery’s new premises.
The exhibition circles around Van Lieshout’s most recent film "Beer", which documents the inner conflict of the artist that arises from the nomination for the prestigious Dr. A. H. Heineken Prize for Art in 2018. The footage shot over the course of the year chronicles the wildly unpredictable saga that unfolds. Receiving the prestigious and well remunerated award, which is granted every two years by the homonymous beer company to five international scientists and one Dutch artist (almost always a mid-career one), leads to a course of existential questions by the 50 years old Van Lieshout. The varied cast of personalities and locations in "Beer" ruminates on various issues: art, aging, money, politics, charity, diplomacy, integrity, and, of course, the many sides, both good and bad, of beer. As quite usual Van Lieshout takes up the role of clever jester. Always being a step ahead of all the others and using every small cause to enlarge it for art’s sake. However a major multinational company group proofs to be a hard one to tackle. The pivotal event of the film is when Van Lieshout, forgetting that everything is now online, makes offhand comments about a Heineken scandal in Africa to a reporter from a small regional newspaper, causing anger at corporate headquarters. Previously praised and awarded by the Prize jury for his radical, political work, he suddenly finds himself in a complicated web of apology, fear, crisis, and corporate identity. “If no one is naive anymore, then it’s no fun”, Van Lieshout cries. He wonders if he should even accept the prize; ultimately, he does - with a PR-induced hangover.
Susana Pilar: 'Body Present'
21 Sep - 17 Nov 2019
Cuban artist Susana Pilar (1984, Havana) focuses on social and historical issues of gender and race by taking her own personal experiences and family history and relating them to contemporary concerns such as migration and violence against women. Her own body often takes a central place in her practice.
For the exhibition Body Present, Pilar creates a new performance that links Belgian colonial history to her own childhood, the particular demographics of her homeland, and her Afro-Cuban descent from slaves from Sierra Leone and Congo. The piece is presented alongside a series of photographs, videos and drawings. All of these works are based in performance and present the assertive, black female body
11 Sep 2019 - 06 Apr 2020
Bettina Pousttchi works at the interface of photography, sculpture and architecture. Her temporary photographic interventions in the public space often occupy entire facades of buildings and reference the urban or historical context of a place.
Pousttchi frequently combines questions about the role of photography as a medium that both reproduces and constructs with questions about the relationship between memory and history. Her sculptures are an extension of her interest in the structure of public space, often transforming street furniture such as crowd barriers, street bollards or bicycle racks. The artist, who lives in Berlin, will create a site-specific installation for the first big exhibition hall in the museum.
Bettina Pousttchi was born in Mainz in 1971. She studied at the Kunstakademie in Düsseldorf and completed the Whitney Independent Study Program in New York. In Berlin she is best known for her photo-installation Echo (2009/2010) on the façade of the Temporäre Kunsthalle. In recent years her work has been the subject of many solo exhibitions abroad, including at the Hirshhorn Museum and Sculpture Garden in Washington DC, the Arts Club of Chicago, the Phillips Collection in Washington, D.C., the Nasher Sculpture Center in Dallas and Kunsthalle Basel.
The opening will be held during the Berlin Art Week (11.9.-15.9.2019) on Wednesday, September 11, 2019.
The exhibition is funded by the Hauptstadtkulturfonds.