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Invitation card and small poster by Nan Goldin for Scopophilia at Matthew Marks in 2011.
Donald Kuspit in “Nan Goldin. Tradition Envy“: “Writing about her series “Scopophilia,” which “pairs her own autobiographical images with new photographs of paintings and sculptures from the Louvre’s collection,” Nan Golding states that “desire awoken by images is the project’s true starting point. It is about the idea of taking a picture of a sculpture or a painting in an attempt to bring it to life.” That’s all very well and nice, but the Old Master sculptures and paintings she photographs don’t need to be photographed by her — or anyone else — to be brought to life, having already lived for centuries, not just in cultural memory, but in emotional memory, for they bring enduring meanings to life, which is why they will continue to live, long after Goldin’s photographs have died, along with the people she photographs, all emotionally shallow and undesirable and unlovable — the young unlovables of the youth culture (that is, of those arrested in their emotional and cognitive development, however physically developed and sexually active they may be) — rather than imaginatively reconfigured into mythical personae.”
Peter Fischli and David Weiss
“Matthew Marks is pleased to announce a special exhibition of work by Peter Fischli and David Weiss at his three galleries. The exhibition includes the new monumental installation, Sun, Moon and Stars at 522 West 22nd Street. Clay and Rubber at 523 West 24th Street features their iconic sculptures from the past two decades in these materials, while their newest sculpture, Sleeping Puppets, will be installed at 526 West 22nd Street.” (press release)
Peter Fischli and David Weiss first show at Matthew Marks Gallery was in 1999. Before, they had shows at Galerie Stähli, Zürich (1983), Galerie Crousel-Hussenot, Paris (1984), Paris, Sonnabend Gallery, New York (1989), Galerie Walchethurm, Zürich (1992), Galerie Francesca Pia, Bern (1992), White Cube, London (1997),
Galerie Hauser & Wirth (1997), and, since 1983, at Galerie Monika Sprüth, Cologne.
Building Modern Bodies. The Art of Bodybuilding
An announcement for Building Modern Bodies. The Art of Bodybuilding, an exhibition about bodybuilding curated by Jörg Scheller at Kunsthalle Zürich in 2016.
Forde, Genève
Invitation cards of Forde, an independent art space in Geneva. The cards are from the very first years, as far as I know they were designed by Geneva artist Alexandre Bianchini. Forde was founded in 1995 by the artists Alexandre Bianchini, Fabrice Gygi and Nicolas Rieben. Every three years, a new curatorial team takes over the space at Usine, here is the full list.
Hacienda, Zürich
Hacienda was an independent exhibition space in Zürich founded by artist Fabian Marti, art historian Arthur Fink and the current gallerist Oskar Weiss (see www.weissfalk.ch). It was active between 2012 and 2015 (?) and located in a former Kinderkrippe in the center of Zürich. See the interview by Mitchell Anderson for Flash Art here. They also founded the publishing house Hacienda Books, currently under the direction of Oskar Weiss.
Message Salon at Strauhof
Message Salon is a legendary project run by artist Esther Eppstein since 1996. It started at Perla-Mode on Langstrasse in Zürich, where Epstein organized and staged exhibitions, performances, talks, all sorts of projects, discussions, and outspoken opinions.
Around 2015, message salon turned into a nomadic artist-run artist residence project called „message salon embassy“. message salon embassy invites international artists to Zürich. Once in town, Madame l’Ambassadeur Esther Eppstein takes her guests to explore the local art scene, to meet people, personalities, friends and art. They visit galleries, museums, festivals, and occasionally cook together. Each residence ends with the publication of a zine, launched during a public event.
This one was at Strauhof and organized in collaboration with Ivona Brdjanovic.
XMAS PARTY 2010 – JUNGLE ALL THE WAY
For years, Villa Magica Records, a label founded by Sylvie Fleury, John Armleder and The Genevan Heathen, organized a Xmas Party. This is the flyer for the 2010 itineration.
Anonymer Kommentar einer Besucher*in der Ausstellung They Printed It: “Die Karte hat eine sehr majestätische Wirkung. Das Zusammenspiel von Gold & Grün auf reliefartigem Hintergrund ist wirkungsvoll und zeigt eine Stärke. Irritierend ist, dass das Gold der Karte anders wirkt, je nach dem wie das Licht darauffällt. Das Innenleben der Karte ist etwas irritierend und ablenkend, aber das Dschungelthema wird mit den Tieren sehr schön aufgegriffen. Was hat das aber mit Weihnachten zu tun?
Cool ist, das die Karte in der Löwenform ausgeschnitten wurde.”
Michael Etzensperger
User comment: “I discovered the works of Michael Etzensperger during the portfolio review Plat(t)form 14 in the Fotomuseum Wintherthur. On the 22.1.15 I saw the show at the Hauser gallery with a group of international curators invited to the Plat(t)form 15. On the 29.1.16 I met Michael Ettensperger by chance at Kunsthalle with a group of international curators invited to Plat(t)form 16.” Caroline Nicod
Swiss Institute New York invitations
A series of surprising and ambitious invitation cards by the Swiss Institute in New York designed by Patrick Li (Li Inc., est. 2000). Gianni Jetzer, SI’s its curator from 2006 to 2013, first worked with FLAG (est. 2002) by Swiss designers Aubry Broquard who, in 2008, became artists.
Sprüth Magers poster invitations
Invitation cards/posters by Sprüth Magers.
The gallery emerged amid an extraordinary outburst in contemporary art that took place in Cologne in the early 1980s. Its first iteration as Monika Sprüth Gallery opened in 1983 with an exhibition of paintings by Andreas Schulze and was soon followed by exhibitions of Rosemarie Trockel and Peter Fischli David Weiss. Over the next few years, George Condo, Jenny Holzer, Barbara Kruger, Louise Lawler and Cindy Sherman all showed at the gallery and have continued to do so for the last thirty years. In 1991, a second gallery opened in Cologne under the name of Philomene Magers. Early exhibitions included Ad Reinhardt’s Black Paintings, Robert Morris’s felt pieces and John Baldessari’s photographs and text paintings from the 1960s. The two galleries merged into a single entity in 1998, and in 2000, a Munich space opened with Ed Ruscha’s exhibition Gunpowder and Stains.
In 2003, Sprüth Magers Lee opened in London with an exhibition of works by Donald Judd. In 2007, Sprüth Magers relocated to Grafton Street, Mayfair, inaugurating the space with a show of new photographs by Andreas Gursky. In 2008, the gallery established its flagship space in a former dancehall in Berlin Mitte, not far from the city’s Museum Island, debuting with Thomas Scheibitz and George Condo. The latest chapter in the gallery’s history was the launch of the Los Angeles space in 2016, presenting new works by John Baldessari. Located on Wilshire Boulevard, just across the road from the Los Angeles County Museum of Art, it is housed in a two-story building designed in the late 1960s by renowned West Coast architects William L. Pereira & Associates.” Source