Three Exhibitions

Deichtorhallen, Hamburg

Wunder / Atlas / Eyes on Paris. Wunder (miracles) is an exhibition on the boundaries of occidental rationality; its outer, inner and historical boundaries, centred around contemporary art. The mythological figure of Atlas, who contested the power of the gods of Olympus and was punished by having to bear on his shoulders the weight of the celestial vault at the westernmost point of the then known world, is the personification of the Atlas Mountains and is considered the ancestor of astronomers and geographers. Eyes on Paris shows how artists engaged in photography (French and immigrants alike) saw, experienced and captured Paris with the camera.

comunicato stampa

Wunder

KUNST, RELIGION UND WISSENSCHAFT VOM 4. JAHRHUNDERT BIS ZUR GEGENWART.
SEPTEMBER 23, 2011 − FEBRUAR 5, 2012 AT THE HALLE FÜR AKTUELLE KUNST

AN EXHIBITION by THE DEICHTORHALLEN HAMBURG and the SIEMENS STIFTUNG
CURATED BY PRAXIS FÜR AUSSTELLUNGEN UND THEORIE [Hürlimann | Lepp | Tyradellis]

THE CHILDREN'S TRAIL IS SUPPORTED BY THE KÖRBER-STIFTUNG

curated by the Berlin curatorial office Prauth

WUNDER (miracles) is an exhibition on the boundaries of occidental rationality; its outer, inner and historical boundaries. Centred around contemporary art, the interdisciplinary exhibition will explore the extraordinary; mysterious healings, incredible natural occurrences and the wondrous unknown, unexpected technical innovations, artistic ideas and also sheer coincidences. The exhibition by the Deichtorhallen Hamburg and Siemens Stiftung, is curated by the Berlin curatorial office Prauth. It will be running from 23 September 2011 to 5 February 2012 in the Deichtorhallen Hamburg.

A special track for children has been built into the exhibition, weaving a course around the museum and directed exclusively at children. The supporting programme includes a variety of events such as a series of films, along with activities and interventions in public spaces in the city.

The exhibits are from all areas of society, and trace how Christianity and ancient philosophy of nature have influenced our perception of miracles. A miracle is recognized as being a window onto the world from which art, science and technology have emerged. While the latter are more geared towards being functional and goal-oriented, art characteristically has a greater degree of freedom, continually offering new dimensions and opening up dialogue.

The window that epitomizes a miracle in our culture always draws attention to a deficiency, a gap that, as much as we would like to be able to do so, we can not close. It is the impetus behind masterpieces in both art and technology. The exhibition in the Deichtorhallen Hamburg puts the occidental world view and its fragile interpretational skills up for discussion. It compares the unique connections between religious, scientific and artistic motifs with alternative points of view, such as those found in Islam and other cultures.

The exhibition presents works by:

Die Ausstellung zeigt Werke von Francis Alÿs, Kader Attia, Joseph Beuys, Dara Birnbaum, Cosima von Bonin, Olga Chernysheva, Nathan Coley, Björn Dahlem, Ceal Floyer, Ellen Gallagher, Hans Graf, Andreas Gursky, Susan Hefuna, Susan Hiller, Jonathan Horowitz, Sven Johne, Helmut & Johanna Kandl, Martin Kippenberger & Albert Oehlen, Julia Kissina, Terence Koh, Igor & Svetlana Kopystiansky, Dieter Krieg, Philipp Lachenmann, Mark Leckey, Armin Linke, Ingeborg Lüscher, Melanie Manchot, Kris Martin, Hiroyuki Masuyama, Henri Michaux & Eric Duvivier, Julia Montilla, Timo Nasseri, Paul Nougé, Reto Pulfer, Julien Prévieux, Walid Ra’ad/The Atlas Group, Johann von Schraudolph, Thomas Schütte, Shirana Shahbazi, Katharina Sieverding, Roman Signer, Thomas Struth, Alina Szapocznikow, Larry Sultan & Mike Mandel, Fiona Tan, Javier Téllez, Jalal Toufic, Ryan Trecartin, James Turrell, Timm Ulrichs, Franz West, Susan MacWilliam and Erwin Wurm.

Scientific and cultural-historical exhibits:

The „Wunderwaffe“ V2 (wonder weapon V2), the Hamburg patent for sparklers (“Wunderkerzen”), historical Wundergläser (a special kind of microscope), votive pictures, a magnetic St. Benedict's crucifix, Sal mirabilis (Glauber salt), beatification files, a splendid Qu’ran, deep sea fish, pamphlets from the 16th Century, a perpetuum mobile as well as magic wands, Aladdin’s wonderlamp, miracle pills, witches’ cauldron and Goethe's conjuring set.

CATALOGUE

The exhibition is accompanied by a comprehensive catalogue published by Snoeck Verlag, featuring essays written by authors such as Zygmunt Bauman, Robert Pfaller, and Peter Geimer. 300 pages wiht ca. 260 illustrations. 24.80 Euro

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EYES ON PARIS
PARIS In photobooks from 1890 to the present
SEPTEMBER 16, 2011 – januarY, 8 2012 at the House of PHOTOGRAPHY

Paris is considered to be the cradle of photography. It was here that the technology was first made public – on August 19, 1839 – and instantly enthused the waiting world. Paris with its artists, scientists and craftsmen proved to be the ideal breeding ground for the medium. Moreover, from the outset the city itself was the subject for ambitious photographic projects.

Without a doubt Paris is the most photographed city in the world. Above all, in the 20th century the metropolis on the Seine emerged as the starting point for important cycles regardless of whether photographing artists sought to confirm a myth or instead eyed it critically. Photography in 20th century Paris not only reflected important stages in modern art and cultural history but equally outlined the opportunities for photographic perception. The present exhibition, whose title is inspired by Henry Miller, sets out to demonstrate the latter by means of a fascinating tour.

Eyes on Paris shows how artists engaged in photography (French and immigrants alike) saw, experienced and captured Paris with the camera. The artists’ gaze oscillates between documentary interest and subjective perception, a chronicler’s duty and the projection of personal feelings. Around 400 photographic works by important representatives of 20th-century photography enter into a dialog with epoch-making books, portfolios or rare portfolio works. After all, no other city in the world has been the subject of as many outstanding publications as has Paris: from Atget to Ed van der Elsken, from Robert Doisneau to William Klein.

Vintage print and Vintage book in dialog – the Hamburg exhibition ventures into new territory and simultaneously does justice to the enormously increased interest in the printed image. Not only does the show bring together all the important 20th century books on Paris (with photographic illustrations). It also tells about their genesis and reception – with the aid of selected prints, book dummies or documents.

The exhibition covers the period from around 1890 to the present day. Original black-and-white and color photographs will be on display, works by classic photographers (from Kertész to Izis), not to mention groups of works by young, contemporary photo-artists whose post-modern view of a changing Paris confirms the city’s status as an ongoing challenge for international art photography.
On around 1,000 square meters of exhibition space visitors can experience a tour of 20th-century Paris that repeatedly harbors surprises, and cross-references architecture and urban history, everyday culture and art practice. Scheduled to run for some four months the show can safely be considered the most ambitious project on the 20th-century photographic iconography of Paris.

With works by Eugène Atget, Laure Albin Guillot, Jane Evelyn Atwood, Stefania Beretta, Emmanuel Boudot-Lamotte, Brassaï, Mario von Bucovich, René Burri, Peter Cornelius, Robert Doisneau, Ed van der Elsken, Ilja Ehrenburg, Marc Foucault, Shinzo Fukuhara, Jean Claude Gautrand, René Groebli, Andreas Gursky, Ernst Hahn, Fritz Henle, Lucien Hervé, Roger Henrard, Candida Höfer, Birgit Hvidkjær, Pierre Jahan, Tore Johnson, Günes Karabuda, André Kertész, Johan van der Keuken, Ihei Kimura, William Klein, Germaine Krull, Andréas Lang, René Maltête, André Martin, Moï Ver, Patrice Molinard, Nicolas Moulin, Albert Monier, Jeanine Niepce, Pierre Peissi, René-Jacques, Bettina Rheims, Willy Ronis, Sanford H. Roth, Roger Schall, Jarret Schecter, Kishin Shinoyama, Otto Steinert, Louis Stettner, Christer Strömholm, Bettina Rheims, Emmanuel Sougez, Romain Urhausen, Yvon, Thomas Zacharias.

The exhibition at Deichtorhallen Hamburg’s Haus der Photographie will be curated by Hans-Michael Koetzle (Munich) and Ingo Taubhorn (Deichtorhallen Hamburg) runs from Sept. 16, 2011 thru Jan. 8, 2012. It will be accompanied by a comprehensive publication as a standard reference work on photographic Parisian 20th-century literature, which will be brought out by Hirmer Verlag, Munich

catalogue

A richly illustrated catalogue will be published by Hirmer Verlag, Munich. Hans-Michael Koetzle (Ed.): Eyes on Paris. Paris im Fotobuch 1890 bis heute, circa 400 pages, various illustrations, hardcover, circa 39,80 Euro

MOVIE PROGRAM

The exhibition will accompanied by a movie program featuring famous films about Paris. The films will be shown between October 2011 and January 2012 at Deichtorhallen in cooperation with the Filmfest Hamburg. Please click here for further informations (german language only.)

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ATLAS.
HOW TO CARRY THE WORLD ON ONE's BACK?
OCTOBER 1 − NOVEMBER 27, 2011 AT THE FALCKENBERG COLLECTION, HAMBURG-HARBURG

Exhibition organised by the Museo Nacional Centro de Arte Reina Sofía in collaboration with Sammlung Falckenberg and ZKM | Museum für Neue Kunst, KARLSRUHE

From September 30 until November 27, 2011 the Deichtorhallen Hamburg will be hosting the interdisciplinary show »ATLAS. How to Carry the World on One's Back?« at Falckenberg Collection, Hamburg-Harburg. The exhibition is organised by the Museo Nacional Centro de Arte Reina Sofía, Madrid in collaboration with the Zentrum für Kunst und Medientechnologie (ZKM), Karlsruhe and the Falckenberg Collection / Deichtorhallen Hamburg.

The mythological figure of Atlas, who contested the power of the gods of Olympus and was punished by having to bear on his shoulders the weight of the celestial vault at the westernmost point of the then known world, is the personification of the Atlas Mountains and is considered the ancestor of astronomers and geographers.

The concept of the “atlas” also stands for a visual form of knowledge, be it in the form of a collection of geographical maps in a volume or as an image base that seeks systematically or associatively to visualize a multiplicity of themes or contexts. Finally, in the visual arts, the collection of thematic or formal images has often served as a source of inspiration, and image montage is a crucial artistic tool for describing, presenting and exploring the diversity and complexity of the world and the course of history.

Taking as its point of departure the »Mnemosyne« atlas of images composed by Aby Warburg (1866 − 1929), the exhibition, curated by French philosopher and art historian Georges Didi-Huberman and entitled »Atlas. How to Carry the World on One’s Back?«, draws a line right through the 20th and into the 21st century, exploring the artistic strategies and practices that can be traced back to Aby Warburg, that major Hamburg art theorist and scholar of images avant la lettre. The exhibition’s focus is not on completed works, but on artistic methods and forms of representation, with the emphasis on revealing the underlying creative processes. How can we view the world without adhering to conventional knowledge?

Alongside a series of picture panels from Aby Warburg’s »Mnemosyne« atlas on show will be drawings, paintings, photographs, films and artist books by the likes of Francisco de Goya, El Lissitzky, Man Ray, August Sander, Brassaï, Josef Albers, Paul Klee, Moholy-Nagy, Karl Blossfeldt, Erwin Blumenfeld, Guy Debord, Sol Lewitt, Mel Bochner, Robert Filliou, George Brecht, Marcel Broodthaers, Meyer Schapiro, Christian Boltanski, Hans Haacke, Alighiero Boetti, Gerhard Richter, Bernd and Hilla Becher, Hans-Peter Feldmann, Fischli and Weiss, Roni Horn, Susan Hiller, Matt Mullican and Harun Farocki.

The exhibition will arrive at Sammlung Falckenberg from the Spanish National Museum Centro de Arte Reina Sofía, Madrid and the ZKM in Karlsruhe, and will then be supplemented by works by Hanne Darboven, Vito Acconci, Walker Evans, Joseph Beuys, Arthur Koepcke, Öyvind Fahlström, Bernhard Johannes Blume, John Baldessari, Victor Burgin and Thomas Ruff.

OPENING

on September 30, 2011 at 7 pm at the Falckenberg Collection (Phoenix-Hallen, Hamburg-Harburg). Dirk Luckow (Director of Deichtorhallen) and the curator Georges Didi-Huberman will be speaking. Until 11.30 pm, visitors may use the parking space located directly at the Falckenberg Collection.

CATALOGUE

An exhibition catalog is available in English: Georges Didi-Huberman (ed.), Atlas. How to Carry the World on One's Back? TF Editores: Madrid 2010. 428 p., illustrated. 60 Euro

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Press Contact: Angelika Leu-Barthel
Deichtorhallen Hamburg
Tel: 040-32103-250 - Fax: 040-32103-230
leu-barthel@deichtorhallen.de

Image: Wunder

Deichtorhallen
Deichtorstrasse 1-2, Hamburg
Hours: Tuesday – Sunday 11 am – 6 pm, every first thursday of the month 11 am – 9 pm (except on holidays)
Admission Regular: 9 Euro
Discount: 6 Euro

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