Uta Barth | Los Angeles Times
By Leah Ollman
Uta Barth is a photographer, and her chosen tool, the camera, is integral to the making and understanding of her work. But when asked about art that has had the greatest impact on her, she says, “I rarely think of photography. I think of sculpture and installation and painting. I don’t categorize media the way the world likes to.”
Uta Barth | The Eye of Photography
Uta Barth (born in West Germany, 1958) makes photographs that investigate the act of looking. In her multipart works, she explores the ephemeral qualities of light as well as its ability to affect optical perception. Uta Barth: Peripheral Vision traces Barth’s celebrated career from her early experimentations while a student to later studies that probe the eye’s capacity and the camera’s role in translating visual information into a photograph. Organized chronologically, with sections dedicated to her most prominent series, the exhibition presents the first overview of the artist’s career in over twenty years.
“For nearly 40 years, Uta Barth has worked in Los Angeles, garnering international acclaim for her innovative perspective and signature approach,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “Through teaching, extensive exhibitions, and publications, she has influenced an entire generation of new artists who appreciate the ways she has challenged traditional notions of photography as a carrier of objective information. This exhibition will provide a critical overview of the evolution of her work from its earliest days as a student to the present day.”
Jack Goldstein | e-flux
Photo by:
Just days before turning sweet16, the Schinkel Pavillon celebrates a milestone 15th birthday in retrospect with an anniversary mailing.
It is with great joy that Nina Pohl and her team look back on 15 years of not only exhibitions and performances, but also lectures, screenings, concerts, talks, and interventions realized by over 400 artists and countless supporters.
Uta Barth | The Modern Art Notes Podcast
Episode No. 579 of The Modern Art Notes Podcast features artist Uta Barth.
The J. Paul Getty Museum in Los Angeles is presenting “Uta Barth: Peripheral Vision,” a retrospective of Barth’s work.For over forty years Barth has made work about the act of looking, perception, movement and the passage of time. The exhibition debuts Barth’s newest work: a project commissioned in celebration of the Getty Center’s twentieth anniversary. The exhibition was curated by Arpad Kovacs, and is on view through February 19, 2023. A catalogue is forthcoming in 2023.
Uta Barth | The Getty
Watch Russell Ferguson, Jan Tumlir and Getty curator Arpad Kovacs discuss the work and oeuvre of Uta Barth in conjunction with the opening of Uta Barth’s monumental retrospective at the Getty Center, Los Angeles. Barth’s exhibition is open now and continues through February 19, 2023.
Uta Barth | The Getty
Listen here: James Cuno discuss the work of Uta Barth with the artist ahead of her retrospective at The Getty Museum in Los Angeles. The exhibition is open now through February 19, 2023.
Diana Thater | The Art Newspaper
Installation view, Diana Thater: Practical Effects, David Zwirner, New York, November 10–December 10, 2022. Courtesy of David Zwirner.
By Linda Yablonsky
Rarity may add material value to an artwork, but its emotional impact can appreciate even more—an infrequent occurrence in these remotely accessed times. So, imagine my surprise when Practical Effects, an immersive new video installation by Diana Thater, had me falling for a robot. That was not just unusual, but downright unsettling.
Uta Barth | Art Matters
Uta Barth, and of time, 2000. Image courtesy of The Getty.
By Edward Goldman
Uta Barth: Peripheral Vision traces her forty-year career. If you see her photos for the first time, you might find yourself wondering, "Why so little happens, there?" Someone’s hand moves translucent window shades with light waving through it. I’ve seen this image before and it always makes me think of it as a mysterious music score. I see, I hear the sound of a violin.
Rirkrit Tiravanija | Korea Herald
Installation view of "Rirkrit Tiravanija: Submit To The Black Compost" at Gladstone Gallery in Seoul (Courtesy of the artist and gallery)
By Park Yuna
Rirkrit Tiravanija is widely known for his intimate and participatory art, through which he engages with the audience. He would cook and serve up Thai food at an exhibition as part of the show, expanding the way in which people appreciate art.
A Thai born in Argentina and based in New York since the late 1980s, Tiravanija's Seoul debut exhibition at Gladstone Gallery, titled “Rirkrit Tiravanija: Submit To The Black Compost,” ended Oct. 7.
"For me, it has a deep meaning like looking at otherness, looking at difference and looking at the thing that is not you. Of course, in that sense empathy is very important because to function in a relationship to otherness, one needs their empathy,” Tiravanija said in a recent interview with The Korea Herald.
SUPERFLEX | Le Bicolore
There Is No Such Thing as Bad Weather, presented at Le Bicolore at Maison du Danemark, explores disparate ways of understanding the overwhelming reality of climate change.
In this exhibition, works by SUPERFLEX illustrate three different ways of approaching climate change :
- The technocentric
- The anthropocentric
- The ecocentric
Though these works were developed over three decades, SUPERFLEX’s practice does not simply tell a linear narrative.
There Is No Such Thing As Bad Weather offers a complex and prismatic view of an intractable problem while finding hope and energy in the range of possible responses.
Taking the idea of collaboration even further, recent works have involved soliciting the participation of other species.
For SUPERFLEX, the best idea might come from a fish.
SUPERFLEX | Pinacoteca Agnelli
It Is Not The End Of The World is part of La Pista 500, the artistic project of Pinacoteca Agnelli on the iconic FIAT car test track on the roof of the Lingotto, curated by Sarah Cosulich and Lucrezia Calabrò Visconti. It Is Not The End Of The World invites the viewer to reflect upon our present role in the escalation of climate change, to consider an apocalyptic scenario, and to imagine a future world of lively, diverse and perhaps even humanlike lifeforms.
Uta Barth | Getty Center
…and to draw a bright white line with light (11.2), 2011 printed 2021, Uta Barth. Pigment prints, 38 × 56 1/2 in. Getty Museum, 2021.51.1-.2. © Uta Barth
By The Getty Center
Uta Barth (born in West Germany, 1958) makes photographs that investigate the act of looking.
In her multipart works, she explores the ephemeral qualities of light as well as its ability to affect optical perception. Uta Barth: Peripheral Vision traces Barth’s celebrated career from her early experimentations while a student to later studies that probe the eye’s capacity and the camera’s role in translating visual information into a photograph. Organized chronologically, with sections dedicated to her most prominent series, the exhibition presents the first overview of the artist’s career in over 20 years.
Ann Veronica Janssens | Architectural Digest
Ann Veronica Janssens, frisson bleu, frisson rose, 2021. Courtesy of Esther Schipper. © Blaise Adilon
By Athéna Rivas
Cet été, dans le sud, Ann Veronica Janssens joue avec le soleil. Exposée à la Collection Lambert, à Avignon, mais aussi de l'autre coté de la Provence à la Fondation Cab à Saint-Paul-de-Vence, l'artiste belge présente des sculptures et des installations au sol, où la lumière apparait sous toutes ses formes.
Construite en réponse aux néons de Dan Flavin, installés au rez-de-chaussée de l'hôtel de Montfaucon, écrin de la Collection Lambert, l'exposition entre le crépuscule et le ciel d'Ann Veronica Janssens joue avec la lumière naturelle de la grande salle du premier étage. L'artiste a choisit de découvrir la totalité des vingt-six fenêtres pour laisser le soleil méditerranéen animer ses créations. À chaque heure de la journée, et chaque jour, ses sculptures et ses installations prennent une dimension singulière et dégagent une émotion différente.
Ana Prvački | Der Tagesspiegel
Ana Prvački, Artist in Residence at the Gropius Bau. Photo Credit: Ksenia Jacobsen
By Christiane Meixner
Ana Prvački musste nicht erst anreisen, um ihr Stipendium am Gropius Bau anzutreten: Die serbische Künstlerin lebt ohnehin in Berlin. Vergangenes Jahr durfte man ihr im Rahmen von „Die Balkone2“ – eine Ausstellung, die wegen Corona ausschließlich draußen stattfand und bloß von der Straße aus angeschaut werden konnte – auf die heimische Veranda in Prenzlauer Berg sehen.
Vor ein paar Tagen hat sie als Mentorin am „Forecast Forum 2022“ teilgenommen, das junge Künstler:innen von überall her ins Radialsystem einlädt, um zukunftsweisende Ideen zu realisieren – eine Woche intensive, an die eigene Substanz gehende Arbeit liegt gerade hinter ihr. Und auch jetzt gibt Ana Prvački Einblick in ihr Denken und Leben, das immer wieder von einer Substanz bestimmt wird. Vom Honig.
Ana Prvački | The New Institute
Ana Prvački - Apis Gropius , 2021-2022
By Antonia Lagemann
Ana, you have a very close emotional connection to bees—how come?
I come from a family of beekeepers. When my great-great-grandmother married my great-great-grandfather, she brought bees as her dowry. So everyone in my family has been beekeepers for many generations. I learned beekeeping with my grandfather, and when he passed away he left me with five hundred kilos of honey.
How and when did it take on such significance in your work?
When my grandfather died, I was pregnant, and I became really obsessed with bees. I started reading and doing research, looking at the science and theology, but also bee colony collapses—and I studied the history of bees and pollination. It turned into my passion. I just love bees. And you know what? Bees don’t really need us, like most of nature. But we need bees: without pollination our life and our evolution would have been completely different.
Ana Prvački | Berliner Zeitung
Apis Gropius (2022) by Ana Prvački
By Ingeborg Ruthe
„Wenn die Biene von der Erde verschwindet, hat der Mensch nur noch vier Jahre zu leben. Keine Bienen mehr, keine Bestäubung mehr, keine Pflanzen mehr, keine Tiere mehr, keine Menschen mehr.“ Die Mahnung stammt von Albert Einstein.
Ana Prvacki aus Serbien interessiert sich schon lange für die bedrohte Spezies. Für ihre Art-in-Residence-Arbeit im Gropius-Bau, dem Ausstellungshaus der Berliner Festspiele, erfand die 46-Jährige eine fiktive Bienenart, die im Grünen hinterm Museum leben soll. „Apis Gropius“ ist ihr Name und wir lernen sie kennen per App mit QR-Code im Lichthof des Museums. Prvacki sagt, „Bienen sind unsere Gastgeberinnen auf diesem Planeten und wir sind von ihrer Bestäubung total abhängig.“
Philippe Parreno | Financial Times
By Peter Aspden - July 15, 2022
Cosmic forces appear to be unleashed in the opening minutes of “La Quinta del Sordo”, a new film by the French artist Philippe Parreno now showing at the Prado Museum in Madrid. Amid an ominous ambient soundtrack, played through headphones, planets and stars appear to be on the move. A sinister organic form — is it a giant, sun-devouring creature? — comes out of the darkness. Specks of light flicker across the screen in super-slow-motion, and seem to explode.
As a prelude to Uta Barth’s forthcoming retrospective at The Getty Center, slated to open in November 2022, Tanya Bonakdar Gallery and 1301PE have collaborated on a small career-spanning survey that provides a solid introduction to the artist’s work of the past five decades. Curated by writer Jan Tumlir, the exhibition is divided into two sections, with Barth’s figurative photos featured at Bonakdar and her non-figurative works on view at 1301PE.
Read MorePhilippe Parreno | Times UK
By David Sharrock
When Goya painted his nightmarish Black Paintings directly on to the walls of his country retreat near Madrid he never intended them for public display.
An exhibition by Philippe Parreno, the French artist, has recreated the alarming experience of first viewing them inside the farmhouse, demolished long ago. The Black Paintings are among the most disturbing and priceless works of art housed by the Prado Museum in Madrid.
Philippe Parreno | The Guardian
La Quinta del Sordo. Photograph: Otero Herranz, Alberto/© Museo Nacional del Prado
By Adrian Searle
“Parreno’s film oscillates between surface and depth, light and shadow; between sound and vision, the pictorial spaces Goya created and the walls of the rooms they originally covered. This oscillation continues, like a tilting gyroscope, between past and present. At the end of the film, we see a crossroads at dusk, street lights, a row of buildings. We hear the traffic and the screeching brakes of a local train taking a bend in the track.”
