FRIENDS WITH BOOKS: ART BOOK FAIR BERLIN ANNOUNCES PROGRAMME AND HIGHLIGHTS FOR THE 2019 EDITION

Friends with Books features over 200 artists and publishers, 12 public programmes and 6 art installations, including new commissions.

September 21–22, 2019

Preview: Friday, September 20, 6–8 PM

Hamburger Bahnhof – Museum für Gegenwart Berlin  | Free entry

Alias art publications, 2019 ; courtesy Friends with Books, Berlin.

Alias art publications, 2019 ; courtesy Friends with Books, Berlin.

September 6, 2019 (Berlin) – Opening on September 20, Friends with Books: Art Book Fair Berlin, Europe’s leading art book fair committed to the distribution and promotion of artists’ books and associated mediums, launches its sixth edition in the iconic Hamburger Bahnhof – Museum für Gegenwart Berlin. From September 20–22, 2019, over 200 international exhibitors, ranging from artists to art publishers, will present their publications, reflecting the diversity of today’s art publishing. Free and open to the public, the fair explores all facettes of contemporary art publishing through an engaging programme of lectures, panel discussions, book presentations, performances and art installations, bringing understanding to the discipline and celebrating its resurgence in today’s digital climate.

Exhibitors at Friends with Books will feature contemporary art publications including artists’ books, artist zines, digital publications, limited editions, magazines, conceptual publications, photography publications, textual works and artists’ writings, art theory and criticism, as well as books printed spontaneously on location. Many of these art publications are not widely available or distributed, and may be self-published by artists or in small editions.

Friends with Books 2019 Highlights

For its sixth edition, Friends With Books welcomes for the first time ARTPHILEIN EDITIONS, Lugano; Little Steidl, Göttingen; Ann Noël, Berlin; among others.

Programmes include conversations and presentations with artists such as Erik Göngrich, Marlena Kudlicka, Nanne Meyer, Tamami Iinuma, Caio Reisewitz, and Florian Wüst.

Performances include the artist collective Black Palm and artists Mette Edvardsen, Jeroen Peeters and Lara Salmon

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The Friends with Books Blog interview features artist Elisabeth Tonnard in conversation with art critic Agnieszka Gratza.

German artist Anne Schwalbe created the annual Friends with Books Artist Poster Edition, titled Wasser, 2019, made from recent photographs of grass taken in Japan. Observing the lines and patterns in nature, Schwalbe photographs her surroundings intuitively. With no reference to location or other narrative aspects, she departs from landscapes into the abstract, thereby allowing her work to become the lines of a poem. Schwalbe is a regular columnist for Zeit Magazin.

The 2019 edition will host a series of curated temporary Art Installations in dialogue with artists’ books and art publications and printed ephemera including:

FWB_Tamami Iinuma_Piece of colonne, Fragment of Waves_Installation View_2018.jpg

Japanese artist Tamami Iinuma’s Piece of colonne, Fragment of waves, 2018-19, is an interactive installation with 36 unique artist books of photographs where abstract images appear and disappear meditatively as the pages are turned, recalling the continuously ebbing and flowing of waves or the ‘breath of architecture’. 

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Dutch artist Mathilde ter Heijne’s Woman To Go is an ongoing project and archive, featured as an installation of postcard racks holding free postcards with the portrait and biography of an unknown woman who was influential or extraordinary in her time. 

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German artist Kathrin Köster’s installation is comprised of two sculptural works, The hammy stage dive, 2018, and newly commissioned legerdemain, 2019, in connection with her new artist book, ex plica, 2019. Constructed with multi-layered fabric and paper upon supporting structures, her works explore how these materials express their own sense of theatricality and movement.

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Polish artist Marlena Kudlicka’s installation includes a sculpture and work on paper, both titled unprotected 0 fig. 120°, 2015. Reflecting her interest in Constructivism, Kudlicka focuses on semantic and spatial relations between function, language, structure, contour, shape, and system. A new limited edition commissioned poster velvet mind marble thoughts, 2019, is available for free to the public.

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Icelandic artist Egil Sæbjörnsson’s Ugh & Boogar’s Book Corner, 2019 is a newly commissioned installation where children and parents create stories together. The trolls, Ugh and Boogar, encourage fantasy and invention. Sæbjörnsson has created two artist’s books about the trolls’ adventures, When Egill met the Trolls and took them to Venice, 2017, and The Trolls in Hellsinki, 2019.

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Czech artist Rudolf Samohejl’s ‘sculptural situation’ features two new works, Life Table, 2019, a sculpture and working ping-pong table, and Rib Cage, 2019. Intended to be shown in public space, his work is activated through unpredictability in an effort to disrupt our everyday habits. Also on view is his newly commissioned artist book Plane Dreams, 2019, a graphic novel.

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The Alias reading area features books published by Alias, an independent editorial project based in Mexico City established by Mexican artist Damián Ortega. Alias translates and publishes texts previously not available in Spanish that it considers to be valuable contemporary art references.

Special Thanks: Udo Kittelmann, Nationalgalerie, Staatliche Museen zu Berlin; Dr. Gabriele Knapstein, Dr. Nina Schallenberg, Fiona Geuss, Hamburger Bahnhof – Museum für Gegenwart – Berlin; Gaby Horn, KW Institute for Contemporary Art; Barbara Wien; Dr. Michael Lailach, Kunstbibliothek Berlin; Claus Due, Studio Claus Due; Virginia Illner, Medialis Druck.

Support: Friends with Books is generously supported in part by Nationalgalerie, Staatliche Museen zu Berlin.

Sunday Art Fair Celebrates 10th Anniversary

Sunday Art Fair 2017, Ambika P3, University of Westminster, London. Photo by Damian Griffiths. Courtesy of Sunday Art Fair.

Sunday Art Fair 2017, Ambika P3, University of Westminster, London. Photo by Damian Griffiths. Courtesy of Sunday Art Fair.

Sunday Art Fair, London’s international contemporary art fair for young galleries and artists, returns from 3–6 October, 2019 with a selection of 30 galleries from over 20 cities. Marking its 10th anniversary, the fair will affirm its engagement and support of newly established galleries and emerging artists. The selected galleries, 16 of which will be participating for the first time, will take over the 14,000-square-foot concrete space of Ambika P3, located in the University of Westminster’s School of Engineering, through a curated presentation of solo projects and group shows.

Sunday Art Fair was launched in 2010 by galleries Tulips and Roses (Brussels, Vilnius), Croy Nielsen (Vienna) and Limoncello (London). Over the past ten years, the fair has established itself as the leading London contemporary art fair committed to supporting young galleries and artists at early stages in their career. Intentionally renewing its participating galleries each year, Sunday Art Fair is committed to presenting them with an opportunity to introduce global collectors to their artists. Sunday has acted – and still acts today – as a platform for artistic experimentation, thereby encouraging the discovery and promotion of new forms of art. 

Steering away from the traditional booth structure to adopt an open-plan layout, Sunday invites galleries and artists to rethink and appropriate the space, encouraging the dialogue between visitors, gallerists and artists. Free and open to the public, the fair aims to make contemporary art accessible to all, attracting younger audiences and aspiring collectors.

This year, Sunday will be partnering up with the Glasgow International (GI) Festival 2020, Scotland’s largest festival for contemporary art, for a special exhibition curated by its director Richard Parry. An alternative to the yearly Editions booths, which previously invited UK regional institutions to present dedicated projects, this exhibition will address the theme of “distraction”, a response to the GI’s 2020 festival theme around “attention.” The exhibition will feature unique works for sale by a selection of artists from past and previous editions of the festival.

A New York-based initiative founded to drive visibility and sales to emerging and mid-tier galleries, the Young Collectors League will be offering free advising tours to attendees to assist with acquisitions throughout the course of the fair.

2019 GALLERIES & INSTITUTIONAL PARTNERS 

Galleries
A.ROMY | Geneva
Galerie Alegria | Madrid
Annka Kultys Gallery | London
Galerie Bart | Amsterdam
Bombon Projects | Barcelona
C+N Canepaneri | Milan
CHOI&LAGER Gallery | Cologne | Seoul
Daniel Benjamin Gallery | London
Galerie Derouillon | Paris
ESP | Toronto
False Flag | New York
Fragment Gallery | Moscow
Galeria Fran Reus | Palma de Mallorca
Jack Barrett Gallery | New York
ltd los angeles | Los Angeles
MKG127 | Toronto
Over the Influence | Los Angeles
PACT | Paris
Patricia Fleming Projects | Glasgow
Renata Fabbri | Milan
RIBOT | Milan
Roman Road | London
Rosa Santos | Valencia
Sid Motion Gallery | London
Sperling | Munich
Stems Gallery | Brussels | Luxembourg
Steve Turner | Los Angeles
Suprainfinit | Bucharest
The Goma | Madrid
The Hole | New York

2019 Partners
Glasgow International Festival 2020 | Glasgow
Young Collectors League | New York
Artsy | Official Online Partner

 

NOTES TO EDITORS:

VIP + Press Preview (by invitation only)
Thursday, October 3 | 12–6 PM

Public Days
Thursday, October 3 | 6–9 PM
Friday, October 4 & Saturday, October 5 | 12–8 PM
Sunday, October 6 | 12–6 PM 

Free and open to the public.

Location
Ambika P3
University of Westminster
33 Marylebone Road
London NW1 5LS 

About Sunday Art Fair

Sunday Art Fair was founded in 2010 by the galleries Tulips and Roses, Croy Nielsen and Limoncello and is currently directed by curator and writer Thom O’Nions who has been involved with the fair since 2015. The fair is engaged in the promotion of emerging art by supporting both newly established galleries and artists at early stages in their career. Many significant artists have shown at the fair at turning points in their development, including Laura Aldridge, Simon Fujiwara, Ryan Gander, Anne Imhof, Christian Jankowski and Amy Yao, among many others.

About Ambika P3 

Ambika P3 is a 14,000-square-foot space beneath Baker Street in London. It was developed from the vast former concrete construction hall for the University of Westminster’s School of Engineering. Built in the 1960s, the site existed as a former concrete testing bunker where both the Channel Tunnel and sections of the British motorway were tested.

J. HILL’s Standard Unveils “Hand Drawn Glass” Collection with Artist Nigel Peake at Les Ateliers Courbet, New York

Image of the Nigel Peake collection,  Hand Drawn Glass . Photo by Doreen Kilfeather. Courtesy of J. HILL's Standard.

Image of the Nigel Peake collection, Hand Drawn Glass. Photo by Doreen Kilfeather. Courtesy of J. HILL's Standard.

Award-winning crystal glass manufacturer J. HILL’s Standard is pleased to announce they will unveil their third collection of tabletop crystal glassware at Les Ateliers Courbet in New York City, on view from September 17 – October 17, 2019. The series “Hand Drawn Glass,” designed and hand drawn by Irish illustrator Nigel Peake, represents a departure from the traditional rigid cut patterns of crystal glass, exploring an organic approach to form and design. The pieces feature clean, elemental shapes, and cuts that reveal the imprint of the hand.

Known for his paintings and drawings of built and unbuilt landscapes – interpreted in his books, textiles, porcelain and glass, Peake has created a series of three tumblers of various sizes: a carafe, a decanter and bowl. A spontaneous cutting motion captures the fleeting movement of the drawing hand.

The new collection offers an editioned series (four available patterns to choose from) and an open edition (seven available patterns to choose from). Oak-wood lids embellish the various patterns and are signed by Peake as part of the craft process.

Image of the Nigel Peake collection,  Hand Drawn Glass . Photo by Doreen Kilfeather. Courtesy of J. HILL's Standard.

Image of the Nigel Peake collection, Hand Drawn Glass. Photo by Doreen Kilfeather. Courtesy of J. HILL's Standard.

A book of drawings and references, titled “Fieldwork,” accompanies the collection. The book illustrates the continuum between inspiration, glass and cut pattern. The artist’s visual occupations materialize in the cut glass. In addition, Peake has designed a pattern sheet from which custom pieces can be individually selected.

Founder of J. HILL’s Standard, Anike Tyrrell, notes “Finding a small book of Nigel’s drawings on Irish landscape inspired the idea for the collection. It was clear his account of the textures and patterns so vivid in nature would look brilliant on glassware.”

J. HILL’s Standard, known for their handmade collectible and award-winning crystal glass, creates special collections – be they bespoke, custom or part of the permanent collections – in collaboration with artists, designers and creatives. The company’s debut collections by Martino Gamper and Scholten & Baijings were shown at Spazio Rossana Orlandi during Salone del Mobile 2014. The two collections of glassware have gone on to win many awards and critical praise, including the German Design Council prize for Tabletop in 2016 and the Wallpaper* prize for ‘Best Whiskey Glass.’ The pieces have also been acquired by the Louvre for permanent display in the Musée des Arts Décoratifs and in the National Museum of Ireland. Recently, J. HILL’s Standard has collaborated with Norwegian designer Daniel Rybakken on a limited collection titled “The Secant Project,” which includes a wall, floor and table light.

NOTES TO EDITORS: 

About J. HILL’s Standard:

J. HILL’s Standard products blend contemporary design and traditional craftsmanship celebrating the progressive and the handmade. They celebrate the dynamism of handmade crystal and explore its inherent qualities whilst challenging the existing understanding of cutting and embellishment. Hand-cut crystal is part of Ireland’s legacy – particularly the area of Waterford. Perfecting an age-old discipline, J. HILL's Standard joins the few remaining master craftsmen in the region to preserve and evolve the artistry of hand-cut crystal. An innovative young family company working from the Atlantic shore of Ireland, they create rare, custom and bespoke pieces alongside functional and singular handcrafted objects. Their interest in exploring the inherent qualities of crystal through both form and semiotic contrasts reveals aspects to its nature that may be overlooked by more traditional methodologies.

About Nigel Peake:

Nigel Peake lives in Paris and County Down. He studied architecture at the University of Edinburgh where he received a RIBA Silver Medal Commendation in 2005. His drawings have been collected in several volumes published by Princeton Architectural Press and Yvon Lambert. His collaborations include the NY Times, Hermès and Flos. His art work has been exhibited in Paris, Tokyo, London, and New York.

Friends with Books: Art Book Fair Berlin Opens September 21

September 21–22, 2019 / Preview: Friday, September 20, 6 – 8 PM 
Hamburger Bahnhof – Museum für Gegenwart Berlin

Friends with Books 2017. Thomas Bruns, 2017. Courtesy Friends with Books, Berlin.

Friends with Books 2017. Thomas Bruns, 2017. Courtesy Friends with Books, Berlin.

Friends with Books: Art Book Fair Berlin, Europe’s leading art book fair committed to the distribution and promotion of artists’ books celebrates its sixth edition in the iconic Hamburger Bahnhof – Museum für Gegenwart –Berlin. From September 20–22, 2019, a diverse array of over 200 international artists and publisher exhibitors will present their publications, attesting to the resurgence of the discipline. Free to the public, the fair will additionally host lectures, book presentations, panel discussions, performances and art installations that explore the evolution and visibility of this experimental field of publishing in today’s digital climate.

The 2019 edition will feature aseries of curated temporary Art Installations by artists, including: Tamami Iinuma (FR/JP), Kathrin Köster(DE), Marlena Kudlicka (PL) and Rudolf Samohejl (CZ). For the second presentation at Friends with Books, there is a newly commissioned Children’s Art Installation– this year by artist Egill Sæbjörnsson(IS), Iceland’s representative at the 57th Venice Biennale, with a children’s workshop and daily activities. Performances include the artist collective Black Palm (DE) and artists Mette Edvardson (NO),Jeroen Peeters (BE) and Lara Salmon(US). 

The Public Programmes series features lectures, performances, conversations, and panel discussions presented in partnership with Argobooks: Birgit Rieger and Claudia Wahjudi; Artphilein Editions: Caio Reisewitz and Daniela Labra; Tamami Iinuma and Thibaut de Ruyter; Black Palm: Sonja Cvitkovic, Verena Dengler, Marine Drouan, Anke Dyes, and Megan Francis Sullivan; Verlag der Arthur Boskamp-Stiftung: Micha Bonk, Ulrike Boskamp, Joerg Franzbecker, Annette Hans, and Sebastian Stein; Marlena Kudlicka and Agnieszka Gratza; Drucken Heften Laden (DHL): Erik Göngrich; The Invisible Archive (in collaboration with Goodbye Books): Yon Natalie Mik, Lara Salmon, and Micaela Terk; Hatje Cantz: Nanne Meyer; Fiona Geuss; neue Gesellschaft für bildende Kunst (nGbk): Florian Wüst; Varamo Press: Mette Edvardsen and Jeroen Peeters; and others.

Established in 2014 by co-founders Vanessa Adler and Savannah Gorton, Friends With Books is a non-profit organisation dedicated to contemporary art publishing. The event draws over 12,000 visitors each year, representing a platform for exchange between art publishing professionals and the general public. 

Special Thanks: Udo Kittelmann, Dr. Gabriele Knapstein, Dr. Nina Schallenberg, Fiona Geuss, Hamburger Bahnhof – Museum für Gegenwart – Berlin; Gaby Horn, KW Institute for Contemporary Art; Barbara Wien; Dr. Michael Lailach, Kunstbibliothek Berlin; Claus Due, Studio Claus Due; Virginia Illner, Medialis Druck.

Support: Friends with Books is generously supported in part by Nationalgalerie, Staatliche Museen zu Berlin.

 

Friends with Books 2019 Participants (200+ exhibitors): 

The complete list of participants will be announced in September. 

&: christophe daviet-thery, Paris I About Books, Zurich I ActA, Berlin I adocs publishing, Hamburg I Ahorn Books, Berlin I Bettina Allamoda, Berlin I AnagramBooks, London I Argobooks, Berlin I Artists as Independent Publishers, Bremen I Artphilein Editions, Lugano I Arts of the Working Class, Berlin I ATLAS Projectos, Lisbon I Maya Attoun, Tel Aviv I back bone books, Berlin I Beuys on Sale, Berlin | Bisagra, La Paz I Black Palm, Berlin I Blackmail Verlag, Halle I Books People Places, Berlin I BOLO Paper, Milan I  BOM DIA BOA TARDE BOA NOITE, Berlin I Marion Bösen, Bremen I Verlag der Arthur Boskamp-Stiftung, Hohenlockstedt I Brinkmann & Bose, BerlinI c8400, FrankfurtI ciconia ciconia Verlag,Berlin I Columbia Books on Art and Architecture, New York I  Corraini Edizioni, MantovaI Sonja Cvitkovic, Berlin I Damocle Edizioni, Venice I Verena Dengler, Vienna I Discoteca Flaming Star, Berlin I DISTANZ Verlag, Berlin I Ursula Döbereiner, Berlin I Brad Downey, BerlinI Marine Drouan, Berlin I Drucken Heften Laden, Berlin I Anke Dyes, Berlin I edcat, Zurich I edition clandestine, Biel/Bienne I Edition Taube, Zurich I Mette Edvardsen, Brussels I Enkunstung, Vienna I Everyedition, Zurich I Jesper Fabricius,Copenhagen I Fantôme Verlag, Berlin I Fluens Forlag, CopenhagenI FUKT, Berlin I GLORIA Books, Auckland I Goodbye Books, Tel Aviv I Erik Göngrich, Berlin I graum.xyz – raum für freien text und dichtung, Berlin I handpicked Tokyo/Berlin, Tokyo/Berlin Callum Leo Hughes, Berlin I hurricane publishing, Copenhagen I Tamami Iinuma, Paris/Tokyo I InterViews, Berlin I JB. Institute, Berlin I Åse EgJørgensen, Copenhagen I Miriam Jung, Berlin I kookbooks, Berlin I Kathrin Köster, Berlin I Verlag der Buchhandlung Walther König, Cologne I kookbooks, Berlin I Marlena Kudlicka, Berlin I Künstlerhaus Bethanien, Berlin I KWER Magazin, Berlin I Lapin-Canard, Paris I Ines Lechleitner, Berlin I Libri Finti Clandestini, Milan I Little Steidl, Göttingen I Lubok Verlag, Leipzig I Katrin von Maltzahn, Berlin I MATERIAL REVIEW, Berlin/Madrid I Materialverlag HFBK, Hamburg I Nanne Meyer, Berlin I Monroe Books, Berlin I Museum of Longing and Failure, Bergen I THE NEW COMA, Berlin I nGbK, Berlin I Nieves Books, Zurich I Ann Noel, Berlin I Onomatopee, Eindhoven I Tanja Ostojić, Berlin I Patingo, Madrid I Jeroen Peeters, Brussels I Raf Projects, Berlin/Teheran I rakete.co, Berlin IRAUMItalic, Berlin I Red Sphinx, Berlin I Caio Reisewitz, São Paulo I Spyros Rennt, Berlin I Revolver Publishing, Berlin I  Risotop Verlag, Leipzig I Rollo Press, Zurich I Rohrhof, Bozen I Egill Sæbjörnsson, Berlin I Lara Salmon, Los Angeles I Salomon & Daughters, Tel Aviv I Rudolf Samohejl, Brussels/Prague I Julie Sass, Copenhagen I  Martin Schmitz Verlag, Berlin I Anne Schwalbe, Berlin I Space Poetry, Copenhagen I Starship, Berlin I Andrzej Steinbach, Leipzig I Erik Steinbrecher, Berlin I Stencilwerk, The Hague I Sternberg Press, Berlin I STILL Magazine, Berlin/New York I Strzelecki Books, Cologne I Megan Francis Sullivan, Berlin I Sverres Zine, Berlin/Oslo I Terminal Ediciones, Guayaquil-Quito I Textem Verlag, Hamburg I THE GREEN BOX, Berlin I Valiz, Amsterdam I Varamo Press, Brussels I VEXER, St. Gallen I Vice Versa, Berlin I Sergej Vutuc, Heilbronn I HEIDEMARIE WEDEL_UND EINS, Stuttgart I weißensee kunsthochschule berlin, Berlin I Westphalie Verlag, ViennaI White Fungus, Taichung City I Eva Marie Wilde, Berlin I Florian Wüst, Berlin, ztscrpt, Wien and many others.

Austrian Cultural Forum New York Upcoming Exhibition: Resident Alien

Peter Trummer with Elisabeth Sinnesberger, Pile City Vienna, Courtesy Peter Trummer Architect, © Peter Trummer/Elisabeth Sinnesberger, 2015.

Peter Trummer with Elisabeth Sinnesberger, Pile City Vienna, Courtesy Peter Trummer Architect, © Peter Trummer/Elisabeth Sinnesberger, 2015.

The Austrian Cultural Forum New York presents an exhibition celebrating the contributions of Austrian-American architects in the United States since the modernist period.

 September 25, 2019 – February 17, 2020
Opening Reception and Panel Talks: Tuesday, September 24, 2019 | 6 p.m. – 8 p.m.

The Austrian Cultural Forum New York (ACFNY) is pleased to present Resident Alien, an exhibition that explores the cultural contributions of migrant Austrian-American architects in the United States since the modernist period. Framed into five distinct categories – Primitive Domains, Aggregate Families, Urban Terrestrials, Cloud Natures, and Media Atmospheres, the exhibition investigates the concept of bicultural heritage constructed in spaces of the in-between alongside other formal, technological, atmospheric, and psychoanalytic architectural dialogues. Curated by Cal Poly professors Dr. Stephen Phillips, AIA (SPARCHS) and Axel Schmitzberger, AIA (domæn Inc.), Resident Alien: Austrian Architects in America will be on view from September 25, 2019 – February 17, 2020. The exhibition will notably highlight the significant innovations and impact of Austrian architects on modern, postmodern, deconstructivist, digital, and post-digital design culture over the past century. 

The exhibition will be opened in the presence of the Austrian Federal Minister for Foreign Affairs and Culture, Mr. Alexander Schallenberg.

The ACFNY’s gallery space is set to reflect the five themes of the exhibition. Building on architects’ recurring use of geometric primitive forms (rectangles, spheres, cones, and cylinders), the exhibition surveys the presence of these building blocks in the landscape – in a first gallery, Primitive Domains – and aggregated together into larger modular compositions – in the second gallery, Aggregate Families. The third section, Urban Terrestrials, explores the contextual placement of these forms in the urban environment through a selection of examples. Architecture of all scales – domestic, urban, global, and universal – has significant political, social, and environmental impact on the natural and built world. Titled Cloud Natures, the fourth theme examines environmental and ecological advocacy as it materializes in architecture and its design. The fifth and final gallery, Media Atmospheres, discusses architecture’s atmospheric effects, both physical and digital, and how they affect the human condition – the ways we live, and how we communicate. 

While these themes apply to most forms of architecture, the exhibition investigates them by considering the work of over forty Austrian-American architects, thereby exploring the implications of bi-cultural heritage in this context. Set in the Austrian Cultural Forum New York, these concerns take on a particular meaning. Specifically, the building, conceived by Austrian architect Raimund Abraham, acts as relevant case in point. The provocative structure, which could be described as a series of primitive trapezoidal geometric forms aggregated together into a complex tower, has a significant impact architecturally, environmentally, and culturally on Midtown Manhattan’s urban setting – one that resonates to this day in the global discourse. 

Featured architects and designers include:
Raimund Abraham, Herwig Baumgartner (B+U), Herbert Bayer, Ella Briggs, Elizabeth Close, Matias del Campo & Sandra Manninger (SPAN), Paul Frankl, Victor Gruen, Erwin Hauer, Haus-Rucker-Co., Coop Himmelb(l)au, Hans Hollein, Waltraut Hoheneder, Barbara Imhof, and René Waclavicek (LIQUIFER Systems Group), Christoph Kapeller, Frederick Kiesler, Hubert Klumpner (Urban-Think Tank), Julia Koerner, Duks Koschitz, Christoph a. Kumpusch (Forward slash ( / )), Andrea Lenardin (a-l-m project), Adolf Loos, Mark Mack, Richard Neutra, Charles Paterson, Carl Pruscha, Bernard Rudofsky, Friedrich St.Florian, Rudolph Schindler, Axel Schmitzberger (domaen), Peter Trummer, Joseph Urban, Bettina Zerza, Liane Zimbler, and Susanne Zottl.

The exhibition has been supported by generous contributions from List GC, Zumtobel Group, and Arktura.

NOTES TO EDITORS:

About the Curators:
Resident Alien is curated by Stephen Phillips, an architect, historian, scholar and founding director of the Cal Poly Los Angeles Metropolitan Program in Architecture and Urban Design alongside Axel Schmitzberger, an architect, graphic designer, and educator who is principal of domaen Inc., an architecture and construction company in Los Angeles.

About the Austrian Cultural Forum New York:
With its architectural landmark building in Midtown Manhattan, the Austrian Cultural Forum New York is dedicated to innovative and cutting-edge programming, showcasing the best of Austrian contemporary art, music, literature, performance, and academic thought in New York and throughout the United States. In addition to presenting three group exhibitions per year in its multi-level gallery space and housing around 10,000 volumes of Austriaca in its library dedicated to Frederic Morton, it hosts over 100 free events per year in its own auditorium and supports at least as many projects at partner institutions across the nation. www.acfny.org

CHYBIK + KRISTOF To Break Ground on Research Center of Modular Architecture

The architects partner with leading Czech module manufacturer KOMA MODULAR, introducing a new system of modular construction.

Visualization of Modular Research Center. Photo Courtesy of CHYBIK + KRISTOF, LAN Render.

Visualization of Modular Research Center. Photo Courtesy of CHYBIK + KRISTOF, LAN Render.

CHYBIK + KRISTOF ARCHITECTS & URBAN DESIGNERS break ground on KOMA MODULAR’s Research Center of Modular Architecture in the Czech Republic, in a new design system, opening new ways of designing with modules. While celebrated for its sustainable and holistic nature, modular architecture requires a significantly higher design complexity, challenging architects to depart from the standard rectangular construction and spaces. In a reimagination of spatial configurations, CHYBIK + KRISTOF instead turn their attention to creating organic shapes through the vacancies between modules. The project is set to be complete in 2020.

While modular structures are usually created by placing right-angled modules side by side, CHYBIK + KRISTOF realize new spatial possibilities through a custom combination. Spatial modules containing facilities are leveled onto the planar flooring modules, which are anchored to the foundation. Both modules then function as columns, allowing them to hold the roof modules and form a continuous main space. Making sure to keep the workplace breathable, all-glass surfaces between the modules draw in an abundance of light from all sides of the structure, while a pair of skylights further relaxes the space. The Research Center will be a prototype of a new, adaptable system for various projects.

Adaptable to the needs of engineers and guest researchers, the center in KOMA MODULAR’s production grounds will feature 12 individual working stations, as well as a main space for collaborative research projects. The building will serve as a flexible space for developing new ideas in modular constructions and a think-tank for the KOMA MODULAR factory. The open, shared central space will be spatially organized and segmented to avoid negative aspects of large open space offices, maintaining a collaborative community with fluid structure. Drapes and other mobile elements will allow the space to be to further sectioned.

As one of the most prominent employers in the region and influencer of modular architecture, KOMA MODULAR’s company base integrates the needs of its employees and visitors, functioning beyond a manufacturing site. The work on the research center itself was preceded by designing a masterplan for an entrance and a public area for the factory. This zone is created around a triangular courtyard with greenery and a multifunctional amphitheater. Two sides of the courtyard are created by previously completed projects between architects and KOMA, the canteen and EXPO pavilion.

CHYBIK + KRISTOF attribute their accomplishment to the diverse series of projects they collaboratively developed with KOMA MODULAR. Demonstrating multifaceted uses of modular architecture, in 2013 they completed an employee cafeteria, in 2014 they announced, “City modules,” atypical modules for temporary urban events, and in 2015 the Czech Expo Pavilion in Milan where they were awarded the bronze medal for architecture. Currently reassembled in the KOMA grounds, the pavilion is repurposed into an administrative building.

Founding architect Michal Krištof noted, “During our experience working with KOMA, we came to understand both the possibilities and limitations of modular architecture. Each project brought new challenges and improvements. With the new Research Center, we wanted to push the spatial possibilities of modular architecture even further.”

Visualization of Modular Research Center. Photo Courtesy of CHYBIK + KRISTOF, LAN Render.

Visualization of Modular Research Center. Photo Courtesy of CHYBIK + KRISTOF, LAN Render.

T SAKHI Architects Unveil ADAR Épicerie and Traiteur in Paris

The Beirut-based studio unveils a new Mediterranean restaurant, the latest work in a diverse series of architectural projects reflecting on the nuances of dining.

ADAR, Photo by Romain Bassenne, Courtesy of T SAKHI

ADAR, Photo by Romain Bassenne, Courtesy of T SAKHI

July 2, 2019 (Paris) - T SAKHI is a fluid design and architecture studio, hybridizing multiple creative disciplines to awaken all five senses, and provoke diverse modes of human interaction. Cofounded by Lebanese-Polish sisters Tessa and Tara Sakhi, the studio’s diverse projects include commercial and residential architecture, product design, art objects, installations and films that are playfully subversive. In July, the sisters unveil their latest venture, the Levantine Épicerie and Traiteur “ADAR” in Paris, set in the 49th house of the historical Passage des Panoramas of Paris’ 2nd arrondissement. Demonstrating new and evolved ways of expressing culture, the sister’s rendition of the Middle Eastern restaurant reminds one of the unique sensory experience inherent to a culture. 

ADAR subtly captures Levantine culture without falling into clichés of orientalism and grandiosity. Instead, the sisters mimic the raw colors of the landscape in hues of browns, oranges, and off-white, with a central, corrugated mesh chandelier collecting dried spices, vegetables, and flowers to evoke the souk. Optimising the natural filtered light of the Passage’s glass roof, T SAKHI’s warm palette integrates walnut and oak wood, oxidized brass, patina walls, verde olive granite, hand-made ceramic plates, and inox offering rich layers of texture. 

Throughout the restaurant, a bodily sense of dynamism is achieved. Stained mirrors reflect the movement of visitors, while chefs Tamir Nahmias and Aaron Rosenthal prepare fresh Levantine cuisine in a striking terra-cotta open-kitchen, framing the act of cooking as a performance. Extending the experience, organic Mediterranean food products from Greece, Lebanon, Turkey, and Italy will be available to purchase at ADAR, inviting Levantine elements into Parisian homes.

Often exploring dining as a social act that centers on a shared olfactory and gustatory experience, the sisters created “Silent Echoes,” a transportable dining installation, which satirically visualizes the tendencies of individualization, self-absorption, and virtual interaction. A repetitive seating arrangement visually bars and isolates the viewer from their dining partner, and must purely rely on video calls to communicate and interact. Grey candles, grey lavender flowers, and grey resin, alongside a sound installation by 21DB of manipulated cutlery sounds, create a juxtaposition, distorting and disorienting the perception of the space’s dimensions. While the monochromatic aesthetics may be singular and harmonious, the symphony of various smells and sounds overwhelm the non-visual senses.

In the restaurant jazz bar SAX by T SAKHI, in the heart of Beirut’s renovated souks,various physical and visual interactions between visitors and performers are mediated through vivacious architectural elements. The sisters subsequently created the film, “And Then I Was Hearing Colors,” inviting director Cyril Aris, musician Mme Chandelier, and fashion house Second St. to explore the different narratives of the space. Inspired by Blue Velvet by David Lynch, and the old jazz bars of a bygone era, the sisters draw heavily on nostalgia to heighten memory’s activity in the space.

ADAR, Photo by Romain Bassenne, Courtesy of T SAKHI

ADAR, Photo by Romain Bassenne, Courtesy of T SAKHI

CHYBIK + KRISTOF Architects and Urban Designers Awarded Design Vanguard Prize by Architectural Record Magazine

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CHYBIK + KRISTOF Architects and Urban Designers, a young Czech architecture practice, have won Architectural Record’s 2019 Design Vanguard Prize. Spotlighting the promising practice as a “future leader of architecture,” the prize affirms CHYBIK + KRISTOF to be at the forefront of their field, as the jury looks to emerging, international firms forging new ways of approaching built environments.

CHYBIK + KRISTOF, which currently operates with 50+ international team members across offices in Prague, Brno, and Bratislava, is featured in the June 2019 issue of Architectural Record. The in-depth feature will present their work, and chart their growth from 2010 when the practice was founded by Ondřej Chybík and Michal Krištof.

An eagerly anticipated project by CHYBIK + KRISTOF is the The Lahofer Winery, set to open in Spring 2020. The versatile winemaking facility features a visitor center, a tasting room and an amphitheater that rests tactfully on the structure’s undulant roof. Employing architectural elements to embed the building in the surrounding Moravian landscape, the winery interacts as opposed to dominates the environment, as a colonnade of arches align with the vineyard rows, and the amphitheater’s incline mimics the surrounding slopes. The architects are also known for designing the Czech Pavilion at the 2015 Expo in Milan, utilizing modular architecture, which can be again reassembled in a different location, as well as the Gallery of Furniture in Brno and its striking plastic chair facade. Other notable recent projects include the Urban Infill Lofts, a revitalizing Brno’s post-industrial district, and the Czech Forestry Headquarters, envisioning the forest as an intimate, transparent workplace.

Past winners of the Design Vanguard Prize include: Sou Fujimoto, Bjarke Ingels Group, Office Kersten Geers David Van Severen, and Smiljan Radić. The winners leave a legacy of actively realizing conceptual thinking, and being proponents of new practices and dialogues in the architectural field. Dedicated to documenting architectural history, the renowned publication Architectural Record has been in print for 125 years, and awards an annual prize to young, game-changing architects from 2000 on.

T SAKHI Present Urban Experimental Installations Across Beirut

Instigating change in an urban topography rife with political instability, the studio’s innovative social structures invite the local community and visitors to engage in public space.

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The multidisciplinary architecture and design studio T SAKHI, whose hybrid works are often playfully subversive and provoke new modes of human interaction, unveil two new experimental urban interventions in Beirut in June 2019. In “Holidays in the Sun,” the cofounding sisters Tessa and Tara Sakhi adapt existing security barriers to function as stools and a place for greenery, while “Lost in Transition” offers a flexible site for rest and socializing. Both urban installations invite the community to engage in public space, while actively questioning the abundance of unfinished construction projects and security barriers currently punctuating Lebanon’s visual landscape. 

Readapting prefabricated CMU blocks, metal wire mesh, and security barriers compromising their everyday topography, T SAKHI give the objects a new function as sustainable materials. As new, hybrid structures, “Holidays in the Sun,” present a new solution to improving the existing urban environment in Beirut. The two iterations, both pale blue, address the lack of greenery in city environments and the lack of public places for conversation or rest. The sisters adapt the hollow cavities of the CMU block and metal mesh as space for plants and vegetation, and introduce an encompassing surface on top of intertwining blocks of metal to create a seat, juxtaposing security with comfort.

Furthermore, T SAKHI’s urban chair “Lost in Transition,” now lives in the Piazza of Saint Elias Church, in the city center.  Originally exhibited in Milan Design Week 2019 for Alcova, the eccentric installation features multiple metal seats that are interconnected through an encompassing arch. The functional sculpture invites face-to-face interaction, while periphery stools offer solitary moments of rest and relaxation. The urban chair is versatile, and the numerous spatial configurations allow for multiple uses, whether it is eating lunch with colleagues or reading alone. The short film animation “Lost in Transition,” vividly imagines the turbulent interactions taking place in the installation, and was created in collaboration with director Ely Dagher and musician Joh Dagher. T SAKHI often invite a variety of creatives to explore their work through film, creating further spaces for narratives, fashion, and cinematography, to embark on a larger dialogue about the structures we live in.

In September 2019, T SAKHI will also install the public garden intervention “Incomplete Pillars for Incomplete Beings” in Beirut. The sisters will create series of interactive public seating utilizing the hollow cavities of the prefabricated CMU blocks and metal mesh. The work is commissioned by NAFAS, an urban initiative project bringing together architects and designers to address Lebanon’s public spaces.

T SAKHI’s projects are diverse, interactive, and question our contemporary understandings of identity, home, and ways of living. Their synergetic projects are both permanent and ephemeral, and range from architecture, product design, art objects, installations, scenography and most recently, films. Drawing from the emotional and psychological experience of space, the sisters often incorporating memory and all five senses to heighten corporeal activity.

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A R T Announces the Representation of Architecture and Design Studio T SAKHI

Operating at the intersection of architecture, social innovation, design, and film, the Beirut-based studio will unveil several new projects in 2019.

Tessa and Tara Sakhi, Photo by Alain Sauma, Courtesy of T SAKHI.

Tessa and Tara Sakhi, Photo by Alain Sauma, Courtesy of T SAKHI.

A R T Communication + Brand Consultancy is delighted to announce the representation of T SAKHI, a multidisciplinary architecture and design studio cofounded by Lebanese-Polish sisters Tessa and Tara Sakhi.  Like Beirut’s hybrid identity, the studio fuses a multitude of creative practices to incite alternate modes of social interactions, whether through space or objects. T SAKHI’s designs are both permanent and impermanent, responding to both the city’s need for new adaptable structures as well as stability.

Operating nomadically between Milan, Beirut, and Paris, projects range from residential and commercial architecture, art objects, functional product designs, urban installations, and films reflecting on the nature of our current social fabric. The sister’s architecture and urban designs recognize the ephemerality of spaces that contemporary life requires. Enabling numerous spatial configurations, the studio allows for intimacy in both public and private space, as the sisters place humanity at the center of their practice.

In 2019, T SAKHI will unveil a diverse series of dynamic projects experimenting with materiality and the cross-cultural nuances of living and leisure spaces. Upcoming projects include a line of Murano crafted glass vases upcycling metal waste, exhibiting at “1000 Vases” in Paris, residential lofts in Milan and Beirut, the interactive performance “Toyota 89,” and “ADAR,” a Mediterranean Épicerie and Traiteur in Paris. In their rendition of the Mediterranean restaurant, they subtly capture the culture without falling into clichés of Orientalism and grandiosity, using warm earthy colors and a central chandelier comprised of local dried spices and vegetables, evoking the souk.

The studio’s past projects include “Fleeting Hearts,” a dismountable nightclub in Beirut subverting social structures, “Present Actions. Past Reactions,” a residence harmonizing communal aspects of traditional Lebanese homes with modernity, “Silent Echoes,” a dining installation that questions the social act in the era of social media, and “Holidays in the Sun,” a series of adapted security barriers installed in Beirut. The whimsical barriers are reinterpreted into a socially conscious intervention and present a solution to the lack of greenery and seating areas in public spaces.

T SAKHI regularly collaborates with artists and craftsmen from all over the world. From the glass masters of Laguna B in Murano, the stone sculptors of Marmonil in Cairo, to Lebanese directors and musicians such as Mounia Akl and Petra Serhal, T SAKHI’s collaborations are just as diverse as their work. Similarly, in their ensuing films, T SAKHI invites directors, musicians, writers, and fashion designers to interact with their architecture and designs, creating an additional, synergetic layer of music and fashion

Fri Art Kunsthalle Fribourg Will Present the First-Ever Retrospective of Gene Beery (*1937)

The exhibition will include over 40 works from 1960 – 2016, many of which have not been shown before or since the early 1960’s. The artist’s first monograph “Gene Beery” will be released on occasion of the retrospective.

Experiment in Time,  1972 acrylic on canvas. 86.4 × 106.7 cm

Experiment in Time, 1972 acrylic on canvas. 86.4 × 106.7 cm

Fri Art Kunsthalle Fribourg will present the first retrospective of undiscovered American artist Gene Beery (*1937). On view from May 4 - June 30, the exhibition will feature 40 works spanning over 50 years. The majority of the works are on loan from the personal collection of minimalist artist Sol LeWitt, the LeWitt Collection, USA. Accompanying the retrospective is the artist’s very first monograph, “Gene Beery,” offering an in-depth exploration into his life’s work.

Despite his art historical significance and his contribution to reconsiderations of the picture plane, Beery remains largely unknown. The retrospective will allow the fluctuating periods of Beery’s oeuvre to be in dialogue, for the first time in the same space. The works on view range from early anti-art paintings (1960-1963), figurative works (1965-1975), the artist-book series (1976-1985) and the burgeoning contemporary period (1986-2016).
 
Beery is one of the first artists to use words and texts to form visual artworks, which he coined the “Paintogram.” In 1960, the artist made his first text-paintings that blended deadpan humour and anti-esthetism, as he attempted to reduce the art form to a written idea. In the early 1990s, Beery painted “We Still Have Wild Birds Here,” reflecting his concerns about global warming and the preservation of our natural habitat. Unclassifiable, the text-paintings are at the intersection of Fluxus, Minimalism, Neo-Dada and assemblage.

This Painting is Permanently In Style , 2007, 40.6 x 51 cm, acrylic on canvas. Courtesy of the artist and Greenspon, New York

This Painting is Permanently In Style, 2007, 40.6 x 51 cm, acrylic on canvas. Courtesy of the artist and Greenspon, New York

At the start of his career, Beery worked at the MoMA like many other artists of his generation. Like his peers Sol LeWitt and Lucy Lippard, Beery developed a strong Abstract Expressionist fatigue, and his works held a truly anti-painting stance. During this time in New York, he befriended Max Ernst and James Rosenquist. Three years later Beery left New York to go into exile in the isolated California mountains, where he has worked ever since. His paintings began to invite colour and readapt Pop methods, extending the outreach of his practise and mediations on aesthetic experiences to a new kind of figuration.

Beery’s tongue-in-cheek works mock artistic genius and high art through puns and phrases. Behind the apparent nonchalance and sarcastic distance of his works lie profound reflections. The radical pioneer prompts the question, what does the encounter between the viewer and the artwork promise?

CHYBIK + KRISTOF Architects and Urban Designers Complete Urban Infill Lofts

The newly designed Urban Infill Lofts commence the revitalization of Brno’s post-industrial district. The building is adorned with a site-specific lighting installation and offers views of the city’s key landmarks.

Image of the Urban Infill Lofts. Photo by Alexandra Timpau. Courtesy of CHYBIK + KRISTOF.

Image of the Urban Infill Lofts. Photo by Alexandra Timpau. Courtesy of CHYBIK + KRISTOF.

CHYBIK + KRISTOF ARCHITECTS & URBAN DESIGNERS announce the completion of the Urban Infill Lofts in Brno, Czech Republic. The five-story building comprises of 14 modern residential lofts and commercial spaces, offering panoramic views of the city. The architect’s urban design maximized the potential of the limited area, amplifying the plot through an irregular polygon floorplan and a geometric sculptural staircase. A commissioned site-specific light installation by artist Petr Dub adorns the building’s exterior. With its location near the center, the building will provide benefits of urban living to its inhabitants, becoming a landmark of the area.
 
The Urban Infill Lofts are located in a former industrial district, which is currently undergoing a large transformation. As CHYBIK + KRISTOF’s design is the first substantial project southeast of the city center, the architects encourage further urban development in the existing area and emphasize, “In a complex urban structure, infills are a pragmatic solution for sustainable urban change. Promising existing plots and infrastructures need to be revisited and redesigned.”
 
The neon light installation crowning the top floor mimics the verticality of the building’s physique. “The Riders on the Storm,” an installation by Petr Dub imitates a lightning rod, inspired by the Doors song. The design references “the house we were born in,” emphasizing the close relationship people have with their homes.
 
CHYBIK + KRISTOF’s design is twofold; influenced by the historical aspects of the area while simultaneously utilizing modern design elements. The dominant feature of the building are the large windows, a nod to the industrial heritage of the building, accompanied by private terraces. Historically, corner buildings are at the intersection of a main meeting point, and act as visual urban anchors in navigating the city - they are defined by their verticality and the decorative elements that mark their importance.
 
The lofts stand on an unused site, intersecting two buildings. At the heart of the building is a sculptural staircase, connecting the ground floor tenant space. On a limited area of 269 m2, the architects have built a five-story building with a total floor area of 1200 m2, comprising of 14 apartments as well as commercial spaces. The lofts offer 8 standard 1-bedroom flats and ateliers on the 1st and 2nd floors and 6 lofts of 1-bedroom to 3-bedroom layouts on the 3rd and 4th floors, with areas ranging from 41 to 91 m2.  
 
The building was constructed with a cohesive selection of materials, creating a fluid palette of reinforced concrete, ash wood, and sleek white walls. The design conscious lofts are affordable and available to a broader demographic. “The socially integrated strategy informed the interior design of the building. Through using more affordable materials, we were able to open the spacious lofts to a diverse spectrum of inhabitants.” Ondřej Chybík explains.

CHYBIK + KRISTOF Architects Unveil Lahofer Winery

The Architects and Urban Designers announce new design for Lahofer Winery in the Moravian landscape, creating a space symbiotic with the surrounding nature of the vineyards. Encompassing the winemaking facility, the visitor center, tasting room and amphitheater will rest tactfully on the structure’s roof.

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CHYBIK + KRISTOF ARCHITECTS & URBAN DESIGNERS unveil the new design for the expansion of the Lahofer Winery in the Czech Republic. Nestled in the Moravian countryside, known for its vineyards, the Lahofer Winery is a compelling fusion of tradition, nature and modern wine making practices. The winery has broken ground and is set to open in Spring 2020. The building consists of three interconnected structures varying in height, including a winemaking facility, the company’s administrative base, and a visitor center featuring a tasting room. An impressive undulant roof serves as the public amphitheater and will host concerts and cultural events for visitors and locals.

CHYBIK + KRISTOF respond to the architectural language of the Moravian landscape. Veering away from interfering with the landscape, the architects lighten the volume and aesthetic of the building, by dividing the space into three masses.  The building echoes the natural slopes of the surrounding terrain most noticeably in the amphitheater’s incline. Aligning with the rhythm of the vine rows, the colonnade of arches creates perfect visual symmetry with nature.

The new visitor center is enclosed in a glass façade facing south, inviting abundant light and leaving only a thin barrier to the surrounding vines. The space includes a prominent tasting room and a barrique cellar made of wood, concrete, and glass. The archetypal winery shape is an homage to the contour’s traditionally used in Czech wineries. The tasting room is interconnected with the concave roof of the amphitheater, inhabiting the space under the exposed rib construction. The perpendicular intersection made of reinforced concrete ribs divides the arched spaces. Each module rises from a vineyard row and runs through the tasting room. The exposed structural elements guide the viewer’s gaze across the grapevines.

The two halls of varying height correspond to the production processes that take place within. The first, lower hall, centralizes the operations, wine-making production and employee facilities. The strip windows under the structure’s roof create an abundance of natural light. The second hall allows for operations that require lower temperatures – the wine-press, the cellar, and the wine store.

The varying heights of the spaces corresponding to the terrain create an alignment of the functional courtyards. While one courtyard serves as the operational area, centralizing logistic and production processes, the other holds the amphitheater, offering far-reaching landscape views.

The architectural design of the amphitheater engages visitors and the roof offers a panoramic outlook of the vineyard. It will be a community space dedicated to cultural events, such as grape harvest celebrations and theater performances. CHYBIK + KRISTOF designed the Lahofer Winery to serve the wineries functionality, while simultaneously creating a hub for the local community, visitors of the region and wine connoisseurs.

Describing the concept, Ondřej Chybík and Michal Krištof explain, “The vision of our design integrates the building into the landscape it rests on, immersing the architecture among the striking vine rows that cover the land. Additionally, we prioritized the visitor experience by allocating the roof as a public space, an amphitheater open to local and international visitors.”

The 2019 Edition of The Armory Show

Jorinde Voigt, Immersive Integral Midnight III, 2018, Ink, gold leaf, pastel, oil, chalks, pencil on paper © Jorinde Voigt. Courtesy the artist and David Nolan Gallery, New York

Jorinde Voigt, Immersive Integral Midnight III, 2018, Ink, gold leaf, pastel, oil, chalks, pencil on paper © Jorinde Voigt. Courtesy the artist and David Nolan Gallery, New York

The 2019 edition marks 25 years since the fair’s founding at the Gramercy Park Hotel. The Armory Show will present 198 galleries from 33 countries, bringing together an unparalleled presentation of international galleries in central Manhattan. 


Throughout the fair, 88 exhibitors will present solo- or dual-artist booths, reflecting a strong focus on in-depth presentations and curatorial approaches. A number of artists will make their New York debut at the fair, while several exhibitors have chosen to  restage important historical works.  In addition to solo- and dual-artist presentations, many exhibitors will devote their booths to presentations by leading contemporary women artists across several generations.

Full exhibitor list here

The 2019 edition features a tribute to founders Pat Hearn and Colin de Land, examining global shifts in the visual arts since the fair’s founding. To mark this historic milestone, The Armory Show is announced the creation of the Gramercy International Prize, a new, yearly initiative that supports the advancement of young and pioneering New York galleries who have not previously participated in The Armory Show.
 
In the spirit of the fair's founders, a jury will award a nominated gallery with a booth at no cost to showcase a solo or dual-artist presentation, providing a platform for experimentation and discovery with minimal financial risk. Ramiken has been selected as the recipient of the inaugural Gramercy International Prize and will exhibit a dual-artist presentation of works by Darja Bajagić and Andra Ursuţa. Combining wall sculptures from Ursuțaʼs Vanilla Isis series with paintings on printed and sewn canvas by Bajagić, the presentation offers idiosyncratic and complicated views on extremism, sexuality, and politics. 56 Henry was named the runner-up with honorable mention.
 

THE POMMERY PRIZE AND THE ANNUAL PRESENTS BOOTH PRIZE

The Armory Show 2019 will present two new prizes from partners Pommery Champagneand Étant donnésThe Pommery Prize will recognize an exceptional presentation within the Platform section of the fair with a $20,000 prize. Étant donnés Contemporary Art will award the Étant donnés Prize of $10,000 to one living artist of French nationality, or France-based, who is featured at The Armory Show. For the third consecutive year, Athena will present the annual Presents Booth Prize, a $10,000 prize that recognizes an outstanding and innovative presentation within the Presents section of the fair.

Now On View | VOID at ACFNY | March 12

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The Austrian Cultural Forum New York is pleased to announce the upcoming exhibition VOID, uniting two photographers, Yvonne Oswald and Tatiana Lecomte. The show, curated by the Jewish Museum Vienna, marks the first under the helm of new director Michael Haider. On view from March 12 to June 16, 2019, VOID draws attention to forgotten and repressed aspects of Jewish history in Austria.
 
The exhibition juxtaposes Yvonne Oswald’s photographs of deserted rooms of a former grand hotel in the Austrian Alps with Tatiana Lecomte’s images of mounted birds from the collec­tions of the Natural History Museum in Vienna.
 

Curators Danielle Spera and Astrid Peterle, Director and Chief Curator of the Jewish Museum Vienna prompt a discourse about commemoration, its representabil­ity and communica­tion—aspects of the work of remembrance with which the Jewish Museum Vienna is con­fronted on a daily basis. The Austrian Cultural Forum New York is an ideal place to conduct this discourse in a global context — because of its roots in the “Austrian Institute” which was decisively influenced by Aus­trian Jewish émigrés.
 
Oswald’s work captures the absence resulting from the expulsion and murder of Jews after the so-called “Anschluss.” The once luxurious Südbahnhotel on the Semmering moun­tain pass was the cultural hub of the fin de siècle society outside Vienna and, until 1938, a meeting place for numerous Jewish guests. Personalities such as Arthur Schnitzler, Sigmund Freud, Karl Kraus, Peter Altenberg, Gustav Mahler, Franz Werfel, Stefan Zweig, and Ludwig Wittgenstein, all of whom decisively shaped the cultural and intellectual life of the twentieth century, were closely connected with the Semmering and the Südbahnhotel in their work.

Lecomte, in turn, explores issues of pictorial memory through reflections on the “unrepresentable” quality inherent in every photographic representation. Her photographs of mounted birds call key aspects of photography such as the accurate reproduction and documentation of reality into question. Concerned with the adequacy of reproductions to communicate memories, these photographs thus become a contempla­tion of the pictorial representability of the unimaginable, traumatic experiences of the Shoah.