The Austrian Cultural Forum New York Presents Artist Interview Series as Part of Current Exhibition: "Spaces of No Control"

Curated by Austrian artist and curator Walter Seidl, the exhibition explores the notion of the modern city and urban dystopias of the 20th and 21st centuries, with works by leading American and Austrian artists, including: VALIE EXPORT, Hans Haacke, Francis Ruyter and Taryn Simon.

October 1, 2020 – January 10, 2021 | By appointment only

VALIE EXPORT, Syntagma, 1983. 16-mm film transferred to video: color, sound. 17 minutes 3 seconds. From the compilation: METANOIA. Courtesy of Kontakt Collection, Vienna.

October 1, 2020 (New York, NY) – Opening on October 1, the Austrian Cultural Forum New York (ACFNY) presents Spaces of No Control, a group exhibition curated by Walter Seidl exploring the notion of the modern city and its signifying dystopias of the 20th and 21st centuries. The multifaceted show brings together contemporary artists based in Austria and the United States to comment on the current definitions of citizenship and public space. 

Over the past five decades, public space and architecture have changed drastically as a result of modern technology and its influence on gentrification. The precision of technology no longer requires authorship nor a tangible physical presence to document reality. The more advanced technology grows, the more control investors have in the ownership of urban planning, as citizens are gradually forced to forgo their authority and waive their access to public spaces. In light of these dynamics, New York and other large cities have been under constant artistic scrutiny as a result of municipal changes that call for permanent control, often marked by capitalist trends.

Spaces of No Control’s featured artists examine the histories of specific places and create a narrative on the defining architectural and social impressions over the urban structure. The core of the show lies in photographic examinations of cities and their social strata, which are then transferred onto other media thereby engaging viewers to reflect on how to circulate with this new reality. The exhibition analyzes city planning – initially intentioned to optimize rather than reorganize society – and the results of its complex history.

Works in the ACFNY’s iconic building’s lobby include Kay Walkowiak’s video, Minimal Vandalism, which shows a skateboarder skillfully leaving traces onto art installations, bringing to light the essence of minimal art and how these works are perceived within public spaces and often treated with irony. Francis Ruyter’s experimental paintings address the mechanical nature of the digital era, which hinders independent action and forces individuals to give in to the internet’s dynamics and evolving demands

In the Lower Mezzanine, Taryn Simon’s collection confronts the divide between those with and those without the privilege of access, and reveals that which lies hidden and out-of-sight within the borders of the United States. Located in the Upper Mezzanine is VALIE EXPORT’s short film, Syntagma, created in the 1970s to investigate the body as a membrane between the self and the public, contemplating how the female body is inscribed into society. 

The building’s Upper Gallery includes a short documentary of Hans Haacke’s controversial work, And You Were Victorious After All, entirely burnt down by neo-Nazi groups in Graz, Austria, in 1988 despite constant surveillance. His work provides a telling example of the artist’s ultimate belief that citizens have no control over their contributions within public space. In this sense, Haacke’s documentary can be considered one of the most significant and resounding contributions to Austrian art history. 

Concluding the exhibition, the main gallery includes Sabine Bitter/Helmut Weber’s Performing Publicness, a photographic representation of the Park Avenue Plaza that analyzes the particularities and contradictions that lie in the private ownership of New York’s public spaces. Finally, Tony Cokes’s video-sound installation interrogates the ways in which political and social articulations in cities are driven by the media and preconceived image reproduction.

Opening on October 1, 2020, Spaces of No Control will be on view by appointment only until January 10, 2021, and was organized with the support of the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.

Featured artists include:

Sabine Bitter/Helmut Weber, Tony Cokes, VALIE EXPORT, Hans Haacke, Francis Ruyter, Taryn Simon, Kay Walkowiak. Curated by Walter Seidl.

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NOTES TO EDITORS
About the Curator
Walter Seidel is a curator, artist and critic based in Vienna. Having studied cultural studies (MA) and contemporary history (PhD) at universities in Graz, Seattle, Paris and New York, his work deals with the transformation of image politics and the inherent identity constellations. Seidl curated numerous exhibitions throughout Europe, North America, Hong Kong, Japan and South Africa. His writings include various catalog essays for artist monographs, exhibition reviews, and criticism. Seidl contributes to several international art magazines, most frequently to Camera Austria International, where he is also board member and curator.

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 13,000 volumes of Austriaca in its library named in honor of the late Vienna-born American writer and intellectual Frederic Morton, it hosts up to 100 free events per year in its own auditorium and supports as many projects at partner institutions across the nation.
www.acfny.org

Austrian Cultural Forum New York
11 East 52nd St. (btw. 5th & Madison)
New York, NY 10022
(212) 319 5300
Open weekdays, 10:30 AM – 5:30 PM
Admission to exhibitions, concerts, and other events is free.

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CHYBIK + KRISTOF ARCHITECTS Complete the Lahofer Winery in the Czech Republic

Exterior view of the Lahofer Winery, designed by CHYBIK + KRISTOF. Photography by Alex Shoots Buildings.

Nestled in the Moravian countryside, the design of the Lahofer Winery brings together a longstanding wine tradition and contemporary wine-making processes. Housing a visitor center, tasting room and production facilities, the structure immerses itself in the landscape, achieving a subtle symbiosis with the surrounding vines.

August 5, 2020 (Dobšice, Czech Republic) – CHYBIK + KRISTOF ARCHITECTS & URBAN DESIGNERS have completed construction of the Lahofer Winery in the Czech Republic. Nestled in the Moravian countryside, the Lahofer Winery fuses the region’s longstanding wine tradition with a contemporary design in constant dialogue with the surrounding vines. Reflective of modern wine-making processes, the building brings together three distinct interconnected structures – a wine-making facility, the winery’s administrative base, and a visitor center and adjoining tasting room. Emulating archetypal wine cellars of the region, the vault of the winery rests on a grid of arched beams. Acting as a mirror of this shape, an undulant roof serves as an amphitheater for cultural events open to both locals and visitors, merging the winery into the ground – and the culture – on which it rests.

CHYBIK + KRISTOF’s project finds its roots in the legacy of the Lahofer Winery – one grounded in a storied cultural heritage and a profound respect for the natural environment. Responding to Moravia’s topography and architectural tradition, rooted in the culture of wine, the architects conceive a design in symbiosis with the region’s landscape. Reminiscent of the region’s characteristic arched wine cellars, a colonnade of vaulted beams frames the interior space into its storied curve. On its exterior side, draping the winery, an undulant roof acts as an inclined open-air amphitheater and cultural venue. Lightening the volume of the building as it rests on the fertile soil, below lie three separate spaces – each attributed with a distinct function, they share a constant concern for the adjoining nature.

Towered by the concave roof of the amphitheater, the space unfolds into a vast cellar, embracing the design of archetypal Czech wineries defined by the exposed rib construction of the arches. Each reinforced concrete arch is individually designed to fit a specific angle of the ceiling, while the distance between the arches is determined by that between the vine rows. Each module rises from a vine row and runs through the space, achieving perfect visual symmetry and guiding the viewer’s gaze across the grapevines. Enclosed in a glass façade and facing south, the visitor center draws abundant light as the windows act as concealed separation from the exterior vine rows. Informed by the ambient nature, the visitor center invites visitors to fully experience its produce in the barrique cellar, made of wood, concrete and glass, and adjoining tasting room. A large-scale mural painting by Czech contemporary artist Patrik Hábl covers the entire ceiling area. Its tampered, irregular and sparse strokes, ranging from earthy reds and blacks to terroir-reminiscent browns and beiges, echo the variations of the soil and its weightlessness as it seemingly lifts from the ground, leaving its timeless markings on the walls.

In the continuity of this material wave, the structure houses its production in two halls of distinct heights, each mirroring a specific process. The first lower hall centralizes the operations, including wine-making production and employee facilities, while the second allows for operations that require lower temperatures, such as the wine press, the cellar, and the wine store. The varying heights of the interior spaces, emulating the terrain, allow for the alignment of corresponding functional exterior courtyards. While one courtyard serves as the operational area, centralizing logistic and production presses, the other holds the amphitheater, extending sweeping views of the landscape.

Interior view of the Lahofer Winery, designed by CHYBIK + KRISTOF. Photography by Alex Shoots Buildings.

An open space emerging from the rhythmic vines, the amphitheater invests the boundless roof, overlooking a horizon nourished by its history. Expanding on the Lahofer Winery’s function from a production site into a witness to the local culture, it acts as a community space dedicated to cultural events, including local grape harvest celebrations and theater performances – a hub for its lasting community to connect with visitors of the region and wide-ranging wine connoisseurs.

Describing the concept, founding architects Ondřej Chybík and Michal Krištof explain, “The design of the Lahofer Winery is deeply rooted in nature, and in the respect thereof. At a time when culture and nature appear to be antagonistic forces, we envision a space reflective of the longstanding symbiosis between the two in the region – one that profoundly respects the environment on which it rests. The structure unfolds into the native terrain, immerses itself into the surrounding vine rows, thereby preserving the essence and integrity of both soil and culture. Additionally, moving beyond a purely productive viewpoint, we prioritize the visitor experience, notably by allocating the roof as a public space open to local and international visitors – an experience essential to the understanding and appreciation of the wine.”

A selection of press images (drawings and project views) can be accessed here.

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NOTES TO EDITORS
About CHYBIK + KRISTOF
CHYBIK + KRISTOF is an architecture and urban design practice founded in 2010 by Ondřej Chybík and Michal Krištof. Operating with 50+ international team members and offices in Prague, Brno and Bratislava, the practice aims at creating bridges between private and public space, transcending generations and societal spheres. Taking into account local histories and environmental specificities, the studio works on a wide array of projects, ranging from urban developments to public and residential buildings. Recent projects include: Gallery of Furniture (Czech Republic), the Czech Pavilion at Expo 2015 (Milan, Italy) and Lahofer Winery (Czech Republic). The studio has been awarded a number of prizes, including the 2019 Vanguard Award from Architectural Record.
https://chybik-kristof.com/

About Lahofer Winery
Deriving its name from the Dobšice native, artistic woodcarver Jan Lahofer, the Lahofer Winery was established in 2003 in the Czech Republic’s historical Moravian wine producing region. The Lahofer winemakers are supported by a strong tradition of viticulture in the Znojmo region, developed through state-of-the-art viticulture procedures and technologies.  The winery produces wines from all the main Central European grape varieties, exclusively from grapes grown in their own vineyards (with the exception of the special series of French wines), selling part of their vineyard production to other wine producers. The Lahofer Winery is one of the largest wine producers in the Czech Republic, covering over 430 hectares and produces half a million bottles annually.

Client: Lahofer Winery
Location: Dobšice, Czech Republic
Year: 2015
Completion: Spring 2020
Size: 3 900 m2 (Ground floor area)
Status: Building Site
Team: Ondrej Chybik, Michal Kristof, Adam Jung, Lenka Vořechovská, Hanin Al-Gibury, Karolina Holankova, Martin Holy, Vojtech Kouril, Ondrej Mundl, Matej Strba, Zuzana Zathurecka, Zuzana Pelikanova, Victor Cojocaru, Laura Emilija Druktenytė, Zuzana Lisoňová, Gabriela Voláková 

Lahofer Winery (Vinařství LAHOFER)
Vinice 579
Dobšice, 671 82
Czech Republic

https://www.lahofer.cz/en/winary

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New York-Based Designer Jonathan Hansen Unveils New Porcelain Collection in Collaboration With French Table Design Brand Marie Daâge

Drawing inspiration from Baroque palaces and churches, Ciels Bleus replicates the characteristic frescoes’ blue-sky cloudscapes, hand-painted on Marie Daâge’s signature hand-crafted Limoges porcelain.

August 4, 2020 (New York, United States) – Created in collaboration with esteemed French table design brand Marie Daâge, Ciels Bleus is New York-based designer Jonathan Hansen’s latest signature porcelain collection. Made in Limoges, France, and inspired by the ceilings of Renaissance and Baroque edifices throughout Europe, the blue-sky cloudscape dinnerware set is hand-crafted in porcelain with hand-painted brushwork by Marie Daâge’s internationally renowned local artisans. The collection, which features a selection of 14 adorned tableware and decorative pieces, is available exclusively on leading design and fashion retailer Moda Operandi until October 31, with numerous post-exclusive international retailers including Liberty London and MATCHESFASHION.

Reflecting European architecture and design history’s influence on Hansen as an unfaltering source of inspiration, the Ciels Bleus collection finds its roots in the hand-painted ornamented ceilings characteristic of Renaissance and Baroque edifices. Mirroring an architectural and artistic element onto his work, thereby replicating the illusion of the outside captured on the inside, Hansen endows the pieces with an atmospheric depth and ethereal sense of spirituality, exuding a holistic and essential relation to nature. In choosing the theme of the blue sky, Hansen builds on the motif’s numerous historical undertones and interpretations – the sky as a boundless organic space; its mutations as deeply tied to our emotions; and its representation as evocative of a contemplative and meditative state often referenced in religious history.

Crafted by hand in Limoges, France, by the region’s esteemed craftsmen, the porcelain used for the collection materializes the represented lightness and sense of fragility. Bestowing a modern interpretation to this historical theme, Marie Daâge renders Hansen’s design onto the porcelain through quick watercolor-like brush strokes, yielding an atmospheric airiness and fluidity characteristic to her work.  Based on a figurative theme, the designs acquire an abstract essence, achieving a subtle balance between realism and an aspired dream-like perception. Likewise influenced by the Baroque grandeur of her native Austria, Marie Daâge’s color compositions build on a complex palette, the result of a several-hour-long hand-mixing process involving sometimes up to 10 powders to attain the right hue. Working with select painters, she trains them to translate both Hansen’s and her design aesthetic onto each piece. The artisans’ skilled brush work plays on a distinct pressure and flourish: rather than filling in color to pattern lines, the fluidity, movement and seeming translucence of the figures is the result of light, quick strokes, calling for a very precise hand.

The resulting collection, comprised of a dinnerware set and decorative pieces, imparts both a traditional style and contemporary étiquette. Analogous to a hand-picked fashion garde-robe, as Marie Daâge describes, the Ciels Bleus collection radiates a sense of permanence and cachet – one exclusive to the distinct and limited environment in which the pieces are produced and which grants each design with a peculiar uniqueness. Illustrations of the French art de table, timeless expressions of a lighthearted art de vivre, the pieces can be paired with both classical and contemporary sets. 

Describing his collaboration with Marie Daâge, Jonathan Hansen explains:

“Both the theme of the blue sky and my choice to work with Marie Daâge and her reputed Limoges porcelain craftsmen acquire a particular significance today. A much-needed lightheartedness, serenity and playfulness emanate from the Ciels Bleus designs, one that radiates beyond the objects and onto the very setting in which they are presented. By embracing the use of porcelain, working hand-in-hand on this year-long creative process, Marie Daâge and I manifest our shared deference and respect for the time-honored craftsmanship techniques carried on by the Limoges artisans, ones that are all-the-more essential to preserve today.” 

His first porcelain collection under his name, Ciels Bleus is Jonathan Hansen’s latest exploration of a material, which he has continuously integrated in his designs. Working with porcelain since 2009, he has built an extensive portfolio of porcelain collections produced for leading designers and brands including Aerin Lauder, the HAAS BROTHERS, and L’OBJET.

The Ciels Bleus collection is available for pre-order exclusively on leading design and fashion retailer Moda Operandi until October 31, 2020. Additional reputed international retailers starting November 2020 include Liberty London and MATCHESFASHION.

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About Jonathan Hansen
A contemporary creator with classical foundations, New York-based designer Jonathan Hansen has established his signature through collaborations with some of the leading names of fashion and furniture design. Building on his training in 18th- and 19th-century French, English and American furniture design, Hansen interrogates the fragile equilibrium between functionality and abstraction that comes with each interaction between human and object. Placing the human body at the core of his work, he conceives each piece as a biomorphic being endowed with a subtle human essence.

Designing and fabricating objects for the past 20 years, he launched his product design firm Jonathan Hansen + Co. in 2010. Hansen has worked with leading global fashion designers and brands including Thom Browne, Lisa Perry, AERIN, Ralph Rucci, The HAAS BROTHERS and L’OBJET, where he currently acts as Design Director.

In 2018, he debuted his independent design editions, SERIES I: Captum Biomorfe – the first of a continuous series of furniture design collections through which he addresses the ties between design, architecture, sculpture, and the human body. The series’ second iteration, titled SERIES II: Eximo Biomorfe, will be presented in the Spring 2021. 

Hansen's design work has garnered academic and media attention alike. SERIES I was recently included in Karen Pearse’s Splendor of Marble: Marvelous Spaces by the Worlds Top Architects and Designers (Rizzoli, 2020), and his collections have been featured in The New York Times, Architectural Digest, Vogue, Elle Decor, and Harper's Bazaar, among others. 

About Marie Daâge
Founded 30 years ago, Marie Daâge is a table design brand creating tailor-made porcelain entirely painted by hand. With more than 220 patterns and 70 colours, Marie Daâge offers an infinite number of combinations to match the unique style of each table. In the manner of a Haute Couture designer shaping a dress for her muse, she considers each interior in its very own singularity to assemble the perfect set.

Born in Austria, raised in the French West Indies and educated at the School of The Louvre, Marie Daâge started hand-painting on Limoges porcelain in 1990. Her creativity and respect of a heritage craft, quickly led her to work with artisan painters from the Limoges region, enabling her to focus on the creation. Over the years, Marie Daâge has grown into a major player on the French luxury and international decorative arts scene.

Marie Daâge collections are some of the very last to be painted entirely by hand, as opposed to printed patterns (a.k.a. chromolithography or decorative transfers). The resulting pieces represent a rare combination: fine Limoges porcelain, patterned not with common rigid decorative motifs, but with playful and expressive hand-painting. Each piece is a unique piece of art.

About Moda Operandi
Moda Operandi is an e-commerce platform transforming the way people discover and shop for designer fashion. Through its innovative mix of commerce and content, Moda allows women and men to shop for what’s new and what’s next in designer fashion from the world’s leading emerging designers and luxury brands. Founded in 2010, Moda Operandi's mission is to make it easy for designers to grow their businesses and consumers to realize their personal style. Today, Moda’s platform carries more than 1,000 brands and designers across fashion, fine jewelry and home, ships to 125 countries, and has raised nearly $300M in funding from top-tier global investors. 

The Ciels Bleus collection is available for pre-order exclusively at Moda Operandi until October 31, 2020. Additional reputed international retailers starting November 2020 include Liberty London and MATCHESFASHION.

Facebook | Instagram | @jonathandhansen @hansen.series @mariedaagefr @modaoperandi #hansenxdaage

Image credits: Jonathan Hansen x Marie Daâge, Ciels Bleus Collection. Photography by Jeffrey Miller. Courtesy of Jonathan Hansen and Marie Daâge.

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CHYBIK + KRISTOF ARCHITECTS Win Competition for the Construction of the Jihlava Multipurpose Arena, Czech Republic

Rendering for the Jihlava Multipurpose Arena. Image credit: monolot. Courtesy of CHYBIK + KRISTOF Architects & Urban Designers.

A vibrant multifunctional complex, the four-building project brings together sports, culture, and social venues open to diverse audiences. Revisiting the site as an urban sociocultural campus, they act together to revive the notion of public space and integrate the long-neglected area to Jihlava’s city center.

July 1, 2020 (Jihlava, Czech Republic) – The result of a much-anticipated public competition, CHYBIK + KRISTOF ARCHITECTS & URBAN DESIGNERS have been selected to complete the construction of the Jihlava Multipurpose Arena – one of the largest sports and leisure complexes in the Czech Republic. The construction, due to begin in 2021 and end in 2023, will build on the city’s existing hockey stadium, a deteriorating indoor sporting arena built in 1956, and expand into a four-building multifunctional center bringing together an adaptable ice rink, a rooftop running track and a gym as well as a sports academy, hospitality establishments and shops. Hosting both regional sporting and cultural events, the completed structure will act as a public platform open to a variety of audiences for a diverse range of activities, in an effort to revitalize this long-neglected area of the city.

CHYBIK + KRISTOF’s design for the new Jihlava Multipurpose Arena revisits the existing structure of the building, initially developed as the home stadium for the regional ice hockey club. A multifunctional space with a capacity of 5,600 spectators, the project extends the stadium’s original purpose by creating a versatile space, adapted to both its primary sporting purposes within state-of-the-art facilities and a broad spectrum of activities – and their respective audiences. Located on the border of Jihlava’s historical center, the arena – a structure usually confined to the periphery of cities – is adjacent to a park and university and places itself in the continuity of these two spaces. The several public spaces nested throughout the four-building “urban stadium” allow it to melt into the surrounding urban landscape. Rather than marking an interruption in the existing city structure, the arena serves as a transparent and fluid transition between seemingly distinct spaces, thereby reviving and opening up the area to new functions, and ultimately extending the city center beyond its strict historical bounds. In this new permeable space, which the inhabitants are encouraged to invest in their daily lives, the architectural framework lays the foundations for the prominent notions of free movement and interaction.

The new structure unfolds into four distinct buildings, two of which already exist, connected through open-air walkways and green spaces. While the existing rectangular stadium undergoes full reconstruction and the sports academy is maintained as a key element of the site, they are both refurbished to host new functionalities and better blend within the overall environment and its signature aesthetic. At the heart of the project, the architects erect a spacious new arena: a monumental structure, its materials and forms reflect the city’s Baltic origins – a reference likewise mirrored in the triangle-patterned façades of the various refurbished and new buildings in the complex. The oval arena is structurally conceived as a versatile space: the interior space, endowed with the complex technical equipment necessary, serves at once as a hockey rink, exhibitions and events hall, and concert venue, complemented by an indoor gym. On its roof rests an outdoor track, further enriching the building’s sports functionality and inviting audiences to look upon the surrounding views of the city.

Adjacent to it, the architects have placed a hospitality building. Placed at an intersection, its elevated pedestrian-friendly structure invites visitors into the complex by allowing them to view the full environment from the street and thereby easily orient themselves within it. Combining a restaurant, hotel, gym and office spaces, it is exclusively dedicated to enriching visitors’ multifaceted experience of the complex and ensures the connection with the neighboring sports venue. Beyond a circumstantial, events-based site, the Jihlava Multipurpose Arena is an everyday space, an urban sporting, cultural and social campus for visitors of the arena, athletes, students of the academy and university, and the general public to invest. As the four buildings’ complementary and interconnected functions contribute to this, they share a distinct red metal grid façade, formed by apposed triangles. The expansive, highly visible and recognizable complex – both aesthetically and structurally – grows into an icon for the city, a definite, familiar, and understandable building for its inhabitants.

Drawing for the Jihlava Multipurpose Arena. Courtesy of CHYBIK + KRISTOF Architects & Urban Designers.

Founding architects Ondřej Chybík and Michal Krištof outline the sociocultural significance of the project: “We envisioned the Jihlava Multipurpose Arena as a deeply versatile complex, whose various functions are reflected at once in the technical structure, the landscaping and the aesthetics of the buildings. In integrating multiple purposes, we took significant consideration of their various audiences, thereby seeking to reflect the city’s diverse social and generational communities and to encourage their interactions. More than a center for sports and events, the arena is a social campus for the city – used by the people, thereby designed for the people.”

The Jihlava Multipurpose Arena is CHYBIK + KRISTOF’s most recent announcement as they prepare to complete the much-anticipated Lahofer Winery – one of the studio’s major projects. Nestled in the Czech Moravian countryside, the winery fuses the region’s longstanding wine tradition with a contemporary design, reflective of and in dialogue with the surrounding vines. The practice was also recently amongst the European Centre for Architecture Art Design and Urban Studies’s 2019 40 Under 40 Award winners, following on their award of Architectural Record’s 2019 Design Vanguard Prize.

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NOTES TO EDITORS
About CHYBIK + KRISTOF
CHYBIK + KRISTOF is an architecture and urban design practice founded in 2010 by Ondřej Chybík and Michal Krištof. Operating with 50+ international team members and offices in Prague, Brno and Bratislava, the practice aims at creating bridges between private and public space, transcending generations and societal spheres. Taking into account local histories and environmental specificities, the studio works on a wide array of projects, ranging from urban developments to public and residential buildings. Recent projects include: Gallery of Furniture (Czech Republic), the Czech Pavilion at Expo 2015 (Milan, Italy) and Lahofer Winery (Czech Republic). The studio has been awarded a number of prizes, including the 2019 Vanguard Award from Architectural Record.
https://chybik-kristof.com/

About the Project
Client: City of Jihlava
Project team: Jiří Richter; Luděk Šimoník, Kryštof Foltýn, Martin Holý, Denisa Annová, Ondřej Mičuda, Urszula Sedziak, Tomáš Wojtek
Project completion: 2023
Structure: Ice rink; oval running track; gym; 24 locker rooms; 36 sky boxes; restaurant; bar; 8 small gastronomic establishments; hostel; hall of fame; fan shop; academy/university; 8 offices.

Size:

• Premises for athletes: 4,786 m2

• Premises for spectators: 5,256 m2

• Gym: 400 m2

• Restaurant: 674 m2

• Small gastronomic establishments: 690 m2

• Administration: 289 m2

• Shops: 729 m2

• Accommodation: 826 m2

• Technical facilities and supplies: 4,498 m2

• Parking: 4 852 m2

Volume: 183,630 m3
Costs: 30 million EUR

Jihlava Multipurpose Arena (Horácká Aréna)
Statutární město Jihlava
Masarykovo náměstí 97/1
586 01 Jihlava 1
https://www.jihlava.cz/arena/

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KINK Bar & Restaurant Opens in Berlin | Bridging Art and Experimental Gastronomy

Located in the heart of Prenzlauer Berg’s multidisciplinary cultural venue Pfefferberg, KINK brings together a bar, restaurant and in-house laboratory, in conversation with Kerim Seiler’s large-scale site-specific neon light installation.

View of KINK Bar & Restaurant, Berlin. Photography by Robert Rieger. Courtesy of Kerim Seiler.

June 18, 2020 (Berlin) – A restaurant, bar and in-house culinary laboratory, KINK Bar & Restaurant opens in a restored industrial building, nested in the sociocultural centre Pfefferberg, host to various galleries, artist studios and event venues. Building on its vast adaptive space and eight-meter-high ceiling, KINK brings together contemporary art, modular design and world gastronomy, to offer a both multifaceted and deeply personal visitor experience.

Sustaining a constant dialogue with contemporary art and design, the wide room is reinvested through a selection of contemporary installations and works presented throughout the restaurant and bar. At its core, suspended from its high ceiling, Swiss contemporary artist Kerim Seiler’s Spaceknot (Pfefferberg) – a large-scale site-specific work consisting of over 100 meters of red neon tubes – elegantly loops through the space. Rethinking the void “as his canvas,” the artist transforms what appears to be a two-dimensional twisted knot into a multi-dimensional space-embracing sculpture. The contrasting glow of its interconnected segments plays with the architectural scale of the room, thereby creating an all-inclusive immersive atmosphere.

In constant conversation with the work, the post-industrial atemporal setting combines classic and vintage elements with contemporary design features and objects. Separated into three spaces – a vast main room, a gallery and a window-enveloped “Glashaus” – the different levels allow for distinct functions and ambiances. The vast room fans out from its focal point, the central open kitchen and bar designed by Berlin studio Hidden Fortress combined with sitting areas as a single overlapping, merged space for staff and visitors alike.

Deploying the height of the room, the side mezzanine looks out onto the lower floor, revealing German artist Philipp Emanuel Eyrich’s wall-embracing metalwork, in dialogue with Berberlin handcrafted rugs, inspired by North African Berber culture, and a set of Roche Bobois signature modular Mah Jong sofas. Upon entering from the surrounding beer garden – Berlin’s second oldest dating from 1850 – and through the 19th-century French wing doors, the resulting space breaks from the rules of formal spatial disposition, taking down barriers and encouraging visitors’ experimentation with – and experience within – the space.

An affirmation of founders Oliver Mansaray and Daniel Scheppan’s experimental and synergetic approach, the in-house laboratory – nested in the wall and projecting onto the bar– acts as an open workshop where modern techniques and culinary expertise and experience come together. Building on the influence, exploration and fusion of international food and drink cultures, Italian chef Ivano Pirolo, most recently chef de partie at two-Michelin-starred FACIL in Berlin, and Indian-born bar manager and mixologist Arun Puvanendran work together to offer a progressive and complementary selection of creative dishes and beverages. As they revisit processes ranging from fermentation and sous-vide to distillation and infusion, kitchen and bar combine sustainably- and ethically-sourced seasonal products and extract select oils and essences, ultimately assembled in both traditional and inventive drinks and assorted dishes. With cocktails ranging from a twist on a Classic Margarita to a contemporary version of a penicillin mixed drink, paired with a deconstructed taco or Chicorée filled with minced lamb and mole, they seek to share an expressive form of gastronomy, one based on distinct micro-influences and a belief in the “art of serving.”

View of KINK Bar & Restaurant, Berlin. Photography by Lee Edward.

Sharing a longstanding passion for the discovery and fusion of international food and drinking cultures, Mansaray and Scheppan built on their respective careers in engineering and design to launch KINK in 2019. They explain: “We don’t build walls. We tear them down. We bring together what belongs together: kitchen and bar. Not only do we create a unique space where restaurant and bar see eye-to-eye, we unite culinary and cocktail art into one cohesive experience.” Drawn to – and drawing from – the cultural ambition of Pfefferberg, they highlight the importance of art and design as part of the space: “We cherish art that interrogates, moves and stimulates exchange. Art reveals differences – and similarities.”

Located in a former mid-19th century brewery, Pfefferberg was founded in 1990 as an initiative from local residents, bringing together social, cultural and commercial activities – the latest addition being KINK, hosting a year-long programme of concerts, dance and theatre performances and a variety of multidisciplinary events. Reinvesting the decaying site, Pfefferberg’s, and KINK’s, vision is deeply related to the immediate vicinity of Prenzlauer Berg, an area of the city long divided by the Berlin wall, where lingering sentiments of segregation and displacement are reflected in the urban structure and architectural landscape.

Pfefferberg connects a variety of spaces, from artists’ studios including Olafur Eliasson and galleries such as Aedes Architekturforum, to concert and dance halls. Both rooted yet relieved from this historical legacy, KINK acts as a sociocultural space for healing, reconstruction, and discovery – its very name embodying a combination of bliss, “and a touch of nonsense,” as described by Mansaray and Scheppan.

KINK Bar & Restaurant’s spacious bar area, lofty gallery and private dining room also welcome a cultural programme ranging from electronic, house and disco DJs to classical music performances, and a monthly Lab Day hosted by the bar manager and chef inviting guests to discover and share culinary ideas. The space can also be booked for private events.

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NOTES TO EDITORS

About Kerim Seiler:
Kerim Seiler (born in 1974, Bern, Switzerland) has developed a complex, philosophic sculptural approach to working with space. From colourful and inflatable molecule sculptures to permanent neon light installations and architectural performative artworks, Seiler’s visual language merges complex theories of positivism and metaphysics. Through his innovative sculptural concepts for social and urban spaces, Seiler explores and extends the sensible interaction and ambivalent relation between materiality and spirituality.
Seiler completed the Vorkurs at Kunstgewerbeschule Zürich (1991/92), studied Média Mixtes at the Ecole Supérieure d’Art Visuel Genève (1993–1995), and Freie Kunst at the Hochschule für Bildende Künste Hamburg (1997–2002). He received his Diploma with Professor Bernhard Johannes Blume, and a Master of Advanced Studies in Architecture from the ETH Zürich with Professor Ludger Hovestadt (2011). Seiler has shown his work in various international exhibitions in New York, Los Angeles, Paris, Marseille, Berlin, Zurich, Moscow, Cracow, Cairo, and Johannesburg. He is represented by Grieder Contemporary in Zurich.

Practical information

KINK Bar & Restaurant
Schönhauser Allee 176
10119 Berlin
https://kink-berlin.de/
Instagram @kink.bar.restaurant

For venue hires, please contact office@kink-berlin.com

Opening times
Bar | Wednesday—Saturday | From 8pm
Restaurant | Tuesday—Saturday | From 6pm

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A R T Communication + Brand Consultancy Announces the Global PR Representation of New York-based Design Gallery Les Ateliers Courbet

June 16, 2020 (New York, United States) – Affirming its engagement in the support and promotion of international art, design, and architecture, A R T Communication + Brand Consultancy is pleased to announce its global PR representation of New York-based design gallery Les Ateliers Courbet. Noted for its distinct curatorial focus dedicated to the ongoing craftsmanship mastery and design legacies carried-on by the contemporary artisans and centuries-old manufactures it represents.

Starting in the Fall of 2020, Les Ateliers Courbet will resume its 2020 exhibition program within the gallery space, interrupted over the past months due to COVID-19 pandemic. While Les Ateliers Courbet’s exhibitions program highlights the time-honored techniques behind an objet d’art, its adjoining salons serve as a permanent display of timeless design pieces – bringing together contemporary creations and sought-after pieces culled from the archives. In conjunction, the gallery cultivates the longstanding dialogue between revered ateliers and artists, introducing collaborations among which Venini’s glass blowers and Tadao Ando, Nepalese weavers and Frank Gehry, or Aldo Bakker and the silversmiths of Wiener Silber Manufaktur.

Established in 2013 by Mélanie Courbet, the gallery was born from the desire to share a deep appreciation for master-craftsmen’s ethos and works of art that embody artisanal dexterity and cultural heritage. Rooted in Courbet’s extensive travels and collaborations with artists, designers and artisans around the world, the gallery is a paean to the scrupulous work of today’s rarefied master-craftsmen. Since its opening, Les Ateliers Courbet has garnered international recognition from a clientele of private collectors, interior designers and institutions alike. Today, the gallery represents over 50 traditional crafts passed on by long lineages of esteemed artisans from around the world, including marquetry, woodcraft, ceramic and glasswork, weaving and metalsmithing.

While pursuing its mission with exhibitions, institutional collaborations and publications, the gallery further supports its ateliers with the Editions Courbet – a series of editioned pieces created by guest artists and hand-crafted by the gallery’s master-craftsmen. Each artist is invited to design a collection inspired by the craftsmanship expertise of one atelier. As a tribute to the artisans’ culture of excellence and humility, each Editions Courbet collection will be named after their respective fabricators. The next Editions Courbet collection will be unveiled in September 2020.

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NOTES TO EDITORS

Les Ateliers Courbet
134 Tenth Avenue
New York, NY 10011
United States
https://www.ateliercourbet.com/

Image credit: View of Les Ateliers Courbet, New York. Courtesy of Les Ateliers Courbet.

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CHYBIK + KRISTOF ARCHITECTS Present the Design for the New Senezh Management Lab Campus Competition in Russia

Visualization of the Senezh Lab exterior staircase. Image credit: monolot. Courtesy of CHYBIK + KRISTOF.

CHYBIK + KRISTOF’s progressive design for the 82-hectare Senezh campus places the interconnectedness of social and natural environments as a core element of the educational process.

May 4, 2020 (Solnechnogorsk, Moscow region, Russia) – CHYBIK + KRISTOF Architects & Urban Designers unveil the design for the Senezh Management Lab campus, conceived in response to the associated international invited competition. Located in Solnechnogorsk, a lakeside town on the outskirts of Moscow, the competition invited leading architecture and design studios worldwide, including Mecanoo and MADMA, to propose a site-specific and forward-thinking masterplan for the 82-hectare educational campus – revisiting existing notions of teaching and learning environments. Informed by the specifics of the site and developed alongside a landscape architect and educational specialist, CHYBIK + KRISTOF’s proposal brings together an applied reinterpretation of Constructivist educational theory and an immersive anchoring in the surrounding natural environment.

Rooted in seminal 19th-century psychologist Lev Vygotsky’s “sociocultural theory,” the proposal sees the educational process – learning and teaching – as profoundly shaped by the social, cultural, and environmental conditions in which it is conducted. Vygotsky’s framework reexamined the prevailing Constructivist notions and education system of his time, supporting instead pedagogical and research methods that place context and culture at the center of inquiry and favor human diversity, interdisciplinary approaches and collaboration. Expanding on this premise, whose relevance resonates to this day, CHYBIK + KRISTOF envision an integrative, diverse site, combining multiple functions and demographies, grounded in sociocultural and educational interaction throughout the entirety of the site. Giving particular prominence to the impact of the environment, they propose a design deeply embedded in and informed by Senezh’s natural assets.

The studio’s layout for the site reflects these principles. The core of learning is concentrated in the Lab. Bordering the forest and the lake, the singular polymorphous structure embraces the slope; the four-plan layering of floors allows for permanent views onto the lake. The classrooms – set in clusters of three – are interconnected circular-shaped flexible enclosures within a vast winding lobby. Opening up onto the courtyard through movable wall partitions, they invest the volume as a continuous space, both interior and exterior, void of hierarchy and transitions between formal and informal learning, thereby encouraging interactions between students, professors and invited guests. The Lab’s Conference Hall follows a similar configuration – based on a variable spatial organization that can be made into smaller lecture spaces.

The adjoining buildings are punctuated throughout the extensive site and connected through a seamless network of alleys encompassing the whole perimeter. Endorsing mobility – of individuals, and of ideas – the structures are both complementary and interdependent. The library, an elevated multilayered open cylinder set along the shore, allows for individual retreat and collective research. The adjacent dormitories, wooden pavilions mirroring functional social housing applicable in other contexts, act as spaces for informal communal interaction and exchange. Culture represents a key feature of the campus; the Art Cluster and adjacent Sculpture Park revisit a former maintenance building, while the Music Cluster, a converted former swimming center, brings together a Music Hall and spaces for music events.

Completing this tri-faceted set, the Research Cluster unfolds into a deeply creative environment nourished by the nearby infrastructure, where progressive ideas come into fruition within the adapted technical facilities. A large set of pavilions, versatile tree-like modules for studying, lectures, meetings, activities, populate the campus – shelters for encounters and community learning. Additionally, spaces for sport and relaxation – most of which are open to the public – are distributed across the site.

Drawing for the interior of Senezh Lab. Image credit: monolot. Courtesy of CHYBIK + KRISTOF.

Understanding the natural surroundings as a fundamental agent of context, CHYBIK + KRISTOF lean on nature as a dual entity: a source of evolving knowledge and constant learning, and a space for awe, inspiration, contemplation and relaxation. Students are invited to circulate seamlessly throughout the campus, where interior and exterior spaces, horizontality and verticality, are continually intertwined. The various atmospheres and types of ecosystems – from the lake, wetlands and urban landscaped sections to the open meadow, orchards and diverse forest – simulate all senses from aroma to touch, sight to hearing, and are a fertile ground for the cultivation of curiosity and the movement of new ideas.

While the buildings of various scales echo the prolific vegetation, with the design blending into the existing, unaltered topography of the site, their function is also grounded in nature. Eco-farms are punctuated throughout the site, whilst the open buildings and green roofs endorse a durable connection with the vegetal world. Anchored in sustainability, the campus functions through a wide array of composting, re- and up-cycling, and waste management infrastructure, while movement is assured through extensive walkways and bike and boat sharing. A direct application of Vygotsky’s vision, the curriculum, echoing the natural setting, unfolds around the core notions of ecology, economy, and sociology. The entire site – its design and its function – nurtures innovative, onward-looking ideas in constant consideration of the environment as a key element of our future.

Architects and founders Michal Krištof and Ondřej Chybík reflect on the project, “This extensive project integrates the entire site as part of the education process. It places the environment – both sociological and natural – at the root for all teaching and learning. The space itself, commonly seen as a formal structure disconnected from its function, acts here as a catalyst for knowledge sharing, critical evaluation, innovation and ultimately, progress. Seamlessly integrated in the landscape, Senezh Management Lab embodies the future of education – one deeply tied to environmental concerns, to a new knowledge economy, and to how our societies can better cohabit, and learn from, the natural world.”

Upon review by a global panel of leading architects and educational experts, CHYBIK + KRISTOF’s progressive design was awarded 3rd prize for the competition.

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NOTES TO EDITORS
About CHYBIK + KRISTOF
CHYBIK + KRISTOF is an architecture and urban design practice founded in 2010 by Ondřej Chybík and Michal Krištof. Operating with 50+ international team members and offices in Prague, Brno and Bratislava, the practice aims at creating bridges between private and public space, transcending generations and societal spheres. Taking into account local histories and environmental specificities, the studio works on a wide array of projects, ranging from urban developments to public and residential buildings. Recent projects include: Gallery of Furniture (Czech Republic), the Czech Pavilion at Expo 2015 (Milan, Italy) and Lahofer Winery (Czech Republic). The studio has been awarded a number of prizes, including the 2019 Vanguard Award from Architectural Record.
https://chybik-kristof.com/

Client: Senezh Management Lab, Solnechnogorsk, Moscow Region (Russia)
Year: 2019
Award: 3rd Prize
Team: Michal Krištof, Ondřej Chybík, Jiří Richter, Tomáš Babka, Lukáš Habrovec, Larissa Vieira Matzak, Gönülnur Demet, Francisco Javier Gomariz, Martin Holý, Ivo Stejskal, Luděk Šimoník, Ondřej Švancara, David Erik Bernátek, David Král, Dávid Medzihorský, Tomáš Wojtek, Jan Stolek, Michal Klimeš, Pavel Bánovský, Peter Chaban, Mária Bažíková, Michal Sluka, Šarka Kubínová
Landscape architects: Marko & placemakers, IGOR MARKO
Educational specialist: Rndr. Michal Černý, Masaryk University
Local architect: Vyshegor Pavel Lysikhin Animation: Loom on the moon CGI: monolot

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Art Paris Cancels 2020 Edition and Will Return in April 2021 in the New Ephemeral Grand Palais on Paris's Champ de Mars

Art Paris 2019, Grand Palais © Marc Domage

April 7—11, 2021, Ephemeral Grand Palais, Champ de Mars

April 14, 2020 (Paris) – Following the French government’s latest announcement banning all public gatherings until mid-July 2020 in light of the COVID-19 pandemic, the 22nd edition of Art Paris, Paris’s major spring fair for modern and contemporary, initially to be held from 2—5 April and postponed to 28—31 May, has finally been cancelled.

As the Art Paris team explains: “We wanted to keep our hopes up until the very last minute, and were working on a hypothetical final postponement of the fair at the Grand Palais from 1—5 July – which would have given French galleries the chance to meet their collectors after a spring period of complete standstill. However, and very regretfully so, we now find ourselves obliged to forgo the 2020 edition – a leading Paris art gathering that would have brought together 150 galleries from 20 countries, with a double focus this year on the French contemporary art scene and the emerging hubs of the Iberian Peninsula. We will nevertheless implement various measures to service both exhibitors and audiences in the coming weeks. The fair will be moved entirely online and, as soon as the confinement measures end, a dedicated Art Paris – Hors Les Murs visitor experience across Paris will be proposed to wider audiences. Our aim is to showcase the work of those galleries that have accompanied and continue to accompany and place their trust in us – an essential role at a time when both they, and the artists that they represent, are particularly vulnerable and in need of our support.”

Art Paris will return for its 23rd edition from 7—11 April 2021. It will be the first fair to take over the ephemeral Grand Palais on Paris’s Champ de Mars, a vast contemporary temporary structure designed by Jean-Michel Wilmotte conceived to host events in Paris until the Grand Palais reopens after renovation works and to coincide with the 2024 Summer Olympics.

Art Paris and its team extend their heartfelt and sincere thanks to all those who have supported the 2020 edition, including the galleries; artists; cultural institutions; media partners; and companies. They also wish to express their profound solidarity and address their thoughts to all who are fighting the virus and to the victims of the global pandemic.

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NOTES TO EDITORS

About Art Paris 2021
April 7—11, 2021 | Ephemeral Grand Palais, Avenue Winston Churchill, 75007 Paris
www.artparis.com

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CHYBIK + KRISTOF Bring Back to Life the Greenhouse Where the Foundations of Modern Genetics Were Laid

Rendering of the Mendel Greenhouse project, CHYBIK + KRISTOF. Courtesy of CHYBIK + KRISTOF. Image credit: monolot.

On the occasion of the 200th anniversary of Gregor Mendel’s birth in 2022, CHYBIK + KRISTOF resurrect the historic greenhouse of St. Thomas Augustinian Abbey in Brno where the notorious scientist and father of modern genetics conducted his pioneering experiments.

April 1, 2020 (Brno, Czech Republic) – CHYBIK + KRISTOF Architects & Urban Designers unveil the new design for the 19th-century greenhouse of St. Thomas Abbey, Brno, in which scientist Gregor Mendel conducted the experiments at the roots of modern genetics. Nested in the 14th-century Augustinian monastery’s gardens, the original building was swept away by a storm in the 1870s, leaving to this day only its foundations. Building on the latter, the architects revisit the structure and, in commemoration of Mendel’s birth 200 years ago, will return the historically significant site to Brno’s old city in 2022.

Located in the heart of the town, St. Thomas Abbey houses the remains of the greenhouse where Gregor Mendel, an Augustinian friar at the adjacent monastery, spent eight seasons, from 1856 to 1863, cultivating and breeding pea plants in his endeavor to uncover the biological mechanism through which physical traits are passed down from one generation to the next. Built with the support of the abbot, Cyrill Napp, who sought to establish his monastery as a leading center for scientific research, the greenhouse was erected as an extension of the monk’s outdoor laboratory. The experiments conducted there, although acknowledged only after Mendel’s passing in 1884, are now widely recognized as the foundation stone of modern genetics.

Drawing on the history, scientific legacy and archival materials of the site, and following the original ground plan, CHYBIK + KRISTOF have created a design reminiscent of the original building. Integrated in the structure and left visible, the preserved foundations are at the basis of the architects’ reinterpretation – echoing the orientation, shape and distinct roof of the greenhouse. While the trapezoidal volume is identical to the original edifice, the reimagined supporting steel structure seeks inspiration from Mendel’s three laws of inheritance – and the drawings of his resulting heredity system. Likewise, the pitched roof, consisting of a vast outer glass surface, reflects his law of segregation and the distribution of inherited traits, and is complemented by a set of modular shades.

Open onto and deeply connected with the surrounding gardens, the edifice looks onto the nearby statue of the scientist adjacent to the centennial monastery. The flexible design, conceived to adapt to a variety of purposes, is entirely exposed to the exterior with fully open side walls, preventing any visual barriers. A concealed system of heat pumps, shading and heating, located underground, reveal the building’s sustainable scheme, reliant on its adjustable shades and embedded blinds to ensure natural cooling and ventilation in the summer and heating in the winter – thereby mirroring and revisiting the regulative properties of a greenhouse.

Preparatory drawing for the Mendel Greenhouse project, CHYBIK + KRISTOF. Courtesy of CHYBIK + KRISTOF.

With the aim of attracting local and international visitors as well as a professional public essential to preserving the monastery’s legacy, the revived structure acts as a versatile space celebrating Mendel’s work and contributions to modern genetics. The vast, adaptable volume allows for a diversity of events from conferences and lectures to temporary exhibitions, while the integrated blinds enable the space to be darkened for projections and concerts.

Architect and founder Ondřej Chybík explains, “The concept of the redesigned greenhouse is deeply rooted in the work of Gregor Mendel. The nodes and branches constituting the steel supportive framing are in direct dialogue with his laws of inheritance, in particular that of hereditary segregation. Building on this notion as well as Mendel’s original drawings, the resulting, highly complex structure pays homage to his legacy. Laid bare by the transparency of the glass roof, the edifice both embodies and exposes his undeniable contribution to modern science.”

The revived Mendel Greenhouse is due to be completed in 2022, in commemoration of the 200th anniversary of Gregor Mendel’s birth.

Project Team: Ondřej Chybík, Michal Kristof, Ondřej Švancara, Kryštof Foltýn, Ingrid Spáčilová, Laura Emilija Druktenytė

—

NOTES TO EDITORS
About CHYBIK + KRISTOF
CHYBIK + KRISTOF is an architecture and urban design practice founded in 2010 by Ondřej Chybík and Michal Krištof. Operating with 50+ international team members and offices in Prague, Brno and Bratislava, the practice aims at creating bridges between private and public space, transcending generations and societal spheres. Taking into account local histories and environmental specificities, the studio works on a wide array of projects, ranging from urban developments to public and residential buildings. Recent projects include: Gallery of Furniture (Czech Republic), the Czech Pavilion at Expo 2015 (Milan, Italy) and Lahofer Winery (Czech Republic). The studio has been awarded a number of prizes, including the 2019 Vanguard Award from Architectural Record.
https://chybik-kristof.com/

Mendel Greenhouse
St. Thomas’s Augustinian Abbey, Brno
Mendlovo náměstí 157/1
603 00 Brno
Czech Republic
https://www.opatstvibrno.cz/

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Art Paris 2020 Announces New Dates | A 22nd Edition Dedicated To the New French Art Scene and the Iberian Peninsula

UPDATED DATES | May 28—31, 2020, Grand Palais
Opening Preview: Wednesday, May 27 | 6—10 pm

March 12, 2020 (Paris) – Art Paris is pleased to announce its 22nd edition as it returns to the Grand Palais from May 28—31, 2020. In the 20 years since its founding, Art Paris has established itself as Paris’s major spring fair for modern and contemporary art. Bringing together more than 150 galleries from over 20 countries – from the post-war to the contemporary period, Art Paris is a place for discovery, placing special emphasis on the European scene, whilst exploring the new horizons of international creative hubs, whether in Asia, Africa, the Middle East or Latin America. This year, the fair will showcase a two-fold “Focus” – turning to both the French contemporary art scene and the emerging Iberian art hubs, specifically Barcelona, Lisbon, Madrid and Porto. In parallel, the “Solo Show” sector will be dedicated to monographic exhibitions, while “Promises” pursues its support to young and emerging galleries.

New participants make up 31% of the 2020 selection, which is marked by the arrival of Parisian galleries including Jeanne Bucher Jaeger, Galerie Sator and Caroline Smulders in association with Karsten Greve. From an international standpoint, five countries will be represented for the first time: Bulgaria, Denmark, Greece, the Ivory Coast and Turkey. Contributing to the Iberian Peninsula contingent are 12 galleries from Barcelona, Madrid, Lisbon and Porto. The Asian scene will affirm its presence, with 5 galleries from South Korea including 313 Art Project, Gallery Simon, Gallery H.A.N., Mo J Gallery and Gallery SoSo. Works by African artists will be on show in the Main Sector, at ARTCO Gallery (Aachen/Le Cap) and Niki Cryan (Lagos), as well as in the “Promises” sector with 31 Project (Paris), Galerie Véronique Rieffel (Paris/Abidjan) and Septieme Gallery (Paris), all of which are participating for the first time. The Middle Eastern scene will also be present with a special focus at Galerie Brigitte Schenk (Cologne), presenting works by Halim al Karim (Iraq), Tarek Al Ghoussein (Kuweit) and Abdulnasser Gharem (Saudi Arabia), whose installation The Safe was one of the highlights of Art Basel 2019’s Unlimited sector.

An Overview of the French Art Scene: Common and Uncommon Stories
Each year, in support of the French scene, Art Paris invites a curator to engage critically and historically with a selection of projects by French artists presented by participating galleries. In Common and Uncommon Stories, director of the Bourse Révélations Emerige and guest curator Gaël Charbau brings together the work of 22 artists, most of which were born in the 1980s, responding to the notion of the narrative and the ambiguous interplay between singularity and universality in storytelling. He has also been invited to write a text presenting each artist and their work.

Selected French artists: Henni Alftan (Galerie Claire Gastaud), Léa Belooussovitch (Galerie Paris-Beijing), Abdelkader Benchamma (Galerie Templon), Jérôme Borel (Galerie Olivier Waltman), Damien Cabanes (Galerie Eric Dupont), Claire Chesnier (Galerie ETC), Rémi Dal Negro (Galerie Eric Mouchet), Elsa & Johanna (Galerie La Forest Divonne), Roland Flexner (Galerie Nathalie Obadia), Laurent Gapaillard (Galerie Daniel Maghen), Jennyfer Grassi (Galerie Eva Hober), Kubra Kadhemi (Galerie Eric Mouchet), Gabriel Leger (Galerie Sator), Caroline Le Méhauté (H Gallery), Anita Molinero (Galerie Thomas Bernard), Anne et Patrick Poirier (Dilecta), Baptiste Rabichon (Galerie Paris-Beijing), Louis-Cyprien Rials (Galerie Eric Mouchet), Kevin Rouillard (Galerie Thomas Bernard), Edgar Sarin (Dilecta), Hervé Télémaque (Galerie Rabouan Moussion), Paul Vergier (H Gallery).

Southern Stars: An Exploration of the Iberian Peninsula
Following its extensive survey of the Latin American scene in 2019, Art Paris turns to the Iberian Peninsula, bringing light to Spanish and Portuguese art from the 1950s to the present day. 25 galleries will be presenting works by a selection of 77 artists – from modern masters to contemporary artists. In parallel, projects including a video programme, site-specific installations, and conferences at the Instituto Cervantes and the Calouste Gulbenkian Foundation in Paris will highlight the creative effervescence flourishing in this part of Southern Europe.

A Historical and Contemporary Exploration of the Spanish and Portuguese art scenes
Spread across the various sectors of the fair, the participating galleries will constitute a historical and contemporary journey delving into the various Spanish and Portuguese art scenes.

Representing the Spanish scene, Galeria Marc Domènech (Barcelona) will be paying tribute to historical figures connected with the Surrealist movement, such as Julio González, Óscar Domínguez and Joan Miró, while Galerie Andres Thalmann (Zurich) will be showcasing Joan Hernández Pijuan, one of the major Spanish artists of the last thirty years, known for his uniform colour compositions. Freijo Gallery (Madrid) will be looking back at the generation of artists who lived and worked in Madrid in the 1970s, with conceptual artist Mateo Maté, Ramón Mateos, one of the founders of the El Perro collective, and Darío Villalba, whose hybrid works address questions of identity and marginality. Michel Soskine Inc. (Madrid) will be dedicating a solo show to Antonio Crespo Foix, featuring the artist’s sculptures made of bamboo, horsehair, wool and wire – recreating a surreal natural world tinged with poetry. The analysis of the relationship between history and politics, between art and power and between public space and collective memory acts as a common thread between the works of Cristina Lucas and Fernando Sánchez Castillo, who will be presented side by side at Albarrán Bourdais (Madrid).

As part of the Portuguese showcase, São Mamede (Lisbon) will be celebrating two modern masters: the architect and painter Nadir Afonso (1920—2013), a pioneer of Kinetic Art known for his geometric cityscapes and who worked closely with Le Corbusier and Oscar Niemeyer; and Manuel Cargaleiro (born 1927), a painter and ceramicist close to the École de Paris. Jeanne Bucher Jaeger (Paris/Lisbon) will be dedicating its stand to three major figures of the contemporary Lisbon scene: Michael Biberstein (1948—1978), Rui Moreira (born 1971) and Miguel Branco (born 1963), who borrows from art history to create paintings, drawings and sculptures that explore the animal kingdom and notions of scale.

Galerie Nathalie Obadia (Paris/Brussels) will be presenting works on paper by Jorge Queiroz, whose unique and teeming personal universe lies midway between figuration and abstraction, while Galería MPA (Madrid) will be presenting the hybrid works of Rui Toscano, whose use of the evocative power of images and sounds examines cultural representations and collective memory. Best known for her numerous exuberant sculptures and installations created by accumulating everyday objects, Joana Vasconcelos will be the focus of La Patinoire Royale – Galerie Valérie Bach (Brussels)’s display.

A Monumental Installation at the Front to the Grand Palais
A site-specific installation presented by Portuguese artist Marisa Ferreira, Lost Future (2020) takes its inspiration from Le Corbusier’s Plan Voisin (1925) – an urban development project for Paris comprised of 18 cruciform glass skyscrapers placed on an orthogonal grid of streets interspersed with green spaces. The plan, which was never implemented, envisioned demolishing the Marais neighbourhood as a way of solving issues of dilapidated and unhealthy housing, illness and overpopulation – thereby giving place to what Le Corbusier called the “city of tomorrow”, a symbol of European modernity and of the industrial era. Directly referencing this emblematic project, the cross-shaped column imagined by Marisa Ferreira evokes the gap between the utopian ambitions of the 1970s and the current property boom that pays no heed to the history and identity of cities such as Porto and Lisbon.

“Solo Show”: A Showcase of 20 Monographic Exhibitions
Since 2015, Art Paris has encouraged the presentation of monographic exhibitions – a key moment in artists’ careers – by inciting galleries to present specific single artist-focused projects. The 2020 edition will feature around 20 solo shows distributed throughout the fair. Highlights will include a site-specific project by South African artist Roger Ballen (Caroline Smulders in association with Karsten Greve, Paris); a mini-retrospective of British artist – best known for his colourful “puddle” paintings – Ian Davenport (Luca Tommasi – Arte Contemporanea, Milan); and a rare ensemble of works by major Cuban artist Jesse A. Fernández at Galerie Orbis Pictus (Paris).

“Promises”: A Sector for Young Galleries and Emerging Talents
Purposefully placed at the very heart of the Grand Palais, “Promises” will host 14 young galleries from Abidjan, Brussels, Lima, Lisbon, Rome, Sofia, Marseille and Paris, many of which will be exhibiting at Art Paris for the first time this year. The galleries will explore rarely represented art scenes, from Europe – in particular Bulgaria at Structura Gallery (Sofia); Africa, with 31 Project, Galerie Véronique Rieffel (Paris/Abidjan) and Septieme Gallery (Paris); and Latin America, represented by Galerie Younique (Lima/Paris) and 193 Gallery (Paris). The galleries will each be presenting between one and three emerging artists – and benefit from financial sponsorship from the fair. 2020 Selection: 193 Gallery (Paris), 31 Project (Paris), Galerie Ariane C-Y (Paris), Art Sablon (Brussels), Galerie Bessières (Chatou), Double V Gallery (Marseille), Galeria Foco (Lisbon), H Gallery (Paris), Galleria Anna Marra (Rome), Galerie Véronique Rieffel (Abidjan), Ségolène Brossette Galerie (Paris), Septieme Gallery (Paris), Structura Gallery (Sofia), Galerie Younique (Paris/Lima).

Paris in the Spring
Over the past few years, Paris has been reasserting its place as a capital of the arts. The 2020 VIP programme will invite guest collectors and art professionals to discover the city’s very best spring art events. Highlights will include: Christo et Jeanne-Claude – Paris ! at the Centre Pompidou; Erwin Wurm at the Maison Européenne de la Photographie; Cindy Sherman – A Retrospective (1975-2020) at the Fondation Louis Vuitton; Giorgio de Chirico. La peinture métaphysique at the Musée de l’Orangerie; Ulla von Brandenburg at the Palais de Tokyo; James Tissot (1836-1902), l’ambigu moderne at the Musée d’Orsay; Picasso poète at the Musée national Picasso-Paris; and the much-anticipated opening of La Fab. d’agnès b pour l’art contemporain.

—

NOTES TO EDITORS

About Art Paris 2020
Grand Palais, Avenue Winston Churchill, 75008 Paris
www.artparis.com

Opening Preview (by invitation only)
Wednesday, May 27 | 6 pm – 10 pm 

Opening Hours
Thursday, May 28 | 11.30 am — 8 pm
Friday, May 29 | 11.30 am — 9 pm
Saturday, May 30 | 11.30 am — 8 pm
Sunday, May 31 | 11.30 am — 7 pm

Admission fee | 28€/14€ (for students and groups)
Catalogue | 20€

Conferences (Updated locations and times to be determined)
Barcelona – Madrid: present – future
Instituto Cervantes
7 rue Quentin Bauchard, 75008 Paris
Turning to the evolving Barcelona and Madrid art scenes, the panel discussion will be moderated by Carolina Grau, guest curator of Southern Stars: An Exploration of the Iberian Peninsula, with the participation of Sabrina Amrani, gallery owner and president of the Madrid Galleries Association; Nimfa Bisbe, art collections director of La Caixa Foundation, Barcelona; Joana Hurtado Matheu, director of the contemporary art centre Fabra i Coats, Barcelona; Manuela Villa Acosta, in charge of events programming at Matadero – centre for contemporary creation, Madrid; and Alex Nogueras, gallery owner and president of the Barcelona Galleries Association.

Lisbon and Porto: the reasons behind an artistic revival
Calouste Gulbenkian Foundation, Paris
54 boulevard Raspail, 75006 Paris
In recent years, Lisbon and Porto, Portugal’s two largest cities, have undergone a salient artistic and cultural renaissance. In a country where the lack of financial means acts as a catalyst for both the best and the worst, the necessity to come up with new solutions became an essential focus following the country’s economic and social crisis ten years ago. Lisbon and Porto, although deeply immersed in the country’s institutional and financial instability, continuously assert their open and cosmopolitan outlook. The two cities boast a unique creative dynamic with their local artists and art scenes – one that has caught the eye of the international art world.
In partnership with the French delegation of the Calouste Gulbenkian Foundation, Art Paris will be presenting a debate addressing the artistic vitality of Lisbon and Porto and seeking to better understand how these two cities have become two of the most interesting cultural destinations today.
The panel discussion will be moderated by Miguel Magalhães, director of the Calouste Gulbenkian Foundation, Paris, with Guilherme Blanc, deputy mayor of Porto in charge of culture; João Pinharanda, cultural advisor at the Portuguese Embassy, Paris; Catarina Vaz Pinto, deputy mayor of Lisbon in charge of culture; and Penelope Curtis, director of the Museu Calouste Gulbenkian, Lisbon.

List of exhibitors 2020
193 Gallery (Paris) • 31 Project (Paris) • 313 Art Project (Paris/Seoul) • Galerie 8+4 – Paris (Paris) • A Galerie (Paris) • A&R Fleury (Paris) • A2Z Art Gallery (Paris/Hong Kong) • AD Galerie (Montpellier) • Aedaen Gallery (Strasbourg) • Albarrán Bourdais (Madrid) • Alzueta Gallery (Barcelona) • Galerie Andres Thalmann (Zürich) • Ana Mas Projects (Barcelona) • Galerie Ariane C-Y (Paris) • Artco Gallery (Aachen/Cape Town) • Artkelch (Freiburg im Breisgau) • Art Sablon (Brussels) • Arts d’Australie – Stéphane Jacob (Paris) • Art to Be Gallery (Lille) • La Patinoire Royale – Galerie Valérie Bach (Brussels) • Galerie Cédric Bacqueville (Lille) • Galerie Ange Basso (Paris) • Galerie Belem/Albert Benamou, Barbara Lagié, Véronique Maxé (Paris) • Galerie Renate Bender (Munich) • Galerie Berès (Paris) • Galerie Claude Bernard (Paris) • Galerie Thomas Bernard – Cortex Athletico (Paris) • Galerie Bert (Paris) • Galerie Bessières (Chatou) • Galerie Binome (Paris) • Bogéna Galerie (Saint-Paul-de-Vence) • Brisa Galeria (Lisbon) • Ségolène Brossette Galerie (Paris) • Pierre-Yves Caër Gallery (Paris) • Galerie Capazza (Nançay) • Galerie Chauvy (Paris) • Galerie Chevalier (Paris) • Christopher Cutts Gallery (Toronto) • Creative Growth Art Center (Oakland) • David Pluskwa (Marseille) • Galerie Michel Descours (Lyon/Paris) • Dilecta (Paris) • Galeria Marc Domènech (Barcelona) • Galerie Dominique Fiat (Paris) • Double V Gallery (Marseille) • Galerie Dutko (Paris) • Galerie Jacques Elbaz (Paris) • Galerie Eric Dupont (Paris) • Galerie Eric Mouchet (Paris) • Espace Meyer Zafra (Paris) • Galerie ETC (Paris) • Galerie Valérie Eymeric (Lyon) • Feichtner Gallery (Vienna) • Flatland (Amsterdam) • Galeria Foco (Lisbon) • Francesca Antonini Arte Contemporanea (Rome) • Freijo Gallery (Madrid) • Galerie Pascal Gabert (Paris) • Galerie Claire Gastaud (Clermont-Ferrand/Paris) • Galerie Louis Gendre (Paris/Chamalières) • Gimpel & Müller (Paris) • Galerie Michel Giraud (Paris/Luxembourg) • Gowen Contemporary (Geneva) • Galerie Philippe Gravier (Paris/Saint-Cyr-en-Arthies) • H Gallery (Paris) • Gallery H.A.N. (Seoul) • Galerie Ernst Hilger (Vienna) • Galerie Eva Hober (Paris) • Huberty & Breyne Gallery (Brussels/Paris) • Galerie Hurtebize (Cannes) • Galerie Jeanne Bucher Jaeger (Paris) • Galerie Koralewski (Paris) • Espace L & Brisa Galeria (Geneva) • Galerie La Forest Divonne (Paris/Brussels) • Galerie Lahumière (Paris) • Galerie La Ligne (Zurich) • Lancz Gallery (Brussels) • Alexis Lartigue Fine Art (Paris) • Anna Laudel (Istanbul/Düsseldorf) • Galerie Jean-Marc Lelouch (Paris) • Françoise Livinec (Paris/Huelgoat) • Galerie Loft (Paris) • Víctor Lope Arte Contemporáneo (Barcelona) • Galerie Daniel Maghen (Paris) • Kálmán Makláry Fine Arts (Budapest) • Mark Hachem Gallery (Paris) • Galleria Anna Marra (Rome) • Maurice Verbaet Gallery (Knokke Heist/Berchem) • Galerie Minsky (Paris) • Galerie Modulab (Hagondange/Metz) • Galerie Moisan (Paris) • Mo J Gallery (Seoul/Busan) • Galerie Lélia Mordoch (Paris/Miami) • Galería MPA (Madrid) • Galerie Najuma (Fabrice Miliani) (Marseille) • Galerie Nec – Nilsson et Chiglien (Paris) • Niki Cryan Gallery (Lagos) • Galerie Nathalie Obadia (Paris/Brussels) • Galerie Oniris (Rennes) • Opera Gallery (Paris) • Galerie Orbis Pictus (Paris) • P gallery sculpture (Athens) • Galerie Paris-Beijing (Paris) • Galerie Perahia (Paris) • The Pigment Gallery (Barcelona) • Galerie Polaris (Paris) • Galerie Provost Hacker (Lille) • Galerie Rabouan Moussion (Paris) • Raibaudi Wang Gallery (Paris) • Rebecca Hossack Art Gallery (London) • Red Zone Arts (Frankfurt am Main) • Galerie Richard (Paris/New York) • Galerie Véronique Rieffel (Paris/Abidjan) • J.-P. Ritsch-Fisch Galerie (Strasbourg) • São Mamede (Lisbon) • Galerie Sator (Paris) • Galerie Brigitte Schenk (Cologne) • School Gallery/Olivier Castaing (Paris) • Septieme Gallery (Paris) • Gallery Simon (Seoul) • SIRIN Copenhagen Gallery (Frederiksberg) • Galerie Slotine (Paris) • Galerie Véronique Smagghe (Paris) • Caroline Smulders & Galerie Karsten Greve (Paris) • Michel Soskine Inc. (Madrid/New York) • Gallery SoSo (Heyri) • Space 776 (Brooklyn) • SPARC* - Spazio Arte Contemporanea (Venice) • Structura Gallery (Sofia) • Galerie Tamenaga (Paris/Tokyo/Osaka) • Templon (Paris/Brussels) • Luca Tommasi Arte Contemporanea (Milan) • Galerie Traits Noirs (Paris) • Galerie Patrice Trigano (Paris) • Galerie Univer/Colette Colla (Paris) • Un-Spaced (Paris) • Galerie Vallois (Paris) • Galerie Sabine Vazieux (Paris) • Viltin Gallery (Budapest) • Galerie Wagner (Le Touquet-Paris-Plage/Paris) • Olivier Waltman Gallery (Paris/Miami) • Galerie Esther Woerdehoff (Paris) • Wunderkammern Gallery (Rome/Milan) • Galerie XII (Paris/Los Angeles/Shanghai) • Galerie Younique (Lima/Paris) • Galerie Géraldine Zberro (Paris) • Galerie Zink Waldkirchen (Waldkirchen).

Image credits:
Image 1. Joana Vasconcelos, Blue Rose, 2016. Installation. 246 x 95 x 47 cm. Courtesy of La Patinoire Royale–Galerie Valérie Bach.
Image 2. Hassan Hajjaj, Afrikan Boy Sittin’, 2013. Photography. 136 x 94 x 6 cm. Courtesy of 193 Gallery.

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The 22nd Biennale of Sydney: NIRIN Presents 101 artists, 700 Works and 600 Events over 87 Days

Ibrahim Mahama, No Friend but the Mountains 2012-2020, 2020, charcoal jute sacks, sacks, metal tags and scrap metal tarpaulin, dimensions variable. Installation view (2020) for the 22nd Biennale of Sydney, Cockatoo Island. Courtesy of the artist; White Cube; and Apalazzo Gallery, Brescia. Photograph: Zan Wimberley

14 March — 8 June 2020

March 10, 2020 (Sydney, Australia) – The Biennale of Sydney – the third oldest biennial in the world after Venice and São Paulo and largest exhibition of its kind in Australia – has launched its 22nd edition, taking place from 14 March – 8 June 2020. Titled NIRIN, the 2020 edition presents a diverse range of contemporary artworks spanning from video and photography to installations and performances, across six different venues in Sydney: Art Gallery of New South Wales, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art Australia and the National Art School.

Under the artistic direction of acclaimed Indigenous Australian artist Brook Andrew, this expansive exhibition of contemporary art and events brings together 700 works by 101 international artists and collectives – including 39 Australian artists – many of which have been specifically commissioned for the occasion. Titled NIRIN, or edge – a word of Andrew’s mother’s Nation, the Wiradjuri people of western New South Wales, the exhibition pushes audiences the see beyond what they know, to challenge history, to be a part of the story and to immerse themselves in inspiration and imagined futures.

Highlights include Pitjantjatjara artist, activist and leader Kunmanara Mumu Mike Williams’s (1952–2019) large-scale political protest piece created with the young men in his community, his widow Tuppy Ngintja Goodwin and his lifelong friend and collaborator Sammy Dodd following his passing last year (AGNSW); Tennant Creek Brio’s dynamic series of paintings on discarded western objects that draw inspiration from their experiences at home in the Northern Territory (Artspace); Gamilaroi/Gomeroi Murri Yinah photographer Barbara McGrady’s presentation of her life’s work as a kaleidoscopic compendium of contemporary Aboriginal history (Campbelltown Arts Centre); Ibrahim Mahama’s epic installation of sewn coal sacks in the Turbine Hall on Cockatoo Island; visual activist and photographer Zanele Muholi’s presentation of three bodies of work that look at the politics of race, gender and sexuality (Museum of Contemporary Art Australia); and, Hannah Catherine Jones’s audio-visual work using pop-cultural and archival material, poetic motifs and provocative imagery to tell a story of the African diaspora (National Art School).

The public program – NIRIN WIR meaning edge of the sky – includes over 600 events, with the vast majority free and open to all. This extensive program of live and site-specific artist activations proposes new ways for audiences to experience contemporary art, share time and learn from one other.  Highlights of the program include NIRIN HAIVETA, a restored ferry featuring traditional tattoo markings celebrating and honouring women of the Pacific Islands that will transport students free of charge from Circular Quay to Cockatoo Island every weekday and will hop between Sydney Olympic Park Wharf and Cockatoo Island on Saturdays; the To cook Cook or not? debate featuring performances by Thelma Plum and Ripple Effect at Sydney Town Hall; Stories We Never Tell, a performative walking tour at the Parramatta Female Factory Precinct; 4ESydney HipHop Festival and Bankstown Poetry Slam on Cockatoo Island, and related artist talks, tours and workshops for young people and families every weekend and during school holidays.

Teresa Margolles, Untitled, 2020, mixed-media installation. Installation view (2020) for the 22nd Biennale of Sydney, National Art School. Courtesy of the artist and Galerie Peter Kilchmann, Zurich. Photograph: Zan Wimberley

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NOTES TO EDITORS

About the Biennale of Sydney
Established in 1973, it is the third oldest biennial in the world after Venice and São Paulo and the largest exhibition of its kind in Australia. The Biennale of Sydney has commissioned and presented exceptional works of art by more than 1,800 national and international artists from more than 100 countries. One of the leading international contemporary art events in the world, it plays an indispensable role in Australia’s engagement
with the world, and a meaningful role in the life of the nation.

The Biennale presents the most dynamic contemporary art from around the globe in venues across Sydney with exhibitions that ignite and surprise people, sparking dialogue, cultivating connections and inspiring action through meaningful, shared arts experiences.

The Biennale of Sydney is committed to free access for all and, in 2018, attracted visitation of over 854,000, the highest level in its 45-year history. The Biennale attracts a broad audience: local, interstate, international, culturally diverse and intergenerational. The 22nd Biennale of Sydney, titled NIRIN, is open from 14 March to 8 June 2020.

For information on the exhibition, go to biennaleofsydney.art.

For event bookings, go to biennaleofsydney.art/events.

Facebook / Instagram / @biennalesydney #NIRIN2020 

The Biennale of Sydney is supported by:

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The Armory Show Announces Move to the Javits Center and New September Dates for 2021 Edition

Rendering of The Armory Show at the Javits Center, its new location. Courtesy of The Armory Show and The Javits Center.

March 7, 2020 (New York) – The Armory Show has announced that starting in 2021, New York City’s essential art fair will shift to September at the state-of-the-art Javits Center.  Designed by Architect James Ingo Freed of Pei Cobb Freed & Partners (previously I.M. Pei & Partners), the Javits Center will have recently completed a $1.5 billon expansion project when it welcomes The Armory Show September 9-12, 2021.

The Armory Show 2021 will anchor a new Armory Arts Week and launch the fall art season in alignment with September New York gallery openings.

“We are thrilled for this exciting new chapter for The Armory Show and look forward to creating a spectacular fair in September 2021 at our new home at the Javits Center. September is a great time of year to be in New York City, and we are eager to align with gallery openings to kick off the fall season. We hope everyone will mark their calendars,” said Executive Director Nicole Berry.

“Our historic expansion project is a game changer for the Javits Center, and by hosting The Armory Show in September 2021, we’re proving that events in New York will never be the same,” said Alan Steel, President and CEO of the Javits Center. “We are thrilled to host such a wonderful event as The Armory Show and introduce their exhibitors and attendees to our new dynamic spaces that will raise the standard for event venues nationwide.”

It is befitting that New York’s essential art fair will be a new landmark event for the newly expanded Javits Center. The Armory Show exhibitors and guests alike will be able to enjoy an optimized fair experience with easier accessibility and superior facilities, as well as several key cultural, commercial, and gastronomic destinations in close proximity such as The Highline, the Chelsea Arts District, and Hudson Yards.

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NOTES TO EDITORS
About The Armory Show
The Armory Show is New York City’s essential art fair, and a leading cultural destination for discovering and collecting the world’s most important 20th- and 21st-century art. Staged on Manhattan’s Piers 90 and 94, The Armory Show features presentations by leading international galleries, innovative artist commissions, and dynamic public programs. Since its founding in 1994, The Armory Show has served as a nexus for the international art world, inspiring dialogue, discovery, and patronage in the visual arts.

About the Javits Center
Known as the "Marketplace for the World," the Javits Center was designed by I.M. Pei & Partners and opened in 1986. The iconic facility has since become New York City's primary venue for large conventions, trade shows and special events and serves as home to many of the world's top 250 trade shows, hosting millions of visitors a year. These large-scale events generate more than $2 billion in annual economic activity for New York City and New York State, supporting as many as 18,000 jobs in and around the facility. Located on 11th Avenue between West 34th and West 40th Sts. in Manhattan, the Javits Center has 760,000 square feet of exhibition space, 102 meeting rooms and four banquet halls, as well as a range of technology services, including WiFi access. For more information, visit www.javitscenter.com.

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"Freedom Will Have Been An Episode" Opens at the Austrian Cultural Forum New York, Featuring Four Site-specific Installations

Günter Brus, Untitled (Action Drawing), 1966; Private Collection. Photo: UMJ/N. Lackner

March 2, 2020 (New York) – The Austrian Cultural Forum New York is pleased to announce its spring exhibition, Freedom will have been an episode. Developed in cooperation with Universalmuseum Joanneum (Graz, Austria), the group show contemplates on the creeping social upheaval that has taken place in recent years. Following in the footsteps of pioneering Austrian painter, performance artist, experimental filmmaker, and writer Günther Brus (born 1938), four emerging artists and collectives from Austria have developed new site-specific installations that engage with what freedom means today in art and society.

In the 1960s, when Günther Brus co-founded the seminal avant-garde art movement Viennese Actionism and challenged Austrian society with his taboo-breaking performances, freedom was considered a precious commodity that had to be defended against any form of restriction. In the last decades, these hard-won freedoms have been increasingly undermined by the economy of hedonism and the efficiency of neo-liberalism. People are no longer disciplined by force and violence but are galvanized into self-optimization. This “technology of the self,” in the words of Michel Foucault, is nothing but an efficient form of domination and exploitation. Freedom has become a form of coercion, argues philosopher Byung-Chul Han, whose book Psychopolitics: Neoliberalism and New Technologies of Power (2017) inspired the title of this exhibition.

Society and art have changed considerably in the decades since Brus started his “actions.” For Freedom will have been an episode, curator Roman Grabner contrasts Brus’s works with new artistic voices from Austria that challenge the norm and explore what it means today to break free from convention and defy the system, to be a foreign body in society and to analyze its power structures.

While in his work Günter Brus has focused primarily on the human body and the way people are categorized and standardized since the 1960s, Josef Wurm (born 1984) intertwines the anatomy of the human body with the topography of maps. His paintings are social critiques that penetrate into the very innermost, the entrails of human co-existence, and the anatomy of social orders, reaching the rudimentary elements that constitute the body and writing, and thereby codify reality.

Evamaria Schaller’s (born 1980) performances react to specific locations. She deploys her own body in a space where it is neither expected nor wanted and thus represents an affront to the system of order and control. Her latest work engages with genetics, digital data processing, and biotechnologies to question the physical limits of freedom.

Artist duo Eva Pichler (born 1981) and Gerhard Pichler (born 1980) examine the subtle normalizations of everyday life in their art. As zweintopf they develop installations thematizing methods of controlling and influencing others. Their work Fencing IV combines so-called cattle trainers – electrified metal bars meant to prompt animals to excrete their manure at specific places – to construct a large installation that fills the exhibition space like a minimalist grid.

Marleen Leitner (born 1986) and Michael Schitnig (born 1986) of studio ASYNCHROME are constantly engaged with the individual in an era of social upheaval. Influenced by Michel Foucault’s work on developing means to describe the mechanisms and structures in power within the social body, studio ASYNCHROME, through their drawings, observe and reflect on the present socio-political situation based on the algorithms of manipulation.

In his curatorial statement, Roman Grabner sums up the premise of the show: “If the media are corrupted by the economy, if critical thought is equated with corrosive conduct and if political engagement no longer takes place because it is incompatible with social media, then we are heading towards the ‘brave new world’ and freedom will indeed have been an episode.”

Artists on view: Günter Brus, Evamaria Schaller, studio ASYNCHROME, Josef Wurm, zweintopf
Curated by Roman Grabner of BRUSEUM Graz, Austria

A selection of press images can be found on the following link.

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NOTES TO EDITORS
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.

Austrian Cultural Forum New York
11 East 52nd St. (btw. 5th & Madison)
New York, NY 10022
www.acfny.org
@acfny

Partners: Neue Galerie Graz/BRUSEUM, Universalmuseum Joanneum
Supported by Land Steiermark

Mazzoleni Announces its Participation in The Armory Show 2020 | Booth 820

Melissa McGill, Red Regatta (Coppa del Presidente della Repubblica, San Giorgio Maggiore), 2019. Archival pigment print with pigment and matte gel medium, 142.2 x 213.4 cm. Courtesy of Mazzoleni, London/Turin

Mazzoleni will feature photography of Melissa McGill’s Red Regatta, a public art project presented during La Biennale di Venezia 2019, alongside an exhibition of works by Italian and international artists, including David Reimondo.

5—8 March 2020
Piers 90 & 94 | Booth 820

Artists Melissa McGill and David Reimondo will be available on-site for interviews.

With works by: Vincenzo Agnetti | Mel Bochner | Alighiero Boetti | Lucio Fontana | Jannis Kounellis | Melissa McGill | Rebecca Moccia | Gastone Novelli | David Reimondo | Mimmo Rotella | Salvo | Mario Schifano | Gianfranco Zappettini

February 25, 2020 – Mazzoleni is pleased to announce its participation in The Armory Show 2020, New York. The presentation will be twofold: one part of the booth will display  photographic renderings of Red Regatta by Melissa McGill, while the main section will focus on MORE THAN WORDS…, a project based on the group show of the same title held at Mazzoleni London in 2018.

The presentation features works created from the 1950s to the present day, underlying the Dadaist and Futurist verbal and visual innovations, of which the latter were of particular relevance to certain Italian Post-War artists. Selected works by Italian and international artists whose practice is linked to the use of the “word” or to the invention of a new “code” or “language” will be highlighted: Vincenzo Agnetti (1926- 1981), Mel Bochner (1940), Alighiero Boetti (1940-1994), Lucio Fontana (1899-1968), Jannis Kounellis (1936-2017), Rebecca Moccia (1992), Gastone Novelli (1925- 1968), David Reimondo (b.1973), Mimmo Rotella (1918-2006), Salvo (1947-2015), Mario Schifano (1934-1998), Gianfranco Zappettini (1939).

The artists on display are interconnected by keywords characterizing their own individual practice (concept – light – dictionary – pop – time – philosophy), identifying mutual affinities. Drawing inspiration from life itself and the kaleidoscope of verbal, literary, philosophical and poetic types of communication, each artist has been able to transcend words beyond their meaning – giving the exhibition its title, MORE THAN WORDS.

Similarities can also be found in the techniques and materials used: torn paper and collage characterize the works by young artist Rebecca Moccia (in the wake of her acclaimed exhibition presented at Museo Novecento in Florence, 2019-2020), as well as the significant “décollages” by Mimmo Rotella, and the seminal, multi-material works by Mario Schifano, who was active in Rome concurrently with Jannis Kounellis. Kounellis’s black letters on white backgrounds create a strong iconic and visual impact. These lines of research were developed within the context of the Italian economic boom and the explosion of mass culture and communication.

It is widely acknowledged that Lucio Fontana used to inscribe a variety of notes and phrases on the reverse of the canvas of his Concetti spaziali. Concerned with language and different cultures, Alighiero Boetti’s passionate interest motivated him to travel repeatedly to Afghanistan and Pakistan where he encountered highly skilled artisans whom he commissioned to realize his work. Boetti's “embroidered” verbal-visual compositions combine letters, sentences, colors, and the idea of “time” to achieve a unique form of "depersonalization" of the work; the concept of time is also prominent in his Calendari series.

Vincenzo Agnetti and Salvo share the “lapidary” power of words and sentences engraved on felt, marble, or neon, whereas the practice of David Reimondo represents a novelty on the American art scene. David Reimondo’s Etimografia is a macro-project embracing much of his latest research into “language.” The artist has created a synthesis sui generis (featuring ideograms, pictograms and glyphs among other elements) and produced new “graphemes” and new “phonemes.” Each of these “symbols” is the base element of a broader, more variegated project. This project came into being quite naturally as a perennial “work in progress”. One series of pieces is composed of “sculptures” (each around 40 x 40 x 6 cm) in wood colored with ink for professional printers; a choice of matter and materials that brings together past and present, conjugating different operational practices. Reimondo’s utopia is the development of a new language – in the most absolute sense of the term – that overcomes those predefined barriers.

A separate area of the booth will be dedicated to a series of large-scale hand-painted photographic renderings of Red Regatta by American artist Melissa McGill (born 1969), which Mazzoleni is proud to present at the Armory Show for the first time. This body of work is part of her major public art project Red Regatta, an unprecedented series of four large-scale site-specific performances on Venice’s waterways between May and September 2019: 52 traditional vela al terzo boats sailed in choreographed regattas, each with sails hand-painted by the artist in distinct shades of red. An innovative reflection on environmental issues and historical traditions, Red Regatta was presented in collaboration with Associazione Vela al Terzo Venezia, curated by Chiara Spangaro, with project manager Marcella Ferrari, co-organized by Magazzino Italian Art Foundation, with support from Mazzoleni. This presentation is intended as a prelude to the first exhibition that Mazzoleni London will dedicate to Melissa McGill from 29 April - 29 May 2020. Mazzoleni officially represents Melissa McGill in Europe and Asia.

A selection of press images can be found on the following link.

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NOTES TO EDITORS
Mazzoleni (London | Turin)
Mazzoleni was founded in Turin in 1986 by Giovanni and Anna Pia Mazzoleni, as a natural evolution of their private collection started in the 1950s. The historic Turin space, which occupies three floors of Palazzo Panizza, overlooking the city-center Piazza Solferino, has since 2014 been flanked by the London gallery in Mayfair. Over the past three decades, Mazzoleni has organized solo and group exhibitions of more than 200 prominent Italian and international artists from across the 20th century with an exhibition program focused on museum-caliber Italian art from the post-war period and recently the contemporary panorama, working in close collaboration with artists’ estates and foundations. 
www.mazzoleniart.com

The Armory Show | Booth 820
VIP Preview Day (by invitation only)
Wednesday, March 4, 2020, 11AM—8PM

Public Days
Thursday, March 5, 12—8PM
Friday, March 6, 12—8PM
Saturday, March 7, 12—7PM
Sunday, March 8, 12—6PM

Piers 90 & 94 | Booth 820
711 12th Avenue, New York, US

Upcoming exhibition | Mazzoleni London
In Venice, Melissa McGill
29 April – 29 May 2020 

For additional details, please visit the artist’s page.

Fair Highlights: The Armory Show Returns for its 26th Edition, Featuring Three Curated Sections; Seven Large-scale Projects; Four Days of Talks; and 183 Exhibitors from 32 Countries

Mella Jaarsma, Feeding The Nation, 2019. Archival photo print. Image courtesy of Mella Jaarsma Studio and Baik + Khneysser (Section Presents)

February 24, 2020 – The Armory Show returns to Manhattan’s Piers 90 and 94 on March 5, featuring 183 galleries from 32 countries and with 33 first-time exhibitors. The Armory Show, supported by Lead Partner Athena Art Finance, is pleased to offer a new and expanded curatorial program, with Pier 90 composed entirely of curator-led projects and initiatives that address themes such as revisionist histories, social satire, and the contemporary recontextualization of 20th-century work. Pier 94, meanwhile, is devoted to The Armory Show’s longstanding Galleries section, as well as the Presents section — the latter of which shows presentations of works no more than three years old, from galleries no more than ten years old. This balance of major blue chips and fresh discoveries is what maintains The Armory Show’s steady place in the market, as well as its status as an international meeting place for the art world and an annual destination for museums and collectors to acquire new works.

The 2020 fair’s new and expanded curatorial program features invited curators including Jamillah James (Curator, Institute of Contemporary Art, Los Angeles) for The Armory Show’s Focus section, which this year examines revisionist histories; Anne Ellegood (Director, Institute of Contemporary Art, Los Angeles), whose Platform section features seven large-scale works that reflect sociopolitical satire while spatially responding to and activating the fair’s industrial venue; and Nora Burnett Abrams (Mark G. Falcone Director, Museum of Contemporary Art Denver), who is inaugurating The Armory Show’s Perspectives section, which recontextualizes 20th-century works in a contemporary setting.

Maintaining its status as an essential selling platform for domestic and international galleries, The Armory Show is pleased to welcome back, after a one-to-three year hiatus, 25 historical exhibitors, among which are Gagosian, Kasmin, Barbara Mathes Gallery, Pippy Houldsworth Gallery, Ben Brown Fine Arts, Richard Saltoun, R & Company, and Night Gallery. Among the ten galleries returning in 2020 after a five-to-ten year hiatus are Bortolami Gallery, Galerie Isabella Bortolozzi, Brooke Alexander, Maccarone, and Simon Lee Gallery.

While introducing fresh perspectives through multiple curatorial platforms, The Armory Show is proud to retain its legacy as New York’s original art fair, founded by New York dealers with a New York audience. In addition to Kasmin and Brooke Alexander, 2020 exhibitors who participated in the fair’s earliest editions at the Gramercy Park Hotel are 303 Gallery, Tanya Bonakdar Gallery, Jeffrey Deitch, Haines Gallery, Galerie Krinzinger, Pierogi, Yancey Richardson Gallery, and Zeno X Gallery.

The 49 exhibitors whose 2020 presentation marks ten or more years returning to The Armory Show include, in addition to many of the above and others: Victoria Miro, Sean Kelly, Ronald Feldman Gallery, Andrew Kreps Gallery, Kohn Gallery, Kavi Gupta, Caroline Nitsch, DC Moore Gallery, Stephen Friedman Gallery, Galerie Crone, Alison Jacques Gallery, Bruce Silverstein Gallery, Hollis Taggart, Michael Rosenfeld Gallery, Galerie Nathalie Obadia, Rhona Hoffman Gallery, Galerie Thomas Schulte, Marc Selwyn Fine Art, Susan Sheehan Gallery, Yossi Milo Gallery, Two Palms, and Peter Blum Gallery.

Building on a strong contingent of domestic and international galleries, the 2020 edition also welcomes 33 first-time exhibitors.

SPECIAL PROJECTS
This year’s Special Projects — collaborative on- and off-site initiatives organized directly by The Armory Show — include a presentation of Dawoud Bey’s Harlem U.S.A., 1975-1979, organized and exhibited by Sean Kelly; an installation by For Freedoms; a live performance from artist Jeffrey Gibson in Times Square; and Mel Kendrick’s Sculpture No. 4 (1991), presented by David Nolan Gallery.

CURATORIAL LEADERSHIP SUMMIT
On Thursday, March 5, the third annual Curatorial Leadership Summit (CLS), chaired by José Carlos Diaz (Chief Curator of the Andy Warhol Museum), will assemble prominent national and international curators from leading institutions for a daylong program of closed-door discussions, taking place on-site at The Armory Show. The talks will explore and debate issues such as cultural appropriation, censorship, and identity politics. Confirmed attendees include curators, arts administrators, and leadership from institutions including the Metropolitan Museum of Art, the Baltimore Museum of Art, the Albright-Knox Art Gallery, the Carnegie Museum of Art, Crystal Bridges Museum of American Art, the Bass Museum of Art, the Brooklyn Museum, the Museum of Contemporary Art Chicago, and the Institute of Contemporary Art, Los Angeles, to name a few.

ARMORY LIVE
Armory Live celebrates the 26th fair edition with four days of dedicated talks featuring internationally renowned artists, curators, collectors, and art practitioners. Highlights include Jeffrey Gibson, who will speak with Brooklyn Museum curator Eugenie Tsai on the topic of cultural history, collectivism, and censorship. Renuka Sawhney of the Vera Institute of Justice, meanwhile, will lead a conversation addressing representation, body politics, and mass incarceration. Additional Armory Live participants include Hank Willis Thomas (artist and For Freedoms co-founder), Legacy Russell (associate curator at the Studio Museum in Harlem), Dread Scott (artist), Liz Glynn (artist), and Jarl Mohn (collector).

PRIZES
For its 2020 edition, The Armory Show is pleased to award four juried prizes — three in collaboration with key partners—that recognize exceptional presentations in various categories.  

The Gramercy International Prize, established in 2019 to mark the fair’s 25th anniversary, supports the advancement of young and pioneering New York gallerists who have not previously participated in The Armory Show. Kai Matsumiya has been selected as the second annual recipient of the Gramercy International Prize. The gallery will exhibit a solo presentation from Brazilian mixed media artist Pedro Wirz. In alignment with its purpose of elevating emerging talent, recipients of the Gramercy International Prize receive a free-of-charge booth situated among the fair’s core Galleries section. 

While the Gramercy International Prize is awarded in November in order to give its recipient time to prepare their booth presentation, the recipients of The Armory Show’s three partner prizes are selected based on their final booth presentations and are announced on the first public day of the fair, this year on Thursday, March 5.

For The Pommery Prize, now in its second year, Champagne Pommery will recognize an exceptional presentation of large-scale artwork within the Platform section of the fair. Its $20,000 prize will be shared between the artist and presenting gallery. In addition to Champagne Pommery co-owner and CEO Nathalie Vranken, its jury includes Nora Lawrence (Senior Curator, Storm King Art Center) and Emma Lavigne (President, Palais de Tokyo). The 2019 Pommery Prize winner was Lisson Gallery’s presentation of Ryan Gander.

The Presents Booth Prize, supported for its fourth consecutive year by Armory Show Lead Partner Athena Art Finance, recognizes an outstanding and innovative presentation within the Presents section of the fair, and will award $10,000 toward the winning gallery’s fair participation costs. In addition to Naomi Baigell (Managing Director, Athena Art Finance), jurors include Elisabeth Karpidas (Executive Director, Karpidas Family Foundation) and Bernard Lumpkin (collector and philanthropist). Past recipients include Charlie James Gallery, who in 2019 exhibited Sadie Barnette; blank projects, who in 2018 exhibited Igshaan Adams and Cinga Samson; and Mariane Ibrahim, who in 2017 exhibited Zohra Opoku.

The inaugural AWARE Prize is presented by the French not-for-profit organization AWARE (Archive of Women Artists Research & Exhibitions), which seeks to restore the presence of 20th-century women artists in the history of art. In alignment with AWARE’s goal pertaining to the creation, indexation, and distribution of information on 20th-century women artists, the AWARE Prize will award $10,000 to a female artist (or the estate of a female artist) exhibited in the Galleries section of the fair. The jury, in addition to AWARE co-founder Camille Morineau, includes Bloum Cardenas (Trustee, Niki Charitable Art Foundation; President, Giardino dei Tarocchi), Simon Castets (Director, Swiss Institute), and Maura Reilly (Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum).

THE ARMORY SHOW AUDIO GUIDE
The Armory Show will, for the first time ever, offer a free-to-the-public, dial-in audio guide available from any cell phone that will feature more than fifty auditory bytes (each thirty to sixty seconds in length) that offer curatorial insight to works, projects, and booths on view at The Armory Show 2020. Commentary will be provided by a number of prominent curators and tastemakers, including Camille Morineau, Anne Ellegood, Jamillah James, José Carlos Diaz, and Isabella Lauria, among others.  Signage throughout the fair will indicate included exhibitions and artworks.

CURATORIAL SECTIONS (PIER 90)
For the first time ever, The Armory Show is devoting a full pier to presentations chosen by guest curators from leading institutions, including the Institute of Contemporary Art, Los Angeles, and the Museum of Contemporary Art Denver. With Pier 90 composed entirely of these curator-led projects and initiatives, visitors are treated to a notably institutional feel as they walk from presentation to presentation. Among the themes of the 2020 fair’s curatorial program are social commentary, paradigms of truth, and unexpected dialogues between 20th-century and contemporary art.

PERSPECTIVES: Perspectives is a new historical section of 20th-century work examined through a contemporary lens. This year, 18 galleries will show works from modern and post-war icons placed in compelling conversations with one another — works from artists such as Josef Albers, Richard Diebenkorn, Max Ernst, Helen Frankenthaler, Hans Hoffmann, Jasper Johns, Franz Kline, Imi Knoebel, Brice Marden, Kenneth Noland, Gerhard Richter, and Ed Ruscha. Other galleries take a distinctly experimental approach, such as a presentation that places works from early-20th-century crime photographer Weegee in thoughtful dialogue with Nan Goldin’s intimate photographs from the late 1980s and early 1990s. Curated by Nora Burnett Abrams (Mark G. Falcone Director of the Museum of Contemporary Art Denver)

FOCUS: The Armory Show’s annual Focus section features solo- and dual-artist presentations of post-2000 art. This year’s theme is revisionist histories; its 31 exhibitors’ projects examine the ways in which artists construct a version of reality or self where the boundaries of fact and fiction are indistinct. Taken as a whole, the 2020 Focus section is an open-ended proposition that asks how history functions when the present is constantly accelerating, and how much agency individuals or communities have in narrating their experiences and making new worlds. Curated by Jamillah James (Curator at the Institute of Contemporary Art, Los Angeles)

PLATFORM: Interspersed throughout the full footprint of the fair, including Pier 90 but extending to Pier 94 as well, are large-scale projects that activate and respond to The Armory Show’s industrial venue. The Platform theme for 2020 asked exhibitors to consider how techniques of satire and caricature have been used historically in art and literature as sharp tools of social critique. How are contemporary visual artists drawing from these centuries-old practices, while also imbuing them with fresh perspectives that examine the particular issues of today’s volatile political and cultural climate? All seven pieces within the Platform section will be included in The Armory Audio Guide. Curated by Anne Ellegood (Executive Director of the Institute of Contemporary Art, Los Angeles)

NOT-FOR-PROFIT (Pier 90): The Armory Show is pleased to support a variety of important cultural causes by providing affordable booths to a select group of not-for-profit organizations. Participating organizations, ranging from museums to not-for-profit galleries to art foundations and beyond, share The Armory Show’s common desire to promote the visual arts to collectors and the general public alike.

PIER 94
Pier 94 is home to The Armory Show’s longstanding Galleries section. Alongside it is the Presents section, which exhibits works no more than three years old, from galleries no more than ten years old. This balance of fresh discoveries and established galleries, some of which have returned to The Armory Show for over 20 years, is what annually maintains The Armory Show’s stature as a consistently exciting international destination for the art world and general public alike.

GALLERIES: Galleries, the core section of The Armory Show, features outstanding 20th- and 21st-century artworks in a range of media, presented by 109 leading international galleries. Visitors are invited to discover thousands of artworks spanning movements, mediums, and cultures.

PRESENTS: The Armory Show’s Presents section, situated alongside the established names of the Galleries section, features galleries no more than ten years old. It is emblematic of The Armory Show’s longstanding efforts to give smaller galleries visibility — and therefore viability — within the larger market. In alignment with this overall spirit, and to foster The Armory Show’s continued status as a destination for fresh discoveries, this section’s 26 exhibitors are showing solo- and dual-artist presentations of works that were made in the past three years.

PLATFORM: Platform, the curated section that consists of large-scale projects interspersed throughout both Pier 90 and Pier 94, will this year have four of its seven projects on Pier 94. These include a historically important work from Edward and Nancy Kienholz, The Caddy Court (1986-1987), located in the Town Square.

Sheida Soleimani, Iran Heavy, 2019. Archival pigment print. Image courtesy of Edel Assanti Gallery (Section Presents)

For the full exhibitor list (by section), please visit: thearmoryshow.com/exhibitors

High-resolution images pertaining to this announcement may be downloaded via bit.ly/fairhighlights with additional images at thearmoryshow.com/press.

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NOTES TO EDITORS
The Armory Show
The Armory Show is New York City’s essential art fair, and a leading cultural destination for discovering and collecting the world’s most important 20th- and 21st-century art. Staged on Manhattan’s Piers 90 and 94, The Armory Show features presentations by leading international galleries, innovative artist commissions, and dynamic public programs. Since its founding in 1994, The Armory Show has served as a nexus for the international art world, inspiring dialogue, discovery, and patronage in the visual arts.

Fair Dates
VIP Preview Day (by invitation only)
Wednesday, March 4, 2020, 11AM-8PM

Public Days
Thursday, March 5–Sunday, March 8, 2020

Hours
Thursday, March 5, 12—8PM
Friday, March 6, 12—8PM
Saturday, March 7, 12—7PM
Sunday, March 8, 12—6PM