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En Artpace, Joachim Koester presenta un nuevo conjunto de fotografías, Northwood and Other Locations , tomadas en Texas, instaladas de una manera arquitectónicamente específica. El espectador entra en una galería oscura, frente a una pared inacabada frente a un resplandor azul. Las cinco fotografías de Koester se exhiben en estantes en el lado opuesto de la pared, frente a un grupo de ventanas que ha sido teñido con un gel azul grisáceo. Iluminadas solo por la luz del día filtrada, las ventanas crean una falsa sensación de noche, que evoca presunciones cinematográficas. Las fotografías están secuenciadas en los estantes implicando un sistema modular y temporal. Los sujetos de las imágenes implican una narrativa mínima, manteniendo una sensación de ambigüedad respecto al tiempo y al espacio.
Esta manipulación de la experiencia del espectador en el espacio crea una plataforma para su participación en la construcción de un tema. La instalación sugiere las formas en que se puede cambiar la narrativa a través del entorno. El nuevo trabajo amplía el interés de Koester en la transformación, específicamente, la transición de sitios y narrativas.
Aunque muy interesado en la narrativa cinematográfica, el trabajo de Koester en Texas no surge del icónico género cinematográfico occidental. Y mientras que trabajos anteriores han examinado eventos culturales y geográficos específicos relacionados con la exploración y la política, aquí, Koester evita una referencia histórica directa. Más bien, Koester evoca la narrativa fantasma de Occidente, donde un espíritu de expectativa, la frontera, se construye a través de entornos y estados emocionales cambiantes.
New York, New York, USA
New York-based Joachim Koester was born in 1962 in Copenhagen, Denmark. He completed his studies at the Royal Danish Academy of Fine Arts, Copenhagen, in 1993.
Throughout the 1990s, Koester has been exhibited internationally, including solo exhibitions at the Arnolfini, Bristol (2000); P.S. 1, Long Island City (1999); AstrupFearnly Museet, Oslo (1999); Kunst-Werke, Berlin (1999); INOVA, Milwaukee (1998); Greene Naftali, New York (1997, 2000); and Gallerie Nicolai Wallner, Copenhagen (1996, 2000). His work has been included in significant group exhibitions, including P.S. 1’s Greater New York (2000); Organizing Freedom at the Moderna Museet, Stockholm (2000); Cinema Cinema at the Van Abbe Museum, Eindhoven (1999); Kiasma, Museum of Contemporary Art, Helsinki’s This Side of the Ocean (1998); Nuit Blanche at the Musee d’Arte Moderne de la Ville de Paris (1998); The Louisiana Exhibition, Louisiana Museum of Modern Art, Copenhagen (1997); and Disneyland After Dark at Kunstamt Kunstlerhaus Bethanien, Berlin (1996) and Uppsala Konstmuseum, Uppsala (1995). He was included in the 1997 Johannesburg Biennial, Documenta X (1997) and the 1995 Kwangju Biennial.
Joachim Koester’s conceptually-based work examines the narrative conditions of culture, framing their overt as well as their unexplored aspects. Through photography and video, he skews seemingly mundane situations and landscapes with editing, repetition, and shifts in color. Beautiful images entice the viewer, but upon careful inspection, there is discomfort in the images Koester creates; a sense of darkness, of social disorder, permeates his work.
Born in 1952 in Naples, Texas, Californian Nancy Rubins received her MFA from the University of California, Davis. She has had numerous solo exhibitions, including shows at Paul Kasmin Gallery, The Museum of Modern Art, New York, and the Venice Biennale Aperto. Rubins’ work was included in the 1995 Whitney Biennial and the Museum of Contemporary Art, Los Angeles’ Helter Skelter exhibit in 1992. Rubins teaches at the University of California, Los Angeles’ Art Department. She has received grants from the Rockefeller Foundation, the Tiffany Foundation, and the National Endowment for the Arts.
Independent curator Annette DiMeo Carlozzi has built an expansive practice across the US as a curator of modern and contemporary art, focusing on ideas and experiences, artists and audiences. Raised in Boston and trained at the Walker Art Center, she has served in a variety of foundational roles: as the first curator at Laguna Gloria Art Museum (now The Contemporary Austin); executive director of the Aspen Art Museum and the Contemporary Arts Center, New Orleans; Visual Arts Producer for the 1996 Olympic Games in Atlanta; and in multiple positions—ranging from founding modern and contemporary curator to Deputy Director for Art and Programs to Curator at Large—at the Blanton Museum of Art, University of Texas at Austin. Committed to expanding the canon, she has created notable exhibitions (Luis Jiménez, Paul Chan, Michael Smith, Deborah Hay, Negotiating Small Truths, America/Americas, Desire), produced important commissions (Nancy Holt, Siah Armajani, Betye Saar, Vito Acconci, Byron Kim, Teresita Fernández), and acquired major works by a wide range of international artists. Carlozzi has had a long relationship with Artpace, having served as an early advisor, artist interviewer, and program panelist, member of the 1998 artist selection panel and 2001–03 Board of Visitors. In 2015 she curated Immersed from Linda Pace’s art collection, now called Ruby City.
From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.
Hans Ulrich-Obrist is the Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London, positions created for Ulrich-Obrist in April 2006. As a curator at the Musée d’Art Moderne de la Ville de Paris, France since 2000, among many other exhibitions he organized solo shows with Jonas Mekas (2003), Anri Sala (2004), and Cerith Wyn Evans (2006). Before this position Ulrich-Obrist was an independent curator for a decade, organizing the group show Take Me I’m Yours at the Serpentine (1995) and Retrace Your Steps: Remember at the John Soane Museum (1999), also in London, England. Ulrich-Obrist was a panelist in 1998 for the 1999-2000 year of artists, and was invited to be a speaker at the 2003 symposium, but was unable to come due to illness.
Photo by Dominik Gigler
El Paso, Texas / San Antonio, Texas, USA
Después de Carolee: tierna y feroz
Curador: Annette DiMeo Carlozzi
Y tu vecino (nuestro)
Fort Worth, Texas, USA
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Copyright © 2021 Artpace
Artpace cuenta con el generoso apoyo de: National Endowment for the Arts, Texas Commission on the Arts, Linda Pace Foundation, San Antonio Department of Arts & Culture, The Brown Foundation, Inc., The Andy Warhol Foundation for the Visual Arts, y más …