Daniel Baumann

 Still from Mohammad Khordadian's video work Warm Up & Persian Dancing #2 , 1987

Still from Mohammad Khordadian's video work Warm Up & Persian Dancing #2, 1987

Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian in conversation with Daniel Baumann

 Huang Yong Ping, Serpent d’Océan , 2012, Aluminium, inox, 120 m  © ADAGP Huang Yong Ping. Courtesy the artist and Le Voyage à Nantes 

Huang Yong Ping, Serpent d’Océan, 2012, Aluminium, inox, 120 m 

Photo: archives kamel mennour © ADAGP Huang Yong Ping. Courtesy the artist, Le Voyage à Nantes, and kamel mennour, Paris/London

By Daniel Baumann, Folakunle Oshun, Alisa Prudnikova, Ella Plevin, Joanna Kamm, Hou Hanru, Jay Sanders, Rita Vitorelli, Kolja Reichert, Diana Campbell Betancourt

Picked by Daniel Baumann, Harry Burke, Christian Egger, Aria Dean, Alison Gingeras, Dean Kissick, Alvin Li, Lisa Long, Ella Plevin, Dominikus Müller, Klaus Speidel, Natasha Stagg & Bettina Steinbrügge

Marie Angeletti and Emanuel Rossetti, Tilde, 2016

Leila Peacock, The Fourth Wall in a Fugue State, 2016, with Levan Chogoshvili and Tobias Spichtig, and Marc Hunziker & Chantal Kaufmann & Rafal Skoczek (UP STATE), No trees in the forest, 2016


 Photos: Marco Schibig, Kunsthalle Bern

Photos: Marco Schibig, Kunsthalle Bern

1997 eröffnete die Kunsthalle Bern “Blues and the Abstract Truth”, eine Einzelausstellung des US-amerikanischen Künstlers David Hammons. Der damals 54-Jährige richtete mit sparsamen Mitteln eine “unverkäufliche” Ausstellung ein: “Die Leute sollten nicht glauben, dass man irgendetwas nach Hause nehmen könnte.” (Hammons). Im Rückblick erschließen sich weitere Bedeutungen dieser Ausstellung, die im Moment des Besuchs vor allem durch ihre Atmosphäre beeindruckte, wie Daniel Baumann schreibt.

 AP News

AP News

It’s difficult to say what Tobias Madison actually does. The Swiss artist shuttles between refusal and participation, withdrawal and exposure, community spirit and calculated outsourcing. In doing so, he works his way along the edges of found formats: the work, the exhibition, as well as the figure of the “young” artist.

 "Untitled", 2012; Oil, paper on canvas, 230 x 180 cm

"Untitled", 2012; Oil, paper on canvas, 230 x 180 cm; © Albert Oehlen, Courtesy Gagosian Gallery; Photo: Lothar Schnepf

Like almost no other artist, Albert Oehlen subjects painting to a stress test. For over 30 years he’s been tinkering with the medium’s source code: colour and paint application, lines and layers, titles and triumphs, disappointments and expectations. These elements are all played against one another and caught off guard. Daniel Baumann leads us through the work.

 Gavin Brown (links) und Daniel Baumann (rechts)

Gavin Brown (links) und Daniel Baumann (rechts)

The New York-based gallerist Gavin Brown and the Swiss curator Daniel Baumann take a shot at an unromantic view of the art market. It turns out depressing, entertaining, and instructive at once.

 Heimo Zobernig Photo: Lukas Gansterer

Heimo Zobernig
Photo: Lukas Gansterer

The endless talk about context is eating up art. While preparing for the Austrian Pavilion at the Venice Biennale, Zobernig speaks with Daniel Baumann about his career and the ideal artist.

Josef Strau at Vilma Gold in London; Miriam Cahn at Meyer Riegger in Karlsruhe; Ed Atkins at the Kunsthalle Zürich; Tatiana Trouvé at the Schinkelpavillon in Berlin; »LOVE AIDS RIOT SEX 2« at nGbK in Berlin; Francesca Woodman at the Sammlung Verbund in Wien; and much more

 Levi Hicks  

Levi Hicks


Curators Daniel Baumann and Jay Sander confess their secret love for the museum, discuss the (alleged?) power of the collector, and the reawakened interest in performance. Withholding that the latter’s successful combination of popular event with a claim to art is what makes it so attractive to museums. In 2012, Jay Sanders co-curated the Whitney Biennial together with Elisabeth Sussman. Daniel Baumann is one of the curators of this year’s Carnegie International in Pittsburgh.