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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
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
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.
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.
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.
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.
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
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.
