Dear friends,
we are pleased to present in the context of reboot: responsiveness the premiere of New York-based artist and choreographer Mariana Valencia’s latest video work Tulum, New York in its newly conceived multi-language versions in English, German, and [removed];
On March 30, 2022, Kölnischer Kunstverein, Cologne and Ludwig Forum Aachen invite to a screening of the videos and a subsequent zoom-conversation with Mariana Valencia to contextualize her practice in dialogue with Viktor Neumann, one of the three curators of [removed];All three versions of Tulum, New York will be on view at Kölnischer Kunstverein and Ludwig Forum Aachen on site afterwards.
Join us!
Mariana Valencia: Tulum, New York
“Exploring the ‘pandemic screen’, Tulum, New York makes use of the video-chat function that’s been imposed onto us as a means to connect and transport during pandemic times. Here, Mariana Valencia retells her recurring dreams that feature her psychotherapist, during the beginning of the first Covid-19 lockdown. Her face fills the frame and moves in slow-motion, out of rhythm to the speaking and in a surreal [removed];Tulum, New York sits between the tropical and urban, wakefulness and dreams, loss and attachment.”
Choreographer and performer Mariana Valencia works in the New York experimental field of dance and performance. Her commissions include Baryshnikov Arts Center, The Chocolate Factory Theater, Danspace Project, The Whitney Museum, The Shed and Performance Space New York. Valencia’s work has toured in Korea, England, Norway, Macedonia and Serbia; her residencies include AUNTS, Chez Bushwick, New York Live Arts, ISSUE Project Room, Brooklyn Arts Exchange, Gibney Dance Center, Movement Research, and the Portland Institute for Contemporary Art (OR). Valencia is an LMCC Extended Life grantee, a Whitney Biennial artist, a Bessie Award recipient for Outstanding Breakout Choreographer, a Bessie Award nominee for Best Production, a Foundation for Contemporary Arts Award to Artists grant recipient, a Jerome Travel and Study Grant fellow, and a Movement Research GPS/Global Practice Sharing artist. Valencia is a founding member of the No Total reading group and she has been the co-editor of Movement Research’s Critical Correspondence. She’s worked with artists AK Burns, Elizabeth Orr, Em Rooney, Fia Backstrom, Geo Wyeth, Guadalupe Rosales, Jazmin Romero, Juliana May, Jules Gimbrone, Kim Brandt, Lauren Bakst, Lydia Okrent, Morgan Bassichis, MPA, and robbinschilds. Valencia has published two books of performance texts, “Album” (Wendy’s Subway) and “Mariana Valencia’s Bouquet” (3 Hole Press). She holds a BA from Hampshire College in Amherst, MA with a concentration in dance and [removed];
Wednesday, March 30, 2022
Online Zoom, 6 – 8pm CET (in English)
Participation link: [removed]
Meeting ID: 838 7829 7992
reboot responsiveness: How do we stay with the trouble?, Düsseldorf, [removed], Photo: Mareike Tocha
reboot: responsiveness
reboot: is a collaborative, cyclical, anti-racist, and queer-feminist dialogue of several years’ duration between performative and research-based practices. The project was initiated in 2021 and continues in Spring 2022 at Ludwig Forum Aachen (in cooperation with Kölnischer Kunstverein).
The first cycle, reboot: responsiveness, is based on the longings, fears, and hopes reinforced by the current pandemic. In two different yet interconnected locations which support, complement, and challenge one another, reboot: responsiveness offers infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters dealing with themes such as presence, intimacy, care, and responsibility.
By using different formats and together with other invited guests and the audience in Cologne and Aachen, these artists and thinkers will explore ways to dedicate time to each other, to perform in a contemporary way using time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and pass on resources and ideas, and to find modes of resistance and togetherness in response to the current situation in which we live.
Conceived and initiated by Eva Birkenstock, Nikola Dietrich and Viktor Neumann
Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia, graphic design by Sean Yendrys
Sponsored by: Kunststiftung NRW, Stiftung Kunstfonds, Neustart Kultur
Rosemary Mayer, Ways of Attaching, installation view Ludwig Forum Aachen, 2022, © The Estate of Rosemary Mayer, New York, Photo: Mareike Tocha
Rosemary Mayer: Ways of Attaching
Ways of Attaching is the first institutional survey exhibition by the American artist Rosemary Mayer (1943-2014). The exhibition provides extensive insights into Mayer’s body of work over four decades: ranging from early conceptual experiments of the late 1960s, to textile sculptures and drawings made in the early 1970s, to ‘temporary monuments’ from 1977-1982.
Ludwig Forum’s expanded presentation also includes Mayer’s artist’s books from the mid-1970s, sculptures and works on paper from the 1990s, and book illustrations from the 2000s; all of these have not been exhibited since they were made. Highlighting Mayer’s formal interest in draping, knotting, and tethering, the exhibition focuses on the artist’s process of constructing real and imagined networks and constellations in which friends and historical figures feature in expressions of affinity and attachment.
Ways of Attaching at Ludwig Forum Aachen is the most comprehensive presentation of Rosemary Mayer’s artistic practice to date. Along with her late work, the exhibition comprises all the artist’s preserved textile sculptures, including three prominent ones named after historical female figures: Hroswitha, The Catherines, and Galla Placidia. Originally created in 1972-73 for Mayer’s solo exhibition at the now legendary [removed] Gallery, they have been brought together again for the first time since then.
Curated by Eva Birkenstock and presented in an exhibition display by Fotini Lazaridou-Hatzigoga
The exhibition and publication project is organized in collaboration with Marie and Max Warsh from The Estate of Rosemary Mayer and in partnership with the Swiss Institute, New York, Lenbachhaus, Munich, and Spike Island, Bristol.
The exhibition and publications have been generously supported by the Peter and Irene Ludwig Foundation, Kunststiftung NRW, and the Terra Foundation.
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Brad Davis, All Seasons, 1980, Ludwig Forum für Internationale Kunst Aachen, loan of Peter und Irene Ludwig Stiftung © Brad Davis / Photo: Carl Brunn
Geometry and Flowers
Laurie Anderson, Donald Baechler, Jo Baer, Christo & Jeanne-Claude, Brad Davis, Donna Dennis, Jim Dine, Nancy Graves, Richard Hamilton, Alex Hay, Michael Heizer, Valerie Jaudon, Jasper Johns, Joan Jonas, On Kawara, Joyce Kozloff, Robert Kushner, Sol LeWitt, Roy Lichtenstein, Richard Long, Lee Lozano, Kim MacConnel, Robert Morris, Bruce Nauman, Robert Rauschenberg, Miriam Schapiro, Ned Smyth, Andy Warhol, Peter Young
Geometry and Flowers presents works from the comprehensive holdings of the Peter and Irene Ludwig Collection. Around 30 positions, predominantly by North American artists from the 1960s to the 1980s, correspond associatively with the exhibition Rosemary Mayer – Ways of Attaching. They reflect central themes in the artist’s oeuvre. Her intensive exploration of a new concept of sculpture that puts lightness, transparency, and flow into the foreground finds a counterpart in the immaterial reflections of Robert Rauschenberg’s Marathon Spray Shield. Her textile materiality and imaginative floral motifs also have an elective affinity to the Pattern and Decoration movement. The concept of her Temporary Monuments is “answered” by works of important Land Art artists. Both movements, as well as examples of Pop Art, Minimalism and Conceptual Art, present key stages of art since 1960. They simultaneously illustrate the artistic context and art historical significance of Rosemary Mayer, whose work is part of alternative movements away from male dominated paths from minimalist painting to object art.
Other exhibits, such as those by Donna Dennis, an important friend of the artist, also shed light on her personal environment. In the literal sense of “ways of attaching” the collection presentation repeatedly breaks through the traditional thread of the North American art history to explore new connections, juxtapositions, and perspectives.
Curated by Eva Birkenstock, Annette Lagler and Holger Otten
[removed] ongoing
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