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BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay
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BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022
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BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021
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UNAPOLOGETIC CONTENT.
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BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide
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BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th
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BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight
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BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS
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BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3
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BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005
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BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight
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UNAPOLOGETIC CONTENT.
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BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016
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BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias
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BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
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BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Bright blue and white ceramics fill the dining room with warmth and visual appeal
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BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October
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BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS
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UNAPOLOGETIC CONTENT.
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BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years
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UNAPOLOGETIC CONTENT.
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UNAPOLOGETIC CONTENT.
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UNAPOLOGETIC CONTENT.
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BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey
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STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen
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BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen
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NEW ARRIVALS:
MISCHA KUBALL
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A WALK IN MY LIBRARY:
HELMUT FEDERLE NIETZSCHE-HAUS SILS-MARIA
Schwabe AG Basel, 2004 Peter André Bloch & Jan Thorn-Prikker
on the occasion of Helmut Federle's "Edelweiss im Nietzsche-Haus, Sils-Maria" exhibition in Nietzsche's Haus, Sept 2004 to July 2005
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BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless
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BEHIND THE SCENES:
CONGRATULATIONS ISHMAEL ANNOBIL
DIRECTOR for "LINDA KARSHAN: COVID-19 CONVERSATION"
WINNER BEST SHORT DOCUMENTARY AT MYKONOS INTL FILM FES
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BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS
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BEHIND THE SCENES:
FLOWERS OF PERHAPS
LIOR GAL
ENGELS PLEIN, LEUVEN BELGIUM
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BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN
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THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE
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NEW ARRIVALS:
WETTERLING, STOCKHOLM
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A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988
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BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS
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BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021
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BEHIND THE SCENES:
"LINDA KARSHAN: COVID-19 CONVERSATION"
selected by Nawada and Hollywood Boulevard Festivals
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BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
"Describing Labor", 2012
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BEHIND THE SCENES:
A STUDIO VISIT WITH DEANNA PETHERBRIDGE
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BEHIND THE SCENES:
JSVCPROJECTS & INTERNATIONAL DESIGN EXPEDITIONS
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BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK
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BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking
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BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment
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BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3
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A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES
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HAPPY NEW YEAR AND SOUVENIRS FROM 2020!
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BEHIND THE SCENES:
A WALKED DRAWING, ‘TWO FEET WALKING’,
By Linda Karshan
In collaboration with Filmmaker, Ishmael Annobil
In response to the architecture of Murray Edwards College,
University of Cambridge
April 4th 2022
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PART I
Friday 8th April 2022, 5-7pm.
“Asked about his studio practice, Giacometti responded ‘two feet walking’
Linda Karshan
That’s what I see in the sketch.”
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The WALKED DRAWINGS represent the quintessence of Linda Karshan’s practice. They appeared in 2018 as a necessity.
Her collaborator, poet and cinematographer Ishmael Annobil, explains: In this revolutionary genre of WALKED DRAWINGS, Karshan’s feet become her drawing points, approaching historical spaces in the same way she approaches the paper medium. She partners with each space to create lines and movements that embody its internal rhythm and form. Following the patterns of her breathing and her intuitive “inner choreography”, Karshan walks in precise patterns of straight lines reminiscent of her drawings on paper, sometimes stopping to embellish a particular point with a few dance steps. As she moves, Karshan’s steps resonate in the space in a play of echoes and rhythms to create auditory portraits.
The WALKED DRAWINGS are personified drawings, filled with bodily presence, expression. They transcend the conventional drawing by embodying the drama of their execution. Process as art. Self-interrogation as art. Thus, each drawing offers two images: the one that the viewer discerns with his eyes and ears, and a self-portrait of the artist in flight.
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PART II
Lasting between fifteen and twenty minutes, the walked drawing at Murray Edwards College will be Karshan’s longest to date. Directed by filmmaker and collaborator, Ishmael Annobil, it will also be the most technically complex – Karshan will wear a microphone, and cameras positioned throughout the library will capture the precision of the corners she makes as she turns. “The corners are crucial; they must be precise. At Skidmore College, I was admonished to ‘cross those corners!’ It’s a Bauhaus thing. Whether I cross them or not, the decision is deliberate and clear.” In her Dulwich studio the same impulse dictates 90° anticlockwise rotations of her paper after each drawn line.
Moving along corridors, up and down spiral staircases and into the circular Fountain Court, Karshan will adapt her rhythm and movements to accommodate the architecture’s curves. Sometimes she will walk with arms outstretched for balance making a horizontal line that, like the bend of her waist and the strong vertical of her spine, is reflected in the lines of the grid motif that characterises her works on paper. Like the design of the Murray Edwards College buildings, some of Karshan’s works include circles. In others, sections of perpendicular lines are joined to form a series of ‘marching triangles’ or ‘dashing corners’. Circles and triangles are closely associated in Karshan’s work. Her ‘turn and turn about’ movement through 90° can be drawn as both a straight line and an arc.
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After completing the Library section of the walk Karshan will pause briefly to exchange soft-soled brogues for tap shoes that will amplify her footfall, giving the work additional texture as her route continues along different floor surfaces. “As she moves through each space, Karshan’s footsteps resound off the walls and floors in an interplay of echoes and rhythms to create auditory portraits,” says Ishmael Annobil. “The artist herself becomes a living presence giving voice to the place itself.” As with John Cage’s 1952 composition 4’ 33” ambient noise from the audience or elsewhere will form part of the work. Only the fountain, outside in the Court, will be deliberately silenced to avoid drowning out Karshan’s footsteps. Karshan hopes the audience will play an active role by listening as well as watching. “Sound is at the heart of the work,” she says.
Breath is also at its heart – and not only Karshan’s as she creates the work. In preparing for the work she has been particularly aware of the breathing and rhythms of her infant grandson and the sound of her graphite pencil moving across paper reminds her of the noise made by the breathing machine used by her father after he contracted polio in the 1951 pandemic. Covid-19 has brought a poignant new attention to the regularity of breathing and has further strengthened Karshan’s ever-present resolve, ‘I remain upright and alert because I am able. I am two feet walking because I must.’
Press release, Sophie Money, MONEY + ART
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