
BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay

BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022

BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide

BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th

BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight

BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS

BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3

BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005

BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016

BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE

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

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years

UNAPOLOGETIC CONTENT.

UNAPOLOGETIC CONTENT.

UNAPOLOGETIC CONTENT.

BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey

STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen

BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen

NEW ARRIVALS:
MISCHA KUBALL

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

BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless

BEHIND THE SCENES:
CONGRATULATIONS ISHMAEL ANNOBIL
DIRECTOR for "LINDA KARSHAN: COVID-19 CONVERSATION"
WINNER BEST SHORT DOCUMENTARY AT MYKONOS INTL FILM FES

BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS

BEHIND THE SCENES:
FLOWERS OF PERHAPS
LIOR GAL
ENGELS PLEIN, LEUVEN BELGIUM

BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN

THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE

NEW ARRIVALS:
WETTERLING, STOCKHOLM

A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988

BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS

BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021

BEHIND THE SCENES:
"LINDA KARSHAN: COVID-19 CONVERSATION"
selected by Nawada and Hollywood Boulevard Festivals

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
"Describing Labor", 2012

BEHIND THE SCENES:
A STUDIO VISIT WITH DEANNA PETHERBRIDGE

BEHIND THE SCENES:
JSVCPROJECTS & INTERNATIONAL DESIGN EXPEDITIONS

BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment

BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3

A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES

HAPPY NEW YEAR AND SOUVENIRS FROM 2020!

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
“Describing Labor”, 2012
March 29th 2021

Installation view
PART I
It is with particular excitement, we announce the recent CNAP (Centre national des arts plastiques) acquisition of Esther Shalev-Gerz’s large installation “DESCRIBING LABOR”: 24 large-scale photographs, 2-channel HD video projection (58min) 7 glass objects, 1 soundtrack.
I proposed this collaboration in 2011 between the Miami-based Wolfsonian Museum, Florida International University in Miami and the artist—through the auspices of then board member, now gallerist Detroit-based Gary Wasserman. This early research and development led to the Wolfsonian commissioning this exhibition and installation for the museum. Wolfsonisan Director at that time, Cathy Leff and her curatorial team Marianne Lamonaca and Matthew Abess allowed the artist freedom and support in mounting this ambitious and radical work for the first time. They also published a brilliant book.

Installation view
“DESCRIBING LABOR” is a work that esteems the image of workers as seen in the remarkable and unusual permanent collection at the Wolfsonian Museum; it is the largest university art collection in the USA, based on the history of propaganda, architecture and industrial and graphic design from 1850-1950 — as a social history documented in works of art, decorative art and objects. In a unique creative process that tied the current museum team into a timeless historical fabric incorporating works from the collection, which were then placed inside the crowded storage and photographed by Shalev-Gerz in this new dislocation. After selecting forty-one historic artworks depicting working figures from the Wolfsonian and the Margulies collections, the artist asked the museum to invite twenty-four people involved in art and its language to choose and describe a work from this selection on film.
PART II
Subsequently “DESCRIBING LABOR” was included as part of a mid-career retrospective 2017/18, “The Factory is Outside” curated by Timo Valjakka, assisted by JSVC for the Serlachius Museum Gustaf, Mänttä, Finland, Pauli Sivonen, Director. It was also presented in Detroit at Wasserman Projects, 2016.

Natural pigments on archival paper, 90 x 70 cm
In the making of DESCRIBING LABOR each participant, on the artist’s instructions, placed their chosen work among other artefacts in the museum’s storage annex where it was then photographed in its new context. The participants then were interviewed on camera about their choices and the deeper meanings these uncover; Shalev-Gerz makes the levels of connections obvious to us at the same time they are magical to the people she embeds in the work. The two channel video displays, on one screen the participants describing the image they chose and on the other a slow pan across the surface of the described work.

Installation view
In the catalogue to the museum exhibition “The Factory is Outside”, I described the unusual vision of Shalev-Gerz:
“The work expresses mystical sensitivity for things in between that are rarely seen, much less uncovered and used as an emotional core; what historians and critics see that by using the existing world as her material – people, things and stories they tell – her way of seeing is like Walter Benjamin taking bits of information, putting it in a notebook, wandering through the world jotting down quotations that become vertical soundings to plumb the soul of a moment.”
Jill Silverman van Coenegrachts

Installation view
PART III
“This methodology is an austere and sensual way of seeing. The point of view is unforgiving and at the same time uncanny, almost flirtatious. Her ear for the voices of people in any given circumstance allows her work to be made from the raw materials of real life… A thought, a pause, a suspension of belief, time moving forward and back—in this suspension the work functions. Shalev-Gerz reveals something invisible in plain sight. The sensation of standing in a vortex where everything is moving around one precise spot; content stands still in this turbulence of sensation. This is the surprise—a feeling of not knowing while understanding everything in the same time.”
Jill Silverman van Coenegrachts

Installation view, Serlachius Museum, 2017

Natural pigments on archival paper, 70 x 90 cm

Natural pigments on archival paper, 90 x 70 cm
Shalev-Gerz has lived and worked in Paris since 1984. Among an international career of museum exhibitions and permanent installations, she has made two important exhibitions in Paris notably “Between Listening and Telling: Last Witnesses, Auschwitz, 1945-2005”, City Hall, Paris 2005, and “Ton Image Me Regarde!?” Jeu de Paume, Paris 2010.

2-channel HD video screenshot