View of our booth, Galerie Martin Janda, Art Basel, 2016. Photo: Markus Wörgötter
Galerie Martin Janda is exhibiting at Art Basel 2015. We are showing works by:
Alessandro Balteo-Yazbeck, Benjamin Butler, Adriana Czernin, Svenja Deininger, Milena Dragicevic, Werner Feiersinger, Nilbar Güres, Jakob Kolding, Július Koller, Mangelos, Jan Merta, Roman Ondak, Tania Pérez Córdova, Roman Signer, Mladen Stilinovic, Adrien Tirtiaux, Maja Vukoje
Donelle Woolford and I decided to make this show as a way of branding her inauthenticity and selling it back to the public as part and parcel of her identity. Donelle, of course, is a fictional character, an “artist” who has “made” her own versions of Cubist paintings, Dan Graham performances, Richard Prince paintings, and Richard Pryor standup routines. And now Moroccan recipes. [...]
Halle de la Courrouze, Les Ateliers de Rennes, 27.09.–30.11.2014
Why today has work become our sole source of self-validation? Do we still have the right to play? Should we be dedicating more time to idleness?
These are some of the questions addressed by PLAY TIME, the 4th edition of Les Ateliers de Rennes, biennale d’art contemporain. Exploring notions of work, play, idleness and the time we devote to each, the biennale features three international group shows that will take place at La Halle de la Courrouze (a former military arsenal), at the Rennes Museum of Fine Arts and at the FRAC Bretagne. Bringing together the work of established and emerging artists, of new commissions and existing works, PLAY TIME aims to be an engaging moment for the audience and artists to play together in Rennes this autumn. As an extension of PLAY TIME, six monographic exhibitions will be presented in contemporary art spaces across Rennes and the region of Brittany, featuring artists whose work is also present in the group [...]
Dick's Last Stand, performance view. Photo: Stephen Dewyer
Donelle Woolford is taking the Whitney Biennial on the road in a series of off-site performances at venues around the country. Woolford’s performance explores the central role given to the male sexual organ in both American art and politics, perpetuating the tradition of phallic humor in popular culture. It is a reenactment of Richard Pryor’s stand-up routine from the last episode of his short-lived 1977 television show, in which he continually played with the notion that Richard Pryor, comedian, was someone who could not be pinned down or controlled. Dick’s Last Stand honors Pryor’s brash political humor and marks its return to the live stage, with Woolford playing Pryor playing Pryor playing Mudbone—across generations and in drag!
Donelle Woolford, detail of "Joke Painting (necktie)", 2014
The performance is realized in cooperation with the Whitney Museum of American Art, New York, as part of the 2014 Biennial. This edition of the Biennial—the country’s best-known survey of the latest developments in American art—will take place March 7–May 25, 2014. It will be the last Biennial in the Museum’s building at 945 Madison Avenue before the Museum moves downtown to its new building in the spring of 2015. This is the 77th in the Museum’s ongoing series of Annuals and Biennials begun in 1932 by Gertrude Vanderbilt Whitney.
Woolford’s performance chronicles the place of honor afforded the male sex organ in American art and politics, and continues the tradition of phallic humor in popular culture. Through the picaresque adventures of a character named Richard—aka ‘Dick’—Dick’s Last Stand is a 40-minute reenactment of the standup routine that Richard Pryor performed in 1977 for the last episode of [...]
In looking back I can say this: one day I thought of Donelle Woolford’s work as a tool. I didn’t only want to cite it (for citations may be used to no other purpose than affection and exhilaration), but to use her artworks in a sort of trusteeship, as a theoretical arsenal in the tangle of problems I was trying to solve at the time; to find in her being the concept, the vectors, and grid that would address my specific concerns, and make a new start possible. It was just a few months after her death; enough time had finally passed for me to think clearly again about Donelle Woolford, and of a whole area of my past that I would look back on as finished. Things had changed long before without my realizing it: I still often recalled her oeuvre while I worked (fragments of images, signal ideas that stubbornly lodged in my head); I would sometimes imagine her agreeing or disagreeing with what I was writing as I wrote it; it was her image that came to mind even through the [...]