A LEAP INTO THE VOID. ART BEYOND MATTER →

Ann Veronica Janssens | GAMeC

From February 3, 2023, GAMeC presents A Leap into the Void. Art beyond Matter, the third and final chapter of the major exhibition project dedicated to the investigation of matter in twentieth and twenty-first-century art.

Launched in 2018 with Black Hole. Art and Materiality from Informal to Invisible, and continued in 2021 with Nothing is Lost. Art and Matter in Transformation, A Leap into the Void concludes the Trilogy of Matter exploring the theme of the dematerialization, with a transversal tale that triggers a connection between those investigations into the void, initiated by the first movements of the historical avant-garde and developed by experimental groups post-World War II, the investigations into flux undertaken in the years of early computerization, and the use of new languages and simulated realities in the post-digital era.

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Uta Barth at the Getty →

Uta Barth | Contemporary Art Review Los Angeles

By Jessica Simmons-Reid

In her poem “There’s a certain Slant of light (258),” Emily Dickinson invokes the weightless “heft” of a beam of winter light—acutely slanted, knifelike, due to the sun’s low angle in the sky. This light, she writes, is “An imperial affliction/ Sent us of the Air -”—an ominous force capable of marking both the landscape and the psyche while paradoxically leaving nary a “scar.”1 Here, Dickinson juxtaposes the intangibility of light with its elemental ability to function as a conduit for somatic transformation. A touch of light, or its absence, can bestow life, growth, or death. It can also alchemize a fleeting image into a permanent one. In this vein, Dickinson’s poem is inherently photographic: Her words apprehend a transient choreography of light, leaving it indelibly burned to the page.

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Uta Barth: ‘Peripheral Vision’ Perception and the Act of Looking →

Uta Barth | ArtNow LA

Uta Barth, white blind (bright red) (02.7), 2002, mounted archival pigment photographs, Six panels, 21 1/4  x 161 1/4 inches.

By Jody Zellen

Uta Barth has been exploring the way light interacts with walls, surfaces and spaces throughout her career. The work is often minimal, showing empty areas or flattened planes and it relies on repetition and difference, sometimes subtle, other times drastic or dramatic. Peripheral Vision, an exhibition organized by the Getty Center that traces the highlights of her career includes examples of her graduate student works created at UCLA in the mid 1990s (black and white photographs made in the darkroom) as well as a recent commission that combines color digital photography with a subtle slow-moving video, in celebration of the Getty Center’s 20th anniversary. What is unusual about the way the show is installed is that many of her series are recreated and presented in full as they might have appeared in previous exhibitions. Rather than choose just a few representational photographs, viewers can experience the works as Barth conceived of them— as extended sequences rather than as individual images.

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Exhibition Review: Uta Barth →

Uta Barth | Musée Magazine

…and to draw a bright white line with light (11.2), 2011 printed 2021, Uta Barth. Pigment prints, 38 × 56 1/2 in. Getty Museum, 2021.51.1-.2. © Uta Barth

By Gabrielle Keung

Uta Barth’s exhibition titled “Peripheral Vision” at The Getty Centre presents a statement of her central artistic concerns. By zooming in on the illuminated surfaces of various colors and textures, she emphasizes the complementary relationship of light and shadows. By manipulating our sense of depth and playing with camera angles, she makes us reassert our vantage point as viewers and rethink the camera’s relationship to its subjects. By highlighting the vivid contrast between black and white in a picture where intricate and bare branches are set against a foil-like sky, she asserts the richness of monochrome prints. Barth’s works play with light and colors to appeal to our senses, expanding our imagination. 

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For artist Uta Barth, learning to photograph is a way of learning to see →

Uta Barth | Los Angeles Times

By Leah Ollman

Uta Barth is a photographer, and her chosen tool, the camera, is integral to the making and understanding of her work. But when asked about art that has had the greatest impact on her, she says, “I rarely think of photography. I think of sculpture and installation and painting. I don’t categorize media the way the world likes to.”

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The J. Paul Getty Museum : Uta Barth : Peripheral Vision →

Uta Barth | The Eye of Photography

Uta Barth (born in West Germany, 1958) makes photographs that investigate the act of looking. In her multipart works, she explores the ephemeral qualities of light as well as its ability to affect optical perception. Uta Barth: Peripheral Vision traces Barth’s celebrated career from her early experimentations while a student to later studies that probe the eye’s capacity and the camera’s role in translating visual information into a photograph. Organized chronologically, with sections dedicated to her most prominent series, the exhibition presents the first overview of the artist’s career in over twenty years.

“For nearly 40 years, Uta Barth has worked in Los Angeles, garnering international acclaim for her innovative perspective and signature approach,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “Through teaching, extensive exhibitions, and publications, she has influenced an entire generation of new artists who appreciate the ways she has challenged traditional notions of photography as a carrier of objective information. This exhibition will provide a critical overview of the evolution of her work from its earliest days as a student to the present day.”

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Celebrating 15 years →

Jack Goldstein | e-flux

Photo by:

Just days before turning sweet16, the Schinkel Pavillon celebrates a milestone 15th birthday in retrospect with an anniversary mailing.

It is with great joy that Nina Pohl and her team look back on 15 years of not only exhibitions and performances, but also lectures, screenings, concerts, talks, and interventions realized by over 400 artists and countless supporters.

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The Modern Art Notes Podcast: No. 579 - Uta Barth →

Uta Barth | The Modern Art Notes Podcast

Episode No. 579 of The Modern Art Notes Podcast features artist Uta Barth.

The J. Paul Getty Museum in Los Angeles is presenting “Uta Barth: Peripheral Vision,” a retrospective of Barth’s work.For over forty years Barth has made work about the act of looking, perception, movement and the passage of time. The exhibition debuts Barth’s newest work: a project commissioned in celebration of the Getty Center’s twentieth anniversary. The exhibition was curated by Arpad Kovacs, and is on view through February 19, 2023. A catalogue is forthcoming in 2023.

More Episodes Here

Perceptual Shift: Thoughts on the Photographs of Uta Barth →

Uta Barth | The Getty

Watch Russell Ferguson, Jan Tumlir and Getty curator Arpad Kovacs discuss the work and oeuvre of Uta Barth in conjunction with the opening of Uta Barth’s monumental retrospective at the Getty Center, Los Angeles. Barth’s exhibition is open now and continues through February 19, 2023.

Diana Thater Monkeys Around With Our Future →

Diana Thater | The Art Newspaper

Diana Thater Installation 1301PE

Installation view, Diana Thater: Practical Effects, David Zwirner, New York, November 10–December 10, 2022. Courtesy of David Zwirner.

By Linda Yablonsky

Rarity may add material value to an artwork, but its emotional impact can appreciate even more—an infrequent occurrence in these remotely accessed times. So, imagine my surprise when Practical Effects, an immersive new video installation by Diana Thater, had me falling for a robot. That was not just unusual, but downright unsettling.

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Art Matters With Edward Goldman →

Uta Barth | Art Matters

Uta Barth, and of time, 2000. Image courtesy of The Getty.

By Edward Goldman

Uta Barth: Peripheral Vision traces her forty-year career. If you see her photos for the first time, you might find yourself wondering, "Why so little happens, there?" Someone’s hand moves translucent window shades with light waving through it. I’ve seen this image before and it always makes me think of it as a mysterious music score. I see, I hear the sound of a violin.

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Rirkrit Tiravanija poses fundamental human questions →

Rirkrit Tiravanija | Korea Herald

Rirkrit Tiravanija Installation View of Exhibition Submit To The Black Compost

Installation view of "Rirkrit Tiravanija: Submit To The Black Compost" at Gladstone Gallery in Seoul (Courtesy of the artist and gallery)

By Park Yuna

Rirkrit Tiravanija is widely known for his intimate and participatory art, through which he engages with the audience. He would cook and serve up Thai food at an exhibition as part of the show, expanding the way in which people appreciate art.

A Thai born in Argentina and based in New York since the late 1980s, Tiravanija's Seoul debut exhibition at Gladstone Gallery, titled “Rirkrit Tiravanija: Submit To The Black Compost,” ended Oct. 7.

"For me, it has a deep meaning like looking at otherness, looking at difference and looking at the thing that is not you. Of course, in that sense empathy is very important because to function in a relationship to otherness, one needs their empathy,” Tiravanija said in a recent interview with The Korea Herald.

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There Is No Such Thing as Bad Weather →

SUPERFLEX | Le Bicolore

There Is No Such Thing as Bad Weather, presented at Le Bicolore at Maison du Danemark, explores disparate ways of understanding the overwhelming reality of climate change.

In this exhibition, works by SUPERFLEX illustrate three different ways of approaching climate change :

- The technocentric

- The anthropocentric

- The ecocentric

Though these works were developed over three decades, SUPERFLEX’s practice does not simply tell a linear narrative.

There Is No Such Thing As Bad Weather offers a complex and prismatic view of an intractable problem while finding hope and energy in the range of possible responses.

Taking the idea of collaboration even further, recent works have involved soliciting the participation of other species.

For SUPERFLEX, the best idea might come from a fish.

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It Is Not The End Of The World - La Pista 500 →

SUPERFLEX | Pinacoteca Agnelli

It Is Not The End Of The World is part of La Pista 500, the artistic project of Pinacoteca Agnelli on the iconic FIAT car test track on the roof of the Lingotto, curated by Sarah Cosulich and Lucrezia Calabrò Visconti. It Is Not The End Of The World invites the viewer to reflect upon our present role in the escalation of climate change, to consider an apocalyptic scenario, and to imagine a future world of lively, diverse and perhaps even humanlike lifeforms.

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Getty Exhibition Examines 40-Year Career of Artist Uta Barth →

Uta Barth | Getty Center

…and to draw a bright white line with light (11.2), 2011 printed 2021, Uta Barth. Pigment prints, 38 × 56 1/2 in. Getty Museum, 2021.51.1-.2. © Uta Barth

…and to draw a bright white line with light (11.2), 2011 printed 2021, Uta Barth. Pigment prints, 38 × 56 1/2 in. Getty Museum, 2021.51.1-.2. © Uta Barth

By The Getty Center

Uta Barth (born in West Germany, 1958) makes photographs that investigate the act of looking.

In her multipart works, she explores the ephemeral qualities of light as well as its ability to affect optical perception. Uta Barth: Peripheral Vision traces Barth’s celebrated career from her early experimentations while a student to later studies that probe the eye’s capacity and the camera’s role in translating visual information into a photograph. Organized chronologically, with sections dedicated to her most prominent series, the exhibition presents the first overview of the artist’s career in over 20 years.

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La Collection Lambert expose la lumière d'Ann Veronica Janssens →

Ann Veronica Janssens | Architectural Digest

Ann Veronica Janssens, frisson bleu, frisson rose, 2021. Courtesy of Esther Schipper. © Blaise Adilon

By Athéna Rivas


Cet été, dans le sud, Ann Veronica Janssens joue avec le soleil. Exposée à la Collection Lambert, à Avignon, mais aussi de l'autre coté de la Provence à la Fondation Cab à Saint-Paul-de-Vence, l'artiste belge présente des sculptures et des installations au sol, où la lumière apparait sous toutes ses formes. 

Construite en réponse aux néons de Dan Flavin, installés au rez-de-chaussée de l'hôtel de Montfaucon, écrin de la Collection Lambert, l'exposition entre le crépuscule et le ciel d'Ann Veronica Janssens joue avec la lumière naturelle de la grande salle du premier étage. L'artiste a choisit de découvrir la totalité des vingt-six fenêtres pour laisser le soleil méditerranéen animer ses créations. À chaque heure de la journée, et chaque jour, ses sculptures et ses installations prennent une dimension singulière et dégagent une émotion différente. 


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Honig tropft auf den Schuh: Es summt und brummt im Lichthof, aber rein virtuell: Ana Prvačkis Bienen-Fantasie im Berliner Gropius Bau. →

Ana Prvački | Der Tagesspiegel

Ana Prvački, Artist in Residence at the Gropius Bau. Photo Credit: Ksenia Jacobsen

By Christiane Meixner

Ana Prvački musste nicht erst anreisen, um ihr Stipendium am Gropius Bau anzutreten: Die serbische Künstlerin lebt ohnehin in Berlin. Vergangenes Jahr durfte man ihr im Rahmen von „Die Balkone2“ – eine Ausstellung, die wegen Corona ausschließlich draußen stattfand und bloß von der Straße aus angeschaut werden konnte – auf die heimische Veranda in Prenzlauer Berg sehen.

Vor ein paar Tagen hat sie als Mentorin am „Forecast Forum 2022“ teilgenommen, das junge Künstler:innen von überall her ins Radialsystem einlädt, um zukunftsweisende Ideen zu realisieren – eine Woche intensive, an die eigene Substanz gehende Arbeit liegt gerade hinter ihr. Und auch jetzt gibt Ana Prvački Einblick in ihr Denken und Leben, das immer wieder von einer Substanz bestimmt wird. Vom Honig.

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We Just Want The Honey: Ana Prvački on the Lessons of Nature for Societal Change →

Ana Prvački | The New Institute

Ana Prvački - Apis Gropius , 2021-2022

By Antonia Lagemann

Ana, you have a very close emotional connection to bees—how come?

I come from a family of beekeepers. When my great-great-grandmother married my great-great-grandfather, she brought bees as her dowry. So everyone in my family has been beekeepers for many generations. I learned beekeeping with my grandfather, and when he passed away he left me with five hundred kilos of honey.

How and when did it take on such significance in your work?

When my grandfather died, I was pregnant, and I became really obsessed with bees. I started reading and doing research, looking at the science and theology, but also bee colony collapses—and I studied the history of bees and pollination. It turned into my passion. I just love bees. And you know what? Bees don’t really need us, like most of nature. But we need bees: without pollination our life and our evolution would have been completely different.

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Gropius-Bau: Ana Prvacki and The Mysterious Life of Bees →

Ana Prvački | Berliner Zeitung

Apis Gropius (2022) by Ana Prvački

By Ingeborg Ruthe

„Wenn die Biene von der Erde verschwindet, hat der Mensch nur noch vier Jahre zu leben. Keine Bienen mehr, keine Bestäubung mehr, keine Pflanzen mehr, keine Tiere mehr, keine Menschen mehr.“ Die Mahnung stammt von Albert Einstein.

Ana Prvacki aus Serbien interessiert sich schon lange für die bedrohte Spezies. Für ihre Art-in-Residence-Arbeit im Gropius-Bau, dem Ausstellungshaus der Berliner Festspiele, erfand die 46-Jährige eine fiktive Bienenart, die im Grünen hinterm Museum leben soll. „Apis Gropius“ ist ihr Name und wir lernen sie kennen per App mit QR-Code im Lichthof des Museums. Prvacki sagt, „Bienen sind unsere Gastgeberinnen auf diesem Planeten und wir sind von ihrer Bestäubung total abhängig.“

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