Sie sagen, wo Rauch ist, ist auch Feuer (They say, where there’s smoke, there’s fire)
The exhibition Sie sagen, wo Rauch ist, ist auch Feuer (They say, where there’s smoke, there’s fire) brings together artists whose works and/or fictionalizations of their own authorship evoke narrations that are accompanied by or deal with rumors.
Kunsthalle Bern features artists who hide their identity as authors behind pseudonyms and alter egos, bringing together doppelganger, fictional artist’s personas, and similar manifestations of the longing to become someone else. The masking of one’s own identity stages the stimulus to take a look behind the scenes, to reveal the secret. These in part historical positions are ways of dealing with rumors, acrobatic exercises with the truth that in a present often characterized as being “post-truth” appear as precursors of what is today deemed normal, in which the shaping of one’s own identity has become part of general self-optimization.
Whitney Museum of American Art
Collected by Thea Westreich Wagner and Ethan Wagner
Co-organized by the Whitney and the Centre Pompidou and composed of selections from the noted collection of Thea Westreich Wagner and Ethan Wagner, this exhibition celebrates American and international work from the 1960s to the present day.
Featuring renowned pieces by, among many others, Diane Arbus, Robert Gober, Jeff Koons, Sherrie Levine, Richard Prince, and Christopher Wool, the exhibition will also include recent work by artists such as Liz Deschenes, Sam Lewitt, Laura Owens, Frances Stark, and Bernadette Corporation.
Hessel Museum of Art
The Conditions Of Being Art: Pat Hearn Gallery And American Fine Arts, Co. (1983-2004)
The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004) will be the first exhibition in the United States to examine the shared histories, art, and programming activities of Pat Hearn Gallery (PHG) and American Fine Arts, Co., Colin de Land Fine Art. (AFA), whose archives are held at CCS Bard.
While maintaining distinct programs and separate gallery operations, Hearn and de Land’s life partnership formed a third space devoted to shared ideas, artistic kinships, and overlapping communities that moved back and forth between their galleries. As art dealers, Hearn and de Land did not create rosters of individual artistic geniuses, but instead created – in dissimilar ways – markets for forms of institutional critique, research and project-based art not avidly collected at the time.