Hugo Boss Prize 2006: Tacita Dean Opens February 23

Hugo Boss Prize 2006: Tacita Dean Opens at the Guggenheim February 23 

 

Prize Winner’s Exhibition Features Recent Works

 

Exhibition title: THE HUGO BOSS PRIZE 2006: Tacita Dean
Exhibition dates: February 23–June 6, 2007
Exhibition location: Tower 5


(NEW YORK, NY –February 8, 2007) An exhibition of the work of British artist Tacita Dean, winner of the HUGO BOSS PRIZE 2006, will be on view at the Solomon R. Guggenheim Museum from February 23 through June 6, 2007. Dean works with such diverse mediums as drawing, sound, and found objects, but she is perhaps best known for her compelling 16mm films, two of which will be featured in the Guggenheim exhibition, along with examples of her found and photographic work.


The exhibition has been organized by Joan Young, Associate Curator of Contemporary Art, Solomon R. Guggenheim Museum, and includes four works: Kodak, Noir et Blanc, Found Obsolescence (all 2006), and Majesty (portrait) (2007), none of which have been previously exhibited in New York. The first three works highlight the medium of celluloid film, a format that is becoming increasingly scarce as it is replaced by digital alternatives. After discovering that the Kodak factory in Chalon-sur-Saône, France, was closing its film production facility, Dean obtained permission to document the manufacture of film at the factory with the soon-to-be obsolete medium itself. The resulting rear-screen projection Noir et Blanc, filmed on the final five rolls Dean acquired, turns the medium on itself. The 44-minute-long work Kodak constitutes a meditative elegy for the approaching demise of a medium specific to Dean’s own practice. Kodak’s narrative follows the making of the celluloid as it runs through several miles of machinery. On the day of filming, the factory also ran a test through the system with brown paper, providing a rare opportunity to see the facilities fully illuminated, without the darkness needed to prevent exposure. Also on view is Found Obsolescence, a strip of unexposed 16mm negative that Dean found in the factory’s sprocket machine, the holes abruptly stopping before its production was completed.


Throughout her oeuvre, Dean has drawn the viewer’s attention to overlooked or unseen aspects of her subject. The fourth work on view, Majesty (portrait) (2007), is part of a series of painted photographs that Dean has created of trees in southeastern England. On a photograph of this noble oak tree, Dean has painted over the background with white pigment, removing any excess details and leaving the subject ever so more imposing in its solemnity.


In November 2006, Dean was selected as the HUGO BOSS PRIZE 2006 winner from a shortlist of finalists which included Jennifer Allora (U.S.) and Guillermo Calzadilla (Puerto Rico); John Bock (Germany); Damián Ortega (Mexico); Aïda Ruilova (U.S.); and Tino Sehgal (UK). Established in 1996, the biennial award was conceived to recognize and support significant achievement in contemporary art. Since its inception, the prize has evolved into one of the premier juried prizes of contemporary art.


The jury for HUGO BOSS PRIZE 2006 included Jennifer Blessing, Curator of Photography, Solomon R. Guggenheim Museum; Silvia Karman Cubiñá, Director, The Moore Space, Miami; Massimiliano Gioni, Artistic Director, Fondazione Nicola Trussardi, Milan, and Curator, New Museum of Contemporary Art, New York; Vicente Todoli, Director, Tate Modern, London; and Maria-Christina Villaseñor, Associate Curator of Film and Media Art, Solomon R. Guggenheim Museum.


In their statement, the HUGO BOSS PRIZE 2006 jury described their selection:


Tacita Dean’s impressive body of work navigates the forgotten corners of history and experience through a range of films, photographs, drawings, and installations. While precise and rigorously formal in its exploration of the materiality of her chosen mediums, her work also demonstrates a sly, subtle wit, upending expectations and asking the viewer to rethink notions of spectacle, narrative development, and the reliability of narrators. In a number of pieces, Dean explores our culture of obsolescence—whether as a pre-planned commercial strategy, an act of historical rewriting, or as plain neglect.... It is Dean’s refusal to let the past disappear, to stubbornly insist on its presence and trace in complex and compelling art works, that led us to award her the 2006 HUGO BOSS PRIZE.


Artist Biography
Tacita Dean was born in Canterbury, England, in 1965 and studied at the Falmouth School of Art in England, the Supreme School of Fine Art in Athens, and the Slade School of Fine Art in London. Solo exhibitions of Dean’s work include Foley Artist, the ART NOW Project Room Tate Gallery, London (1996); Missing Narratives, Witte de With, Rotterdam (1997); The Roaring Forties: seven boards in seven days, The Drawing Room, New York (1997); Tacita Dean, Institute of Contemporary Art, Philadelphia; Madison Art Center, Wisconsin; and Cranbrook Art Museum, Michigan (1998–99); Tacita Dean, Museum für Gegenwartskunst, Basel (2000); Wandering Images, Sala Montcada, Fundació la Caixa, Barcelona (2000); Tacita Dean, Museu d'Art Contemporani de Barcelona (2001); Tacita Dean. Recent films and other works, Tate Britain, London (2001); Directions: Tacita Dean, Hirshhorn Museum and Sculpture Garden, Washington D.C. (2001); Tacita Dean, Museu de Arte Contemporanea de Serralves, Porto (2001); Tacita Dean, Kunstverein für Rheinlande und Westfalen, Düsseldorf (2002); Tacita Dean, ARC / Musée d’Art moderne de la Ville de Paris (2003); Baobab, Fondazione Sandretto Re Rebaudengo, Turin (2004–05); Berlin Works, Tate St. Ives, Cornwall (2005-06); Tacita Dean, Nasjonalmuseet for kunst, arkitektur og design, Oslo (2006); Human Treasure, Center for Contemporary Art, Kitakyushu (2006); Analogue: Films, Photographs, Drawings 1991–2006, Schaulager, Basel (2006); and Tacita Dean: Film Works, Miami Art Central (2007).


Dean’s work has been featured in numerous group exhibitions, including: Watt, Witte de With and the Kunsthal Rotterdam (1994); Mise en Scene, Institute of Contemporary Art, London (1994); State of Mind, Centrum Beeldende Kunst, Rotterdam (1996); 26th International Film Festival, Rotterdam (1997); Flexible, Museum für Gegenwartskunst, Zurich (1997); Wounds: Between Democracy and Redemption in Contemporary Art, Moderna Museet, Stockholm (1998); 1 monde réel (1 real world), Fondation Cartier, Paris (1999); Artifice, Deste Foundation, Athens, (2000); Mixing Memory and Desire, Kunstmuseum Luzern, Lucerne (2000); Intelligence: New British Art 2000, Tate Gallery, London (2000); Vision and Reality, Louisiana Museum for Moderne Kunst, Humlebæk (2000); media_city seoul 2000, Contemporary Art and Technology Biennial, Seoul Metropolitan Museum (2000); Elusive Paradise: The Millennium Prize, National Gallery of Canada, Ottawa (2001); At Sea, Tate Liverpool (2001); Yokohama International Triennial of Contemporary Art, Japan (2001); Preis der Nationalgalerie für junge Kunst, Hamburger Bahnhof, Berlin (2002); The Moderns, Castello di Rivoli Museo d'Arte Contemporanea, Turin (2003); Utopia Station, Dreams and Conflicts: The Dictatorship of the Viewer, 50th Venice Biennale (2003); Likeness: Portraits of Artists by Other Artists, CCA Wattis Institute, San Francisco, and Institute of Contemporary Art, Boston (2004); Universal Experience: Art, Life and the Tourist's Eye, Museum of Contemporary Art, Chicago; Hayward Gallery, London; and Museo d’Arte Moderna e Contemporanea di Trento e Rovereto (2005); The Experience of Art, 51st Venice Biennale (2005); Of Mice and Men, 4th Berlin Biennial for Contemporary Art (2006); Constructing New Berlin, Phoenix Art Museum, and Bass Museum of Art, Miami (2006); 15th Biennale of Sydney, Australia (2006); 27th Sao Paulo Biennial, Brazil (2006); and C'era una volta un re. La Fiaba Contemporanea, ARCOS, Museo d'Arte Contemporanea Sannio, Benevento (2006).


Dean was nominated for the 1998 Turner Prize and for the Preis der Nationalgalerie für junge Kunst 2002. She is the recipient of a 2000–2001 DAAD Scholarship; the 2002 Aachen Art Kunstpreis; the Premio Regione Piemonte from the Fondazione Sandretto Re Rebaudengo, Turin (2004); and the Sixth Benesse Prize at the 51st Venice Biennale (2005).


Publication
In conjunction with the HUGO BOSS PRIZE 2006, the Guggenheim has published a catalogue that features the work of all of the finalists, including special projects by each artist. The catalogue, designed by karlssonwilker, Inc., includes essays by Yates McKee on Jennifer Allora and Guillermo Calzadilla, Rein Wolfs on John Bock, Mark Godfrey on Tacita Dean, Adam Szymczyk on Damián Ortega, Joan Young on Aïda Ruilova, and Nancy Spector on Tino Sehgal. The catalogue is available for $24.95.


History of the HUGO BOSS PRIZE
This year marks the sixth presentation of the HUGO BOSS PRIZE at the Guggenheim Museum. Since its inception in 1996, the prize has been awarded to American artist Matthew Barney (1996), Scottish artist Douglas Gordon (1998), Slovenian artist Marjetica Potrc (2000), French artist Pierre Huyghe (2002), and Thai artist Rirkrit Tiravanija (2004). Previous finalists have been Laurie Anderson, Janine Antoni, Stan Douglas, Cai Guo Qiang, and Yasumasa Morimura in 1996; Huang Yong Ping, William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in 1998; Vito Acconci, Maurizio Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le Va, and Tunga in 2000; Francis Alÿs, Olafur Eliasson, Hachiya Kazuhiko, Koo Jeong-a, and Anri Sala in 2002; and Franz Ackermann, Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon Starling, and Yang Fudong in 2004.


Since 1995, HUGO BOSS has provided critical support to many of the Guggenheim Museum’s programs and exhibitions. In addition to the HUGO BOSS PRIZE, the company has helped to make possible retrospectives of the work of artists Georg Baselitz, Ross Bleckner, Francesco Clemente, Ellsworth Kelly, Robert Rauschenberg, Matthew Barney, and James Rosenquist, as well as architect Frank Gehry.


The HUGO BOSS PRIZE is administered at the Guggenheim Museum by Joan Young, Associate Curator of Contemporary Art, with Nancy Spector, Curator of Contemporary Art and Director of Curatorial Affairs.


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#1053
February 8, 2007

FOR INFORMATION:
Betsy Ennis
Guggenheim Public Affairs
Tel: 212 423-3842
publicaffairs@guggenheim.org

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