Guggenheim Museum Announces Shortlist For The Hugo Boss Prize 2008
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Guggenheim Museum Announces Shortlist For The Hugo Boss Prize 2008
(NEW YORK, NY – January 9, 2008) –Thomas Krens, Director, Solomon R. Guggenheim Foundation, and Bruno Saelzer, Chairman and CEO, HUGO BOSS AG, today announced the shortlist for The Hugo Boss Prize 2008. Established in 1996 to recognize significant achievement in contemporary art, The Hugo Boss Prize is a biennial award administered by the Solomon R. Guggenheim Foundation and is juried by a distinguished international panel of museum directors, curators, and critics. The finalists for 2008 include:
Christoph Büchel, b. 1966, Swiss - large-scale installations, as well as film, sculpture, and printed materials
Patty Chang, b. 1972, American - performance, photography, video, and sculpture
Sam Durant, b. 1961, American - installations, photography, sculpture, drawing, and video
Emily Jacir, b. 1970, Palestinian - film, photography, installation, performance, video, writing, and sound
Joachim Koester, b. 1962, Danish - installations of film and photography
Roman Signer, b. 1928, Swiss - sculpture, installations, and films
“The Hugo Boss Prize has become an integral component of the Guggenheim Museum’s contemporary art programming since its inception in 1996,” said Thomas Krens. “It has given us the opportunity to identify, exhibit, collect, and honor the work of extraordinarily talented artists who are actively redefining the parameters of today’s cultural production. Through this biennial prize, the Guggenheim hopes to promote the spirit of exploration and ingenuity so critical to the museum’s mission and to the vitality of contemporary art. I believe that the work of the short-listed artists – Christoph Büchel, Patty Chang, Sam Durant, Emily Jacir, Joachim Koester, and Roman Signer – embodies this spirit, and it is our privilege to honor them in this fashion.”
"We are delighted that The Hugo Boss Prize is now celebrating its seventh award in twelve years,” said Dr. Bruno Saelzer, Chairman and CEO, HUGO BOSS AG. "This demonstrates how firmly the award has become anchored in the contemporary art world and also underscores our continuing commitment to the arts."
A publication featuring the work of all six finalists with accompanying essays will be published in June 2008. The winner of The Hugo Boss Prize 2008 will be selected and announced in fall 2008, followed by an exhibition of the prize-winning artist’s work to be presented in spring 2009 at the Solomon R. Guggenheim Museum.
According to The Hugo Boss Prize criteria, the award is given to an artist whose work represents a significant development in contemporary art. The prize sets no restrictions in terms of age, gender, race, nationality, or media, and the nominations may include young, emerging artists as well as established individuals whose public recognition may be long overdue. The 2008 prize carries with it an award of $100,000.
The jurors of The Hugo Boss Prize 2008 are: Russell Ferguson, Chair, Department of Art, UCLA, Los Angeles, California; Maria Lind, Director of the Graduate Program, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York (until 2008. Director, IASPIS [International Artist Studio Program in Stockholm], Stockholm, Sweden); Sandhini Poddar, Assistant Curator of Asian Art, Solomon R. Guggenheim Museum; Nancy Spector, Chief Curator, Solomon R. Guggenheim Museum; and Marc-Olivier Wahler, Director, Palais de Tokyo, Paris.
This year marks the seventh 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), Thai artist Rirkrit Tiravanija (2004), and British artist Tacita Dean (2006). Previous finalists have included 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; Franz Ackermann, Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon Starling, and Yang Fudong in 2004; and Jennifer Allora and Guillermo Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal.
About Hugo Boss
HUGO BOSS has provided critical support to many of the Guggenheim Museum’s programs since 1995. In addition to The Hugo Boss Prize, the company has helped to make possible retrospectives of the work of Matthew Barney, Georg Baselitz, Ross Bleckner, Francesco Clemente, Ellsworth Kelly, and Robert Rauschenberg, and James Rosenquist; the presentation Art in America: Now in Shanghai; and the Ed Ruscha (2005) and Felix Gonzalez-Torres (2007) exhibitions in the U.S. Pavilion of the Venice Biennale.
For additional information about The Hugo Boss Prize, please go to hugoboss.com/hugobossprize.com
About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, architecture, and other manifestations of visual culture, primarily of the modern and contemporary periods, and to the collection, conservation, and study of the art of our time. The Foundation realizes this mission through exceptional exhibitions, education programs, research initiatives, and publications, and strives to engage and educate an increasingly diverse international audience through its unique network of museums and cultural partnerships. Currently the Solomon R. Guggenheim Foundation owns and operates three museums: the Guggenheim Museum on Fifth Avenue, New York City; the Peggy Guggenheim Collection on the Grand Canal in Venice, Italy; and the Guggenheim Hermitage Museum in Las Vegas. The Foundation also provides programming and management for two other museums in Europe that bear its name, the Guggenheim Museum Bilbao, and the Deutsche Guggenheim, in Berlin. The Guggenheim has extended its reach not only through its network of international locations and alliances, including with the State Hermitage Museum in St. Petersburg and the Kunsthistorisches Museum in Vienna, but also through its expanding permanent collection and increasingly diverse schedule of special exhibitions and programs. Since 1992, the Guggenheim has produced more than 250 major exhibitions. These projects have encompassed definitive retrospectives of major American and international artists, including Matthew Barney, Georg Baselitz, Francesco Clemente, Dan Flavin, Jenny Holzer, Ellsworth Kelly, Roy Lichtenstein, Mario Merz, Robert Morris, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, James Rosenquist, Daniel Buren, David Smith, Richard Prince, and Cai Guo Qiang; historical surveys of 20th-century art such as The Great Utopia: The Russian and Soviet Avant-Garde, 1915–1932 (1992), Picasso and the Age of Iron (1993), The Italian Metamorphosis, 1943–1968 (1994), and Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline (1996), and Kazimir Malevich: Suprematism (2003); and exhibitions that have presented the artistic heritage of many countries and regions: Africa: The Art of a Continent (1996), China: 5,000 Years (1998), Brazil: Body & Soul (2001), The Aztec Empire (2004), RUSSIA! (2005), and Spanish Painting from El Greco to Picasso: Time, Truth, and History (2006). During the past five years, Guggenheim-organized exhibitions have been presented in more than 80 museums around the world. As a result of these expanded sites and programs, the Guggenheim has more than tripled its attendance worldwide. With nearly three million annual visitors worldwide, the Guggenheim and its network of museum is one of the most visited cultural institutions in the world.
In early 2008, the Guggenheim presents Cai-Guo Qiang: I Want to Believe a full museum retrospective of one of the 1996 Hugo Boss Prize short-listed artists. And in the fall of 2008, the exhibition, theanyspacewhatsoever, will feature the works of past finalists Maurizio Cattelan (2000), Douglas Gordon (1998 winner), Pierre Huyghe (2002 winner), and Rirkrit Tiravanija (2004 winner).
Admission and Museum Hours
Admission is $18 for adults, $15 for students and seniors (65+), and children under 12 are free. The museum is open Saturday to Wednesday, 10 AM to 5:45 PM, Friday 10 AM to 7:45 PM. The museum is closed on Thursday. On Friday evenings beginning at 5:45 PM, the museums hosts Pay What You Wish. These tickets cannot be purchased in advance. For general information, please call 212 423 3500 or visit guggenheim.org.
January 9, 2008
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Profiles of The Hugo Boss Prize 2008 Short-Listed Artists
Christoph Büchel (b. 1966, Basel, Switzerland) studied at the Kunstakademie Düsseldorf, the Cooper Union School of Art in New York, and the Schule für Gestaltung in Basel and currently works and resides in Basel. Büchel is best-known for his elaborate installations which, in blurring the distinctions between fiction and reality, art and everyday life, challenge the viewer’s physical, psychological, and intellectual exploration of his often ominous and unnerving microcosms of material remains.
Solo and two-person exhibitions of Büchel’s work include Tribunal, Museum für Gegenwartskunst, Basel (2007); HOLE, Kunsthalle Basel (2005); Under Destruction #1: House of the People/ Palace of the Parliament (collaboration with Gianni Motti), National Museum of Contemporary Art, Bucharest (2004); Christoph Büchel: Private Territories, Swiss Institute, New York (2004); Close Quarters, Kunstverein Freiburg (2004); Guantanamo Initiative (collaboration with Gianni Motti), Centre Culturel Suisse, Paris (2004); Haus der Erholung, Museum am Abteiberg, Mönchengladbach (2003); Cadeaux diplomatiques, Kunstmuseum Thun, Switzerland (2002); Shelter, Haus der Kunst, Munich (2002); Shelter II, OK-Centrum für Gegenwartskunst, Linz, Austria (2002); Christoph Büchel, Kunstmuseum St. Gallen, Switzerland (2000); Christoph Büchel, Kunst Halle St. Gallen, Switzerland (1999); and Home Channel, Kunsthalle Basel (1998).
Büchel’s work has been featured in a number of group exhibitions including Memorial to the Iraq War, Institute of Contemporary Arts, London (2007); Une question de génération, Musée d’Art Contemporain, Lyon (2007); Swiss Made 2: Precision and Madness, Kunstmuseum Wolfsburg (2007); In den Alpen, Kunsthaus Zurich (2006); Denial is a River, Sculpture Center, New York (2006); Pre-Emptive (collaboration with Gianni Motti), Kunsthalle Bern (2006); Klasse Kamp, Kunsthalle Düsseldorf (2006); Sharjah International Biennial 7 (collaboration with Giovanni Carmine), United Arab Emirates (2005); Dionysiac, Centre Georges Pompidou, Paris (2005); Zero Interest! Artistic Strategies for an Economy in Crisis, Galleria Civica di Arte Contemporanea, Trento (2005); Reprocessing Reality, Film Festival Visions du Réel, Nyon, Switzerland (2005), which traveled to P.S. 1 Contemporary Art Center, New York (2006); Always a Little Further, 51st Venice Biennale (2005); The Joy of My Dreams, 1st International Biennial of Contemporary Art, Seville (2004); the beauty of failure and the failure of beauty, Fundació Joan Miró, Barcelona (2004); Auf eigene Gefahr, Schirn Kunsthalle, Frankfurt (2003); Bewitched, bothered and bewildered, Migros Museum für Gegenwartskunst, Zurich (2003); Manifesta 4, Frankfurt (2002); and On Stage, Kunstverein Hannover (2002-03), which traveled to Villa Merkel, Esslingen, Germany (2003); Public Affairs, Kunsthaus Zürich (2002); Busan Biennale 2002, Korea (2002); Tirana Biennale 2001, Albania (2001); Concerted Compassion, White Columns, New York (2000); and Empires without States: On notions of success and failure in contemporary art, Swiss Institute, New York (1999).
Christoph Büchel was a participant in the 2000-01 National and International Studio Program at P.S. 1 Contemporary Art Center in New York. He was awarded the Manor Kunstpreis, St. Gallen, in 2000.
Patty Chang (b. 1972, San Leandro, CA) studied at the University of California in San Diego and currently works and resides in New York. Her earlier performance pieces, which often tested the limits of endurance and taste, and her more recent video and photographic projects have focused on the conflation of the real and the imagined in various cultural contexts.
Chang’s solo exhibitions include Shangri-La: Document and Fiction, Moderna Museet, Stockholm (2006); Shangri-La, Hammer Museum, Los Angeles (2005), which traveled to New Museum of Contemporary Art, New York (2005) and Museum of Contemporary Art, Chicago (2006); Patty Chang, Fri-Art Centre d’Art Contemporain, Fribourg, Switzerland (2001); Patty Chang, Baltic Art Center, Visby, Sweden (2001); and Let Down and Release, Yerba Buena Center for the Arts, San Francisco (2000).
Group shows featuring Chang’s work include New York: States of Mind, Haus der Kulturen der Welt, Berlin (2007), which traveled to Queens Museum of Art, New York (2007-08); Family Pictures, Solomon R. Guggenheim Museum, New York (2007); One Way or Another: Asian American Art Now, Asia Society, New York (2006), which traveled to Blaffer Gallery, The Art Museum of the University of Houston, and to Berkeley Art Museum, California (2007); Still Points of the Turning World, Sixth International Biennial, Site Santa Fe, New Mexico (2006); Into Me/ Out of Me, P.S. 1 Contemporary Art Center, New York (2006); Springtide, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2005); Dimension Folly, Galleria Civica di Arte Contemporanea, Trento, Italy (2004); Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York (2003); Black Belt, The Studio Museum in Harlem, New York (2003), which traveled to Santa Monica Museum of Art, California (2004-05); Somewhere Better Than This Place, The Contemporary Arts Center, Cincinnati (2003); Fusion Cuisine, Deste Foundation Center for Contemporary Art, Athens (2002); Moving Pictures, Solomon R. Guggenheim Museum, New York (2002-03), which traveled to Guggenheim Museum Bilbao (2003-04); Mirror Image, Hammer Museum, Los Angeles (2002), which traveled to Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York (2002);Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum voor Actuele Kunst, Gent, Belgium (2001-2002); and Cross Female: Metaphors of the Female in Art of the 90s, Künstlerhaus Bethanien, Berlin (2000), which traveled to Kunst- und Kunstgewerbeverein Pforzheim, Germany (2001).
Patty Chang has received numerous awards and grants including a Lambent Fellowship in the Arts from the Tides Foundation (2005); The Louis Comfort Tiffany Foundation Biennial Competition Award (1999); a grant for performance art from the Franklin Furnace Fund (1999); and a grant from the Rema Hort Mann Foundation (1997). She has also participated in the Récollets International Residency Program, Paris (2006) and the Lower Manhattan Cultural Council Studio Residency Program, New York (2000).
Sam Durant (b. 1961, Seattle, Washington) received his Master of Fine Arts degree from the California Institute of the Arts in Valencia and his Bachelor of Fine Arts degree from the Massachusetts College of Art in Boston. He currently lives and works in Los Angeles. Through the manipulation of various cultural references, Durant explores the formation and sanitization of history in his ambitious projects, which range in medium from photographs to sculptural models and installations.
Solo exhibitions of his work include Scenes from the Pilgrim Story: Myth, Massacres and Monuments, Stephen D. Paine Gallery, Massachusetts College of Art and Design, Boston (2006); 12 Signs: transposed and illuminated (with various indexes), Stedelijk Museum voor Actuele Kunst, Gent, Belgium (2004); Break it/Fix it (collaboration with Monica Bonvicini), Secession, Vienna, Austria (2003-04); We Are the People, Project Row House, Houston (2003); Sam Durant: Entropy in Reverse, Govett-Brewster Art Gallery, New Plymouth, New Zealand (2003); Sam Durant, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2003); Sam Durant, Institute of Visual Arts, University of Wisconsin, Milwaukee (2002); Sam Durant, Museum of Contemporary Art, Los Angeles (2002); Matrix 147: 7 signs: removed, cropped, enlarged and illuminated (plus index), Wadsworth Atheneum Museum of Art, Hartford, Connecticut (2002); and Ordered with Emphasis on Reflection, Kunsthof Zürich (2001).
Group shows featuring the work of Durant include Unmonumental, New Museum, New York (2007-08); Words Fail Me, Museum of Contemporary Art, Detroit (2007-2008); Resistance Is…, Whitney Museum of American Art, New York (2007); Memorial to the Iraq War, Institute of Contemporary Arts, London (2007); Busan Biennale 2006, Korea (2006); Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco (2005), which traveled to White Columns, New York (2006); War is Over 1945-2005: The Freedom of Art, Galleria D’Arte Moderna e Contemporanea, Bergamo, Italy (2005); 1st Moscow Biennale of Contemporary Art, Russia (2005); 100 Artists See God, The Contemporary Jewish Museum, San Francisco (2004), which traveled throughout the U.S. and to London through 2006; Playlist, Palais de Tokyo, Paris (2004); Whitney Biennial 2004, Whitney Museum of American Art, New York (2004); Dreams and Conflicts - The Viewer's Dictatorship, 50th Venice Biennale (2003); Somewhere Better than This Place, The Contemporary Arts Center, Cincinnati (2003); Out of Place; Contemporary Art and the Architectural Uncanny, The Museum of Contemporary Art, Chicago, which traveled to Samuel P. Harn Museum of Art, University of Florida (2002); Proliferation, Museum of Contemporary Art, Los Angeles (1999); Entropy at Home, Ludwig Museum, Aachen, Germany (1998); Scene of the Crime, Hammer Museum, Los Angeles (1997); The Power of Suggestion: Narrative and Notion in Contemporary Drawing, The Museum of Contemporary Art, Los Angeles (1996); and a/drift, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York (1996).
Sam Durant was a 2006 United States Artists Fellow and a finalist for the 2005 Ordway Prize granted by the Penny McCall Foundation of New York. He was an artist-in-residence at the Walker Art Center in Minneapolis in 2002-03.
Emily Jacir (b.1970, Palestine) received a Bachelor of Arts from the University of Dallas at Irving and a Master of Fine Arts from the Memphis College of Art; she also participated in the Whitney Independent Study Program in 1998-99 and currently lives and works in Ramallah, Palestine and New York. Spanning a diverse range of media Jacir's work addresses repressed historical narratives, resistance, political land divisions, movement (both forced and voluntary) and the logic of the archive. Many of her early works involve working directly with the Palestinian community and the larger Arab community both locally and internationally through collaboration and social interventions.
Solo exhibitions include Emily Jacir, Villa Merkel, Esslingen, Germany (2007-08); Emily Jacir, Kunstmuseum St. Gallen, Switzerland (2007); Where We Come From, Ulrich Museum of Art, Wichita, Kansas (2005); Woher wir kommen, Künstlerhaus, Bremen (2004); Where We Come From, Moderna Museet, Stockholm (2004); Where We Come From, The Khalil Sakakini Cultural Center, Ramallah, Palestine (2004); accumulations, Kunstraum Innsbruck, Austria (2004); Belongings, OK-Centrum für Gegenwartskunst, Linz, Austria (2003-04); and Emily Jacir, Museum voor Modern Kunst Arnheim, The Netherlands (2003).
Her work has been featured in a number of group exhibitions including Think with the Senses – Feel with the Mind. Art in the Present Tense, 52nd Venice Biennale (2007); Transactions, the Blanton Museum of Art, The University of Texas at Austin (2007); Generation 1.5, Queens Museum of Art, New York (2007); Global Feminisms, Brooklyn Museum, New York, which traveled to Davis Museum and Cultural Center, Wellesley College, Massachusetts (2007); Altered, Stitched and Gathered, P.S. 1 Contemporary Art Center, New York (2006-2007); Dirty Yoga, 2006 Taipei Biennial, Taiwan (2006-2007); Maintenant, Ici, Là-Bas, FRAC de Lorraine, Metz, France (2006); Venice-Istanbul, Istanbul Modern, Turkey (2006); Zones of Contact, 2006 Biennale of Sydney, Australia (2006); When Artists Say We, Artists Space, New York (2006); Without Boundary: Seventeen Ways of Looking, Museum of Modern Art, New York (2006); General Ideas: Rethinking Conceptual Art 1987-2005, CCA Wattis Institute for Contemporary Arts, San Francisco (2005); Always a Little Further, 51st Venice Biennale (2005); Sharjah International Biennial 7, United Arab Emirates (2005); Gwangju Biennale 2004, Korea (2004); Whitney Biennial 2004, Whitney Museum of American Art, New York (2004); Wherever I Am, Museum of Modern Art, Oxford, United Kingdom (2004); Global World/Private Universe, Kunstmuseum St. Gallen, Switzerland (2004); This Much is Certain, Royal College of Art, London (2004); Poetic Justice, 8th International Istanbul Biennial (2003); Routes: Imaging Travel and Migration, Grazer Kunstverein, Graz, Austria (2002); and Greater New York: New Art in New York Now, P.S. 1 Contemporary Art Center, New York (2000).
In 2007, Emily Jacir received the Golden Lion Award for an artist under 40 at the 52nd Venice Biennale and the Prince Claus Award, from the Prince Claus Fund for Culture and Development, The Hague. She has participated in the National and International Studio Program at P.S. 1 Contemporary Art Center in New York (2000-01) and the Lower Manhattan Cultural Council Studio Residency Program, New York (1999-2000).
Joachim Koester (b. 1962 Copenhagen, Denmark) studied at the Royal Danish Academy of Fine Arts in Copenhagen and currently lives and works in New York and Copenhagen. Drawing on archival methods, Koester’s films and photographic installations explore an array of enigmatic historical narratives through their material remains, ultimately challenging the viewer’s understanding of the construction and degradation of history.
Solo exhibitions of Koester’s work include My Frontier is an Endless Wall of Points, Moderna Museet, Stockholm (2007); Le Matin des Magiciens, Palais de Tokyo, Paris (2006-2007); Messages from the Unseen (collaboration with Matthew Buckingham), Lunds Konsthall, Sweden (2006); Sandra of the Tuliphouse or How to Live in a Free State (collaboration with Matthew Buckingham), The Kitchen, New York (2005); Different Stories, Different Places, Kunsthalle Nürenberg, Germany (2002); Joachim Koester, Centre National de la Photographie, Paris (2001); Joachim Koester, ArtPace, San Antonio (2000); Resolute Bay, Astrup Fearnley Museet for Moderne Kunst, Oslo (2000); and Sandra of the Tuliphouse (collaboration with Matthew Buckingham), Institute of Visual Arts, University of Wisconsin, Milwaukee (1998).
Koester has been featured in a number of group exhibitions, including Mystic Truths, Auckland Art Gallery, New Zealand (2007); Sharjah International Biennial 8, United Arab Emirates (2007); Mot tiden/Against time, Bonnierskonsthall, Stockholm (2007); 5 Billion Years, Palais de Tokyo, Paris (2006); Busan Biennale 2006, Korea (2006); Prophets of Deceit, CCA Wattis Institute for Contemporary Arts, San Francisco (2006); Invisible Worlds, Kunstverein Freiburg, Germany (2006); Some trees, Neuer Aachener Kunstverein, Germany (2005); 9th Baltic Triennial of International Art, Vilnius, Lithuania (2005); Danish Pavilion, 51st Venice Biennale (2005); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Territories, Kunstwerke, Berlin (2003), which traveled to Witte de With, Rotterdam (2003-04) and Malmø Kunsthall, Sweden (2004); Todos Somos Pecadores: Arte Nórdico Contemporáneo, Museo de Arte Contemporaneo, Monterrey, Mexico (2003); Out of Place: Contemporary Art and the Architectural Uncanny, The Museum of Contemporary Art, Chicago, which traveled to Samuel P. Harn Museum of Art, University of Florida (2002); Organising Freedom: Nordic Art of the 90's, Moderna Museet, Stockholm, Sweden (2000); Greater New York: New Art in New York Now, P.S. 1 Contemporary Art Center, New York (2000); Cinema: Contemporary Art and the Cinematic Experience, Van Abbemuseum, Eindhoven, The Netherlands (1999); h:min:sec, Kölnischer Kunstverein, Cologne (1998), which traveled to Kunstraum Innsbruck, Austria (1999); Something is Rotten in the State of Denmark, Museum Fridericianum, Kassel, Germany (1998); In Visible Light, Moderna Museet, Stockholm (1998); Nuit Blanche: scènes nordiques: les années 90, Musée d’Art Moderne de la Ville de Paris (1998); Heaven: Public View, Private View, P.S.1 Contemporary Art Center, New York (1997); Trade Routes: History and Geography, Second Johannesburg Biennale, South Africa (1997); and Documenta X, Kassel (1997).
Joachim Koester was a participant in the ArtPace International Artist-in-Residence program in San Antonio, Texas in 2000 and received the Edstrand Foundation Art Prize in 1999.
Roman Signer was born in Appenzell, Switzerland in 1938 and currently lives and works in St. Gallen. He studied at the Schule für Gestaltung in Zurich, the Schule für Gestaltung in Lucerne, and the Academy of Fine Arts in Warsaw. Signer’s sculptures manifest his attention to process and transformation across sequential phases of time; his sculptural events, and his meticulous photographic and video documentation, have expanded the conventional definition of sculpture through the inclusion of time as a dimension of artistic practice.
Solo exhibitions of Signer’s work include Roman Signer-Works, Fruitmarket Gallery, Edinburgh (2007-08); Roman Signer: Kunstpreis Aachen 2006, Ludwig Forum für Internationale Kunst, Aachen, Germany (2006); Roman Signer: Reisefotos, Aargauer Kunsthaus, Aarau, Switzerland (2006); Roman Signer Werke, OK-Centrum für Gegenwartskunst, Linz, Austria (2005); Roman Signer: Zeichnungen und Filme, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Munster, Germany (2001); Roman Signer, Camden Arts Centre, London (2001); Roman Signer: Works 1971-2000. Bonnefanten Museum, Maastricht, The Netherlands (2000-01); Installations, Secession, Vienna (1999); Swiss Pavilion, 48th Venice Biennale (1999); Roman Signer: Works, Goldie Paley Gallery, Moore College of Art and Design, Philadelphia (1997); Roman Signer: Skulptur, Kunstmuseum St. Gallen, Switzerland (1993); Roman Signer: Neue Arbeite, Kunstmuseum St. Gallen, Switzerland (1988); Schnelle Veränderungen, Künstlerhaus Stuttgart (1985); Roman Signer: Zeichnungen, Kunstmuseum Winterthur, Switzerland (1983); and Roman Signer: Filminstallation, Kunsthaus Zürich (1981).
Group exhibitions featuring the work of Signer include Swiss Made 1: Precision and Madness, Kunstmuseum Wolfsburg (2007); One second, one year, Palais de Tokyo, Paris (2006); Licht(e)wege, Schlosspark Kassel Wilhelmshöhe, Germany (2005); Busan Biennale 2004, Korea (2004); Expo 2000, Hannover, Germany (2000); La répétition, la tête dans les nuages, Villa Arson, Nice (2000); Carnegie International 1999/2000, Carnegie Museum of Art, Pittsburgh (1999-2000); Culbites. Œuvre d’impertinence, Musée d’art Contemporain de Montréal (1999); Trace: The Liverpool International Exhibition, Liverpool Biennial of Contemporary Art (1999); Unfinished History, Walker Art Museum, Minneapolis (1998); Skulptur-Projekte in Münster 1997, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster (1997); Shift, De Appel Foundation, Amsterdam (1995); A Swiss Dialectic, The Renaissance Society at the University of Chicago (1991); Documenta 8, Kassel, Germany (1987); and 37th Venice Biennale (1976).
Signer has been the recipient of the Aachner Kunstpreis, Germany (2006); the Kulturpreis der Stadt St. Gallen, Switzerland (2004); the Konstanzer Kunstpreis, Germany (1998); the Kulterpreis St. Gall, Switzerland (1998); and the Kulturpreis Bregenz, Austria (1995).