NOTHINGTOSEENESS – Void/White/Silence
Group Exhibition
Akademie der Künste Berlin
Through December 12, 2021

The broad spectrum of meaning of the color white; of void and silence in the visual arts, and the associated difference between materiality and immateriality, is at the focus of the exhibition and event project featuring international artists in the Akademie der Künste at Hanseatenweg.
The point of departure is white monochromy and the associated new meaning of the material surface, which caused a stir in the American and European art scenes of the 1950s and 1960s. Works by Astrid Klein, Otto Piene, David Ostrowski and Bridget Riley amongst many others are on view until December 12, 2021

Nothing is Lost. Art and Matter in Transformation
Group Exhibition
GAMeC, Galleria d'Arte Moderna e Contemporanea di Bergamo
Through February 13, 2022

The second chapter of the great multiyear exhibition project dedicated to the theme of matter (Trilogy of Matter), the exhibition—curated by Anna Daneri and Lorenzo Giusti—will highlight the strong link that has always bound artists to the chemistry of elements and the transformation of matter through an elaborate selection of Dadaist and Surrealist works, productions by some of the leading exponents of the neo-vanguard movements of the 1960s and 1970s, sculptural works by artists who emerged in the 1980s, and research by major international artists of recent generations.

Aerodream. Architecture, design and inflatable structures 1950 – 2020
Group Exhibition
Cité de l'architecture et du patrimoine, Paris
Through February 14, 2022

If the dream of flying has accompanied man since Icarus, it is really with the idea of an inflatable sheath, taking the place of the deployment of wings, that it became effective starting from the 18th century. The history of inflatables, parallel with that of aeronautics, is that of the development of a more organic relationship to the aerial. The sheath is a metaphor for the skin, a protection for the body, enabling an immediate proximity with the air. The inflatable carries within itself the idea of the pneuma of breathing; an immediate relationship to the living, to the event, to life.

20/20 Vision – The Collection Remixed
Collection Presentation
Kunsthalle Bremen, Der Kunstverein in Bremen

With the title “20/20 Vision: The Collection Remixed", the Kunsthalle Bremen presents a radical new look at its collection for the first time in nearly ten years. Using bold colors on the walls, an elaborate staging and an entirely new arrangement of the works on display, the exhibition allows surprising new aesthetic experiences. Descriptions of all works on display provide in-depth information, some of which are findings from the very latest research. Several works have not been seen in public in decades. The installation will also present for the first time a number of recent acquisitions, donations, and permanent loans. Works of art created after 1945 will also be given a greater presence.

Air Time
Charlotte Moorman, Nam June Paik, Otto Piene
August 12–September 30, 2021

Otto Piene was an artistic pioneer, from his years as co-founder of the Zero group in Düsseldorf to his massive environmental installations across the United States and Europe. This exhibition explores his Sky Art projects in particular, illuminating their experimental, participatory and collaborative nature. This phase of his work flourished to a large degree through the opportunities and connections he made at the Massachusetts Institute of Technology (MIT)—with artists such as Nam June Paik, Charlotte Moorman and Elizabeth Goldring—where he was a fellow (1968–74) and later director (1974–94) of the Center for Advanced Visual Studies (CAVS). Some of Piene's most spectacular Sky Art performances were realized in collaboration with fellow artist and life-long friend Charlotte Moorman, who holds a special place in this exhibition.

Otto Piene
February 1–April 6, 2019
Berlin

Otto Piene counts among the pioneers of 20th century art. As co-founder of the international ZERO movement, he had a fundamental impact on how classical art forms such as painting and sculpture are perceived. His early smoke, grid and fire paintings, light ballets and light rooms enabled him to incorporate time, light, space and movement into the production of art.

Otto Piene
Light Ballet
April 29–June 10, 2017
Berlin

Otto Piene’s use of light developed in the late 1950s with works utilising earlier experiments of printing onto canvas using punctured screens of many small holes, producing a grid of small, elevated pigment dots on the surface. These perforated ‘raster sieves’ were used in early works as hand-held tools through which to shine light from candles. This rudimentary apparatus soon developed into more complex means in 1960-61, employing metal screens, discs, motors, timers, and rotating electric lights, coming to a theatrical climax in room size installations. A selection of these elements will be presented in Sprüth Magers collaboration with the Otto Piene Estate, his first exhibition with the gallery, taking the form of a ‘Light Ballet’.