10 September 2016 to 15 January 2017
And then a Plank in Reason, Broke. Prints and drawings about WWI selected by Mary Reid Kelley
Mary Reid Kelley combines painting, performance and a distinctive wordplay-rich poetry in her polemical, graphically stylized videos. Performing as a First World War soldier, a grisette in revolutionary Paris, or the Minotaur, she resurrects characters that embody particular facets of ideas in time. Her historically specific tableaux enclose dilemmas of mortality, sex and estrangement, navigated by the characters in punning dialogue that traps them between tragic and comic meanings.
Recent solo exhibitions were presented at The Hammer Museum, Los Angeles (2015), Multimedia Art Museum, Moscow (2015), Neuer Kunstverein Wien, Vienna (2014) and The Institute of Contemporary Art/Boston, Boston (2013). Reid Kelley’s work is in the public collections of the Whitney Museum of American Art and the Yale University Art Gallery.
Mary Reid Kelley was born in 1979 in Greenville, South Carolina. Reid Kelley received her BFA from St. Olaf College, Minnesota, and an MFA in Painting from Yale University in 2009. Mary Reid Kelley lives and works in Olivebridge, upstate New York.
An exhibition of the Supporters' Circle for Contemporary Art in the Kunstverein Bremen.
With generous support from Bremer Landesbank.
In cooperation with Museum M in Leuven whose presentation of Mary Reid Kelley's cycle on the myth of Minotaur is running concurrently.
Fig.: Mary Reid Kelley, Sadie, the Saddest Sadist, 2009 (videostill), Courtesy of the Artist and Pilar Corrias Gallery, London
Sarah Morris, Jardim Botânico [Rio], 2013 (Detail), 59,81 m x 4,07 m
© Sarah Morris
The American artist and filmmaker Sarah Morris (* 1967) has created a monumental, panoramic mural for the central entrance hall of the Kunsthalle Bremen. Jardim Botânico [Rio] (“Botanical Garden”) is related to the artist’s new series of works entitled Rio but also reacts to the architecture of the museum. The spectacular installation combines luminous colours and abstract grid structures with rectangular and curved forms to form a spectacular environment. The numerous layers of brilliant pigments and
household enamels give rise to visual rhythms as well as to tactile, almost relief-like structures.
Morris works in the tradition of geometrical painting of modernism as well as of the 1960s with marked references to the oeuvre of Piet Mondrian, the American color field painters, Op Art and Victor Vasarely. She continues this tradition creatively into the future and instils new life into a reduced formal language through her dynamic, intensively colourful compositions. But with the shiny colours of her striking paintings and murals the artist also reflects critically on the illusionary world of Hollywood film and the surface aesthetics of glossy magazines, fashion and advertising.
The exhibition has been realised with the generous support of the Supporters’ Circle for Contemporary Art in the Kunstverein Bremen and the Bremer Landesbank.