Press Contact

 

KW Institute for Contemporary Art
Katja Zeidler
Tel. +49 30 243459 41
press@kw-berlin.de

 

Please send us your details if you wish to receive our press releases.

 

 

Press Releases

 

KW announces ‘KW Productions Series’. Download (6 July 17)

KW announces Summer Program 2017. Download (12 April 17)

New series Pause: Anthony McCall / Book launch ‘Black Dada Reader’. Download (27 March 17)

KW announces the first exhibitions of 2017. Download (12 December 16)

KW announces new artistic team. Download (17 July 16)

 

 

Press Kit

 

Summer Program 2017: Hiwa K / Nicholas Mangan Download (31 May 17)

Summer Program 2017: Enemy of the Stars. Download (19 April 17) 

Spring Program 2017: Ian Wilson: Hanne Lippard, Adam Pendleton, Paul Elliman Download (27 March 2017) 

KW announces its annual program 2017. Download (22 November 16)

 

 

Press Images

 

Image material may be used free of charge for non-commercial purposes relating to the respective exhibition; the der KW Institute for Contemporary Art must be credited and the copyrights cited.

 

For image requests of previous exhibitions please contact us by e-mail.

 

 

Hiwa K

 

All works Courtesy the artist, KOW, Berlin and Prometeogallery di Ida Pisani, Milan/Lucca (IT)

 

 

<p>f.l.t.r.: Hiwa K, <em>My Father’s Color Period</em>, 2012; <em>What the Barbarians did not do, did the </em><em>Barberini</em>, 2012/2017, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

f.l.t.r.: Hiwa K, My Father’s Color Period, 2012; What the Barbarians did not do, did the Barberini, 2012/2017, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>f.l.t.r.: Hiwa K, <em>My Father’s Color Period</em>, 2012; <em>What the Barbarians did not do, did the </em><em>Barberini</em>, 2012/2017, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

f.l.t.r.: Hiwa K, My Father’s Color Period, 2012; What the Barbarians did not do, did the Barberini, 2012/2017, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Hiwa K, <em>The Bell Project</em>, 2007/2015, Two-channel video installation, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Hiwa K, The Bell Project, 2007/2015, Two-channel video installation, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Hiwa K, Installation view <em>Don’t Shrink Me to the Size of a Bullet</em>, KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Hiwa K, Installation view Don’t Shrink Me to the Size of a Bullet, KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>f.l.t.r.: Hiwa K, <em>The Existentialist Scene in Kurdistan (Raw Materiality 01)</em>, 2017, Multichannel video installation, <em>This Lemon tastes of Apple</em>, 2011, Single-channel HD Video, Installation view, KW<br />
Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

f.l.t.r.: Hiwa K, The Existentialist Scene in Kurdistan (Raw Materiality 01), 2017, Multichannel video installation, This Lemon tastes of Apple, 2011, Single-channel HD Video, Installation view, KW
Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Hiwa K, <em>Moon Calendar, Iraq</em>, 2007, Single-channel SD Video, Installation view, KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Hiwa K, Moon Calendar, Iraq, 2007, Single-channel SD Video, Installation view, KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

Nicholas Mangan

 

All works Courtesy the artist and Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City, D.F.

 

 

<p>Nicholas Mangan, Installation view <em>Limits to Growth,</em> KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Nicholas Mangan, Installation view Limits to Growth, KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Nicholas Mangan, Installation view <em>Limits to Growth,</em> KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Nicholas Mangan, Installation view Limits to Growth, KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Nicholas Mangan, <em>Limits to Growth</em>, 2016/2017, detail, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Nicholas Mangan, Limits to Growth, 2016/2017, detail, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Nicholas Mangan, <em>Progress in Action</em>, 2013, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Nicholas Mangan, Progress in Action, 2013, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Nicholas Mangan, <em>Progress in Action</em>, 2013, detail, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Nicholas Mangan, Progress in Action, 2013, detail, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Nicholas Mangan, <em>A World Undone</em>, 2011, video still, HD Video, Color</p>

Nicholas Mangan, A World Undone, 2011, video still, HD Video, Color

 

 

Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher

 
<p>Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>On the wall: Helmar Lerski, From the series: <em>Metamorphosis through light</em>, 1935/1936, Foreground: Ronald Jones, <em>Untitled (This trestle was used to hold bodies…),</em> 1990, Courtesy and Jean-Pierre Lehmann Collection, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

On the wall: Helmar Lerski, From the series: Metamorphosis through light, 1935/1936, Foreground: Ronald Jones, Untitled (This trestle was used to hold bodies…), 1990, Courtesy and Jean-Pierre Lehmann Collection, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Enemy of the Stars: Ronald Jones in dialogue with David Hammons, Louise Lawler, Helmar Lerski, and Julia Scher, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

Ian Wilson

 
<p>Ian Wilson, <em>Circle on the floor (Chalk Circle</em>), 1968, unlimited edition, Courtesy the artist and Jan Mot, Brussels; Ian Wilson, <em>The Pure Awareness of the Absolute / A Discussion</em>, 2014, Courtesy the artist and Jan Mot, Brussels, On loan from Jan Mot, Brussels, <em>Untitled (Disc)</em>, 1967, Courtesy the artist; Installation view KW Institute for Contemporary Art, 2017; Photo: Frank Sperling</p>

Ian Wilson, Circle on the floor (Chalk Circle), 1968, unlimited edition, Courtesy the artist and Jan Mot, Brussels; Ian Wilson, The Pure Awareness of the Absolute / A Discussion, 2014, Courtesy the artist and Jan Mot, Brussels, On loan from Jan Mot, Brussels, Untitled (Disc), 1967, Courtesy the artist; Installation view KW Institute for Contemporary Art, 2017; Photo: Frank Sperling

 

 

<p>Hanne Lippard, <em>Flesh</em>, 2016, Installation view KW Institute for Contemporary Art, 2017; Courtesy the artist and LambdaLambdaLambda, Prishtina; Photo: Frank Sperling</p>

Hanne Lippard, Flesh, 2016, Installation view KW Institute for Contemporary Art, 2017; Courtesy the artist and LambdaLambdaLambda, Prishtina; Photo: Frank Sperling

 

 

Adam Pendleton

 
<p>Adam Pendleton, <em>shot him in the face, </em>2017, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Adam Pendleton, shot him in the face, 2017, Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

Paul Elliman

 
<p>Paul Elliman ‘As you said’ Installation view at KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Paul Elliman ‘As you said’ Installation view at KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

Prospectus: A Year with Will Holder

 
<p>Lygia Clark, <em>A Casa do Poeta (maquete)</em>, 1964; Reproduced by Will Holder, …for single mothers, 2016.</p>

Lygia Clark, A Casa do Poeta (maquete), 1964; Reproduced by Will Holder, …for single mothers, 2016.

 

 

Robert Wilhite, Bob’s Pogo Bar

 
<p>Robert Wilhite, <em>Bob’s Pogo Bar</em>, 2016; Installation view, KW Institute for Contemporary Art, Photo: Frank Sperling.</p>

Robert Wilhite, Bob’s Pogo Bar, 2016; Installation view, KW Institute for Contemporary Art, Photo: Frank Sperling.

 

 

<p>Robert Wilhite, <em>Bob’s Pogo Bar</em>, 2016; Installation view, KW Institute for Contemporary Art, Photo: Frank Sperling.</p>

Robert Wilhite, Bob’s Pogo Bar, 2016; Installation view, KW Institute for Contemporary Art, Photo: Frank Sperling.

 

 

Philippe Van Snick, Dag/Nacht

 
<p>Philippe Van Snick, <em>Dag/Nacht</em>, 1984–ongoing, Installation view entrance gate, KW Institute for Contemporary Art, Photo: Frank Sperling, Courtesy Tatjana Pieters.</p>

Philippe Van Snick, Dag/Nacht, 1984–ongoing, Installation view entrance gate, KW Institute for Contemporary Art, Photo: Frank Sperling, Courtesy Tatjana Pieters.