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 Fall Program 2017. Download

‘Pause: Margaret Honda’ Download

‘KW Productions Series’ Download

KW announces Summer Program 2017. Download

‘Pause: Anthony McCall’ / Book launch ‘Black Dada Reader’. Download

KW announces the first exhibitions of 2017. Download

KW announces new artistic team. Download

 

 

Press Kit

 

Fall Program 2017: Willem de Rooij Download

Summer Program 2017: Enemy of the Stars, Hiwa K, Nicholas Mangan Download

Spring Program 2017: Ian Wilson: Hanne Lippard, Adam Pendleton, Paul Elliman Download

KW announces its annual program 2017. Download

 

 

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.

 

 

Willem de Rooij

 
<p>f.l.t.r.: Jeroen de Rijke / Willem de Rooij, <em>Dead Seal</em>, 1996–99; Jeroen de Rijke / Willem de Rooij, <em>Blue Table</em>, 2004, Courtesy the artist; Willem de Rooij, <em>Blue to Blue</em>, 2012; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

f.l.t.r.: Jeroen de Rijke / Willem de Rooij, Dead Seal, 1996–99; Jeroen de Rijke / Willem de Rooij, Blue Table, 2004, Courtesy the artist; Willem de Rooij, Blue to Blue, 2012; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Jeroen de Rijke / Willem de Rooij, I’m Coming Home in Forty Days, 1997, Courtesy Galerie Buchholz, Berlin/Köln/New York / Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; Friedrich Petzel, New York; Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Jeroen de Rijke / Willem de Rooij, I’m Coming Home in Forty Days, 1997, Courtesy Galerie Buchholz, Berlin/Köln/New York / Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; Friedrich Petzel, New York; Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Foreground: Jeroen de Rijke / Willem de Rooij, <em>Blue Table</em>, 2004, Courtesy the artist; Background: Willem de Rooij, <em>Blue to Blue</em>, 2012; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Foreground: Jeroen de Rijke / Willem de Rooij, Blue Table, 2004, Courtesy the artist; Background: Willem de Rooij, Blue to Blue, 2012; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Willem de Rooij, <em>Ilulissat</em>, 2014, 12 channel digital audio recording, speakers, Courtesy Galerie Buchholz, Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; Friedrich Petzel, New York; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Willem de Rooij, Ilulissat, 2014, 12 channel digital audio recording, speakers, Courtesy Galerie Buchholz, Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; Friedrich Petzel, New York; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Willem de Rooij, <em>Ilulissat</em>, 2014, 12 channel digital audio recording, speakers, Courtesy Galerie Buchholz, Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; Friedrich Petzel, New York; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Willem de Rooij, Ilulissat, 2014, 12 channel digital audio recording, speakers, Courtesy Galerie Buchholz, Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Regen Projects, Los Angeles; Friedrich Petzel, New York; installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Jeroen de Rijke/Willem de Rooij, <em>I’m Coming Home in Forty Days</em>, 1997, Production Still, Courtesy of Galerie Buchholz and Willem de Rooij</p>

Jeroen de Rijke/Willem de Rooij, I’m Coming Home in Forty Days, 1997, Production Still, Courtesy of Galerie Buchholz and Willem de Rooij

 

 

<p>Willem de Rooij, <em>Ilulissat</em>, 2014, (production still), Courtesy the artist and Galerie Buchholz, Berlin/Cologne/New York, Galerie Chantal Crousel, Paris, Friedrich Petzel Gallery, New York, Regen Projects, Los Angeles</p>

Willem de Rooij, Ilulissat, 2014, (production still), Courtesy the artist and Galerie Buchholz, Berlin/Cologne/New York, Galerie Chantal Crousel, Paris, Friedrich Petzel Gallery, New York, Regen Projects, Los Angeles

 

 

<p>Piet Mondrian, <em>Vuurtoren bij Westkapelle</em>, 1909–1910, Courtesy Gemeente Museum, The Hague, NL</p>

Piet Mondrian, Vuurtoren bij Westkapelle, 1909–1910, Courtesy Gemeente Museum, The Hague, NL

 

 

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>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

 

 

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, <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>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.