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

 

New series Pause: Anthony McCall / Book launch ‘Black Dada Reader’ Download (27.3.2017)

KW announces the first exhibitions of 2017. Download (December 12, 2016)

KW announces new artistic team. Download (July 17, 2016)

 

 

Press Kit

 

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

KW announces its annual program 2017. Download (November 22, 2016)

 

 

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.

 

 

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>Ian Wilson, Selected Instructions and Publications,1968–1989, Vitrine designed by Ian Wilson; Courtesy the artist and Jan Mot, Brussels, On loan from Jan Mot, Brussels; Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Ian Wilson, Selected Instructions and Publications,1968–1989, Vitrine designed by Ian Wilson; Courtesy the artist and Jan Mot, Brussels, On loan from Jan Mot, Brussels; Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Ian Wilson, <em>Sections 1–57</em>, 1971–1990, Courtesy the artist and Jan Mot, Brussels</p>

Ian Wilson, Sections 1–57, 1971–1990, Courtesy the artist and Jan Mot, Brussels

 

 

<p>Ian Wilson, <em>Circle on the floor</em>, 1968; Chalk, 183 cm Diameter;Installation view: Ian Wilson, Galerie Mot & Van den Boogaard, Brussel; Courtesy the artist and Jan Mot, Brussel.</p>

Ian Wilson, Circle on the floor, 1968; Chalk, 183 cm Diameter;Installation view: Ian Wilson, Galerie Mot & Van den Boogaard, Brussel; Courtesy the artist and Jan Mot, Brussel.

 

 

Hanne Lippard

 
<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

 

 

<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

 

 

<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

 

 

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

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

 

 

<p>Hanne Lippard, <i>Life is short und dann</i>, 2016, photo: Daniele Tognozzi</p>

Hanne Lippard, Life is short und dann, 2016, photo: Daniele Tognozzi

 

 

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

 

 

<p>Adam Pendleton, <em>Black Dada/Column (A)</em>, 2015, Courtesy the artist and Galerie Eva Presenhuber, Zurich; Ian Wilson, <em>Red Rectangle</em>, 1966 ( reconstructed in 2008), Courtesy the artist and Jan Mot, Brussels; Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Adam Pendleton, Black Dada/Column (A), 2015, Courtesy the artist and Galerie Eva Presenhuber, Zurich; Ian Wilson, Red Rectangle, 1966 ( reconstructed in 2008), Courtesy the artist and Jan Mot, Brussels; Installation view KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Adam Pendleton, <em>WE (we are not successive)</em>, 2015, Courtesy the artist and Pace Gallery, New York</p>

Adam Pendleton, WE (we are not successive), 2015, Courtesy the artist and Pace Gallery, New York

 

 

<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>Ian Wilson, <em>Time (spoken)</em>, early 1970, A typewritten sheet of paper with the text: ‘Time spoken’, Courtesy the artist and Jan Mot, Brussels; Paul Elliman, <em>The London Stone</em>, 2011, detail, Courtesy the artist (f.l.t.r.); Installation view Paul Elliman ‘As you said’ at KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Ian Wilson, Time (spoken), early 1970, A typewritten sheet of paper with the text: ‘Time spoken’, Courtesy the artist and Jan Mot, Brussels; Paul Elliman, The London Stone, 2011, detail, Courtesy the artist (f.l.t.r.); Installation view Paul Elliman ‘As you said’ 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</p>

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

 

 

<p>Paul Elliman, <em>Neither supernatural nor mechanical</em>, 1994/2007, detail, Installation view Paul Elliman ‘As you said’ at KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Paul Elliman, Neither supernatural nor mechanical, 1994/2007, detail, Installation view Paul Elliman ‘As you said’ 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</p>

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

 

 

<p>Paul Elliman, <em>Detroit as Refrain Votrax SC-01 (circa 1974)</em>, 2013–2017, Courtesy the artist and Mathew Kneebone, Installation view Paul Elliman ‘As you said’ at KW Institute for Contemporary Art, 2017, Photo: Frank Sperling</p>

Paul Elliman, Detroit as Refrain Votrax SC-01 (circa 1974), 2013–2017, Courtesy the artist and Mathew Kneebone, Installation view Paul Elliman ‘As you said’ at KW Institute for Contemporary Art, 2017, Photo: Frank Sperling

 

 

<p>Paul Elliman, <em>Autumn/Winter 2016/17</em>, 2017, Billboards across town (here: Diesterwegstraße/ Zeiss-Großplanetarium), Courtesy the artist, Photo: Frank Sperling</p>

Paul Elliman, Autumn/Winter 2016/17, 2017, Billboards across town (here: Diesterwegstraße/ Zeiss-Großplanetarium), Courtesy the artist, 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.