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KW Institute for Contemporary Art
Karoline Köber
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Press Releases

KW announces Winter and Spring Program 2019 Download

KW selects Andrea Büttner and Rachel O’Reilly for the KW Production Series 2019 Download

KW announces Program 2019 Download | Overview Program 2019

KW announces Fall Program 2018 Download

KW announces Berlin Art Week Program 2018 Download

KW Institute for Contemporary Art and Volkswagen Group announcing VW Research Fellowship (m/f) Download

Anna Daučíková honored with Schering Stiftung Art Award 2018 Download

KW presents Olaf Nicolai: Brecht in der Autowerkstatt Download

KW announces KW on location Download / Program booklet

KW announces Winter and Spring Program 2018 Download

KW announces Annual Program for 2018 Download / Overview annual program

Long-term project REALTY kicks off in October 2017 Download

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

Winter and Spring Program 2019: David Wojnarowicz, Reza Abdoh, Frank Wagner Download

Fall Program 2018: Steve Bishop, Tamara Henderson, Sidsel Meineche Hansen Download

Fall Program 2018: Beatriz González Retrospective 1965–2017 Download

KW’s Berlin Art Week Program Download

KW on location: Lynn Hershman Leeson Download

Pause: AA Bronson’s Garten der Lüste Download

Spring Program 2018: Judith Hopf, Trix & Robert Haussmann Download

Fall Program 2017: Willem de Rooij, Lucy Skaer 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.

David Wojnarowicz

David Wojnarowicz, A Fire in My Belly, 1986–1987, video still taken from Super 8 film, installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Electronic Arts Intermix (EAI), New York, photo: Frank Sperling

<p>Marion Scemama und David Wojnarowicz, <em>When I Put My Hands on Your Body</em>, 1989, video still taken from Super 8 Film, installation view of the exhibition David Wojnarowicz <em>Photography & Film 1978–1992</em>, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Marion Scemama, photo: Frank Sperling</p>

Marion Scemama und David Wojnarowicz, When I Put My Hands on Your Body, 1989, video still taken from Super 8 Film, installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Marion Scemama, photo: Frank Sperling

<p>David Wojnarowicz und Ben Neill, <em>ITSOFOMO – In the Shadow of Forward Motion</em>, 1989/2018, video still taken from VHS transferred to digital video, installation view of the exhibition David Wojnarowicz <em>Photography & Film 1978–1992</em>, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Marion Scemama, photo: Frank Sperling</p>

David Wojnarowicz und Ben Neill, ITSOFOMO – In the Shadow of Forward Motion, 1989/2018, video still taken from VHS transferred to digital video, installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Marion Scemama, photo: Frank Sperling

<p>Left: Peter Hujar, <em>David Wojnarowicz Smoking, </em>1981/2018; right: Peter Hujar, <em>David Wojnarowicz, </em>1981/2016, Courtesy the Estate of David Wojnarowicz and P·P·O·W Gallery, New York; installation view of the exhibition David Wojnarowicz <em>Photography & Film 1978–1992</em>, KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Left: Peter Hujar, David Wojnarowicz Smoking, 1981/2018; right: Peter Hujar, David Wojnarowicz, 1981/2016, Courtesy the Estate of David Wojnarowicz and P·P·O·W Gallery, New York; installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

<p>Peter Hujar, <em>David Wojnarowic with a Snake, </em>1981/2016, installation view of the exhibition David Wojnarowicz <em>Photography & Film 1978–1992</em>, KW Institute for Contemporary Art, Berlin, 2019, Courtesy der Künstler, the Estate of David Wojnarowicz and P·P·O·W Gallery, New York, photo: Frank Sperling</p>

Peter Hujar, David Wojnarowic with a Snake, 1981/2016, installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, Courtesy der Künstler, the Estate of David Wojnarowicz and P·P·O·W Gallery, New York, photo: Frank Sperling

<p>Andreas Sterzing, <em>David Wojnarowicz</em> (<em>Silence = Death), </em>1989, New York, Photograph, Courtesy the artist, the Estate of David Wojnarowicz, and P·P·O·W, New York</p>

Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989, New York, Photograph, Courtesy the artist, the Estate of David Wojnarowicz, and P·P·O·W, New York

Reza Abdoh

Reza Abdoh, Bogeyman, 1991, video still, installation view of the exhibition Reza Abdoh, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling

<p>Reza Abdoh, <em>Peep Show 1–6</em>, 1988, video stills, installation view of the exhibition <em>Reza Abdoh, </em>KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling</p>

Reza Abdoh, Peep Show 1–6, 1988, video stills, installation view of the exhibition Reza Abdoh, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling

<p>Reza Abdoh, <em>Quotations From a Ruied City, </em>1993, video still, installation view of the exhibition <em>Reza Abdoh, </em>KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling</p>

Reza Abdoh, Quotations From a Ruied City, 1993, video still, installation view of the exhibition Reza Abdoh, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling

<p>Reza Abdoh, <em>Reza Room, </em>2018, video still, installation view of the exhibition <em>Reza Abdoh, </em>KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling</p>

Reza Abdoh, Reza Room, 2018, video still, installation view of the exhibition Reza Abdoh, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling

<p><em>The Hip-Hop Waltz of Eurydice</em>, 1990. Written and directed by Reza Abdoh, performance at Sigma Festival, Bordeaux, 1992, photo: Patrick Veyssière</p>

The Hip-Hop Waltz of Eurydice, 1990. Written and directed by Reza Abdoh, performance at Sigma Festival, Bordeaux, 1992, photo: Patrick Veyssière

Frank Wagner

Installation view of the exhibition TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016), KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

<p>Peter Knoch, <em>Stonewall (2.0)</em>, 2019, installation view of the exhibition <em>TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016)</em>, KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Peter Knoch, Stonewall (2.0), 2019, installation view of the exhibition TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016), KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

<p>Frank Wagner in the exhibition<em> Félix González-Torres (1957–1996),</em> RealimusStudio / nGbK Berlin, 1996, photo: Jürgen Henschel</p>

Frank Wagner in the exhibition Félix González-Torres (1957–1996), RealimusStudio / nGbK Berlin, 1996, photo: Jürgen Henschel

Jimi Robert

<p>Jimmy Robert, <em>Joie noire</em>, performance with Courtney Henry at KW Institute for Contemporary Art, 2019, Berlin, Courtesy the artist, photo: Frank Sperling</p>

Jimmy Robert, Joie noire, performance with Courtney Henry at KW Institute for Contemporary Art, 2019, Berlin, Courtesy the artist, photo: Frank Sperling

Steve Bishop

Steve Bishop, installation view of the exhibition Deliquescing, Installation in five parts, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Carlos/Ishikawa, London, Photo: Frank Sperling

Tamara Henderson

Tamara Henderson, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

<p>Tamara Henderson, <i><span lang="EN-US">Sun Spider, </span></i><span lang="EN-US">2018, installation view</span> of the exhibition <em>Womb Life</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Tamara Henderson, Sun Spider, 2018, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

<p>Tamara Henderson, <i><span lang="EN-US">Language of Mud, </span></i><span lang="EN-US">2018, installation view</span> of the exhibition <em>Womb Life</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Tamara Henderson, Language of Mud, 2018, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Tamara Henderson, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

<p>Tamara Henderson, <i><span lang="EN-US">Nomad, Seasons End Curtains, </span></i><span lang="EN-US">2018, installation view</span> of the exhibition <em>Womb Life</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Tamara Henderson, Nomad, Seasons End Curtains, 2018, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Sidsel Meineche Hansen

Sidsel Meineche Hansen, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

<p>Sidsel Meineche Hansen, <i><span lang="EN-US">Untitled (Sex Robot), </span></i><span lang="EN-US">2018, installation view</span> of the exhibition <em>Real Doll Theatre</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Sidsel Meineche Hansen, Untitled (Sex Robot), 2018, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

<p>Sidsel Meineche Hansen, <i><span lang="EN-US">Maintenancer, </span></i><span lang="EN-US">2018, installation view</span> of the exhibition <em>Real Doll Theatre</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Sidsel Meineche Hansen, Maintenancer, 2018, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Sidsel Meineche Hansen, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

<p>Sidsel Meineche Hansen, <i><span lang="EN-US">PA.VA, </span></i><span lang="EN-US">2018, installation view </span>of the exhibition <em>Real Doll Theatre</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Sidsel Meineche Hansen, PA.VA, 2018, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

Beatriz González

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<p>Beatriz González, <em>Decoración de Interiores</em>,1981, installation view of the exhibition<em> Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, Decoración de Interiores,1981, installation view of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

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<p>Beatriz González, installation view of the exhibition <em>Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, installation view of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

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<p>Beatriz González, <em>Carguero La Cama Pictografias Particulares. Modelo B</em>,  2014, installation view in KW’s courtyard of the exhibition <em>Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, Carguero La Cama Pictografias Particulares. Modelo B,  2014, installation view in KW’s courtyard of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

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<p>Beatriz González, installation view in the hallway of the exhibition <em>Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, installation view in the hallway of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

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<p>Beatriz González, <em>Tapen, tapen</em>, 1994, installation view of the exhibition <em>Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, Tapen, tapen, 1994, installation view of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

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<p>Beatriz González, <em>Nací en Florencia y tenía ventiseis años cuando fue pintado mi retrato (esta frase pronunciada en voz dulce y baja),</em>  1974, installation view of the exhibition<em> Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, Nací en Florencia y tenía ventiseis años cuando fue pintado mi retrato (esta frase pronunciada en voz dulce y baja),  1974, installation view of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

<p>Beatriz González, <em>Los Suicidas del Sisga No 2</em>, 1965, Oil on canvas, Courtesy the artist, Óscar Monsalve, and Museo La Tertulia, Cali, Collection Museo La Tertulia, Cali</p>

Beatriz González, Los Suicidas del Sisga No 2, 1965, Oil on canvas, Courtesy the artist, Óscar Monsalve, and Museo La Tertulia, Cali, Collection Museo La Tertulia, Cali

<p>Beatriz González, <em>1/500</em>, 1992, Silkscreen on paper, Courtesy the artist, Collection Beatriz González</p>

Beatriz González, 1/500, 1992, Silkscreen on paper, Courtesy the artist, Collection Beatriz González

KW Production Series: Jamie Crewe and Beatrice Gibson

<p>Beatrice Gibson,<em> I Hope I’m Loud When I’m Dead</em>, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling</p>

Beatrice Gibson, I Hope I’m Loud When I’m Dead, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling

<p>Beatrice Gibson,<em> Prelude:CA, Prelude:Eileen</em>, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, courtesy the artist, 2018, photo: Frank Sperling</p>

Beatrice Gibson, Prelude:CA, Prelude:Eileen, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, courtesy the artist, 2018, photo: Frank Sperling

<p>Jamie Crewe, <em>Pastoral Drama</em>, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling</p>

Jamie Crewe, Pastoral Drama, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling

<p>Jamie Crewe, Showcase with sketchbook photocopies, ephemera from Suzan Pitt, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, Courtesy the artist, photo: Frank Sperling</p>

Jamie Crewe, Showcase with sketchbook photocopies, ephemera from Suzan Pitt, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, Courtesy the artist, photo: Frank Sperling

<p>Jamie Crewe, Sketchbook photocopies, ephemera from Suzan Pitt, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, Courtesy the artist, photo: Frank Sperling</p>

Jamie Crewe, Sketchbook photocopies, ephemera from Suzan Pitt, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, Courtesy the artist, photo: Frank Sperling

Evelyn Taocheng Wang

Evelyn Taocheng Wang, Hospital Conversations, Three Versions of Change, 2018, installation view of the exhibition What is he afraid of?, KW Institute for Contemporary Art, 2018, Courtesy the artist and Galerie Fons Welters, photo: Frank Sperling

<p>Evelyn Taocheng Wang, <em>Three Versions of Change</em>, 2018, installation view of the exhibition <em>What is he afraid of?</em>, KW Institute for Contemporary Art, 2018, Courtesy the artist and Galerie Fons Welters, photo: Frank Sperling</p>
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Evelyn Taocheng Wang, Three Versions of Change, 2018, installation view of the exhibition What is he afraid of?, KW Institute for Contemporary Art, 2018, Courtesy the artist and Galerie Fons Welters, photo: Frank Sperling

Lynn Hershman Leeson

Lynn Hershman Leeson, Lorna, 1979–82, installation view of the exhibition First Person Plural, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling

<p>Lynn Hershman Leeson,<em> First Person Plural, the Electronic Diaries of Lynn Hershman</em>, 1984–96 (in four parts), installation view of the exhibition <em>First Person Plural</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling</p>

Lynn Hershman Leeson, First Person Plural, the Electronic Diaries of Lynn Hershman, 1984–96 (in four parts), installation view of the exhibition First Person Plural, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling

<p>Lynn Hershman Leeson, <em>The</em> <em>Novalis Hotel</em>, 2018, Site-specific hotel room installation, Berlin, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling</p>

Lynn Hershman Leeson, The Novalis Hotel, 2018, Site-specific hotel room installation, Berlin, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling

<p>Lynn Hershman Leeson, <em>First Person Plural, The Electronic Diaries of Lynn Hershman</em> (1984–96), Courtesy the artist and Bridget Donahue, New York</p>

Lynn Hershman Leeson, First Person Plural, The Electronic Diaries of Lynn Hershman (1984–96), Courtesy the artist and Bridget Donahue, New York

AA Bronson

AA Bronson, Garten der Lüste, 2018, installation view KW Institute for Contemporary Art, photo: Frank Sperling

<p>AA Bronson in collaboration with Mark Jan Krayenhoff van de Leur and Adrian Hermanides, with an audio component titled FIELD by Ebe Oke, <em>Folly </em>(Detail /detail), 2015/16, mixed media installation, installation view KW Institute for Contemporary Art, photo: Frank Sperling, Courtesy the artist and Esther Schipper, Berlin</p>

AA Bronson in collaboration with Mark Jan Krayenhoff van de Leur and Adrian Hermanides, with an audio component titled FIELD by Ebe Oke, Folly (Detail /detail), 2015/16, mixed media installation, installation view KW Institute for Contemporary Art, photo: Frank Sperling, Courtesy the artist and Esther Schipper, Berlin

<p>AA Bronson in collaboration with Travis Meinolf, <em>Tent for Healing</em>, 2013, Mixed media installation, installation view KW Institute for Contemporary Art, photo: Frank Sperling, Courtesy the artist and Stedelijk Museum, Amsterdam</p>

AA Bronson in collaboration with Travis Meinolf, Tent for Healing, 2013, Mixed media installation, installation view KW Institute for Contemporary Art, photo: Frank Sperling, Courtesy the artist and Stedelijk Museum, Amsterdam

<p>AA Bronson, <em>Tent for Healing</em> (in collaboration with Travis Meinholf), 2013, exhibition view <em>AA Bronson, Tent of Healing</em>, Stedelijk Museum, Amsterdam, 2013, Courtesy the artist and Esther Schipper, Berlin</p>

AA Bronson, Tent for Healing (in collaboration with Travis Meinholf), 2013, exhibition view AA Bronson, Tent of Healing, Stedelijk Museum, Amsterdam, 2013, Courtesy the artist and Esther Schipper, Berlin

Judith Hopf

Judith Hopf, Hand 4, 2017, Installation view at KW Institute for Contemporary Art, Courtesy the artist and Deborah Schamoni, Munich, Photo: Frank Sperling

<p>Judith Hopf, installation view <em>Stepping Stairs</em> at KW Institute for Contemporary Art, Poto: Frank Sperling</p>

Judith Hopf, installation view Stepping Stairs at KW Institute for Contemporary Art, Poto: Frank Sperling

<p>Judith Hopf, <em>Stepping Stairs</em>, 2018, Courtesy Judith Hopf</p>

Judith Hopf, Stepping Stairs, 2018, Courtesy Judith Hopf

Trix & Robert Haussmann

Trix & Robert Haussmann, Installation view The Log-O-Rithmic Slide Rule: A Retrospective KW Institute for Contemporary Art, Photo: Frank Sperling

<p>Trix & Robert Haussmann, <em>Chair Fun: Neon-Stuhl</em>, 1967/2012, installation view KW Institute for Contemporary Art, Courtesy Zürcher Hochschule der Künste, Museum für Gestaltung Zurich</p>

Trix & Robert Haussmann, Chair Fun: Neon-Stuhl, 1967/2012, installation view KW Institute for Contemporary Art, Courtesy Zürcher Hochschule der Künste, Museum für Gestaltung Zurich

<p>Trix & Robert Haussmann, Ionic column stump, <em>Lehrstück V,</em> Function Follows Forms, 1978, Modell, Zabrowsky Modellbau, Dumeng Raffainer, photo: Fred Waldvogel, Courtesy Trix & Robert Haussmann</p>

Trix & Robert Haussmann, Ionic column stump, Lehrstück V, Function Follows Forms, 1978, Modell, Zabrowsky Modellbau, Dumeng Raffainer, photo: Fred Waldvogel, Courtesy Trix & Robert Haussmann

Ericka Beckman

Ericka Beckman, The Broken Rule, 1979, Super-8-film

Lucy Skaer

Lucy Skaer, La Chasse, 2017, Installation view KW Institute for Contemporary Art, Photo: Frank Sperling

<p>Lucy Skaer, Installation view <em>Available</em> Fonts at KW Institute for Contemporary Art, Photo: Frank Sperling</p>

Lucy Skaer, Installation view Available Fonts at KW Institute for Contemporary Art, Photo: Frank Sperling

Willem de Rooij

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>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

Hiwa K

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

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.

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

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

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

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

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

Paul Elliman

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.

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.