Press Contact

 

KW Institute for Contemporary Art
Karoline Köber
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 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

 

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.

 

 

Beatriz González

 
<div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <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> </div> </div> </div>

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

 

 

<div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <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> </div> </div> </div>

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

 

 

<div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Beatriz González, installation view of the exhibition <em>Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p> </div> </div> </div>

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

 

 

<div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <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> </div> </div> </div> </div> </div> </div>

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

 

 

<div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <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> </div> </div> </div>

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

 

 

<div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <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> </div> </div> </div>

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> 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, courtesy the artist, 2018, 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, courtesy the artist, 2018, 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, <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

 
<p>Evelyn Taocheng Wang, <em>Hospital Conversations</em>, <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> <p> </p>

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>Hospital Conversations</em>, <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> <p> </p>

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> <p> </p>

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

 
<p><span class="s1">Lynn Hershman Leeson, </span><i>Lorna</i>, 1979–82, 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, <span class="s1">photo: Frank Sperling</span></p>

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>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

 
<p>AA Bronson, <em>Garten der Lüste</em>, 2018, installation view KW Institute for Contemporary Art, photo: Frank Sperling</p>

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

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

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

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

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

 
<p>Ericka Beckman, <em>The Broken Rule</em>, 1979, Super-8-film</p>

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

 

 

Lucy Skaer

 
<p>Lucy Skaer, <em>La Chasse</em>, 2017, Installation view KW Institute for Contemporary Art, Photo: Frank Sperling</p>

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

 
<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>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)

 

 

<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.