Torsten slama biography of michael

  • Torsten Slama was born in
  • Perspectives 166: Torsten Slama - Condition Reports, 2009-06-15 - 2009-08-02

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     File — Box: 191, Folder: 13

    Scope and Contents

    From the Series:

    Curatorial correspondence, research, past exhibits by the artists, press regarding artists, and more, which aid in the development of exhibitions.

    Correspondence, artist and lender files, purchase orders, checklists, publicity such as press releases and news clippings, research materials, invitations, catalogue drafts, contracts, installation plans, and shipping information document the exhibition history of the Contemporary Arts Museum (CAM) from 1948 to 1985. Prior to March 1982, however, the majority of the files are limited to invitations, press releases, and other publicity materials. For complete exhibition information, researchers should refer to the CAM exhibition catalogues that have been separated and removed from the exhibition files. Due to severe water damage, several files (1975-76) required extensive photocopying and the following items were discarded: Exhibition catalogues: Luis Jimenez (11/26/74 - 1/5/75) Terry Allen (11/7 - 12/8/75) Catalogue mock-up: Dick Wray (10/26 - 11/2/75) Both photographs and oversized materials have been removed from the exhibition files and placed respectively in the CAM Photograph Collection and the CAM Oversize Collection. Artist and lender files generally contain both correspondence and research materials, including biographies, articles, and exhibition histories. These files are arranged alphabetically by name and then chronologically, as are similar files such as potential lenders, loans denied, potential artists, and potential traveling venues. General correspondence files are arranged chronologically. Of particular interest is the correspondence file of artist Earl Staley (December 3, 1983 - February 5, 1984) which contains original artwork on postcards sent to CAM staff.

    HS 4:3, Special Events Records, includes information o

    Kai Althoff

    Born in 1966 in Cologne, Germany. Lives and works in New York City.
     

    SOLO EXHIBITIONS

    2024

    Kai Althoff: di costole, Nervi delle Volpi, Genoa

    2020
    Kai Althoff goes with Bernard Leach, Whitechapel Gallery, London

    2018
    Kai Althoff: Häuptling Klapperndes Geschirr, TRAMPS, New York

    2016
    Kai Althoff: And then leave me to common swifts (und dann überlasst mich den Mauerseglern), Museum of Modern Art, New York

    2014
    Kai Althoff, Michael Werner, London

    2011
    Kaiki, Focal Point Gallery, Southend
    Punkt, Absatz, Bluemli (period, paragraph, Bluemli), Gladstone Gallery, New York

    2008
    Kai Althoff, Vancouver Art Gallery, Vancouver

    2007
    Kai Althoff: Ich meine es auf jeden fall schlecht mit ihnen, Kunsthalle Zurich, Zurich
    Nick Z & Kai Althoff: We Are Better Friends For It, Gladstone Gallery, New York

    2005
    Kai Althoff/Lutz Braun: Solo fur eine befallene trompete, ACME Gallery, Los Angeles

    2004
    Kai kein Respekt, Institute of Contemporary Art, Boston; Museum of Contemporary Art, Chicago
    Immo, Simultanhalle, Cologne

    2003
    Vom Monte Scherbelino Sehen, Diözesanmuseum Freising, Munich

    2002
    Kai Althoff and Armin Kraemer, Kunstverein Braunschweig, Braunschweig

    2001
    Impulse, Anton Kern Gallery, New York
    Aus Dir, Galerie Daniel Buchholz, Cologne

    2000
    Hau ab, Du Scheusal, Galerie Neu, Berlin
    Stigmata aus Grossmanssucht, Galerie Ascan Crone, Hamburg
    Kai Althoff, ACME, Los Angeles

    1999
    Ein noch zu weiches Gewese der Urian-Bundner, Galerie Christian Nagel, Cologne
    Kai Althoff, Galerie Gabi Senn, Vienna

    1998
    Reflux Lux, Galerie Neu, Berlin
    Bezirk der Widerrede, Galerie Daniel Buchholz, Cologne

    1997
    Hilfen und Recht der äußeren Wand (an mich), Anton Kern Gallery, New York
    In Search of Eulenkippstadt, Robert Prime Gallery, London
    Heetz, Nowak, Rehberger, Museo de Arte Contemporanea ca USP, São Paulo

    1996
    Hakelhug, Galerie Christian Nagel, Cologne

    1995
    Hast

  • Biography. Born 1967, Schwarzach, Austria. Featured
  • E:vent—Cyril Lepetit—Untitled Personal Exhibition

    Today, I had one of those somewhat rare, inspirational days, which served to regenerate my enthusiasm for art.

    My friend Catherine texted me this afternoon to ask if I fancied visiting some galleries in the Bethnal Green area. I was in two minds about going at first, it takes about an hour to get there and I’d already been out once that day and kind of felt like staying in and getting some reading done. But I also felt that I shouldn’t miss an opportunity to see some shows as college work has meant that I’ve been on some kind of hiatus for the past two months as far as visiting galleries goes. So an hour later I was in Bethnal Green, waiting to meet Catherine, and what looked like a grey and chilly day unexpectedly turned sunny and warm.

    Catherine was brandishing a map published by Time Out magazine promoting firstthursdays, an initiative to promote East End galleries. The East End of London has always had that certain something which marks what might be an up-and-coming ‘art’ area. Unfortunately, it’s had it for a very long time – when I was on my Fine Art degree in the early ’90’s this was where the smaller galleries were just starting to get a foothold, but the area itself was still very much a down-market neigbourhood, and the galleries tended to stand out like sore thumbs in this environment. But things finally look like they’re happening, to the extent that the area seems to be undergoing an overall regeneration – new appartment blocks and offices are springing up amongst the industrial units and ex-council flats, this perhaps being the more obvious signs of an overall gentrification of the area (for better or worse).

    We only had a couple of hours so we concentrated on a small area to the West of Cambridge Heath Road, starting on Old Bethnal Green Road at Hotel, showing a series of large-scale but intricately detailed drawings by Torsten Slama: &#

    Torsten Slama suspends the rules of physics in favor of his poetic imagination. In Slama’s world, floating geometric shapes can effortlessly co-exist with modernist architecture and sci-fi landscapes. His subjects are consistently architectural and mechanical, and noticeably absent of humans. Is this utopia better off without humans, or perhaps more unsettling with their absence? Is this a post-apocalyptic world erased of humanity? One is never quite sure.

    This recent suite of drawings, on view at Wystube Isebähnli, Zurich, through June 29th, expounds upon Slama’s fascination with this tension between machinery, architecture, and landscape. Sometimes the trains roll past industrial buildings, forcing the viewer to question if the isolated structures, while well-preserved, are relics of a civilization now extinct. Other times they travel through bucolic landscapes, imparting man-made steam and pollution onto the pastoral setting. Strange UFOs hover above a few of the trains, suggesting that if there were inhabitants, they might not be human.

    Torsten Slama was born in Schwarzach, Austria, in 1967. Slama was featured in a major solo exhibition at Contemporary Arts Museum Houston, Texas, in 2009. He additionally has shown at Museum de Hallen, Haarlem, The Netherlands; Deichtorhallen, Hamburg, Germany; and can be found in the permanent collection of The Museum of Modern Art, New York.

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      Torsten slama biography of michael


  • Torsten Slama: 15 exhibitions
  • Curatorial correspondence, research, past exhibits