Animals in Art @ Arken Museum of Modern Art, Ishoj

Animals in Art 
ARKEN Museum of Modern Art, Ishøj
March 21 – August 9, 2020 UPCOMING: Arken following the recommendations from the Danish authorities regarding the Coronavirus. The museum is therefore closed until further notice.

DANIEL FIRMAN

Nasutamanus, 2012 

Courtesy the artist & Perrotin

Camels and kittens, elephants and rats, feathered creatures and cute pets. ARKEN invites visitors to enter the animal kingdom of art, a realm filled with beautiful, strange and incredible creatures. The exhibition Animals in Art presents works by thirty-four international artists who explore our relationship with animals – and do so with humour, wit and bite.

In recent years, the relationship between humans and animals is widely explored in contemporary art. The exhibition Animals in Art delves into various aspects of this huge field, which includes critical takes on human manipulation of animals as well as cheerful celebrations of animals as wonderful creatures.

LISA STROMBECK

Uniform I, 2008-9

Photo (c) Lisa Strömbeck

Animals in Art explores how we humans use, look at, talk about and anthropomorphise animals. We are regularly seduced by adorable animals on the shelves of toy stores and on the internet; we love our pets and look for the human in them – or for the animal in ourselves. Animals are everywhere in our fables, adventures and mythologies, where we attribute human language and behaviour to them. We are fascinated by wild animals when visiting them at the zoo or in museums, and we tamper with the natural development of species, with the environment and with biodiversity when we produce animals industrially and fiddle with DNA, the building blocks of life. The exhibition offers many different takes on how we see and understand ourselves through other animal species. For example, it explores ‘cuteness’ as a pervasive phenomenon in our consumer and entertainment culture, influencing how we put animals into categories and assess their value.

WILLIAM WEGMAN

Looking Right, 2015 

Photo (c) William Wegman

CANDIDA HOFER

Zoologischer Garten Paris II 1997 

Photo (c) Candida Höfer

Featuring sculpture, installation, paintings, video and photography by thirty-four international artists, Animals in Art forms a sensuous, thought-provoking and engaging menagerie. For example, you can come face to face with a life-sized floating elephant, watch YouTube cats playing atonal piano pieces by Arnold Schönberg and take a fresh look at the artificial environments created by zoos.

KOHEI NAWA

PixCell-Deer #44, 2016 

Photo: Omer Tiroche Gallery

DAVID SHRIGLEY

Untitled (Lay An Egg), 2019  

Courtesy the artist and Galleri Nicolai Wallner

Inside ARKEN’s 150-metre long exhibition space known as the Art Axis, the museum presents fifteen feathered polar bears created by Italian-born artist Paola Pivi. For this presentation, called We are the Alaskan tourists, Paola Pivi has replaced the polar bears’ familiar thick, white fur with light, brightly coloured summery feathers, directing our thoughts away from the harsh climate of Alaska towards southern skies and the carnivals of Brazil. The polar bear is known as The King of the Arctic; a powerful and majestic beast. Today, however, the polar bear has also become a symbol of a dystopian future. It leads an uncertain existence in territories now threatened by climate change. Perhaps this flock of tourists have sought refuge at ARKEN. Adapting to the current climate of our planet, they have replaced their warm fur with frothy feathers.

PAOLA PIVI

It’s not fair, 2013 

Photo: Guillaume Ziccarelli 

Courtesy the artist & Perrotin

PETER HOLST HENCKEL

World of Butterflies, 1992-2002 (detail)

Courtesy the artist

The exhibition Animals in Art presents works by Cory Arcangel, John Baldessari, Richard Barnes, Pascal Bernier, Sophie Calle, Mircea Cantor, Maurizio Cattelan, Mark Dion, Nathalie Djurberg & Hans Berg, Martin Eder, Michael Elmgreen & Ingar Dragset, Annika Eriksson, Daniel Firman, Laura Ford, Douglas Gordon, Damien Hirst, Peter Holst Henckel, Camille Henrot, Candida Höfer, Carsten Höller, Bharti Kher, Paul McCarthy, Kohei Nawa, Rivane Neuenschwander & Sérgio Neuenschwander, Tim Noble & Sue Webster, Patricia Piccinini, Paola Pivi, David Shrigley, Lisa Strömbeck and William Wegman.

ARKEN MUSEUM OF MODERN ART
Skovvej 100, 2635 Ishøj
arken.dk

The Faculty of Sensing. Thinking With, Through, and by Anton Wilhelm Amo @ Kunstverein Braunschweig

THE FACULTY OF SENSING
Thinking With, Through, and by Anton Wilhelm Amo
Kunstverein Braunschweig
Through August 2, 2020

With THE FACULTY OF SENSING – Thinking With, Through, and by Anton Wilhelm Amo, Kunstverein Braunschweig has worked in close cooperation with Bonaventure Soh Bejeng Ndikung to develop a project in honor of Anton Wilhelm Amo, an outstanding philosopher of the 18th century. On the basis of Amo’s writings and their reception, highly topical issues of referentiality, erasure, and canonization will be discussed.

In a 2013 essay The Enlightenment's 'Race' Problem, and Ours for the New York Times' philosophy page The Stone, Justin E. H. Smith wonders how and why philosophers like Immanuel Kant or David Hume could afford to be so explicitly racist, at a period when a contemporary of theirs Anton Wilhelm Amo was excelling as a philosopher. The explanation for this can be found in processes of erasure in relation to what Michel-Rolph Trouillot has called 'Silencing the Past'.

Anton Wilhelm Amo (* around 1700 — † after 1753) is considered to be the first Black academic and philosopher in Germany. His work was largely pushed to the margins and rendered obscure. Amo studied philosophy and law in Halle and positioned himself with his dissertations on the mind-body problem (1734) at the University of Wittenberg and Treatise on the Art of Philosophising Soberly and Accurately (1738) as an early thinker of the Enlightenment.

Anton Wilhelm Amo was abducted from the territory of present-day Ghana as an infant, enslaved, and taken via Amsterdam to Wolfenbüttel at the court of Duke Anton Ulrich. It was here that he began his academic career.

As part of the extensive research and exhibition project, 16 international artists and groups were invited to respond to the philosophical thought of Anton Wilhelm Amo in largely newly produced works. Curatorially, the project develops around questions of Amo’s understanding of the thing-in-itself, the discourse of body and soul, the legal status and recognition of Black people in the 18th century and the present time, transcendental homelessness, the politics of naming, and the narrative and history of the Enlightenment.

Artists: Akinbode Akinbiyi (born 1946 in Oxford, UK), Bernard Akoi-Jackson (born 1979 in Accra, GHA), andcompany&Co. (founded 2003 in Frankfurt am Main, GER), Anna Dasović (born 1982 in Amsterdam, NLD), Jean-Ulrick Désert (Port-au-Prince, HTI), Theo Eshetu (born 1958 in London, UK), Adama Delphine Fawundu (born 1971 in New York, USA), Lungiswa Gqunta (born 1990 in Port Elizabeth, ZAF), Olivier Guesselé-Garai (born 1976 in Paris, FRA), Patricia Kaersenhout (born 1966 in Den Helder, NLD), Kitso Lynn Lelliott (born 1984 in Molepolole, BWA), Antje Majewski (born 1968 in Marl, GER), Claudia Martínez Garay (born 1983 in Ayacucho, PER), Adjani Okpu-Egbe (born 1979 in Kumba, CMR), RESOLVE Collective (founded 2016 in London, UK), Konrad Wolf (born 1985 in Neubrandenburg, GER)

Via questions on the environment Anton Wilhelm Amo grew up in and spaces that we still share with him today, Akinbode Akinbiyi embarked on a journey through the region to conduct a photographic search for vestigial remains. Adama Delphine Fawundu shares this interest in trans-historical connections, working with water as the connecting element that flows through a spatial installation composed of photographs, videos, and an artists’ book. Following Anton Wilhelm Amo’s theory that it is only the living organic body that can feel and that the soul cannot, Kitso Lynn Lelliott has created a videographic portrait of environments from Amo’s life journey in Ghana and Germany. A second chapter tackles the shortcomings of re-enacting from a position of absence. Starting with targeted interrogations that flank the exhibition’s spatial course, Anna Dasović focuses on the empty spaces and deliberate omissions that have shaped Amo’s biography and perception of his work, questioning thereby the prevailing criteria of canonization.

In another form, RESOLVE Collective too have tackled the aporias, gaps, and contradictions that shaped Amo’s life, philosophical oeuvre, and reception of his work. The resulting project Programming Im/Passivity (2020) attempts to translate Amo’s theoretical positions into sensory and artistic processes, with the observers becoming involved as active participants in a workshop-library environment. A newly developed performance by Bernard Akoi-Jackson runs throughout the exhibition in several stages, with visitors again being invited to relate personally to Amo’s work.

With a room plan made of barbed tape and treated fabrics, Benisiya Ndawoni II (2020) by Lungiswa Gqunta addresses structural violence, migration, and the forced movement of Black people. Questions of exclusion and everyday discrimination are likewise the starting point for the Olivier Guesselé-Garais poem Their Eyes Were Watching Cop, (2015/2020), here reinterpreted in the form of an installation. Claudia Martínez Garay assembles drawings, prints, and paintings into a visual narrative that links back to heritage, displacement, and racism while also referring back to one-sided definitions of modernity and the problematic relationship of Black and Brown bodies to (cultural) institutions. These are issues that have also motivated Patricia Kaersenhout in her artistic and activist practice for many years. As part of the exhibition, Kaersenhout is showing the series While we were Kings and Queens (2020), in which she examines the trauma of a colonial oppression that stands in flagrant contradiction to the proclaimed ideals of the Enlightenment.

In his multimedia installation Decolonizing Knowledge (2020), Adjani Okpu-Egbe bridges the gap between Amo’s work, person, and a proposed alternative canon developed in collaboration with renowned thinkers, academics, and artists.

Direct connections to Anton Wilhelm Amo’s philosophical writings are also found in new works from Antje Majewski and Theo Eshetu. Majewski’s Die Apatheia der menschlichen Seele (2020) takes individual imaginations of the soul and translates them into painting via Amo’s ideas; Amo himself is able to “speak” via quotations in a video work by Eshetu. That Anton Wilhelm Amo’s history is a special but by no means an isolated case is made clear in the 2009 cyanotype series Good Morning Prussia series by Jean-Ulrick Désert, which recalls the fate of one of Amo’s contemporaries.

On the initiative of architect Konrad Wolf, Kunstverein Braunschweig will itself become the Anton Wilhelm Amo Center (2020) for the duration of the FACULTY OF SENSING – Thinking With, Through, and by Anton Wilhelm Amo exhibition, reflecting during this time on processes of strategic renaming over the course of accompanying workshops with Braunschweig Postkolonial and Tahir Della (Initiative Schwarze Menschen in Deutschland e.V.).

And finally, the performance collective andcompany&Co. will on April 25 show a collaboration created in cooperation with Staatstheater Braunschweig. Black Bismarck revisited (again) takes the Africa Conference as a starting point for tracing the consequences of colonialism.

Curators: Bonaventure Soh Bejeng Ndikung, Jule Hillgärtner, Nele Kaczmarek

Assistant curators: Franz Hempel, Raoul Klooker

Until further notice, the exhibition THE FACULTY OF SENSING is only accessible online at www.kunstvereinbraunschweig.de. Kunstverein Braunschweig sharing images, texts, moving image works and video portraits on the museum website.

KUNSTVEREIN BRAUNSCWEIG
Lessingplatz 12, 38100 Braunschweig
kunstvereinbraunschweig.de

THE FACULTY OF SENSING, March 28 – Aug 2, 2020

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Biennial Made in LA 2020 @ Hammer Museum, Los Angeles & The Huntington, San Marino

Biennial Made in L.A. 2020: a version
The Hammer Museum, Los Angeles
The Huntington Library, Art Museum, San Marino
June 7 - August 30, 2020

The Hammer Museum and The Huntington Library, Art Museum, and Botanical Gardens have announced the 30 artists participating in Made in L.A. 2020: a version, the fifth iteration of the Hammer’s biennial exhibition highlighting the practices of artists working throughout the greater Los Angeles area. Cocurated by Paris-based curator Myriam Ben Salah and L.A.–based curator Lauren Mackler with the Hammer’s Ikechukwu Onyewuenyi as assistant curator of performance, Made in L.A. 2020: a version is presented at both the Hammer and The Huntington from June 7 through August 30, 2020. 

The biennial’s two venues create a cross-town conversation from west to east. Taking advantage of the city’s sprawling geography, the curators chose to stage the exhibition in two mirrored parts, presenting works by all the artists in both museums in addition to select locales in between.

“I continue to marvel at how different and eye-opening each iteration of Made in L.A. can be,” said Hammer Museum director Ann Philbin. “Through nearly 300 hundred studio visits, Myriam, Lauren, and Ike have assembled a group of artists who delve into fascinating and often overlooked histories, subcultures, and communities of L.A. Once again, the exhibition has illustrated the strength and vision of the here and now of contemporary art in our city.”

“With every artist represented at both The Huntington and the Hammer, visitors will have two unique experiences that comprise one whole biennial,” Huntington president Karen R. Lawrence said. “I’m particularly excited to see the ways in which the artists’ work will activate our galleries and highlight the collaborative energy that characterizes our Centennial Celebration.”

Made in L.A. 2020 will feature long-standing research projects alongside newly commissioned works and commingles a mix of practitioners—artists, writers, filmmakers, and performers. Subtitled “a version,” the exhibition will highlight conceptual threads that connect the artists’ works: entertainment both as a subject and a material; the genre and aesthetic of horror in contemporary practices; and the film and theater convention of the fourth wall, a device through which fiction is built and dismantled.

Made in L.A. 2020 Artists

● Mario Ayala (b. 1991, Los Angeles, CA)

● Aria Dean (b. 1993, Los Angeles, CA)

● Hedi El Kholti (b. 1967, Rabat, Morocco)

● Buck Ellison (b. 1987, San Francisco, CA)

● Niloufar Emamifar

● Christina Forrer (b. 1978, Zürich, Switzerland)

● Harmony Holiday (b. 1982)

● Patrick Jackson (b. 1978, Los Angeles, CA)

● Larry Johnson (b. 1959, Lakewood, CA)

● Kahlil Joseph (b. 1981, Seattle, WA)

● Ann Greene Kelly (b. 1988, New York, NY)

● Jacqueline Kiyomi Gordon (b. 1982, Long Beach, CA)

● Nicola L. (b. 1937, Mazagan, Morocco; d. 2018, Los Angeles, CA)

● Brandon D. Landers (b. 1985, Los Angeles, CA)

● SON. (Justen LeRoy) (founded 2016)

● Ligia Lewis (b. 1983, Santo Domingo, Dominican Republic)

● Monica Majoli (b. 1963, Los Angeles, CA)

● Jill Mulleady (b. 1980, Montevideo, Uruguay)

● Diane Severin Nguyen (b. 1990, Carson, CA)

● Alexandra Noel (b. 1989, Columbus, OH)

● Mathias Poledna (b. 1965, Vienna, Austria)

● Umar Rashid (b. 1976, Chicago, IL)

● Reynaldo Rivera (b. 1963, Mexicali, Mexico)

● Katja Seib (b. 1989, Dusseldorf, Germany)

● Ser Serpas (b. 1995, Los Angeles, CA)

● Sonya Sombreuil / COME TEES (b. 1986, Santa Cruz, CA)

● Jeffrey Stuker (b. 1979, Fort Collins, CO)

● Beyond Baroque by Sabrina Tarasoff (b. 1991, Jyväskylä, Finland)

● Fulton Leroy Washington (aka MR. WASH) (b. 1954, Compton, CA)

● Kandis Williams (b. 1985, Baltimore, MD)

Some artists will create new site-specific works for Made in L.A. 2020.

● Jacqueline Kiyomi Gordon will construct a series of rooms inhabited by loudspeakers and live performers presenting a durational performance at the Hammer for the length of the exhibition. In concert with one another, the devices and the vocalists will reconsider public speech through an assemblage of voices and sound. The creation of this work is made possible by a generous contribution from VIA Art Fund.

● For both the Hammer and The Huntington, Ser Serpas will display ephemeral sculptures sourced directly from the surroundings of each exhibition venue and placed in the space through an intimate performance, an index of the artist’s movements.

Performances will be staged by artists at both venues, concentrated around three weekends during the exhibition run: June 12–14, July 17–19, and August 14–16.

● Dancer and choreographer Ligia Lewis will present a recurring performance of dancers “dying” continually and competitively in the galleries to consider the larger notion of the “deadpan” in performance and beyond.

● Artist, archivist, filmmaker, and dancer Harmony Holiday will write and direct a one-man play entitled God’s Suicide, about the five rarely acknowledged suicide attempts by writer and thinker James Baldwin.

● Artist and writer Aria Dean will build an ambitious sculptural installation of two-way mirrors within the galleries as a set for a play, which will unfurl in three episodes during the course of the summer. Each episode will be recorded and broadcast on screens in the installation when it is not activated by the performance.

Several of the artists in Made in L.A. 2020: a version reanimate archival materials in their presentations.

● Through a series of paintings presented at the Hammer and an archival installation conceived specifically for The Huntington, Mario Ayala explores the legacy of the cult publication Teen Angels, which documented Cholo culture in the 1980s and 1990s and featured the artworks, poems, dedications, photographs, and essays of Chicanos, particularly those who were gangaffiliated or in prison.

● Writer and curator Sabrina Tarasoff—whose recent research project has been focused on the work of the 1980s “poetry-gang” that gathered at Beyond Baroque literary center for Dennis Cooper and Amy Gertsler’s Wednesday night poetry series—will revitalize this living archive through a haunted house installation, as well as a series of programs and performances.

● Painter Monica Majoli will present a series of large-scale watercolor woodcut paintings whose imagery is pulled from the pages of Blueboy magazine. Focusing on the early years of the periodical, Monica Majoli lusciously presents a vibrant era of the magazine and gay life right before the devastation of the AIDS epidemic. At The Huntington, Monica Majoli will present an installation of archival materials from the magazine alongside studies for her paintings.

Additionally, several projects will happen off site.

● After spending four decades investigating the inherent contradictions between the glossy surfaces and underlying cynicism of American culture, especially in Los Angeles, Larry Johnson will show new works on five commercial billboards throughout the neighborhood of MacArthur Park. The presentation is coproduced with The Billboard Creative.

● Kahlil Joseph will present the most ambitious installation to date of BLKNWS, a conceptual news program taking the form of a two-channel installation connected to a newscast that blurs the lines between art, reporting, entrepreneurship, and cultural critique. BLKNWS will be broadcast at sites across Los Angeles, with a focus on South Los Angeles and black-owned businesses. This iteration of BLKNWS aims to bring the work to its largest audience yet, reaching people in their everyday environments. Sites will be announced ahead of the exhibition opening. The presentation is coproduced with LAND (Los Angeles Nomadic Division).

● SON., a platform founded in 2016 by Justen LeRoy, will create a podcast series for Made in L.A. visitors to listen to during the drive from one museum to the other. Recorded from SON.’s headquarters at the South Central barbershop Touched by An Angel, the episodes will feature conversations, cultural commentary, music, and special guests. 

Catalogue and companion publication

Made in LA 2020 Catalogue

The exhibition catalogue will draw inspiration from historical artist magazines and will become an additional venue for the show, showcasing newly commissioned interventions made by artists specifically for the pages. Furthermore, there will be a companion publication published after Made in L.A. 2020 to include programs, conversations, and other records of the work comprising the biennial. Both publications are designed by Studio Ella and distributed worldwide by DelMonico Books•Prestel.

The presenting sponsor for the exhibition is Bank of America.

THE HAMMER MUSEUM
10899 Wilshire Blvd., Los Angeles, CA 90024
hammer.ucla.edu

THE HUNTINGTON LIBRARY, ART MUSEUM, AND BOTANICAL GARDENS
1151 Oxford Road, San Marino, CA 91108
huntington.org

James Cagle: Excavation, 1974 - Online - Madison Museum of Contemporary Art

James Cagle: Excavation
Madison Museum of Contemporary Art
Exhibition Film available online during MMoCA closure

JAMES CAGLE

Excavation, 1974

16mm color film (digitized), with sound, 5:00 minutes

Courtesy of the artist and the New York Filmmakers’ Cooperative

Madison Museum of Contemporary Art has placed James Cagle’s film Excavation (1974) on the MMoCA.org website to ensure that everyone can see the work during the museum’s closure.

Excavation, along with James Cagle’s photographic series, A Final Meditation on Art, on display in MMoCA’s State Street Gallery, opened just two weeks before the museum closed as a public safety measure due to the coronavirus. A Final Meditation on Art will be on view in the museum through July 26, 2020. Excavation is scheduled to remain on view in the Imprint Gallery through May 24.

JAMES CAGLE

Excavation, 1974

16mm color film (digitized), with sound, 5:00 minutes

Courtesy of the artist and the New York Filmmakers’ Cooperative

Excavation demonstrates James Cagle’s engagement with structural filmmaking, an avant-garde movement that emerged in the 1960s and emphasized the physical properties of film, rather than film as a narrative tool. Excavation is an example of a “flicker film,” a specific type of structural filmmaking where rapid sequences of imagery flash across the screen to create a strobelike, flickering effect.

Composed of both still photographs and live footage, Excavation employs extremely short-shot juxtapositions to create disorienting collisions of imagery. To create this piece, James Cagle undertook a painstaking and time-intensive editing process, alternating between exposing one frame of film and blacking out the next.

JAMES CAGLE

Excavation, 1974

16mm color film (digitized), with sound, 5:00 minutes

Courtesy of the artist and the New York Filmmakers’ Cooperative

Through staccato bursts of light, we are shown a flashing collage of seascapes and gravel roads, a woman’s face and the naked female form, pointing fingers and pulsating shapes. For James Cagle, this film symbolized a personal exploration of, in his words, “techniques and ideas that have accumulated over the years, but had been without expression for one reason or another.” A dynamic visualization of his thoughts, it “excavates” both the private workings of his inner world, and also the material components of filmmaking.

The film and images are courtesy of the New York Film-Makers Co-op and New American Cinema Group.

Generous support for Imprint Gallery programming has been provided by Willy Haeberli in memory of Gabriele Haberland.

MADISON MUSEUM OF CONTEMPORARY ART - MMoCA
227 State Street, Madison, WI 53703
mmoca.org

Billy Childish @ Lehmann Maupin, Seoul - wolves, sunsets and the self

Billy Childish: wolves, sunsets and the self
Lehmann Maupin, Seoul
April 23 – May 30, 2020

Lehmann Maupin presents an exhibition of new paintings by Billy Childish. The prolific British painter, musician, and writer has produced hundreds of albums of music and dozens of volumes of fiction and poetry. For his sixth exhibition with the gallery, and his first with Lehmann Maupin in Korea, Billy Childish has created a body of work emblematic of his “radical traditionalist” approach. Pulling from themes found throughout art history—a verdant landscape, a sunset, a still life—Billy Childish presents intensely personal vignettes that feel archetypical, vibrating with the kinetic energy of a moment lived.

While working in a state of flow is essential to the creative process of any artist, for Billy Childish this state represents the entirety of artistic production. Working intuitively and quickly, his highly kinetic paintings are mostly created in a single session without any revision. His style is often compared to the expressionist painters of the late 19th/early 20th century, such as Vincent van Gogh and Edvard Munch, but for Billy Childish it is the embodiment of these artists’ spiritual and creative integrity, and how this informed their roles within society, that is most compelling. An unabashed universalist, Billy Childish considers artistry to be the inheritance of every human being, a method to capture the expressive impulse and visualize the powerful lure of beauty.

Utterly non-ironic and vividly familiar, a Billy Childish painting can be interpreted the way one might interpret a dream. In these paintings, Billy Childish presents a series of landscapes ranging from an idyllic sunset to an ominously clouded sky. Also included is a still life of a vase of flowers and a wolf stalking its prey. All of these can be thought of as signifiers for states of being or emotions legible in the form of a landscape. For the artist, the conceptual should never replace the humanistic—Billy Childish states “I make a picture in the same way a child does—something ‘out there’ interests me. Making a painting of that ‘something’ then joins me with the universal creator/creation in a more intent way than just being an observer.”

BILLY CHILDISH (b. 1959, Chatham, Kent, United Kingdom; lives and works in Rochester/Chatham, Kent) attended Medway College of Design, Kent in 1977 and Saint Martin’s School of Art, London in 1978. Solo exhibitions of his work have been organized at Rochester Art Gallery, Kent, United Kingdom (2016); Opelvillen Rüsselsheim, Frankfurt, Germany (2016); White Columns, New York, NY (2010); and the Institute of Contemporary Arts, London, United Kingdom (2010). Select group exhibitions featuring his work include BILLY CHILDISH, HARRY ADAMS and EDGEWORTH JOHNSTONE: Our Friend Larionov, Pushkin House, London, United Kingdom (2014); Paintings Sweet Paintings, Neuer Aachener Kunstverein, Aachen, Germany (2014); and British Art Show 5, City Art Centre, Edinburgh, Scotland (2000). Billy Childish has written and published five novels and more than 40 volumes of poetry, and recorded more than 150 LPs.

LEHMANN MAUPIN
74-18, Yulgok-ro 3-gil, Jongno-gu, Seoul
lehmannmaupin.com

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