ARCOmadrid 2018: Future Section - Artists, Artworks and Galleries

ARCOmadrid 2018: Future Section
21 - 25 February 2018

The line of research pursued at ARCOmadrid 2018 is not a guest country or region, but a concept: The Future. This section presents a selection of 20 galleries, in addition to a programme of events curated by Chus Martínez, Rosa Lleó and Elise Lammer.

Under the heading: What is going to happen is not "the future", but what we are going to do, the space was designed by Andrés Jaque and conceived as an open presentation of the different works by the selected artists. Thus, it will also seek to surprise through the aesthetics and conceptual qualities of how it is staged, addressing the complexity of the artistic minds represented.

GB AGENCY, Paris
www.gbagency.fr

JULIUS KOLLER

Textil-Bag with Question Marks, 1969/2007

White latex on bag, framed, 101 x 72 x 6 cm

GB AGENCY, Paris

JULIUS KOLLER

Ping-Pong (U.F.O.), 1992

Installation

GB AGENCY, Paris

Around twenty artists will be present in this space, reflecting a diversity in both the generations and the artistic language set to propose the idea of the future as a form of training to get closer to the mindset of the artists and their issues and challenges. The Future conceived as an effort, an ongoing exercise of acknowledgement, producing space, imagining difference and avoiding the platitude of standard views of life.

In addition to the exhibition space dedicated to this concept in the Fair, the curators will also direct the Seminar Caressing the future.  A tribute to the great Bola de Cristal, a day of theory organised into two sessions: a morning session with artists and professionals, and an afternoon session which will begin with an intervention by Timothy Morton. They will also benefit from the participation of international curators, critics, philosophers and scientists who will raise awareness of relevant research to move closer to the future, in a setting created by the artist, Álvaro Urbano.

BORTOLAMI GALLERY, New York
http://bortolamigallery.com

BARBARA KASTEN

Construct I-B, 1979

Polaroid, 25.4 x 20.3 cm

BORTOLAMI GALLERY, New York

BARBARA KASTEN

Metaphase 3, 1986

Cibachrome, 96.5 x 75.5 cm

BORTOLAMI GALLERY, New York

BARBARA KASTEN

Scene II, 2012

Archival pigment print

138.5 x 110.5 cm

BORTOLAMI GALLERY, New York

The city of Madrid will also host initiatives, events and activities revolving around The Future, extending ARCOmadrid 2018’s focus on innovation and reflection to some of the city’s other cultural areas and scenarios. Institutions such as CentroCentro, CA2M, Museo Thyssen and MNCARS, among others, join this analysis with specific projects to coincide with ARCOmadrid.

What is going to happen is not "the future", but what we are going to do.

The ARCOmadrid 2018 edition will not have a guest country, but rather a concept as a guest: the future. A notion that everyone is talking about, yet one that’s hard to elaborate on as it is not, as the Borges quote I’ve used for the title claims, a reference to what has yet to happen, but rather our ability to intervene in it. To create a space for the future within an encounter like ARCOmadrid is doubly complex.

GALERIA PATRICIA READY, Santiago de Chile

www.galeriapready.cl

PATRICIA DOMINGUEZ

soñé@cerámicas.cl, 2017

Video instalación de 3 canales, 7 pantallas LEDS pintadas, zapatillas led,

3 vasijas de greda pintadas y cuellos de camisas corporativas

GALERIA PATRICIA READY, Santiago de Chile

PATRICIA DOMINGUEZ

soñé@cerámicas.cl (detalle), 2017

Pantallas LEDS pintadas

GALERIA PATRICIA READY, Santiago de Chile

PATRICIA DOMINGUEZ

soñé@cerámicas.cl (detalle), 2017

3 vasijas de greda pintadas y cuellos de camisas corporativas

GALERIA PATRICIA READY, Santiago de Chile

It could, in this context, be misinterpreted as an exercise of prospection in the future of the art market rather than the future of our actions and responsibilities to art and culture. But to address the nature of artistic, institutional, media and educational language when speaking of the future as if it were a miracle about to happen within an edition of ARCOmadrid may turn out to be as productive as it is strange, precisely because of the complex and intangible nature of this event within the history of our relationship with contemporary art and its worlds. By choosing to speak of future without futurology implies a tentative endeavour to address what currently feeds art and society: economy, nature, technology, gender, coexistence, privatisation, education, protection of the cultural sphere, autonomy and form of the institutions, interaction between the rural context and its development with urban life… To speak of it at ARCOmadrid is certainly a challenge, but a challenge that makes sense as since its beginnings, and for many professionals, it has provided a forum for meeting and debate.

Accompanied by two knowledgeable professionals about the possibilities and problems faced by artists and professionals of the public and private sectors, Elise Lammer and Rosa Lleó, our idea is to garner a space that allows us to imagine, produce and propose a vision of the complexity that awaits us.

Chus Martínez

GALLERIA UMBERTO DI MARINO, Naples

www.galleriaumbertodimarino.com

PEDRO NEVES MARQUES

Learning to Live with Other Bodies, 2017

Exhibition view at Galleria Umberto Di Marino. Collection ARCO Foundation

GALLERIA UMBERTO DI MARINO, Naples

PEDRO NEVES MARQUES

GMO are a Direct Evolution of Botanical Expeditions to the Colonies 

Throughout Modern Times, 2017

Installation, UV print on white latex. Fabio Frasca collection, Napoli

GALLERIA UMBERTO DI MARINO, Naples

PEDRO NEVES MARQUES

Learning to Live With the Enemy, 2016

Video, color, sound. Exhibition view at Galleria Umberto Di Marino

GALLERIA UMBERTO DI MARINO, Naples

PEDRO NEVES MARQUES

Learning to live with the enemy, 2017

Eexhibition view at Museu Coleção Berardo, Lisbon, curated by Pedro Lapa.

Photo David Rato

GALLERIA UMBERTO DI MARINO, Naples

PEDRO NEVES MARQUES

Learning to live with the enemy, 2017

Eexhibition view at Museu Coleção Berardo, Lisbon, curated by Pedro Lapa.

Photo David Rato

GALLERIA UMBERTO DI MARINO, Naples

ARTISTS & GALLERIES LIST

OPAVIVARÁ!, A GENTIL CARÍOCA, Río de Janeiro
Regina Gimenez, ANA MAS PROJECTS, Barcelona       
Barbara Kasten, BORTOLAMI GALLERY, New York         
Petrit Halilaj + Álvaro Urbano,  CHERT LÜDDE, Berlin
Adriana Minoliti, GALERIE CRÈVECOEUR, Paris 
Lili Reynaud Dewar, GALERIE EMANUEL LAYR, Vienna / Rome
Július Koller, GB AGENCY, Paris 
Goran Trbuljak,  GALERIJA GREGOR PODNAR, Berlin
Lin May Saeed, JACKY STRENZ, Frankfurt
Teresa Solar Abboud, JOAN PRATS*, Barcelona
Maryam Jafri, LAVERONICA, Módica (Sicily)
Ramaya Tegegne, MARIA BERHEIM, Zurich
Dalí, GALERIA MAYORAL*, Barcelona       
Eduardo Navarro, NARA ROESLER, São Paulo
Lin May Saeed, NICOLAS KRUPP, Basel
Patricia Domínguez, GALERIA PATRICIA READY, Santiago de Chile
Eva Fábregas, TENDERPIXEL, London
Pedro Neves Marques, GALLERIA UMBERTO DI MARINO, Naples             
Jan Kiefer, UNION PACIFIC, London           
Hugo Canoilas, WORKPLACE, London           

*Galleries also participating in the General Programme

CHERT LÜDDE, Berlin
www.chertluedde.com

PETRIT HALIJAJ

Abetare, 2017

Steel Sculptures, school tables from the artist's former Primary School

Shote Galica, Runik, Kosovo

CHERT LÜDDE, Berlin

PETRIT HALIJAJ

Abetare, 2017

Steel Sculptures, school tables from the artist's former Primary School

Shote Galica, Runik, Kosovo

CHERT LÜDDE, Berlin

ALVARO URBANO

Skin & Bones, 2014

Foam, polystyrene, glue, paper, cardboard, wood and paint

CHERT LÜDDE, Berlin

TENDERPIXEL, London
www.tenderpixel.com

EVA FABREGAS

Picture yourself as a block of melting butter, 2017

Installation view

Courtesy of the artist and Fundació Joan Miró, Barcelona

TENDERPIXEL, London

ARCOmadrid 2018: FUTUR SECTION CURATORS

CHUS MARTINEZ

Born in Spain, Chus Martínez has a background in philosophy and art history. Currently Chus Martínez is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. She has been the Chief Curator at El Museo Del Barrio, New York. She was dOCUMENTA (13) co-curator under the artistic direction of Carolyn Christov-Bakargiev as Head of Department, and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008 to 2011), Director of the Frankfurter Kunstverein (2005–08) and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 56th Biennale di Venezia (2015), Martínez curated the National Pavilion of Catalonia, with a solo project of filmmaker Albert Serra, and for the 51st edition the Cyprus National Pavilion (2005). In 2014/15 she served as curatorial „alliance“ for the current edition of the Istambul Biennial (2015); in 2008 served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers and curators. While at MACBA Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, Are you ready for TV? In 2008 Chus Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, The Unanimous Life at the Museo de Arte Reina Sofia, Madrid, which traveled to major European museums. Among her recent projects are the exhibitions The Metabolic Age in September 2015-February 2016 at Malba in Buenos Aires and Undisturbed Solitude with Flora Klein, Emil Michael Klein, Tiphanie Mall and Johannes Willi at Kunstler Haus Hamburg from February to April 2016. She is also in charge of the art commissions program at der TANK, the exhibition space of the Art Institute in Basel where she produced a project by Mathilde Rosier (June 2016), a site specific sculpture-installation by Julieta Aranda (November 2016) and is currently working on two more new pieces by Ingela Ihrmann (June 2017) and Eduardo Navarro (November 2017). In 2016, she curated Idiosincracy. Anchovies Dream of an Olive Mausoleum, a one-year exhibition at the Helga de Alvear Foundation in Cáceres, Spain. For 2017 She is currently preparing a project for the Sculpture Park in Cologne, opening October 2017 and a group show under the title Metamorphosis opening in February 2018 at Castello di Rivoli, Torino, Italy. Chus Martínez lectures and writes regularly including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international journals.

GALERIE CRÈVECOEUR, Paris
www.galeriecrevecoeur.com

AD MINOLITI

GSFC3w, 2016

Print on canvas, 140 x 100 cm

GALERIE CRÈVECOEUR, Paris

AD MINOLITI

GSFC6w, 2016

Print on canvas, 140 x 100 cm

GALERIE CRÈVECOEUR, Paris

AD MINOLITI

GSFC8w, 2016

Print on canvas, 140 x 100 cm

GALERIE CRÈVECOEUR, Paris

ROSA LLEO

Rosa Lleó (Barcelona, 1980) is an independent curator and since April 2014, she has been directing The Green Parrot in Barcelona.  She has also collaborated with institutions including MACBA, and during 2013 she formed part of the research programme Curatorlab (Konstfack University, Stockholm). In addition, she has also curated exhibitions such as Cas d’estudi (Can Felipa, 2013), 15 piezas en 3 actos (Sant Andreu Contemporani, 2011), Everything is Out There (La Casa Encendida, 2010) or A Fine Red Line, Live! (176 Project Space, London, 2009). Previously, she had worked as an editor in Actar and an editorial assistant in Afterall (London). She is an assiduous writer for the supplement, Cultura/s de La Vanguardia, A*Desk, Bonart, and occasionally for AfterallOnline (United Kingdom) and Art-Agenda (USA).

GALERIE EMANUEL LAYR, Vienna / Rome
www.emanuellayr.com

LILI REYNAUD-DEWAR

Beyond the Land of Minimal Possessions, 2017

HD video

GALERIE EMANUEL LAYR, Vienna / Rome

LILI REYNAUD-DEWAR

Beyond the Land of Minimal Possessions, 2017

HD video

GALERIE EMANUEL LAYR, Vienna / Rome

ELISE LAMMER

Elise Lammer (born in Lausanne, Switzerland, lives and works in Basel and Berlin) was trained as a fine artist in Barcelona and holds an MFA in Curating from Goldsmiths College, London.

She is curator at Kunstverein SALTS in Basel, as well as the host and founder of Kunsthalle Roveredo, an artists residency programme and exhibition space located in Graubünden, Switzerland. Between 2014 and 2016 she was responsible for the exhibitions at APRA, the Adrian Piper Research Archive in Berlin while preparing Piper’s upcoming retrospective at MoMA.

She has participated in exhibitions as an artist, curator and writer in institutions and galleries internationally, including MAMCO, Musée d'Art Moderne et Contemporain (Geneva); The Schinkel Pavillon (Berlin); The Goethe Institut (Beijing, Hong Kong); Les Urbaines Festival (Lausanne); The South London Gallery (London), autocenter (Berlin); Centre Cuturel Suisse (Paris); Kunsthaus Lagenthal (Langenthal, CH); MCBA (Lausanne).

GALERIJA GREGOR PODNAR
www.gregorpodnar.com

GORAN TRBULJAK

Art in America #10, 1990-1995

Frottage, 35 x 30 x 6 cm

GALERIJA GREGOR PODNAR, Berlin

GORAN TRBULJAK

Art in America #10, 1990-1995

Frottage, 35 x 30 x 6 cm

GALERIJA GREGOR PODNAR, Berlin 

A GENTIL CARÍOCA, Río de Janeiro
www.agentilcarioca.com.br

OPAVIVARÁ!

Transnômades

Wheelchair, aluminium ladder, stainless steal sink, metal shower bucket,

plastic containers, wood table, towels, soap, 220 x 80 x 80 cm

A GENTIL CARÍOCA, Río de Janeiro

OPAVIVARÁ!

Transnômades (Tasca fire)

Supermarket trolley, cooler, barbecue grill, cutlery, bell, herbs fruits 

and others, 90 x 80 x 110 cm

A GENTIL CARÍOCA, Río de Janeiro

This section of ARCOmadrid enjoys the support of CNP Partners.

ARCOmadrid 2018
www.ifema.es/arcomadrid_06/

Barbara Kasten: Partis Pris @ Bortolami Gallery, New York

Barbara Kasten: Partis Pris
Bortolami Gallery, New York
8 September - 21 October, 2017

Bortolami presents PARTI PRIS, BARBARA KASTEN’s second solo exhibition with the gallery.

Endlessly experimental and now in her eighth decade, Barbara Kasten presents three recent bodies of work: an extension of her colorful, large scale photographs, Collisions, and new sculptural, photographic hybrids entitled Progressions. She also presents Parallels—her first freestanding sculpture since the early 1970s. In architectural terminology, the parti pris is the chief organizing principle of a project. Barbara Kasten utilizes the structural principles of architecture and process in her new works, which can be read within the realm of architectural diagrams.

Barbara Kasten’s inventive Progressions, composed of face-mounted photographs with geometric acrylic shapes affixed to the surface, emphasize the duality of the photograph and of the relief’s sculptural forms. Transitioning from photographic representation as in the Collisions to address spatial ambiguities, Barbara Kasten incorporates concrete materiality while maintaining each element’s mysterious and elusive qualities. The image in the photograph depicts space and even recedes into the depths of implied space, while the three-dimensional components extend outward. Both features—the image and the acrylic fragments—act as a bridge between dimensions.

As photographic hybrids, the Progressions are abstract objects, and the relationship between the two components ceaselessly oscillates back and forth. With both elements of sculpture and photography, the new works become something else entirely, depending on and informing one another. The shapes and shadows that they cast are crucial; creating what Barbara Kasten deems a “temporary photogram.”

These new works conceptually relate to her AMALGAMS of the late 1970s; gelatin silver prints that fused photogram, photograph, and drawing. As photograms of transparent objects on light-sensitive prints, the AMALGAMS are three-dimensional arrangements translated into two-dimensional form. Nearly 50 years later, Kasten is now inverting this translation, turning the two-dimensional planes into three-dimensional forms.

Finally, Parallels, the large sculpture central to the exhibition, brings the transparency of form that exists in Kasten’s images fully into the viewers’ space and experience. In Parallels, she pushes the modernist, formal geometric order of these cubic constructions askew, utilizing a point of balance for its form. The fluorescent, acrylic components of Parallels are cantilevered on top of one another, each depending on the other, relying on the tension between each element and reaffirming an intuitive process.

BARBARA KASTEN was born in 1936 in Chicago, Illinois. She received her BFA from the University of Arizona in 1959 and MFA from the California College of Arts and Crafts in 1970. She currently lives and works in Chicago, Illinois. Most recently, Barbara Kasten was the subject of a retrospective at the Institute of Contemporary Art in Philadelphia that travelled to the Graham Foundation in Chicago and the Los Angeles Museum of Contemporary Art. Her work is featured in the collections of the Museum of Modern Art in New York, the Tate Modern in London, The Whitney Museum of American Art and the Guggenheim Museum in New York, the High Museum of Art in Atlanta, The Museum of Fine Arts in Houston, The Centre Pompidou, and the Smithsonian American Art Museum in Washington, D.C. among many others.

BORTOLAMI GALLERY
39 Walker Street, New York, NY 10013
www.bortolamigallery.com

Barbara Kasten @ Thomas Dane Gallery, London

Barbara Kasten: Intervals
Thomas Dane Gallery, London
3 February - 25 March 2017

Thomas Dane Gallery presents Intervals, the very first solo presentation in the UK of the internationally acclaimed artist BARBARA KASTEN (b. 1936). The exhibition displays both historic and recent works that showcase the Chicago-based artist’s striking oeuvre, which spans over 40 years.

Barbara Kasten herself speaks of her work as ‘Painting in motion’, as it incorporates sculpture, photography and film, all of which contribute equally to the formation of her pieces. Her works are the results of extensive and carefully constructed installations, which she assembles in the studio by using ‘props’ like glass, mirrors, acrylic and metal elements, meticulously set up, solely for the camera. Barbara Kasten’s work is strongly informed by Postmodern Design and Architecture as well as by Constructivism, not to mention the works and lives of Kazimir Malevich and Lázló Moholy-Nagy and the latter’s engagement with the Bauhaus School. Deeply shaped by the California Light and Space Movement in the 1970s, Kasten, who was trained as a sculptor and painter, began to challenge preconceived notions of these disciplines by making use of the photographic medium.

In her ground breaking series Construct, developed in the late 70s and early 80s and taken with a Polaroid camera, Barbara Kasten transformed building materials into tableaux whose composition, style and manipulation of space display a true painterly sensibility. In her recent series Transpositions (2014-2016) and her latest body of photographic work titled Collisions (2016), she uses Plexiglas elements to create large-scale compositions. The use of Plexiglas allows the artist to achieve a degree of transparency whilst simultaneously denying its own physical existence – further intensified through the strong color saturations typical of the Cibachrome print’s surface, these works seem to amalgamate foreground and background to an abstract surface. Barbara Kasten’s diligent treatise of material, undeniably tied to her insatiable drive to explore the mysticism of light, questions the very essence of the image-making process, a quality that seems to defy medium-specific categorisation. In light of the contemporary habit of taking images without necessarily materializing them, this tension between the object-ness of the “thing” and the flat surface of the image adds a significant and growingly topical facet to her oeuvre.

A restless innovator, Barbara Kasten’s most recent body of work takes on the form of a mixed media projection. Revolutions (2017) comprises characteristic components such as Plexiglas, neutral photographic backdrop paper and light, channelled through a moving image recording. For the first time in the artist’s career, these hitherto “passive” elements, observed exclusively in their photographic reproduction, now step into 3-dimensional reality. Drawing from the paintings of Malevich, the work resonates with the findings of Suprematism, whose pursuit was to reach for the so-called zero degree of painting. Thus, Revolutions is structured by an algorithm, that creates repetitive and lingering elements which, darting to others, mimic habitual ways of examining works of art. Perceptually deceitful, or even illusionistic, solid material travels back and forth between sheer obscurity and physical presence: as with Barbara Kasten’s photographic work, the scale and materiality are interchangeable and thus become co-dependent.

The transition to moving image in Barbara Kasten’s oeuvre constitutes a metacommentary on the relationship between photography and film. The artist’s ongoing exploration of concepts rooted in art history and her experimentation with a wide variety of media, moving fluidly between the fine and applied arts, reveal an inquiry of the Constructivists endeavours to illuminate the interrelation of life, art, and technology. Always in sync with her times, yet in conversation with her predecessors, the ability of her imagery to transmit change and flexibility triggers an understanding of the present, which today seems utterly vital from our contemporary, digital perspective.

Barbara Kasten lives and works in Chicago. The monograph titled "Stages" has been published on the occasion of the same –named retrospective at The Institute of Contemporary Art Philadelphia, The Graham Foundation and the Museum of Contemporary Art Los Angeles, curated by Alex Klein. Recent exhibitions include "IMAGINE REALITY. RAY 2015" MMK Frankfurt / Museum für Angewandte Kunst / Fotografie Forum Frankfurt, "A World of Its Own: Photographic Practices in the Studio", Museum of Modern Art New York, "Extended Composition: Künstlerhaus Bethanien (, Nürnberger Kunstverein; and her work is included in renowned collections such as: Centre Pompidou Paris; Tate Modern London; Generali Foundation; Museum of Modern Art NY; Whitney Museum NY; J. Paul Getty Museum L.A.; The Hammer Museum, UCLA, CA; National Gallery of Art, Washington DC.

THOMAS DANE GALLERY
11 Duke Street, St James's, London SW1Y 6BN
www.thomasdanegallery.com

Barbara Kasten: Set Motion, Bortolami Gallery, New York

Barbara Kasten: Set Motion
Bortolami Gallery, New York
2 April – 2 May 2015

Bortolami presents SET MOTION, the first solo exhibition with Barbara Kasten at the gallery. This show coincides with a survey exhibition — covering five decades of Barbara Kasten’s career — which is currently on view at the Institute for Contemporary Art, Philadelphia.

A restlessly inventive and experimental artist, Barbara Kasten began making art in the 1970s, engaging with Bauhaus pedagogy, Constructivism, the California Light and Space Movement, and Postmodern architecture and design. Her work sits at the intersection between photography, sculpture and installation, and this exhibition at Bortolami brings together two important bodies of photographic works — a series of Amalgams from the 1970s and a new series of large Transpositions — as well as a new video installation, Sideways.

The Amalgams are a particularly significant group of works within Kasten’s oeuvre. Made in the late 1970s, between her Photogenic Paintings (cyanotypes) and Polaroid Constructs, the Amalgams are unique silver gelatin prints created in the darkroom, with a novel combination of camera-less image-making (objects placed directly on photographic paper) and the traditional tools of photography (light sensitive paper, an enlarger, and a negative.) In some cases, Kasten then drew or painted on top of the resulting images. “At its core,” Alex Klein writes, the Amalgams are “a consistent and rigorous investigation of materiality and perception.”

Recalling an experience she had in the 1960s at Le Corbusier’s Notre Dame du Haut in Ronchamp, France, Barbara Kasten’s new Transpositions mark the return of color into her work. In each image sheets of Plexiglas, which adopt the building’s distinctive color scheme, both reflect light and cast dramatic shadows, seeming to float in a disorienting environment that skews scale and perspective. Produced in her studio, these works extend the investigations that Kasten began in her Constructs, photographs of sculptural, setlike constructions that dissolve space into geometric forms, planes of color, light, and shadow. Sideways, Barbara Kasten’s newest moving image work, engages directly with the architecture of Bortolami; projected across the back wall of the gallery, this black-and-white video makes the space itself appear distended, in constant motion.

Coinciding with her retrospective at the Institute of Contemporary Art, a new monograph on Barbara Kasten’s work will be published in late April by JRP Ringier, with essays by Alex Kitnick, Jenni Sorkin, and Alex Klein, as well as a conversation between the artist and Liz Deschenes. Barbara Kasten: Stages, curated by Klein, will remain on view at the ICA through August 16, 2015.

The work of Barbara Kasten (b. 1936 Chicago) has been exhibited extensively since the late 1970s. Most recently, in the exhibitions A World of Its Own: Photographic Practices in the Studio, at The Museum of Modern Art, New York; The Will to Architecture, at the Museum of Fine Arts, Houston, The Material Image, curated by Debra Singer at Marianne Boesky Gallery, New York; and Section IV: Lens Drawings, curated by Jens Hoffmann, at Marian Goodman Gallery, Paris. Her work is included in numerous museum collections, including: The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; SF MoMA, San Francisco; The Philadelphia Museum of Art, Philadelphia; the Metropolitan Museum of Art, New York, and Tate Modern, London. Kasten has been awarded several grants, the John Simon Guggenheim Fellowship, the Fulbright Hays Fellowship, among others. She lives and works in Chicago. 

BORTOLAMI GALLERY
520 West 20th Street, New York, NY 10011
www.bortolamigallery.com