First hand perspectives -reviewing public presentations of work -exhibitions, performances, screenin

Regarding visiting exhibitions, live discussions and other live events.

I believe that this formulation has lost its relevance. I need to drive at least an hour and a half to the nearest large museum, and the exhibitions that are taking place now or planned for next year are not of direct interest to my research. At the same time, I attended more than twenty cultural events (exhibitions, discussions, performances...) this year only. (see here: https://www.marinawittemann.com/post/first-hand-perspectives-reviewing-public-presentations-of-work-exhibitions-performances-screenin)

In addition, while researching digital art trends, I realised that I could actually analyse an exhibition anywhere in the world. Just look at the top 10 world museums and galleries and study the themes and artists.

The OCA Institute's accompanying documents say something like this: keep in mind that not all books and articles have been transferred to the Internet - go to the library and attend events. What I want to argue here is that if a document in the twenty-first century is not in digital format, it means it is not relevant, and if it is not relevant, it means it is not progressive, and therefore not interesting to me. Even all the “great” books before the digital era are on the Internet. Therefore, I will analyse visiting exhibitions online as necessary, and physically I will continue in my working format.

Since the beginning of this year, I visited the following discussions, exhibitions, etc.:

1 Outdoor Sculpture: Saarländische Küstler und Bildhauer Martin Steinert Germany 03.03.2023 EINWEIHUNG EINER SKULPTUR AM KUBA [online] At: https://www.saarbruecken.de/rathaus/presse_und_online/artikeldetail/article-5d079134316e9 (Accessed 13.12.2023)

2 Visit: Pirelli Hangar Bicocca Milan 01.04.2023

ANSELM KIEFER, The Seven Heavenly Palaces 2004-2015

GIAN MARIA TOSATTI, NOw/here [online] At: https://pirellihangarbicocca.org/en/bubble/interview-gian-maria-tosatti/ (Accessed 13.12.2023)

3 Visit: Fondazione Prada Milano 02.04.2023 (DAVID CRONENBERG [online] At: https://www.fondazioneprada.org/project/david-cronenberg/?lang=en (Accessed 13.12.2023); ROBERT GOBER / LOUISE BOURGEOIS [online] At: https://www.fondazioneprada.org/project/louise-bourgeois/?lang=en (Accessed 13.12.2023);

PROCESSO GROTTESCO, THOMAS DEMAND [online] At: https://www.fondazioneprada.org/project/thomas-demand/?lang=en (Accessed 13.12.2023)

4 Visit: Centro Cultural de Belém Lisboa, Portugal 21.04.2023 Permanent collection, Artists that caught my attention:

Antoni Tàpies, Espanha / Spain (1923-2012) Negro con Grieta, 1962, Mixed media on canvas,

Lynn Chadwick,

Franz Kline USA (1910-1962) Sabro, 1956, Oil on canvas,

Pierre Soulages França (1919-2022) Peinture, 10 November 1963, 1963 Oil on canvas,

Louise Nevelson Russia (1899-1988) Royal Tide, Dawn, 1960-1964 Golden paint on wood,

Eduardo Paolozzi United Kingdom (1924-2005) Standing Figure, 1958 Bronze …

[online] At: https://www.ccb.pt/en/macccb/colecao-berardo/ (Accessed 13.12.2023)

5 Visit: Art Karlsruhe, Germany 07.05.2023 Artists that caught my attention:

Lars Zech Moving Portraits 3, 2019 Birnbaum, Pigment, Öl, rot 100 cm hoch,

Ulrike Buhl,

Mario Dalpra, Sparkling Power, 2022 Bronze lackiert, Unikat 40 x 25 x 20 cm.,

Vanessa Henn,

Hannelore Weitbrecht,

Vanni Spazzoli,

ANIANA HERAS, Oriental Fantasy, 2022, Clay, 23 x 33.5 x 12 cm,

Stephan Paul Schneider, „DUA: o.T.02-b (Grid)“, 2020 Archival-Inkjet-Print, Bütten/Aludibond, Diasec, Abfallholz, Acryl, 166 x 116,6x8,5 cm

6 Visit: Schirn Kunsthalle Niki de Saint Phalle Frankfurt, Germany 21.05.2023 Old Master - Session Galerie J. 30.6 .- 12.7.1961, Paris, 1961 Paint, plaster, and wire mesh on panel with wooden frame. Collection MAMAC, Nizza/Nice, Schenkung/donation of Niki de Saint Phalle

7 Visit: LEO ERB, Kuppelsaal des Rathauses, Am Markt 12, 66386 St. Ingbert, Germany 05.06.2023 Linienplastik, 1975, 10-teilig, Holz, Farbe

8 Visit: SaarART 2023, 16.06.2023 Saarbrüken, Germany Gertrud Riethmüller, Geflechte und Gefüge, 2023 Klöppelspitze aus Audiokabeln. https://saar-art.de/

9 Visit: ART Basel 2023, Switzerland. 17.06.2023

Kuppelsaal Bronwyn Katz /xabi, 2021 ,

Richard NONAS, Untitled, 1970, Carpenter's glue on butcher paper on board, 63.5 x 81.3 x 5.1cm

10 Visit: Red Bull GmbH, Jos Pirkner, Headquarters Fuschl am See, Austria, 23.06.2023

11 Artist Talk online: Photography Social Group OCA - Marc Wilson 19.07.2023

12 Visit: Kunsthaus Zürich, Switzerland 08.08.2023 Permanent collection, Artists that caught my attention: Isa Genzken, *1948, TV, 1986, Beton auf Stahlsäulenplatte, Erworben 2013

13 Visit: Versailles, France 05.09.2023 Swarovski crystal chandelier at Versailles, Ronan and Erwan Bouroullec

14 Music performance: Alter Oper, Benjamin Clementine, British composer and musician, Frankfurt, Germany 15.09.2023

15 Visit: Kröller-Müller Museum, Netherlands 22.09.2023 Permanent collection, Artists that caught my attention: Paul Drissen,

PABLO PICASSO, Málaga 1881 - Mougins 1973, Petite chouette 1951-1953, Little Owl 1951-1953, gips, keramiek, metaal en schellak,

Sarah van Sonsbeeck,

Jan Fabre, Antwerpen 1958, Hoofdstuk IX, 2010, verworven met steun van de BankGiro Loterij

15 Visit: Ruinart, Reims, France 11.11.2023, Liu Bo Lin

16 Visit: Kunstmuseum, Basel, Switzerland 08.12.2023 JESÚS RAFAEL SOTO (1923-2005), Blanco sobre el negro (Blanc sur noir), 1966 White over Black, Pressstoffplatte, bemalt, davor hängend bemalte, Eisenstäbe, bemalt. Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen, Kunstsammlung Basel 1966, Inv. H 1966.1.

LENZ KLOTZ (1925-2017) Heuel, 1958 Tousled, Hirsute, Öl auf Leinwand, Ankauf mit Mitteln aus dem Schiess-Fonds 1959, Inv. G 1959.12.

MERET OPPENHEIM (1913-1985) Weisser Kopf, blaues Gewand, 1935, White Head, Blue Garment. Tête blanche, vêtement bleu. Gipsrelief auf Holz, Holzstückchen, Ölfarbe. Depositum der Freunde des Kunstmuseums Basel 1973, Inv. G 1973.8.

Collection of Jasper Johns,

SAM FRANCIS (1923-1994) Meaningless Gesture, 1958. Bedeutungslose Geste Geste insignifiant. Öl auf Leinwand. Ankauf 1969, Inv. G 1969.8,

JASPER JOHNS ( 1930) Out the Window Number 2, 1962. Aus dem Fenster Nummer 2. Öl auf Leinwand mit Objekten (Draht, Metalllöffel, Zollstock) Geschenk des Kunstlers in memoriam Christian Geelhaar 1994, Inv. G 1994.2

SARI DIENES (1898-1992) Screen Bark, 1950er Jahre. Gipscollage auf Kupfergitter, Baumrinde und Draht. Geschenk des Nachlasses Sari Dienes an das Kunstmuseum Basel, erhalten im Zusammenhang mit einer ewigen Dauerleihgabe der Michel-Hüni-Stiftung 2016, Inv. G 2016.34