Outset Germany_Switzerland Magazine Spring 2020

CONTEMPORARY ART FUND MAGAZINE NO.1 SPRING 2020

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STUDIO VISIT

MISSION STATEMENT

Outset on tour

outset germany_switzerland mag

P ATR ON S

OUTSET INTERNA TIONAL

ART IST INTER VIEW INCL.

Interview with Christopher Kulendran Thomas Bunny Rogers Slavs and Tatars Anne Imhof Patrons interview with Jan Fischer Sponsor interview with Cheyenne Westphal

Outset Germany_Switzerland

MISSION STATEMENT

promotes contemporary art for public institutions.

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The idea for Outset originated in 足London in 2003. Candida Gertler and Yana Peel founded the first Outset chapter at the same time as the first edition of the Frieze Art Fair.

From the very outset, the non-profit 足 organization has regarded itself as a 足mediator between private patronage, 足artists and public institutions.

In an age of shrinking, indeed sometimes no longer available public budgets for the acquisition of contemporary art for public collections, Outset finds creative solutions to keep these collections up to date.

Through the purely philanthropical engagement of private patrons and corporate partnerships, Outset funds purchases

and Anne Imhof’s FAUST for the German Pavilion at the Venice Biennale in 2017.

and the production of contemporary art, brokers and funds artist-in-residence programmes, and supports exhibition projects, by now in nine countries.

We facilitate the relevant art of the 21st century that curators wish for. This helps museums to continue fulfilling their ­educational mission, but also to keep the cultural landscape alive.

Whether Outset patrons, Outset production fund partners, or Outset corporate partners – all of our supporters have the opportunity to become actively involved, engaging closely with artists and curators.

This creates unforgettable experiences for all who wish to participate in a ­dynamic artistic discourse.

Our unique attribute is the fact that we are the only independent philanthropical organisation in the world that allows 100% of the donations it collects to flow into the funded projects.

Outset directors of all chapters work for the institution on a pro bono basis – for us, it is self-evident. The entire administrative costs are covered solely by sponsors, with whom we work closely.

To date, Outset has supported the ­creative cultural ecosystem to the tune of approximately ten million Euro.

Outset Germany was taken over at the end of 2015 by Bettina Böhm, who was previously an Outset Patron. In 2017 Bettina Böhm added Switzerland to the German chapter. Between 2016 and 2019, approximately 1.5 million Euro were raised and distributed to public institutions in Germany and Switzerland alone.

Outset is renowned for its brave and relevant projects, such as the production by Candice Breitz, LOVE STORY, in 2016,

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Outset Germany_Switzerland x companies’ social responsibility

Outset mediates between culture + business

We have made it our mission to advise companies in the area of art + culture by providing comprehensive advice. We know that art + culture not only improves the corporate atmosphere by stimulating innovative thinking and working, but also promotes the reputation of such a company that demonstrate social responsibility.

By using our expertise in the area of art + culture, companies can benefit from a win-win situation. The company supports the public cultural landscape, while ­promoting its own reputation at the same time.

We will focus on corporate social responsibility and their individual cultural engagement.

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Overview of

2016

funded projects

L’air Du Temps und Dirk Skreber, UNTITLED, Outset ­­Germany_Switzerland abc fund, ­Nationalgalerie, Berlin Annika Kahrs, BESSER SCHEITERN, ­Hamburger Kunsthalle, March–August 2016

Hazem Harb, Artist Residency, ­Künstlerhaus Bethanien, Ber lin, March–June 2016 Heba Amin, Artist Residency, Künstlerhaus ­Bethanien, Berlin, June–August 2016 Anahita Razmi, Artist Residency, Künstlerhaus Bethanien, Berlin, September–March 2016 9

2017

Anne Imhof, FAUST, German Pavilion, 57th Venice Biennale, May–November 2017,

Nationalgalerie, Berlin Candice Breitz, LOVE STORY, Na tionalgalerie, Berlin

Melanie Gilligan, THE COMMON SENSE, Haus der Kulturen der Welt (HKW), Berlin

Mika Rottenberg, COSMIC GENERATOR, Skulptur Projekte Münster, June–October 2017 Avery Singer, SAILOR, Secession Wien, November 2016–Januar 2017

Florian Slotawa, STUTTGART SICHTEN, Deichtorhallen Hamburg, October 2018–­ January 2019, Staatsgalerie Stuttgart

Avery Singer, SAILOR, Kölnischer Kunstverein, April–June 2017

Avery Singer, UNTITLED (Rümlang series), 2017, Museum Ludwig, Cologne

Matilde Cassani, TUTTO, Manifesta 12, Palermo, Italy, June–November 2018, Frans Hals ­Museum, Haarlem, The Netherlands

Jamie Crewe, PASTORAL DRAMA, ­Beatrice Gibson, I HOPE IʼM LOUD WHEN I`M DEAD, KW Production Series 2017, ­Museum Abteiberg, Mönchengladbach

Elmgreen & Dragset, DARK ROOM, ­Museum Haus Lange, Krefeld February–August 2017 Judith Hopf, STEPPING STAIRS, KW Institute for Contemporary Art, Berlin

Julian Charrière and Julius von Bismarck,

OBJECTS IN THE MIRROR MAY BE ­CLOSER THAN THEY APPEAR, Outset

Lena Henke, AN IDEA OF LATE 20TH

Germany_Switzerland abc fund, Sprengel Museum, Hannover

Sara Sizer, SCARLET & PLEASE, ­Tobias Zielony, ALLES, Hreinn Friðfinnsson, THIRD HOUSE (dyptich), Outset Germany_­ Switzerland art dusseldorf fund, Kunsthalle Hamburg 2018

Yngve Holen, HORSES, Kunsthalle Düsseldorf, September 2018

Andrea Büttner, WHAT IS SO TERRIBLE

ABOUT CRAFT? / DIE PRODUKTIE DER MENSCHLICHEN HAND, Rachel O'Reilly, DRAWING RIGHTS, KW Production Series

2018, ­Berlin and Museum Abteiberg, ­Mönchengladbach

CENTURY GERMAN SCULPTURE; TO THE PEOPLE OF NEW YORK, Kunsthalle

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Zürich, March–May 2018 and MAMCO, Geneva, Switzerland

Slavs and Tatars, MADE IN ­DSCHERMANY, Albertinum, Dresden June–October 2018 Trisha Baga, MADONNA Y EL NINO & ­UNTITLED, Outset Germany_Switzerland art berlin fund 2018, MMK, Frankfurt am Main

Grada Kilomba, ILLUSIONS VOL. II, Heba Y. Amin, ANTI-CONTROL ROOM, 10th Berlin Biennale June–September 2018 2019

Bunny Rogers, PECTUS EXCAVATUM, MMK, Frankfurt am Main, January–April 2019

Anne Imhof, SEX, BMW Tate Live Exhibition, Tate Modern, London, March 2019 Jessica Vaughn, COMPOSITE, ­Thilo ­Jenssen, OHNE TITEL (STABILE ­ZUSTÄNDE), Outset Germany_Switzerland art cologne fund, Pinakothek der Moderne, Munich Slavs and Tatars, PICKLE BAR, International Pavilion, 58th Venice Biennale, May–November 2019 Slavs and Tatars, HA‘MANN IN THE HOOD, 2018, Pinakothek der Moderne, Munich

Pauline Boudry / Renate Lorenz, MOVING BACKWARDS, Swiss Pavilion, 58th Venice Biennale, May–November 2019

Goshka Macuga, STAIRWAY TO ­NOWHERE, Kestnergesellschaft, Hannover, May–August 2019, Kunsthalle Bielefeld GARTEN DER IRDISCHEN FREUDEN, ­Gropius Bau, Berlin, June–December 2019 Onyeka Igwe, Lin + Lam, KW ­Production ­Series 2019, KW Institute for ­Contemporary Art, Berlin, Museum Abteiberg, ­Mönchengladbach

Christopher Kulendran Thomas in ­collaboration with Annika Kuhlmann, GROUND ZERO, Schinkel Pavillon, Berlin, September–November 2019 Timm Rautert, BILDANALYTISCHE ­PHOTOGRAPHIE, Centre Pompidou, Paris

Editorial

Bettina Böhm

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In what situation do public museums find themselves when it comes to buying contemporary art? The question is a rhetorical one. Everyone and anyone who is culturally aware knows that the public sector provides enough funding to build new institutions. But how is it possible to fill these pretty shells when the budgets for buying relevant contemporary art have been shrinking for years, and indeed in some cases no longer exist?

The question led to the foundation of Outset in England in 2003. Candida ­Gertler and Jana Peel not only identified the problem, they also acted by implementing a new philanthropical idea in a creative and pragmatic manner – Outset.

What does this idea involve?

What are the objectives?

Be inspired and excited. We need you, so that public institutions can continue to be able to fulfil their educational mission and show relevant contemporary art that reflects the condition of our society.

With which resources do we reach

I look forward to your feedback.

Who supports these objectives?

our objectives?

Yours, Bettina Böhm

What happened last year? And how

do the plans for 2020 look?

We are – I am – confronted with these questions every day. Since taking over Outset Germany in 2016, and expanding it to Switzerland in 2017, we have only ever explained our objectives in conversation. This first edition of OutsetMag was conceived to make communicating the idea less abstract and to fill it with life.

Both the digital and the printed issue first aims to explain the fundamentals, while also providing an annual review of what has been achieved, as well as an outlook of the new perspectives that lie ahead.

Art can be communicated only through images. That is what every art historian learns in the first hour of their preparatory course. We have now taken this knowledge seriously. This first, bilingual issue, with its interesting texts written by people with whom we cooperate successfully, as well as numerous illustrations, demonstrates the impact of our purely philanthropical work.

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Editorial Index Outset on tour Comment Susanne Pfeffer Foreword Ralf Sachs Artist Interviews Studio visit Review Outlook Interview Jan Fischer Interview Cheyenne Westphal Outset International Support Imprint

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P. 14 –17 P. 18 –19 P. 20 –25 P. 26 –27 P. 28 –29 P. 30 –87 P. 88 –91 P. 92 –93 P. 94 –95 P. 96 –99 P. 100 –105 P. 106 –133 P. 134 –136 P. 137

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Outset on tour

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OGS Patron trip to the opening of the 56th Venice Biennale, 2019 Punta della Dogana

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Renate Lorenz + Pauline Boudry, Swiss Pavillion, Venice Biennale 2019 right side: OGS Patron Trip 2019, Curator Max Dax an Dirk Luckow, Director Deichtorhallen, Hamburglead through the exhibition HYPER

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NT OC

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COMMEN TNEMMOC

New productions are always a risk in the best sense of the word. Something new is ­created for a certain place, a certain time, or for the thematic context of an exhibition.

Sometimes it involves something outrageous, at other times it is something surprising, or the clear execution of a previously-developed idea.

To ensure the creation of new projects is encouraged throughout all steps of its development with the requisite openness, it is essential to provide support (such as provided by Outset for

Anne Imhof, Faust and Bunny Rogers, P ­ ectus Excavatum) that protects the consistency of an artistic idea from pragmatic compromises.

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It is fundamental that the greatest possible freedom prevails, in order for a work to be executed in line with its own logic and intrinsic necessity.

Developing new projects with artists is one of every curators’ nicest jobs. During the process one learns how an artist thinks and looks.

Only then can one really approach and ­understand an artistic work.

Outset is a wonderful organization, which enables artists to fulfill their visions, which allows many works, installations or performances to be literally born, which might otherwise never have come to exist, hence Outset is clearly enriching our world.

Outset is distinct with their discreet, professional and engaging approach, to an otherwise often overhyped world. My encounter with B ­ ettina BÜhm was pure joy and one could immediately feel the soul, passion and dedication she brings to Outset Germany_Switzerland.

It is a great joy to welcome Outset to the spirited vaults of the Dracula Club!

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Rolf Sachs

A I IN VI

ART IST INTER VIEWS

Christopher Kulendran Thomas (*1979) grew up in London, where his family fled between 1983 to 2009 during the civil war in sri lanka. Kulendran is driven by the following questions: How is contemporary art ­produced? How is the environment of the art world structured? How are the social and cultural attachments between the West and East formed? His work on NEW EELAM is a continuum. It transcends national boundaries and sees itself as a proposal for developing a new eco­nomic system, where the luxury of communalism would replace private property. Outset Germany_Switzerland is pleased to have supported the production of Christopher Kulendran ­Thomas’ new work BEING HUMAN, which was realised together with the curator Annika Kuhlmann. BEING ­HUMAN was exhibited at the Schinkel Pavilion, Berlin in 2019.

Christopher Kulendran Thomas

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Bunny Rogers, born in Houston, Texas in 1990, more or less grew up ‘on’ the internet. For the American artist, as for many others of her generation, the internet became a refuge, and also a personal catalyst for her artistic work. Rogers’ unique multimedia works are characterized by a dark, poetic and yet youthful aesthetic. Based on her personal experiences, she creates new worlds that blend the imagined with the symbolic. Following the solo exhibition PECTUS EXCAVATUM, curated for the Museum Moderne Kunst (MMK) in Frankfurt by Susanne Pfeffer, Outset Germany_Switzerland acquired the piece CREEPY CRAWLERS, GIANT SQUID, 2019 for the museum.

Bunny Rogers

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The Berlin-based collective Slavs and Tatars examines the geographic area “east of the former Berlin Wall and west of the Great Wall of China.” The collective investigates this region, also known as Eurasia, and its culture. The artists transport their joy of cryptic wordplay primarily by means of three different media: exhibitions, publications and lecture performances; but it is also inherent to each individual piece. Following the solo exhibition MADE IN DSCHERMANY (2018), Outset Germany_Switzerland acquired the artwork DRESDNER GITTER (2018) for the collection of the Albertinum, Dresden. The following year, Slavs and Tatars’ production for the Venice Biennale 2019 was also supported by Outset Germany_Switzerland.

The work exhibited at the 58th Venice Biennale was donated to the Pinakothek der Moderne in Munich Slavs and Tatars

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Anne Imhof (*1978, Gießen, Germany) is one of the most sought-after artists of our time. Drawing, painting, music, installation and performance are the genres in which she works. The Frankfurt-based artist became a household name after her first big show at the Nationalgalerie Berlin: ANGST II, the middle part of a three-part opera, in autumn 2016. This success formed the basis of her big breakthrough in Venice. Here, at the 57th Venice Biennale, Anne Imhof won the Golden Lion for Germany. Outset Switzerland_ Germany is proud to have supported the German pavilion, and thus the work of Anne Imhof. The artist decided to present a large-format piece from the Venice exhibition to Outset Germany_Switzerland as an in-kind donation. In 2018, Outset Germany_Switzerland donated this artwork to the Nationalgalerie. There was another cooperation in 2019: Outset Germany_Switzerland supported the new production SEX, a live exhibition that was premiered at the Tate Modern London in March 2019.

Anne Imhof

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Interview with Christopher

Some of our Outset Patrons who attended the opening of this year‘s Venice Biennale might have seen your latest project BEING HUMAN, currently being exhibited as part of the group exhibition TIME FORWARD! at the V-A-C Foundation in Venice.

GROUND ZERO is now on show at the Schinkel Pavillon in Berlin. BEING HUMAN, as well as your previous but ongoing project NEW EELAM, are both highly politicized works. What potential, do you think, can art have as a political weapon in our day and age?

Outset

Kulendran Thomas

I don’t think art is a very effective weapon but our exhibition GROUND ZERO at Schinkel Pavillon explores art as an expression of a political reality where my family is from. For three decades during the Sri Lankan civil war, the Tamil homeland of ‘Eelam’ was self-governed as an autonomous state, led by a neo-Marxist revolution. But this uprising was brutally crushed ten years ago by an authoritarian Sri Lankan president who had come to power by appealing to neglected rural voters and inflaming racial hatred to get elected. As the international community turned a blind eye, Eelam was eradicated. In the immediate aftermath of the violence that wiped out the Tamil homeland, and the consequent economic liberalisation that followed, a new local market for contemporary art emerged in Sri Lanka with the arrival of the first white cube commercial galleries in the island’s capital Colombo, representing a generation of artists influenced by the Western canon encountered online. Our show looks at the interrelationship between the juridical framework of human rights and the aesthetic framework of contemporary art in a part of the world where you can see the structural processes that art is involved in C.K.T.

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Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view: Schinkel Pavillon, Berlin

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housing that we’ve proposed through our ­exhibitions. We just raised an initial round of funding for the venture and built a prototype which we’ll be unveiling soon. The excitement for us now is in turning the speculative proposition of NEW EELAM into a poten­ tially transformational reality.

unfold extremely quickly as part of the global processes through which cities are shaped.

Contrary to a lot of conceptual art today, your projects are visually easily accessible, although founded on highly complex political and ethical reflections of the contemporary state of the world. Especially in NEW EELAM, you utilize a surprisingly commercial aesthetic, which seems to be almost provocative. This is nothing new in art history, however you seem to completely transcend any formal border which would allow for clear visual differentiation between art and advertisement. In contrast to Pop Art, you do not exaggerate or try to blow up this commercial aesthetic, which poses an initial challenge to the viewer. This is one of the things that, I find, make your work so intriguing. Why did you choose these rather familiar and accessible media for your work?

Outset

NEW EELAM began as a sci-fi, in the sense that all ambitious consumer technology start-ups are sci-fis. Start-ups are based on a radical proposition for an alternate reality and, if they’re successful, they change behaviour. Our venture began as a speculative proposition, which curator Annika Kuhlmann and I introduced at the Berlin ­Biennial and then exhibited as a sci-fi at ­various museums, biennials and institutions.

And of course there’s always an implicit ­critique in imagining an alternate reality. But really we’re more interested in what can be instituted rather than critiqued and, so, through doing these exhibitions, we’ve now brought together a team with experience across real estate, finance, technology and ­architecture and earlier this year we started the company to develop this new form of C.K.T.

In the video of BEING HUMAN it is claimed that ‘human rights are the medium by which imperial powaers are organized.’ You also contrast this with the rapid rise of artificial intelligence, which is starting to structure our world in a different way and has already had a great impact on our society.

How do you believe artificial intelligence could compromise human sovereignty and human rights?

Outset

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The failure of the international community to prevent ethnic cleansing in Sri Lanka could be seen as a function of the juridical framework of human rights, which was arguably part of the problem rather than the solution, in that human rights are ­dependent on the organisational form of the nation state and therefore invariably leveraged by (and in service of) geopolitical negotiations of sovereignty. You can see this also in Kurdistan, Myanmar, Syria and the ­Mexican-American border, for example. The ‘human’ cannot exist without a nation state that will legally defend its rights (or violate them in the name of protecting the nation).

So maybe the problem isn’t with human rights as a juridical institution, but with the very category ‘human’ itself. But our sense of self – not to mention our politics – is perhaps increasingly subject to the infinite recursions of algorithmic networks. Artificial intelligences are now being developed by the C.K.T.

world’s three great technology stacks – the Chinese, the Atlantic and the Russian tech stacks – and the geopolitics of this multi-­polar technological convergence will be interesting, potentially challenging the Western exceptionalism that’s defined international relations for at least the last half-century. So BEING HUMAN asks what a ‘post-human rights’ could be – an ecological, technological ­approach to understanding the organisation of power relations beyond the fiction that we have ever been human.

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Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view: Schinkel Pavillon, Berlin

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Christoper Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view-Schinkel Pavillon, Berlin

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Christoper Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view-Schinkel Pavillon, Berlin

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Christoper Kulendran Thomas in collaboration with Annika Kuhlmann, Being Human, 2019, Installation view-Schinkel Pavillon, Berlin

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Interview with Bunny Rogers

Your work is centred around your personal 46 childhood memories. It often has a certain melancholy to it, yet you have disagreed with labelling your work nostalgic. How do you describe this reoccurring assimilation of your childhood memory in your work?

Outset

I do long for, I make wishes, I have regrets.

I don’t feel though that nostalgia accurately houses my position toward my childhood. It doesn’t fit with my concept of time and memory. For me ­nostalgia implies a complication of emotions but ­including a fondness or wish to return, possibly ­regret. While I don’t think longing and ­desire, ­wishing and regret are productive activities, the longing I feel now is the longing I felt then; it is the longing I will feel, and so on. These things are flat to me. The memory is forever, held in ­chaotic atmosphere.

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You work a lot in a digital space, using animations, referencing websites as well as online games. At the same time, in your material work you incorporate toys and found objects. Have you always worked in the virtual and physical simultaneously, or has there been a distinctive shift from the digital to the real?

Outset

I can say my life online truly began at the age of 10, 4 years after my introduction to the ­internet, when a PC was installed in my bedroom.

This marked a shift from concealed devotion to split selves – which were then reassembled, in ­accordance with socialization.

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At the beginning of this year you had your first institutional solo exhibition in Europe.

Congratulations! PECTUS EXCAVATUM is the title of the exhibition shown at the ZOLLAMT in Frankfurt. Pectus excavatum refers to a depression of the anterior wall of the rib cage. The area around the sternum is retracted towards the spine, 48 resulting in increased pressure on the abdomen and greater stress in the cardia. In your 2016 work THE JOAN STUDIES, the figures carry this physical characteristic, as you do yourself. Why did you decide to address this theme in your work and even to name the exhibition after it?

Outset

Pectus Excavatum is part of my understanding of my identity. I struggled to accept this physical mutation growing up. Referring to it as a physical manifestation of the void started as a joke, though now I kind of like it. A literal cavernous depression in my chest that will worsen with age, gravity warping the nadir toward the spine.

I romanticize that point of collapse. A close friend ate Apple Jacks out of it once, with milk. I have an attachment to it.

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Your work has been described as ‘collages of your real and virtual self, filtered through your supercharged imagination’. Does this ever make you feel vulnerable? You have described that every exhibition feels to you like a metaphorical funeral.

What do you feel after this funeral? Do you feel as if the end of an exhibition allows you resurrect and start anew?

Outset

If perspective is delusion, my actions reveal the shape of which is blocked from me, by definition. Being a person is embarrassing. Artmaking is compulsory and debilitating, but it helps for organization. A temporal and arrogant belief that you have it all figured out.

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Bunny Rogers, Creepy Crawlers (Giant Squid), 2019

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Bunny Rogers, PPECTUS EXCAVATUM, Zollamt MMK, Frankfurt/Main, Installation view

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Bunny Rogers, Creepy Crawlers squid (white), 2019

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Bunny Rogers, Memorial wall, 2018

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Bunny Rogers, Techo Statue (Original mint), 2018

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Bunny Rogers, Shoyru Statue (original blue), 2018

Interview with

Your practice is not limited to one medium, but ranges from publications to lecture performances and exhibitions.

Would you say that there is a kind of hierarchy or a certain chronology one needs to be aware of to understand your work?

Outset

Slavs and Tatars

We prefer the analogy of yoghurt to the traditional hierarchical models often employed. Like totum simul, in yoghurt, the whole is in the part and the part in the whole. Each work informs another work much like you need yoghurt to make yoghurt. Contrary to the traditional pyramid model, wherein the artwork collected by a public institution or private collector sits atop, and the publication is often deemed either a necessary tool of communication/marketing (i.e. catalogue) or as a niche activity (artist book), our books sometimes precede artworks (as a kind of augury), sometimes coincide and sometimes follow. But what they do not do is explain works: rather, the lectures and books articulate a set of concerns, while the artwork disarticulates those very concerns.

S. & T.

When and in what context was the collective Slavs and Tatars founded? Why do you prefer the collective over individual authorship? How do you work as a collective?

Outset

Slavs and Tatars was founded in 2006 as an informal reading group. We were interested in investigating other types of knowledge, beyond those taught at our universities, museums, etc.

S. & T.

Your practice is devoted to the region that you describe as “the area east of the former Berlin Wall and west of the Great Wall of China”, also known as Eurasia.

What can we learn from that specific region?

Outset

It is at the edges of empires, the peripheries of ideologies, the margins of belief systems where the most is to be learned and gained, not at the proverbial and often rotten core. Our region is fundamentally club sandwiched – between empires (Ottoman, Persian, Russian, Mongol to name a few) or ideologies.

S. & T.

A lot of artists express, in some way or form, autobiographical aspects in their work. In contrast, the work of Slavs and Tatars is heavily research-based. Are you ever inspired to create a work from a specific autobiographical circumstance?

Outset

No. The very act of founding a collective is in some sense a refusal to indulge the personal and the individual.

S. & T.

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In 2018 Outset supported the acquisition of DRESDNER GITTER (2018) for Albertinum Dresden, following your exhibition MADE IN DSCHERMANY, which shed light on Germany’s little-known historical relationship with Islam and ‘the East’. Which supposed contradictions does DRESDNER GITTER combine?

Outset

Reading is generally considered a civilizing activity, part of an important process of creating a perceived set of common beliefs, core thoughts, etc. We’re interested in reading that challenges such an edifying dynamic. A structure often used in the case of the Gitter.

S. & T.

Some of our Outset Patrons have travelled to Venice and seen your latest project DILLIO PLAZA (exhibited at the Arsenale) and TRANNY TEASE (exhibited at the Central Pavilion) at the 58th Venice Biennale MAY YOU LIVE IN INTERESTING TIMES, curated by Ralph Rugoff. Could you speak a little bit about these works? How do the two works reflect on the title given by Rugoff?

Outset

We often try to tell complex stories through what we term ‘stupid’ media, as in simple, popular, and ‘low’. Fermentation is quintessentially a ‘stupid’ medium: associated more with grandmas than philosophy, consisting of little more than salt and water, and originally a rural ritual of sorts. Yet fermentation complicates our Enlightenment legacy of binaries, which sees the world as this or that: secular or religious, rational or irrational, objective or subjective. Despite its minimal means, fermentation is a maximalist practice: it is both preservation and rotting at once. Even the vocabulary around it – to sour, for example – has a double meaning, as in to activate as well as to turn off, be disap­ pointed in. Finally, fermentation hails from the very regions against which the West has defined itself historically: Barbarians, Mongols, Turks, depending on the era.

S. & T.

2019 you also curated the 33rd Ljubljana Biennial of Graphic Arts CRACK UP-CRACK DOWN, for which artists, activists, writers and scholars were invited to consider graphic art as a language of satire. Language is also at the heart of Slavs and Tatars’ artistic practice. How did you experience your new curatorial role?

Outset

It was refreshing to be able to investigate certain ideas without the often excessive emphasis on auteurship placed S. & T.

Slavs and Tatars, Dresdner Gitter, 2018 Installation view: Made in Dschermany, Albertinum Dresden

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upon artists. As the Biennial coincided with the founding of our new residency and mentorship programme in Berlin, we feel both stem from a desire to extend platforms to others.

Slavs and Tatars shines a light on the cultural complexities of Eurasia, unearthing stories that are unknown or have long been lost, and addressing the subject of religion, which remains often excluded in contemporary art. For a cosmopolitan future, what do you believe should be remembered and how?

Outset

Instead of auguring the future, the best advice we can give is borrowed from Thomas Merton, the Catholic monk who first introduced Islam and Buddhism into the Catholic Church. He wrote: “Quit this world, quit the next and quit quitting.” That is, even those ideas and beliefs we consider to be liberating and progressive will at one point cease to be so and become constraints and shackles.

S. & T.

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Slavs and Tatars, Dresden Gitter, 2018 installation view, Made in Dschermany, Albertinum Dresden

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Slavs and Tatars, Dresden Gitter, 2018 Installation view: Made in Dschermany, Albertinum Dresden

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Slavs and Tatars, Dresden Gitter, 2018 installation view: Made in Dschermany, Albertinum Dresden

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Interview with

In 2017, your work FAUST at the German Pavilion won the Golden Lion at the 57th Venice Biennale. How did the idea for the work develop in collaboration with Susanne Pfeffer, curator of the German Venice Pavilion 2017?

Outset

Anne Imhof

When Susanne Pfeffer told me about her choice for ­representing Germany at the 57th Venice Biennale I was both overwhelmed and excited and happy the same time.

I said yes right away. I was aware of Susanne’s exhibition ­history and intrigued by her way of working: direct and straightforward, like myself. There was a personal and professional trust from the very start and I remember walking away from our meeting shaking with excitement and immediately starting to think about what I wanted to do. Of course, there was still a long way to go at this point.

AI

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FAUST followed ANGST, which was a trilogy of exhibitions and performances that had its peak in the Nationalgalerie at Hamburger Bahnhof in Berlin. This was my first series of major solo exhibitions and already presented quite a challenge. After Susanne’s invitation, an intense, months-long dialogue and working period began, labouring over every detail of the ex­ hibition together with her and our respective teams. During this time, starting in July 2016, I went back and forth a lot between Frankfurt and Venice. I started a completely new body of work solely for this exhibition and it needed all my concentration and focus. Only afterwards did I realise how all my thoughts and actions during this period, whether I was inside or outside the studio, were consumed by the work on FAUST. Your long-duration performance pieces combine many artistic media such as dance, installation, painting and music. Where and in what practice would you say lie your beginnings as an artist? Are there certain experiences or ideas from which the process of creating unfolds?

Outset

I started drawing at an early age. I always wanted to become an artist and when I finally started studying art, I began with photography and then got more interested in painting. During my time at school, I was also making music. My first pieces included music and dance in an attempt to translate the different images and layers in my visual language into a live situation. I used the framework of a concert to combine sound AI

as mobile phones, clearly reflect the time in which the performance is set. What role does this use of a “contemporary language” and mood play in your work?

and movement to create images in time. To this day, my drawing practice stands at the beginning of the creative process for each new cycle of work. I pretty much still take photographs as the base for new drawings and paintings, even if they are only one layer in the final image. I’ve always been a keen observer of my surroundings. In the studio and during my travels I collect images and things, which are then fed back into the work.

The performers appearing in your works come from various disciplines. How would you describe the value and effects which collaboration gives your work?

Outset

In the first place there is friendship. The strength of the collaboration results from there being both a professional and a personal bond. Working with a core group of people enables me to create more complex images than if I were merely working alone. As you said, they all come from different backgrounds, so there is this layering of skills and expertise.

AI

I think a lot about the negotiation and distribution of authorship in the different artistic fields that my work combines in order to be transparent and make the collaborative contributions visible. This concerns the performances themselves, the music written for them, as well as other aspects such as the painterly processes, where you might not expect different hands working on a canvas – here, too, different people and craftsmen are ­involved. We try to make sure everyone is named so this doesn’t go unseen.

Faust was a highly collaborative process. My partner Eliza Douglas, for instance, contributed a lot to the music as well as to multiple scenes of the performative work. I am eternally grateful for the sacrifices made by a lot of the people involved.

Many of the dancers moved their lives to Venice and took up residence there for much of the duration of the Biennale, which runs from May till November, where they performed ­almost every day.

Outset

In your performances, you use coke and beer cans as props; the clothes and accessories of your performers, such

A lot of time goes into choosing the objects displayed and used in the pieces. Eliza selects most of the clothes and costumes and then we decide together what is actually worn in certain scenes in the live work. Other consumer goods you mentioned I often choose because of their colour and then decide on a quantity. This way, I can decide what the associations are and how I can use them as props for the actions of the performers as much as them becoming part of the ­composition of a certain image. The objects reflect a dark mirror i­mage of our time, as if from an apocalyptic fever dream: ­syringes, ­helmets, cracked mobile phones, chargers, cigarettes, small glass capsules, knives, bottles, ethanol, Vaseline, containers of ­various shapes. I place objects trouvés that already denote a particular usage next to newly bought items and sculptural works. There is a strong focus on the colour and rhythm of their placement. In FAUST for example, I often lined them up or grouped them underneath the glass floor to create specific ­displays and arrangements. The use of glass reminded me of Frankfurt’s big glass towers, vertical barriers of faux transparency – in the piece it formed a horizontal separation between the bodies of viewers above and performers below.

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In your performances, actions unfold simultaneously in various places. If one is not in the right place at the right time, only photographs or Instagram recordings remain. What kind of relationship is it that you wish the viewer to have with the artwork?

Outset

The audience is left to explore the space on their own, either going with or against the general movement of the piece at any given time. The performances are not staged in the context of theatre, where you generally have a central stage and the audience has a privileged singular point of view.

AI

There is the photographic record that is created in collaboration with Nadine Fraczkowski, which has become part of how the work is perceived in the press. Then there is the photographic record of people in the audience. But the popularity on Instagram is perhaps more coincidental than deliberate, at least it was

in the beginning. People create their own record of the work.

It stands for itself. It’s liberating for me as well. They take something and make it their own. It’s not mine anymore. I don’t really keep up with the lives these images take on afterwards, how they are used, placed and shared. It’s the same behaviour people have at concerts. It’s like we have become fans of every minute and every interesting image of our lives, which I think carries a nostalgic promise and sentiment right in the moment it is taken. As if we and the others were already gone. The ­dimension this took on during FAUST was a quite a shock to me. I dealt with it more consciously in the piece I developed afterwards, SEX, which was first shown at Tate Modern, 2019.

During the opening scene, the flow of people was guided through the architecture of the space in such a way that the ­majority only saw other members of the audience watching and photographing what was happening but didn’t see t he ­performers‘ bodies themselves, only their shadows. Strobe ­lighting revealed some images and kept others in the dark.

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Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London

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Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London

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Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London

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Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London

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Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London

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Installation view: Anne Imhof, SEX, BMW Tate Live Exhibition, London

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IO T

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STUDI VISIT

OGS Studio Visit Leiko Ikemura, Gallery Weekend Berlin, 2019

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OGS Studio Visit Gregor Hildebrandt, Gallery Weekend Berlin, 2019

OGS Studio Visit Christian Jankowski, Gallery Weekend Berlin, 2019

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OGS Studio Visit Christian Jankowski, Gallery Weekend Berlin, 2019

club. The ‘NO PHOTOGRAPHY’ request was suspended temporarily on 23 January 2020. On that evening, OGS and PHILLIPS auctioned twelve artworks, the proceeds of which flowed directly into the 2020 funding budget. Huge thanks to Rolf Sachs and the artists who donated the works. True altruism!

29. January 2020 The desire to

November 2019 Like all successful companies, a non-profit organisation needs to be creative if it wants to achieve its objectives.One of our most ambitious goals is to become more relevant. Not as a means in itself, but in order to be a partner that public institutions can always rely on. This desire led to the idea of a small series of three dinner auctions in COLOGNE-SAINT MORITZ-FRANKFURT. The series began in November 2019 with the first Outset Germany_­ Switzerland Dinner at the house of Marc Meiré and Alice Trier. The proceeds from this small auction formed part of the 2019 funding budget.

January 2020

23. January 2020. CLUB DRACULA

– a ‘hidden place‘ in the true sense of the word. Rolf Sachs hosted the second dinner auction for us in his legendary

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become more relevant equates with a desire to become more professional.

Whereas between 2016 and 2019 the projects to be funded were decided internally by the team, we decided that from 2020 the selection will now be made by an international advisory board. On 29 January in Zurich, the professional jurors Anna-Catherina Gebbers, Samuel Leuenberger, Giovanni Carmine, Daniel Baumann, Moritz Wesseler, as well as Marcela von Kayser, Cynthia Phillips, Regine Thiess, Alice Trier, Moritz von Crailsheim, Jan Fischer – jurors from among our Patrons – chose the projects that will be funded by Outset Germany_Switzerland in 2020.

Thank you for this intensive cooperation.

autumn 2020 The small dinner auction series will conclude in Frankfurt am Main.

Location and date to be confirmed – we’ll keep you posted! Covid-19 forces us to postpone this appointment – we keep you posted.

early summer 2020 A great dream will become reality – THE FIRST OUTSET GERMANY_ SWITZERLAND EDITION. You can look forward to a very limited edition by Bunny Rogers. 10 sculptures will be created by the artist in cooperation with her gallerist Daniel von Wichelhaus (Société).

Please send your reservation requests to germany@outset.org.uk FIRST COME, FIRST SERVED! Each year, the Gallery Weekend Berlin and the FRIEZE WEEK in London give us the opportunity to hold an exclusive Patrons’ programme.

Previous big trips took us to Iran in 2018, to the opening week in Venice in 2019, and this year we plan to travel to Japan in late autumn. We are also considering Tallinn, where Karin Laansoo, Director Outset Estonia, opened the ‘Kai Art Center’ in 2019, and Rome, to which Rolf Sachs has invited us.

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P AT ON

What was the first artwork you purchased, and when?

Interview with

Outset

Jan Fischer

P ATR ON S

I remember that I was fascinated by two works, and I asked my parents to give them to me as gifts for my birthday. One was a neo-impressionist view of the Chinesischer Turm by Uwe Timm. I liked the flickering lights of the chestnut trees in this typical Bavarian summer light. The other was a colourful Andy Warhol print of Marilyn Monroe.

I recall that it was during my last years of school. My parents were always very generous when it came to presents. I owe them a lot.

Why did you start collecting light art?

Is scale important in light art?

Outset

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The mystery and at the same time the precision captured my interest instantly. Light art is efficacious, or ‘wirkmächtig’ as we say in German. So scale can definitely help.

But only with good art.

Has your attitude to collecting changed since you began? And again since you decided to open your collection to the public?

Outset

I try to choose more carefully and opt for enduring quality, since we are now a serious institution. But young, radical positions can also be found in the collection. They are more demanding. But in general, quality is the main criterion.

How does your involvement in the Light Art Foundation complement your other international philanthropic projects?

Outset

Interesting that you ask. LAS is a new foundation where art, science and technology meet. We just had our Christmas party yesterday, where all the representatives of the companies, foundations and initiatives presented their projects to each other. At the moment I can’t see how “Stiftung Grundeinkommen”, “A Family Intervention Center in Israel”, “Light Art Space” and a blog for philosophical questions will add up. But perhaps it will make sense in time. Let’s see.

Why did you join Outset Germany_ Switzerland?

Outset

Because of Bettina Böhm and her way of handling this wonderful institution.

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P S

Interview mit Cheyenne Westphal, Global Chairwoman,

PHILLIPS is an Outset supporter of the very first hour. We are incredibly grateful for your support and the wonderful projects we have realised together since 2016. What’s your wish for the future collaboration between Phillips and Outset?

Outset

PHILLIPS

S PON SO R

Phillips is always enthusiastic when it comes to creating the future, and through our ongoing support of Outset it is evident that an impactful change in the art landscape is being made. As a contemporary auction house, our goal has always been to make art more accessible, and sponsoring this unique organisation builds on our commitment to supporting arts and culture around the world. We are excited to see what the future has in store; encouraging the production of new art, working with museums and institutions on placing art in public collections, and bringing new experiences to art lovers and collectors across Germany and Switzerland.

PHILLIPS is known for being a very dynamic and forward-thinking auction house focusing on 20th and 21st century art in all categories. When chief executive Ed Dolman joined in 2014, he sparked a revolution, turning things around and making PHILLIPS a leading auction house. Your appointment as Global Chairwoman in 2017 was followed by sensational industry attention and was seen as a high-profile move.

What are some of your biggest challenges in managing the auction house? How do you adapt to digital developments? How do you nurture and engage young collectors?

Outset

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The international art market and collecting tastes are evolving rapidly, and we are well-positioned to be a step ahead of this. One of the biggest distinguishers between us and the other houses is the look and feel of PHILLIPS – we are much more modern and open, and display art in a way that feels right for this time. In May 2020, our New York

Private sales are an important part of our business, which complement the auction calendar. Many collectors prefer the privacy and discretion that private sales allow, and it’s our role to meet our clients’ needs.

Miety Heiden joined in 2017 to spearhead our plans to increase private sales activity across our selling locations and, as a result, private sales in 2018 rose 46% to $122.2 million. Clearly, there has been a dramatic shift in the art market as both consignors and buyers consider private sales a valued alternative that could best suit their needs. PHILLIPS also has an exhibition platform, and through ongoing curated programming and immersive exhibitions we look to highlight the work of notable artists and innovators of the 20th and 21st centuries.

headquarters will move to 432 Park Avenue, transforming 55,000 square feet of space to create a one-of-a-kind setting that promises to transform PHILLIPS into a leading venue for experiencing art in the city.

Our vision is to present the best of the 20th and 21st centuries, from the viewpoint of the 21st-century collector. In our November sales in New York, we placed a Basquiat next to a Norman Rockwell, next to a Giacometti – breaking down the barriers of traditional selling ­categories. We reflect contemporary culture in everything we do, and this sets us apart as a leading force in the market.

Young collectors form a vital part of our long-term strategy, and one of the ways in which we engage with them is by making art accessible.

Art is meant to be enjoyed and experienced by everyone, and for this reason I am particularly proud of our “New Now” sale category. New Now offers a diverse range of works at a variety of price points – a great entry point for first-time buyers. Another way of engaging is through social media. It is like an immersive and participative shop window from which people can communicate, and digital interactions enable a more open and fluid conversation, which increasingly translates into sales.

Over the last few years PHILLIPS’ digital offerings have developed at such a rate that they are arguably the most innovative in the business.

Our online bidding platform has vastly expanded our sales to the global art world, with online registrants from as many as 50 countries participating in a single auction. In November 2019 we set a world record for Sean Scully, when Red Bar sold to an online bidder in Asia for $1,760,000, making it the highest-value lot sold online at Phillips.

Furthermore, we now host our own online-only sales, conducted across multiple sales categories and offering another option for new and ­existing clients to grow their collections through online experiences.

Nowadays one can buy and sell art with PHILLIPS beyond the spring and autumn auctions and visit curated exhibitions all year round. Why did your focus shift to private sales? Does this reflect a shift of roles in the art ecosystem between auction house, galleries and art fairs?

Outset

Outset

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What is special about the German auction market?

Germany has a long history of great collecting and is still a country where we are unearthing treasures. Balanced with this is a thriving ­artistic community and contemporary art scene, exemplified by the new art that Outset continues to bring to wider audiences. What is so exciting about Germany is that there is a whole new generation of really committed collectors who are ambitious, curious, and global in their approach and outlook.

You’re on the advisory board of the Association of Women in the Arts, what’s your advice to younger colleagues?

Which ceilings do you wish to see ­disappear?

Outset

I am very proud to be on the advisory board of AWITA, an organisation bringing together professional women in the art world to share knowledge and ideas, and to support and mentor each other.

It creates a new kind of community and is a good way for me to pass on my experience of being in the business for 25 years.

My advice to other women and younger colleagues is not to be deterred in taking a risk. Often the only way of finding out if a new role might be for you is to dive in. For example, the auctioneer training programme that PHILLIPS provides is open to all, and it is a misconception that auctioneers are the most extroverted people.

It is exciting to see so many young female auctioneers at PHILLIPS who, amidst flurries of bidding, are bringing the gavel down on

great works by some of the younger and less-well known women artists.

Outset

Outset

I have always loved Gerhard Richter’s work. If I had to choose one, it would be Motorboot from 1965. It’s like an oil spill covering great friends travelling at even greater speed. There are two versions – one is hanging in the Kunstmuseum Basel, and the other was revealed when it went on private loan to the Staatliche Kunstsammlungen Dresden.

And what’s your advice to collectors to find the new Basquiat?

The market is always looking for a fresh story and fresh material.

Finding and identifying the next generation of leading artists is part of PHILLIPS’ DNA, and we take this side of our expertise very seriously. Certain specialists in our team are tasked with sourcing these newer artists, keeping their finger on the pulse of what is at the forefront of market trends. They look at the likes of the biennials in detail, at grassroots level, and this has led to now major artists being introduced by PHILLIPS to the secondary market. Examples include KAWS, Urs Fischer, and Mark Bradford, for whom we went on to set a world record in 2018, when Helter Skelter I sold for £8.6 million.

It’s also about finding the artists who haven’t quite reached into the tens of millions of dollars yet and could be up for a price evaluation.

You started your career in the art market in the 1990s. What did you learn that has changed you as a businesswoman and as an art lover?

Outset

Outset

Don’t you think there is a kind of craziness in the art market today?

We continue to see contemporary art achieve extraordinary prices. It is down to supply and demand. Saying that, global interest is currently focused on certain contemporary artists who are in the headlines, such as Banksy, KAWS, and Yoshitomo Nara. Every generation has had artists considered to be the most relevant of their time, and today’s collecting community reflects its global origins as we see such names achieving prices previously reserved for blue-chip artists.

What are you looking forward to in the upcoming art season?

It has to be our new space opening at 432 Park Avenue. We selected studioMDA, founded by Markus Dochantschi, to design it. Markus has designed some of the most elegant art galleries and exhibition spaces built in the last decade. studioMDA will ensure that our new home offers collectors an extraordinary space to experience the very best of contemporary art, design, jewellery and watches. ­PHILLIPS will also be taking over the Park Avenue Cube, a whiteglass modernist structure of more than 5,000 square feet.

Outset

The most marked change has been the explosion of interest in ­contemporary art and the incredible growth and diversification of the collecting population. What has been so exciting is to be part of a marketplace that has evolved into the global industry it is today. This in turn has changed me as a businesswoman, as I have been able to evolve with it.

What’s on your Thomas Crown List?

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You must come and see it when we go on view with 20th Century & Contemporary Art sales in May!

OUTSET INTERNA TIONAL

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Rafah_Master Drawing: This master drawing of Rafah includes: viewpoints and plume measurements from every photograph and video sourced; craters from airdropped bombs and artillery as observed on the satellite images; tank paths and armored vehicles on the move; reference points; location of possible tunnels; and the trajectories described in testimonies by civilians in the strip. ­Image: Forensic Architecture using a Pléiades satellite photograph of eastern Rafah, taken on 1 August 2014 at 11:39 am.

GREECE Forensic Architecture VIOLENCE, FAST AND SLOW, 2019 Turner Prize nominees Forensic Architecture (FA) present their first solo exhibition in Greece, entitled VIOLENCE, FAST AND SLOW, curated by iLiana Fokianaki. The exhibition is an overview of the agency’s varied and interdisciplinary practices, undertaken since the agency was founded by director Eyal Weizman in 2011. The projects presented here look into the multiple histories, presents and futures of the migratory condition in Europe.

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The Bombing of Rafah – https://forensic-architecture.org/investigation/the-bombing-of-rafah The Image-Complex. The story of Rafah, Gaza on 1 August 2014 lies somewhere between hundreds of images and video clips existing in disparate locations,

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on the smartphones of activists, press clippings, and social media posts. 3D ­models provided an optical device and a means of composing the relation between multiple images and videos in space and time. This evidence-assemblage is what allowed for a narrative of events to emerge.

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The Seizure of the Iuventa (with Forensic Oceanography) – https://forensic-architecture.org/investigation/the-seizure-of-the-iuventa

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Simulating the motion of waves to ascertain the direction of the wind in footage taken from the sea. By cross-referencing this with historical weather data, we can confirm the direction in which the vessel was travelling and confirm that the vessel was pulled towards Italy instead of back to Libya.

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The Seizure of the Iuventa (with Forensic Oceanography) – https://forensic-architecture.org/investigation/the-seizure-of-the-iuventa

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An image projected onto a 3D model in order to reconstruct the complicated scene of search-and-rescue operations by the Libyan Coastguard and NGO vessels on 6 November 2017.

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The Seizure of the Iuventa (with Forensic Oceanography) – https://forensic-architecture.org/investigation/the-seizure-of-the-iuventa

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A reconstruction A reconstruction of search and rescue operation hampered by the Libyan Coast Guard. Central Mediterranean, 6 November 2017.

Charlotte Prodger, SaF05, 2019, single-channel video, courtesy of the artist; Koppe Astner, Glasgow and Hollybush Gardens, London

Tiffany & Co. x Outset Studiomakers Prize, 2019.

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SCOTLAND ENGLAND Tiffany & Co. x Outset Studiomakers Prize 2019 The Tiffany & Co. x Outset Studiomakers Prize provides 12-month rent-free studio space to seven graduates from ­London’s premier art schools. This allows the artists to concentrate on their work without financial constraints. The project is part of Studiomakers, a strategic private-public partnership, which has made it its mission to support fresh ideas and talent in London by providing spaces where artists can unleash their creativity.

Charlotte Prodger, SAF05, Scotland + Venice, 58th Venice Biennale 2019, curated by Linsey Young with Cove Park Charlotte Prodger’s new production is a single-channel video.

Prodger won the Turner Prize in 2018. Prodger frequently addresses the topics of subjectivity, self-determination and abstrusity. SAF05 is the last in a trilogy of autobiographical videos that traces the accumulation of affinities, desires and losses, forming a self as it moves forward in time. SAF05 draws upon different sources: archival, scientific and diaristic. In the process she combines material from a range of different geographical locations, such as the Scottish Highlands, the Great Basin ­ Desert, the Okavango Delta and the Ionian Islands.

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Charlotte Prodger, SaF05, 2019

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ESTONIA Kris Lemsalu, Estonian Pavilion, Venice Biennale 2019 Curated by Andrew Berardini, Tamara Luuk & Sarah Lucas Birth V. A punk pagan trickster feminist sci-fi shaman, Kris ­Lemsalu gathers together objects she has created, collected and crafted into sculptures that recall totems, and into hallu­ cinatory environments. She animates these in cooperation with her ­coterie of collaborators. For the 2019 Venice Biennale, ­Lemsalu channels the city of Venice as a living creature, ­perpetually ­decadent and yet endlessly revived.

Kris Lemsalu, Birth V – Hi and Bye, 2019

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Kris Lemsalu, Birth V – Hi and Bye, 2019

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Kris Lemsalu, Birth V – Hi and Bye, 2019

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Kris Lemsalu, Birth V – Hi and Bye, 2019

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Kris Lemsalu, Birth V – Hi and Bye, 2019

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Nicolás Jaar, Retaining the Energy, Chapter2WO, 2019

Edmund de Waal / Adonai 2019, Jewish Museum, © Edmund de Waal

ISRAEL

NETHERLANDS

Edmund de Waal ‘PSALM’, 2019

Production by CHAPTER2WO, Nicolás Jaar, HEM

Outset England and Outset Israel have jointly supported the project PSALM by Edmund de Waal; an installation that celebrates history. Coinciding with the opening of the 58th Venice Biennale, PSALM was shown in the 500-year-old Jewish Ghetto in Venice.

Last winter, the work was exhibited at the Japanisches Palais in the Staatlichen Kunstsammlungen Dresden, before moving, as PSALM, LIBRARY OF EXILE, to the British Museum in London.

For ten weeks, the musician and artist Nicolás Jaar was at HEM and worked there alone and with his Shock Forest Group on scores, concerts, interventions and (meditative) sound impressions. The result is the new work CHAPTER 2WO. This project is the first in a cooperation – planned over three years – with the new institution HEM, which is shaped by a shared contemporary vision of what characterises art and culture, and by an ambitious programme.

Edmund de Waal / sukkah 2019, Jewish Museum, Venice

… and here is how you can help

The possibilities of Outset Patronage

Outset Germany_Switzerland Sponsors

P HILLIPS, London

W ESTENDARTBANK, Frankfurt

T ALBOT RUNHOF, Munich, Zurich T IFFANY & CO

M EIRÉ UND MEIRÉ: pro bono support with O UTSET PATRONS participate in the

funding of contemporary art with at least 4,000 € per annum as a private individual, 6,000 € per annum as a private individual with partner/spouse, 8,000 € per annum as a Corporate Partner

O UTSET PRODUCTION FUND PARTNERS participate in the funding of contemporary art by taking on entire projects

O UTSET TRUSTEES advise and support

the expansion of the network

ALL DONATIONS ARE FULLY

TAX-DEDUCTIBLE

CONTACT Outset Contemporary Art Fund gGmbH Berlin Telephone +49 30 81725741 Mobile +49 173 2503891 germany@outset.org.uk www.outset.org.uk

branding

K & L GATES: pro bono consultancy in legal and taxation matters

Outset Germany_Switzerland Trustees

J an Fischer, OUTSET TRUSTEE and ­PRODUCTION FUND PARTNER; G ­ erman businessman and collector, Munich/Hamburg/Berlin; founder of the Light Art Space Foundation, Berlin

amin Salsali, OUTSET TRUSTEE, R ­German-Iranian businessman, Berlin/Dubai/ Hamburg; founder of SPM (Salsali Private Museum), Dubai, the first private collection of contemporary art that is open to the public in the United Arab Emirates

As well as numerous other private sponsors who wish to remain anonymous

EXCLUSIVE ACCESS for

Publisher Bettina Böhm for Outset Germany_Switzerland, Berlin

PATRONS + CORPORATE PARTNERS

We respect the wishes of our PATRONS and CORPORATE PARTNERS for exclusive access to all events in connection with projects, travel. However, PROSPECTIVE PATRONS, PARTNERS or SPONSORS with a serious interest in providing support are very welcome to attend one of our events in order to experience the spirit of OUTSET GERMANY_SWITZERLAND.

Assistants Bettina Klein, Thara Weiss Interviews Bettina Klein, Thara Weiss Concept and Design Meiré und Meiré / Mike Meiré, Sebastian Schneider Copyediting Bettina Klein, Dominikus Müller, Bettina Böhm Translation Carolyn Kelly

OUTSET GERMANY_SWITZERLAND

is generously sponsored by:

MEIRÉ UND MEIRÉ

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Photo Credits Andrea Rossetti, courtesy Schinkel Pavillon pp. 34, 38–45 Courtesy Bunny Rogers and Société, Berlin pp. 50-59 Klemmens Renner, courtesy Staatliche Kunstsammlungen Dresden pp. 63, 66–71 Oliver Cowling, courtesy Tate Modern, London pp. 76–86 Forensic Oceanography and Forensic Architecture pp. 107–115 Gary Morris Roe p. 116 Courtesy Charlotte Prodger, Koppe Astner, Glasgow and Hollybusch Gardens, London pp. 117–119 Andrej Vasilenko pp. 121–129 Fulvio Orsenigo, courtesy of Edmund de Waal pp. 130, 132–133 Elias Derboven p. 131 All rights reserved.

Outset Contemporary Art Fund gGmbH Niebuhrstrasse 72 D-10629 Berlin

Our sincere thanks go out to the artists, patrons, sponsors such as Susanne Pfeffer and Rolf Sachs for their contribution.

Special thanks to Marc Meiré, Mike Meiré and Stephanie Eckerskorn for the intensive collaboration from the idea to implementation, which they did pro bono.