Jutta Koether was born in 1958 in Cologne, Germany, and lives in New York. Art in Review; Jutta Koether; By ROBERTA SMITH; Published: April 15, 2005 'The notion of seriously unserious painting has existed at least since Francis Picabia painted pulp-fiction nudes in the 1930's. It is part of the legacy of Martin Kippenberger, whose work is highly visible at the moment, but it also underlies the deliberately ersatz, curiously visionary work of Jutta Koether, a German musician, artist, critic and admirer of Kippenberger who has lived in New York since the early 90's.' http://www.palaisdetokyo.com/fo3/low/programme/index.php?page=../media_clip/show_clip.php&id_doc=2087 http://www.kunsthalle-bern.ch/en/agenda/exhibition.php?exhibition=9 http://query.nytimes.com/gst/fullpage.html?res=9B07E6DD113EF936A25757C0A9639C8B63 TEST : NEW CONTEMPORARY ART CENTER IN LISBON, PORTUGAL WILL OPEN SUMMER 2008 30.000 SQ FOOT FOR NEW PROJECTS, EXHIBITIONS AND PUBLICATIONS FEB 28-29, 2008 LISBON MEETING : TOWARD A DEFINITION OF TEST'S PROJECTS [TO OPEN SUMMER 2008] INVITEES TO THE MEETING : 01. AMY GRANAT 02. EMILY SUNDBLAD 03. MAI ABU ELDAHB 04. JUTTA KOETHER 05. ANA CARDOSO 06. DAVID REINFURT 07. DELFIM SARDO 08. STUART BAILEY 09. MATHIEU COPELAND 10. ALEXANDRE ESTRELA 11. ARFUS GREENWOOD 12. HENRY FLYNT 13. JOAO SIMOES 14. MIGUEL WANDSCHNEIDER FEB 29TH. 9 PM. MOST WELCOME AT THE PRE-OPENING NIGHT WITH 15. JUTTA KOETHER 16. EMILY SUNDBLAD/AMY GRANAT 17. THE FLYNTS (ELIZABETH AND HENRY FLYNT) 18. FILMS BY AMY GRANAT/EMILY SUNDBLAD 19. TALK BY HENRY FLYNT 20. INSTALLATION OF HENRY FLYNT'S CEILING PIECE 21. LAUNCH OF MONOLOG #0, EDITED DURING THE MEETING TEST IS A PRIVATE NON-FOR-PROFIT ORGANISATION FOR CONTEMPORARY ART LOCATED AT LX-FACTORY, IN ALCÂNTARA, LISBON. RUA RODRIGUES FARIA 103, 1300 LISBOA, PORTUGAL. HTTP://WWW.TEST---ON-ART.ORG Monolog #3 Jutta Koether 'Jutta Koether's restless energy translates into a prolific body of work that is at once affirmative and nihilistic. Although she writes and performs, frequently in collaboration with fellow artists and musicians, she is foremost a painter. Rather than hanging her paintings according to the conventions of the "white cube," however, Koether contextualizes her paintings within an "expanded field" by affecting a number of physical interventions in the space. In recent exhibitions these have included placing a silver exercise ball at the installation's center; painting the walls silver; putting shiny mylar-strip curtains at the gallery's entrance; and adding strobe lights. These strategies for obstructing and instructing the viewing experience demonstrate Koether's relentless interrogation of the conditions in which painting is produced and viewed.' (in the Whitney Biennial Day for Night Catalogue 2006)
(Less)
Video details
