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Memory and sculpture - A Studio Visit with Anish Kapoor
3M Project in New York
Real Bodys - Interview with Maria Lassnig
The Human Zoo - Jake & Dinos Chapman
Everything comes back to the body - A Conversation With Ralf Ziervogel
Painting As Construct - Bernhard Martin
The Spirit of the Bauhaus Is Experimentation - An Interview With Omar Akbar, Director of the Bauhaus Dessau Foundation
A Remarkable Achievement - Interview with Stšdel Director Max Hollein
2008 California Biennial


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Three in one: Three American museums unite for a groundbreaking exhibition project

Utopia and pragmatism: The 3M Project, supported by Deutsche Bankís Americas Foundation as lead sponsor, is not only presenting some of the most exciting young art on the scene in New Yorkís New Museum. The exhibition also demonstrates how museums can cooperate in the future to realize ambitious projects together that each would be unable to do alone. Morgan Falconer had a look at the show.

Post-Minimalism, Feminist Art, the Pictures Generation: if art was in a thrilling tumult of change when, in 1977, New Yorkís New Museum first opened its doors and started collecting, it was at least fairly easy to tell one medium from another. But itís surely a mark of how extensively art has changed and grown since the late seventies that Daria Martinís new project, Minotaur, takes on several media at once. Itís a film, first and foremost, but itís also concerned with Rodinís bronze Minotaur of 1886. Watercolors of writhing figures appear during its title sequence; as they disappear, a choreographer and two dancers come into view. It is as though the new art had, like the Minotaur itself, become a monsteróboth man and beast.

Martinís project is one of four that are opening in the next few days at the New Museum under the banner of the Three M Project. It is a joint endeavor, supported by Deutsche Bank as lead sponsor, which unites the New York institution with the Museum of Contemporary Art in Chicago and the Hammer Museum in Los Angeles in a collective bid to commission and acquire ambitious new work. When I arrived recently to look in on the progress, Mathias Polednaís new film, Crystal Palace, had also just opened. Meanwhile, curators were clearing galleries in readiness for a project called Informal Cities, staged by the Shanghai-based architectural magazine Urban China. And, on another floor, they were awaiting the wreckage of a car that was destroyed in a bomb attack in Baghdad in March 2007: accompanying the latter will be various individuals with experience in Iraq, including a former translator at the British Embassy there, a recently demobbed platoon sergeant, and the former director of the National Museum. When they arrive, Jeremy Dellerís project It Is What It Is: Conversations from Iraq will also be up and running.

Itís rare indeed to have four major new projects opening simultaneously in a museum, and increasingly so, given how ambitious artists are becoming. As Laura Hoptman, Krauss Family Senior Curator at the New Museum, says, mid-sized museums like hers have for some time been debating how to keep pace with these ambitions; how to facilitate them while also building the museumís collections in a sustainable way. Take Daria Martin: her previous films have often explored dance, but Minotaur envisaged something particularly complex. "It was inspired by my desire to work with legendary choreographer Anna Halprin," Martin says. "Halprin spearheaded postmodern dance through her embrace of everyday movement. I wanted to make a film that is a tribute to her, but also an exploration of the ways that artists look to historical predecessors for material." She discovered that Halprin had choreographed a dance based on Rodinís Minotaur, and this chimed perfectly with her interests; and, she says, she was "delighted to find that Halprin turns the sexual politics of Rodinís sculpture on its head." The film that resulted is a darkly lyrical piece that has qualities of both documentary and fantasy: the camera finds the elderly Halprin leafing though a volume of Rodinís sculpture; then, as if her imagination had penetrated the page, the camera swings over the contours of Rodinís bronze. Reflections cast flesh tones on the surface of the sculpture and, suddenly, the bronze shakes and comes to life in the form of two dancers: the man gripping the woman, the woman somehow eluding him.

"My films are usually funded through grants and museums or gallery commissions," Martin explains, "sometimes with a small infusion of gallery money." She always has to piece together the support from various sources. On this occasion, it was all made much easier. "In my experience, the Ďthree in oneí package of commissioning, exhibition, and collecting that the Three M project represents is unique."

Jeremy Deller relies on a similar blend of funding since, as he admits himself, "Iíve never had much luck with commercial galleries." Itís not surprising: he doesnít aim to make objects or films that can be sold; he is, as Hoptman puts it, "a curator of situations." The ingredients of It Is What It Is are particularly spare: as he puts it, the show will simply involve "a series of people being present in the gallery and available for discussion and conversation." Its centerpiece is the carís wreckage. "Itís an unusual thing to see, isnít it?" he remarks. "A car is such a sacred thing in America." But Deller isnít simply staging a provocation: he believes that, in news reports from todayís war zones, images of wrecked cars have come to stand in for dead bodies. "They would never show a dead body on the news in Britain or America. So in that respect, our car is a body, too." If the car is a curiosity, the conversations are the real show, and they will continue: when the show concludes in New York, Dellerís entourage will depart on a three-week road tour to communities across the US on the way to its next venue in Los Angeles. In a sense, Deller will enable all three museumsóall Three Ms in the projectóto reach out to entirely new audiences, and thatís exactly why the Deutsche Bank Americas Foundation has stepped in to be the lead sponsor. Alessandra DiGiusto, the Foundationís Chief Administrative Officer, says: "The Foundation is excited about supporting this new model. It increases awareness of these very talented artists and helps the museums build their contemporary art collections. We feel that the arts play a vital role in building vibrant communities and this commitment is becoming increasingly important in these economic times."

Some will probably ask whether Dellerís project belongs in a museum at all, and they might ask the same of Urban Chinaóarenít they publishers, not artists? Laura Hoptman defends their inclusion. "If you think of Rem Koolhaas, their titular godfather, he has always moved between visionary architectureówhich often belongs in a museumóand buildable architecture. Urban China are just like this. In addition to producing their magazine, theyíve been creating an enormous photo archive of urban change in China." One can get a taste of that online, but for the show, in addition to an installation that brings the magazine to life on the walls, theyíre also producing a special issue that gives an idea of their methods: it feels part exhibition catalogue, part artistís multiple, with a spread featuring a large photographic panorama of a coastal city in China, broken up in places with diagrammatic motifs suggesting new structures which might be put in place.

Finally, if expansion beyond the gallery is one of the purposes of the Three M Project, then one could say that Mathias Polednaís new film, Crystal Palace, examines a little of the history of such efforts. At first glance, itís uncomplicated: it consists of a series of static shots of vegetation in the rainforests of New Guineaópalms and tangled undergrowthóaccompanied by a soundtrack of the forestís ambient sounds. Only after a few minutes do you realize the complexity of this: the images cut cleanly from one to the next, while the soundtrack remains the same; then the sound changes and the images endure. Itís a formal device whose intention is elucidated by the filmís title, which refers to the giant glasshouse that contained the exhibits at the Great Exhibition in London in 1851. The event sought to import a flavor of the British Empireís furthest reaches and to deliver them up as if they were fruits ready to pick. Of course, they were never so accessible as they might have seemed, and thatís something we should perhaps remember whenever we relax into artís pictures of the outside world.

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On View
Memory - Anish Kapoor at the Deutsche Guggenheim / Early Netherlandish Masterpieces at the Stšdel Museum / The Deutsche Bank Stiftung Sponsors Frances Stark Exhibition at the Portikus / Contemporary Art from Austria at the Essl Museum / Deutsche Bank supports the 2008 California Biennial
Kandinsky Prize 2008: The Winners / First Presentation of the Deutsche Bank Collection in the Middle East / Deutsche Bank Collection Opened for Visitors in Berlin / Mark Leckey wins Turner Prize / Deutsche Bank Honored for Its Commitment to Art / Ian Wallace at the Kunsthalle ZŁrich
Just wait until the fog lifts - The press on the Frieze Art Fair 2008 / Too Much Good Stuff - Reviews of the 2008 California Biennial
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