White, however, is also “calm and movement, activeness and passiveness limitless dimensional space pure energy,” according to Raimund Girke. White takes on a central role in this process, both as a colour and a material, reflecting the immateriality, the zero point and the void. John Cage described “nothingtoseenness” as the equivalent of silence in the visual arts, and circumscribed the nothing through seeing and feeling, though not through “seeing nothing” or “not seeing”. John Cage wrote it out: nothing-to-see, nothingtoseeness. John Cage, 1992: “What is equivalent to silence in the visual arts?” The exhibition is curated by Anke Hervol and Wulf Herzogenrath. After the pandemic-related shift of art reception to the virtual realm, the original artworks can once again be experienced live. “NOTHINGTOSEENESS” invites the viewer to partake in a more exact, precise and intensive mode of perception. One focus of the exhibition is the link to music and silence. In the installation We Buy White Albums, Rutherford Chang shows well over 2,000 copies of the Beatles’ White Album, designed by Richard Hamilton as a white projection surface, which here is contrasted with the black square of Prince’s Black Album. Other site-specific installations by Yoko Ono ( Invisible Flags), Thomas Rentmeister, Ulrike Draesner and Sara Masüger are on display, and Reiner Maria Matysik exhibits his Wolkenmaschine in the Akademie’s outside area. In Isaac Julien’s audio-visual installation The True North (2007), the topic of white reaches into the lonely artic landscape. In the entrance area, Karin Sander reacts to the white monochrome with her Wandstück, which she created specifically for the exhibition. These early radical artistic statements are juxtaposed with contemporary works. Schoonhoven, Günther Uecker and Ellsworth Kelly, as well as one of Yves Klein’s rare copies of Untitled White Monochrome (M 33) from 1958, and the filmic documentation of his legendary 1958 exhibition “Le Vide”, in which rather than artworks only the white walls of the Paris gallery of Iris Clert were to be seen. Featured paintings from this period include works by Lucio Fontana, Raimund Girke, Jan J. The point of departure is white monochromy and the associated new meaning of the material surface, which caused a stir in the American and European art scenes of the 1950s and 1960s. The exhibition, which opens on 15 September 2021 as part of Berlin Art Week, will present paintings, photographic works, film and sound pieces, sculptures and site-specific installations. The title refers to a word play by John Cage, who coined the term “nothingtoseeness” as the equivalent of silence in the visual arts. It does not store any personal data.In the exhibition “NOTHINGTOSEENESS – Void/White/Silence”, the Akademie der Künste shows works by 75 international artists whose work centres around monochromy, material minimalism and reduction. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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