Ian Wilson & Hanne Lippard, KW Institute for Contemporary Art

KW reopens with a series of artists responding to the conceptional works of Ian Wilson. The first one is Hanne Lippard who builds an immersive installation taking up KW’s entire ground floor hall.

After a period of renovations making the former margarine factory look a bit more like an actual museum, Krist Gruijthuijsen takes over as new director with a rather intellectual approach.

The idea of his artistic program is to take the practice of Ian Wilson as a framework for other contemporary artists to react to it.

Ian Wilson (*1940) is a conceptual artist from South Africa. He focuses on oral communications in his works but is also interested in the concept of time in general. The artist started exploring the aesthetic potential of spoken language in the late 1960s and is best known for his Discussions. Not recorded or photographed at all – think Tino Sehgal – there is only a printed announcement prior to the event and a printed certificate after it happened. One of those rare Discussions will take place at KW in May.

Since there is not much to show of Wilson’s work, this part of the exhibition is rather small and minimalistic. It might be not so easy to get the artist’s idea if one is not guided through this part of the exhibit, so I recommend taking the time to read the exhibition texts carefully.

The first artist that was asked to react to Ian Wilsons practice is Norwegian Hanne Lippard (*1984). Her installation takes its inspiration from Wilsons Circle Works. Lippard builds spiral staircase winding from KW’s ground floor hall to a small space under the roof where you can sit down and listen to the artist’s voice reflecting on language. Lippard describes her idea of voice as “being flesh without being physical”, the piece of art itself is called Flesh. A minimalistic but aesthetically and intellectually pleasing piece.

http://www.kw-berlin.de/

Ian Wilson on view through 14 May 2017
Hanne Lippard on view through 9 April 2017

Ian Wilson, Circle on the floor (Chalk Circle), 1968, unlimitierte Auflage, Courtesy der Künstler und Jan Mot; Ian Wilson, The Pure Awareness of the Absolute / A Discussion, 2014, Courtesy der Künstler und Jan Mot, Brüssel, Leihgabe: Jan Mot, Brüssel, Untitled (Disc), 1967, Courtesy der Künstler, Installationsansicht KW Institute for Contemporary Art, 2017, Foto: Frank Sperling

Ian Wilson, Circle on the floor (Chalk Circle), 1968, unlimitierte Auflage, Courtesy der Künstler und Jan Mot; Ian Wilson, The Pure Awareness of the Absolute / A Discussion, 2014, Courtesy der Künstler und Jan Mot, Brüssel, Leihgabe: Jan Mot, Brüssel, Untitled (Disc), 1967, Courtesy der Künstler, Installationsansicht KW Institute for Contemporary Art, 2017, Foto: Frank Sperling

Ian Wilson, Ausgewählte Anweisungen und Publikationen,1968–1989, Vitrine entworfen von Ian Wilson; Courtesy der Künstler und Jan Mot, Brüssel, Leihgabe von Jan Mot, Brüssel / Brussels; Installationsansicht KW Institute for Contemporary Art, 2017, Foto: Frank Sperling

Ian Wilson, Ausgewählte Anweisungen und Publikationen,1968–1989, Vitrine entworfen von Ian Wilson; Courtesy der Künstler und Jan Mot, Brüssel, Leihgabe von Jan Mot, Brüssel / Brussels; Installationsansicht KW Institute for Contemporary Art, 2017, Foto: Frank Sperling

Hanne Lippard, Flesh, 2016, Installationsansicht KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Flesh, 2016, Installationsansicht KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Flesh, 2016, Installationsansicht KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Flesh, 2016, Installationsansicht KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Detail der Installation Flesh, 2016, KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Detail der Installation Flesh, 2016, KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Flesh, 2016, Installationsansicht KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling

Hanne Lippard, Flesh, 2016, Installationsansicht KW Institute for Contemporary Art, 2017; Courtesy die Künstlerin und LambdaLambdaLambda, Prishtina; Foto: Frank Sperling