life on
mars
55th Carnegie International
5.3.08-1.11.09
Featured Artists
- Doug Aitken
- Kai Althoff
- Mark Bradford
- Vija Celmins
- Phil Collins
- Bruce Conner
- Cao Fei
- Peter Fischli & David Weiss
- Ryan Gander
- Daniel Guzmán
- Thomas Hirschhorn
- Richard Hughes
- Mike Kelley
- Friedrich Kunath
- Maria Lassnig
- Sharon Lockhart
- Mark Manders
- Barry McGee
- Mario Merz
- Marisa Merz
- Matthew Monahan
- Rivane Neuenschwander
- Manfred Pernice
- Susan Philipsz
- Noguchi Rika
- Wilhelm Sasnal
- Thomas Schütte
- Ranjani Shettar
- David Shrigley
- Paul Sietsema
- Rudolf Stingel
- Katja Strunz
- Paul Thek
- Wolfgang Tillmans
- Rosemarie Trockel
- Apichatpong Weerasethakul
- Andro Wekua
- Richard Wright
- Haegue Yang
Audio/Video Library
Artist's Lecture: Haegue Yang
Posted 10|13|08
Artist's Lecture: Ryan Gander
Posted 09|29|08
Remainder, a new process/performance by Attack Theatre: Phase one
Posted 09|23|08
Website Design & Development:
Wall-to-Wall StudiosWhat's Happening:
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Life on Mars ends Jan. 11.
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Additional screening Thursdays at 5:00 p.m.
Free with Museum admission
Running time: 138 min.
schedule is subject to change -->
Artists
Manfred Pernice
Born: 1963, Hildesheim, Germany
Lives and Works: Berlin
Manfred Pernice recycles humble construction materials, such as particleboard, concrete, steel, and cardboard, from the built environment and reconfigures them into open-ended sculptural propositions. His cylindrical sculptures or self-described "cans" and rough-edged movable containers, for example, evoke abstracted interpretations of furniture or buildings stripped of their function. Pernice's objects and installations, as in "deja vue 12" (2008), suggest invented architectonic forms yet retain traces of their past use or associations. Conceptually, his objects refer to neutral, commodified, and often overlooked sites from our surroundings: spaces through which people pass, transport containers, and places of rest or transition, Sited in a nontraditional and public location--under a museum staircase--and exhibiting the artist's characteristic architecturally "raw" aesthetic, the installation poses a series of indecipherable but provocative questions concerning history, time, and space.