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June 15, 2019 – January 5, 2020
MANIFESTO. Art x Agency
Hirshhorn Museum and Sculpture Garden, Washington DC
Manifesto: Art x Agency is a group exhibition that examines the art historical impact of artist manifestos from the 20th century to present day. Organized by the Hirshhorn’s Chief Curator Stéphane Aquin, Manifesto: Art x Agency also marks the Washington, D.C., debut of German artist Julian Rosefeldt’s multichannel film installation, Manifesto, presented alongside a diverse selection of works from the museum’s permanent collection. Comprising more than 100 works of art and ephemera created over a hundred-year period, Manifesto: Art x Agency explores how artists used manifestos to engage with the political and social issues of their time and how contemporary practices still employ art as a tool in the making of history.
For further information please see:
Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019
May 10 – June 29, 2019
30 Jahre Barbara Gross Galerie. 3 Ausstellungen. Teil 3 
Barbara Gross Galerie, Munich (group show)

An exhibition as a gift, the history of a gallery, a look back at a decade, a bundle of works, and a collaboration between artists and a curator. This complex of interests is as exciting as it is challenging. While many stories from the Barbara Gross Galerie’s thirty-year history of the have already been told, the reservoir of anecdotes is far from exhausted, and the stream of pictures and the line of well-wishers continue unabated.
The final part of the exhibition trilogy follows the instructions laid out in the invitation. Even so, the presentation doesn’t argue objectively; it doesn’t analyze a context or document a program. The exhibition neither poses a concrete question nor does it shine with statements and theories. This show too features works previously exhibited in the gallery but in an unexpected, entirely ahistorical constellation. The exhibition evidences a cooperative, subjective re-reading, an approach to the artistic works as such, which in turn represent the DNA of the gallery. The result is a kind of “text” that newly links the given works according to an analysis of their inherent characteristics.
Julian Rosefeldt presents his single-channel film work Deep Gold (2013/2014) which is part of the anthology film The Scorpion’s Sting (2013/14), that was initiated by the artist-duo M+M. Six artists or artist collectives were invited to work on Luis Buñuel’s groundbreaking and at the time scandalous film L’Âge d'Or (1930). Rosefeldt’s part recalls a grotesque version of the ‘Golden Age’. It functions as a fictional insert in Buñuel’s original movie, showing a world full of lust and desire, in which a weak male protagonist becomes overwhelmed by an omnipresent female sexuality. Throughout the film he embodies a symbol of the constrained modern society Buñuel assaulted in the early twentieth century.
For further information please see:
Julian Rosefeldt, Deep Gold, 2013/2014 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019
April 19 – September 29, 2019
Julian Rosefeldt. In the Land of Drought
National Gallery of Victoria, Melbourne (solo show)

The NGV presents the Australian premiere of Julian Rosefeldt’s latest work, In the Land of Drought 2015/2017.

Shot entirely by drone in Morocco and Germany, In the Land of Drought 2015/2017 is set in an imaginary post-Anthropocene world and confronts the relationship between humanity and its impact on the world. The camera’s bird’s-eye view observes an army of ‘scientists’ emerging to investigate the archaeological remnants of civilisation after humanity has made itself extinct. Composed of meditative images and atmospheric sounds, the immersive 43-minute film resonates with current concerns about environmental damage and climate change.

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Julian Rosefeldt, In the Land of Drought, 2015/2017 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019
January 15 – November 2, 2019
Julian Rosefeldt: Manifesto
The Israel Museum, Jerusalem (solo show) 
The 13-channel film installation Manifesto (2015) pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogme 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers.
Rosefeldt’s work reveals both the performative component and the political significance of these declarations. Often written in youthful rage, they not only express the wish to change the world through art but also reflect the voice of a generation. Exploring the powerful urgency of these historical statements, which were composed with passion and conviction by artists many years ago, Manifesto questions whether the words and sentiments have withstood the passage of time.
For further information please see:
Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019