JUNE - JULY 2021
Guild Hall and the Elaine de Kooning House are pleased to present Josephine Meckseper’s digital film series entitled Moments Choisis.
During her residency at the Elaine de Kooning House, Meckseper will share weekly three to five-minutes film clips — produced and edited by the artist — chronicling the non-linear process of her new works in the studio.
The studio’s architecture will be featured in various cinematic modes with layered shots of the artist’s works (in progress) and the surrounding landscape. The short films will create a unique view of her summer residency as well as the space and its history.
Each new film clip from the series will be available to view on guildhall.org on the following dates:
Tuesday, June 22nd
moment I: before the eclipse
Tuesday, June 29th
moment II: after the rain
Tuesday, July 6th
moment III: subglacial erratic
Tuesday July 13th
moment IV: snakes for dessert
Tuesday, July 20th
moment v: stirrings still
Meckseper’s large-scale installations and films have been exhibited in numerous international biennials and museum shows worldwide, including solo-exhibitions at: Frac des Pays de la Loire (2019), MOSTYN Contemporary Art Gallery, Wales (2018); Neuer Aachener Kunstverein, Aachen, Germany (2014); Kunsthalle Münster, Germany (2009); Migros Museum für Gegenwartskunst, Zurich (2009); and Museum of Modern Art, New York (2008). Her works are in the permanent collections of numerous institutions, including the Guggenheim Museum, New York, The Museum of Modern Art, NewYork, the Metropolitan Museum, New York, the Whitney Museum of American Art, the Solomon R. and the Hammer Museum, Los Angeles. The artist lives and works in New York.
Concurrent with the inclusion of her film Mall of America, 2010 in the Whitney Biennale, she was commissioned to create a short film (Amalgamated, 2010) for the museum’s website featuring the museum’s Marcel Breuer architecture. In 2013, Andrea Grover organized Josephine Meckseper: Platform at The Parrish Art Museum in Watermill, NY. The exhibition challenged traditional disciplinary boundaries by utilizing the entire Museum as a “canvas”.