Migros Museum

Yael Davids

One Is Always a Plural

22 May - 05 Sep 2021

Feldenkrais lesson with works by Stanley Brouwn and Bruce Nauman, Collection Van Abbemuseum, Eindhoven, 2019, photo: Marcel de Buck
Feldenkrais lesson with works by Anna Boghiguian and Wilfredo Lam, Collection Van Abbemuseum, Eindhoven, 2019, photo: Marcel de Buck
Feldenkrais lesson with works by Anna Boghiguian and Wilfredo Lam, Collection Van Abbemuseum, Eindhoven, 2019, photo: Marcel de Buck
Yael Davids, Vanishing Point, 2020, Courtesy of the artist. Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
Yael Davids, A Reading That Loves, A Physical Act, 2017, Courtesy of the artist
Yael Davids, Iteration of Vanishing Point, 2021, Courtesy of the artist
Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
Yael Davids, Vanishing Point, 2020, Courtesy of the artist
Yael Davids, Lying black pigmented clay with Graciela Gutiérrez Marx, 2021, Courtesy of the artist
Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
Ferdinand Hodler, Der Gärtner, 1896, Sammlung Migros Museum für Gegenwartskunst
Yael Davids, Vanishing Point, 2020, Courtesy of the artist
Yael Davids, Lying black pigmented clay with Graciela Gutiérrez Marx, 2021, Courtesy of the artist
Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
Yael Davids, Lying black pigmented clay with Graciela Gutiérrez Marx, 2021, Courtesy of the artist
Yael Davids, Vanishing Point, 2020, Courtesy of the artist
Yael Davids, Leaning glass and black pigmented clay with Ferdinand Hodler, 2021, Courtesy of the
artist
Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
Yael Davids, Leaning glass and black pigmented clay with Ferdinand Hodler, 2021, Courtesy of the artist
Ferdinand Hodler, Der Gärtner, 1896, Sammlung Migros Museum für Gegenwartskunst
Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
Yael Davids, Iteration of Vanishing Point, 2021, Courtesy of the artist
Noa Eshkol, Models of Orbits in the System of Reference, 1950, Courtesy The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Exhibition view, Migros Museum für Gegenwartskunst, photo: Giuseppe Miccich
For the exhibition One Is Always a Plural, artist Yael Davids has selected art from the Migros Museum für Gegenwartskunst’s collection to bring into dialogue with her own works. She engages with the institution and its collection in an unusual manner. The foundational ideas of the Feldenkrais Method play a key role in the design of the exhibition and selection of works. This holistic body-oriented technique believes that movement principles form the basis of every human action, and it aims to expand self-image through carefully performed movement sequences. Davids examines the potential of the Feldenkrais approach in a completely different area, in the experience of art. She invites visitors not only to “see” art but also to find another way of accessing it through body and movement.

Yael Davids in dialogue with Eleanor Antin, Phyllida Barlow, Marion Baruch, Georg Baselitz, Lothar Baumgarten, Heidi Bucher, Graciela Carnevale, Thea Djordjadze, Marlene Dumas, Jimmie Durham, VALIE EXPORT, Hans-Peter Feldmann, Graciela Gutiérrez Marx, Ferdinand Hodler, Hudinilson Jr., Dorothy Iannone, Sol LeWitt, Anna Maria Maiolino, Babette Mangolte, Sara Masüger, Senga Nengudi, Henrik Olesen, Luis Pazos, Robert Ryman, Hanna Schwarz, Mierle Laderman Ukeles, Philip Wiegard, and Cathy Wilkes from the collection of the Migros Museum für Gegenwartskunst and loans from the Noa Eshkol Foundation for Movement Notation and Jon Mikel Euba.

Yael Davids lives and works in Amsterdam. Selected international solo exhibitions, installations, and performances include: A Daily Practice, Van Abbemuseum, Eindhoven, 2020; Dying Is a Solo, Museo Tamayo, Mexico City, 2018; documenta 14, Athens / Kassel, 2017; La distance entre V et W, Les Laboratoires d’Aubervilliers, Paris, 2015; Gesture in Diaspora, Galerie für Zeitgenössische Kunst, Leipzig, 2015; Ending with Glass, Kunsthalle Basel, 2011; Learning to Imitate in Absentia I, Picture This, Bristol, 2011; Where Times Becomes Art, Palazzo Fortuny, performance division, Venice Biennale, 2005.
 

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