One Is Always a Plural
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.
Over the course of the exhibition, the audience is cordially encouraged to actively participate in classes, led by professional Feldenkrais teachers. Participants will have the opportunity to visit the exhibition before and after the lessons.
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.
In cooperation with the Van Abbemuseum, Eindhoven
The exhibition is supported by: Mondriaan Fonds