daily recommended exhibitions

posted 28. Mar 2024

Lydia Ourahmane - 108 Days

28. Nov 202301. Apr 2024
Lydia Ourahmane 108 Days November 28, 2023–April 1, 2024 As MACBA inaugurates a new season, over one hundred individuals and collectives from a cross-section of Barcelona’s social spectrum will occupy the tower of the Meier building in a project that confronts the Museum’s modus operandi. Inhabiting, gathering, sharing, being permeable…, these are all qualities that infuse the site-specific project 108 Days by Lydia Ourahmane (Saïda, Algeria, 1992). The title refers both to the number of days the exhibition is open to the public and to the total of participants engaging with the space during this time. 108 Days brings an extended city context into the Museum by foregrounding individuals and collectives who form part of its social landscape and have been specifically chosen by Ourahmane, who has lived in Barcelona since 2021. The space will be occupied by what the participants consider urgent and incisive, with the aim of promoting critical dialogue and exchange with the space, the institutional framework and those who visit it. Like many of her projects, 108 Daysrelates to the artist’s immediate surroundings and engages with the social, political and experiential, while being rooted in personal histories and experiences, whether individual or collective. This work presents a significant alteration to the way the Museum normally operates, firstly by leaving the space empty, aside from a few essential elements, and secondly by interpreting the Museum’s commission by inviting 108 individual participants. The trust between the artist, the institution, those invited and the audience is what lends significance to the work. Ourahmane’s praxis poses the following questions: How can the institutional structures and parameters that define contemporary societies be defied? How can vigilance and the impositions of bureaucracy be overturned? How can artworks involve active and effective protests? Through these inquiries, Ourahmane brings the personal into the political field and the domestic into the field of history.
MACBA Barcelona '

Placa dels Angels, 1
08001 Barcelona

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posted 27. Mar 2024

VALIE EXPORT - Embodied

28. Feb 202407. Apr 2024
VALIE EXPORT: Embodied Wednesday, February 28, 2024 — Sunday, April 07, 2024 VALIE EXPORT’s work has redefined the fields of conceptual art, performance, and expanded cinema. Since the 1960s, her early projects have blurred the boundaries between photography and documentation, performance and action, often by utilizing the female body as prop and provocation to classical regimes of architecture. The ‘photo-graphic’ series, Body Configurations (1972-1976) captures direct interventions through bodily insertions into public space. VALIE EXPORT: Embodied presents select works from this seminal series, reflecting her early investigations into the politics of space, image-making, and the body as both an ideological and technological device. Accompanying the photographic series in the exhibition are two video works by VALIE EXPORT, Adjunct Dislocations (1973) and Syntagma(1984), which present the artist’s filmic inquiries into the real and the representational. Working across the mediums of performance, film, photography, video, sculpture and installations, EXPORT’s work engages with the construction and representation of the female body, confronting ideas of sexuality, intimacy, and transgression in both private and public arenas. Her first solo presentation in Los Angeles since 2001, the exhibition centers on EXPORT's early artistic explorations, expanding on the production of meaning and materiality in film, photography, and performance, while challenging the social function of women and the ideologies of space and the built environment. The exhibition positions these influential works in dialogue with a contemporary performance program featuring Los Angeles-based artists responding to VALIE EXPORT’s work and the Schindler House. About the Artist A pioneer in film, video and installation art, VALIE EXPORT has produced one of the most significant bodies of feminist art in the post-war period. Her groundbreaking films and performances in the 1960s and 1970s introduced a new form of radical, embodied feminism to Europe, examining the politics of the body in relation to its environment, culture and society. VALIE EXPORT: Embodied is organized by MAK Center Director Jia Yi Gu with Seymour Polatin, Exhibitions and Programs Manager, Brian Taylor, Curatorial Assistant, and Maeve Atkinson, Education and Engagement Coordinator.

artist

VALIE EXPORT 
MAK Center, Los Angeles

835 North Kings Road, West Hollywood
CA 90069-5409 Los Angeles

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posted 26. Mar 2024

MELIKE KARA. SHALLOW LAKES

15. Feb 202412. May 2024
15. Februar – 12. Mai 2024 ERÖFFNUNG Mittwoch, 14. Februar 2024, 19 Uhr **MELIKE KARA. SHALLOW LAKES** Melike Kara schafft Erinnerungsräume. Ausgehend von der Beschäftigung mit ihren familiären Wurzeln werfen ihre Installationen Fragen von Identität, Migration und Sichtbarkeit auf. Mit „shallow lakes“ präsentiert die Schirn Kunsthalle Frankfurt vom 15. Februar bis zum 12. Mai 2024 eine ortsspezifische, raumgreifende Arbeit der Künstlerin im Außen- und Innenraum ihrer öffentlich zugänglichen Rotunde. Karas künstlerische Praxis umfasst ein breites Spektrum von Medien, darunter Skulpturen, Fotocollagen und Malerei. Auf der Basis ihres seit 2014 stetig anwachsenden Archivs von Fotografien aus verschiedenen privaten Quellen erforscht sie die visuelle Kultur der kurdischen Diaspora. Großformatig verbindet sie fotografisches Material mit abstrakten Gemälden, die Muster aus traditionell geknüpften oder gewebten Tapisserien aufgreifen. Ihre künstlerische Bearbeitung der Fotografien durch Bleichmittel und der damit verbundene Abstraktionsprozess bilden die Auseinandersetzung mit Wandel und Leerstellen in einer spezifischen kulturellen Geschichte ab. In ihrer Ausstellung in der Schirn verbindet Kara dieses mit eigens entwickelten skulpturalen Elementen, die auf die spezifische Architektur der Rotunde Bezug nehmen. Die Ausstellung „Melike Kara. shallow lakes“ wird gefördert durch die SCHIRN ZEITGENOSSEN mit zusätzlicher Unterstützung durch die Dr. Hans Feith und Dr. Elisabeth Feith-Stiftung. Dr. Sebastian Baden, Direktor der Schirn Kunsthalle Frankfurt, betont: „Melike Karas Installation ‚shallow lakes‘ bezieht sich auf die Verbindung des alltäglichen kulturellen Lebens zwischen Heimat und Exil. Persönliche Fotografien und Motive, die von der heterogenen Geschichte und Migration der Kurd*innen in der Diaspora zeugen, verwebt die Künstlerin einfühlsam zu einer kollektiven Erinnerung. Sie eröffnet in der Schirn Rotunde einen Ort des Verweilens, einen Platz für das soziale Gedächtnis und erschafft so auch eine neue Form von Sichtbarkeit.“ Solidarität, Spiritualität und Riten, aber auch Vertreibung und Traumata sind zentrale Themen in Melike Karas Werk, das dem Bewahren der Kultur der kurdischen Diaspora gewidmet ist. Grundlage ihrer Arbeit als Künstlerin mit kurdisch-alevitischen Wurzeln ist eine umfassende Sammlung historischer und zeitgenössischer Aufnahmen von intimen Momenten wie Familienfotos, Schnappschüsse von Mahlzeiten, Festivitäten, Landschaftsaufnahmen, Wohnräume, Porträtfotografien und Dokumente, die die Schönheit alltäglicher Kultur hervorheben. In der Rotunde der Schirn schafft Kara ein begehbares visuelles Archiv, für das sie unzählige dieser Aufnahmen verfremdet und zu einer raumübergreifenden Collage zusammenfügt. Die Fotografien unterzieht sie einem materiellen Verfremdungsprozess, der sie wellig, verfärbt oder verblasst erscheinen lässt, und sich wie ein melancholischer Schleier über die großformatigen Reproduktionen legt. Die assoziative Aneinanderreihung der Bilder, die keine zusammenhängende Erzählung vermittelt, sowie sichtbare Naht- und Klebestellen referieren auf Diskontinuitäten und den fragmentarischen Charakter mündlich überlieferter Geschichten. Karas Bildatlas erstreckt sich über die gesamte Ausstellung. Die Fensterfassade im Außenraum der Rotunde zieren transparente Folien mit überlebensgroßen Porträts kurdischer Frauen verschiedener Generationen: von den Anfängen des letzten Jahrhunderts bis in die Gegenwart, als eine Galerie der Ahninnen. Unter ihnen befinden sich Karas Mutter und ihre Großmutter Emine, die in den Arbeiten der Künstlerin immer wieder in Erscheinung tritt. Die Installation umfasst zudem fünf achteckige Pavillons mit bebilderten Stoffdächern, die mit der spezifischen Architektur der öffentlich zugänglichen Schirn Rotunde mit ihren acht Säulenpaaren korrespondieren. Fünf flache 32-eckige Bodenskulpturen erinnern an Gewässer, kleine Seen, die im Zusammenspiel mit den in die Höhe wachsenden pavillonartigen Gebilden den Eindruck eines Gartens erwecken. Florale Gipselemente, die wie Blumen auf den Bodenskulpturen wurzeln, verstärken das Gefühl, dass es sich hierbei um eine Art Ökosystem handelt. Seen gelten als Reservoir für Flora und Fauna, wobei Gewässer auch für die physische, wirtschaftliche und kulturelle Entwicklung sozialer Gemeinschaften eine essenzielle Bedeutung haben. Im Innenraum des Rotundenumgangs verbindet Kara hunderte Fotografien an den Wänden in Form einer Wandtapete mit abstrakten Malereien. Ihre Gemälde sind eine künstlerische Auseinandersetzung mit der Vielfalt und dem Wandlungsprozess von Ornamenten in kurdischen Tapisserien. Die unterschiedlichen Tapisserien weisen in Adaption und Neukomposition der Motive bereits selbst eine gewisse Abstraktion auf, da Details ausgelassen oder Geometrien verändert werden. Zugleich spiegeln sich hier auch Geschichten von Migration und Zwangsumsiedelung von verschiedenen kurdischen Communities. Diese beeinflussen die Verwendung regionaler Motive und ortsspezifischer kultureller Besonderheiten. Mit ihren Gemälden schafft Kara aus der spezifischen Ornamentik eine neue figürlich-abstrakte Bildsprache und webt, indem sie selbst neue Leerstellen kreiert, zugleich ihre eigene Migrationsgeschichte ein. Melike Kara (*1985, Bensberg) lebt und arbeitet in Köln. Ihre Arbeiten wurden international ausgestellt, u. a. in der Kunst Halle Sankt Gallen; der Kunsthalle Zürich; dem Kunstverein für die Rheinlande und Westfalen Düsseldorf; dem Museum de Fundatie, Zwolle; der Sammlung Philara, Düsseldorf; der Mead Gallery | Warwick Arts Centre, Coventry (2023); dem Frac des Pays de la Loire, Nantes; der Neuen Galerie Gladbeck (2022); dem Ludwig Forum Aachen (2021); dem Kölnischen Kunstverein; dem Wiels Contemporary Art Centre, Brüssel; dem Kunstverein Göttingen (2020); dem Kunstinstituut Melly, Rotterdam (2019); dem Yuz Museum Shanghai und dem Dortmunder Kunstverein (2018); sie nahm zudem an der 58. Carnegie International in Pittsburgh (2022) teil. Die Ausstellung wird gefördert durch die SCHIRN ZEITGENOSSEN, einem Kreis privater Förderer junger Kunst an der Schirn Kunsthalle Frankfurt. Die Schirn dankt Jan Bauer und Lena Wallenhorst, Jochen und Anja Baumann, Olaf Gerber und Nicole Emmerling de Oliveira, Markus Hammer und Birgit Heller, Philip Holzer, Björn Robens, Reiner Sachs und Brigitta Bailly, Hartmut und Petra Schröter sowie Sascha und Sevilay Wilhelm für ihr Engagement. In der Rotunde der Schirn wurden bereits zeitgenössische Positionen u. a. von Maruša Sagadin, Monster Chetwynd (2023), Amna Elhassan, Carlos Bunga (2022), Caroline Monnet (2020), Karla Black (2019), Maria Loboda, Neϊl Beloufa (2018), Philipp Fürhofer, Lena Henke (2017), Rosa Barba, Peter Halley (2016), Heather Phillipson, Alicja Kwade (2015), Andreas Schulze (2014), Yoko Ono (2013), Bettina Pousttchi (2012), Barbara Kruger (2010), Eva Grubinger (2007), Jan De Cock (2005), Ayşe Erkmen und Ólafur Eliasson (2004) präsentiert. KATALOG MELIKE KARA. SHALLOW LAKES herausgegeben von Sebastian Baden, mit einem Vorwort des Direktors der Schirn Kunsthalle Frankfurt Sebastian Baden, deutsch-englische Ausgabe, 64 Seiten, 40 Abbildungen, 16 x 22 cm (Querformat), Softcover, DISTANZ Verlag, ISBN 978-3-95476-645-1.

artist

Melike Kara 
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posted 25. Mar 2024

François Morellet, Max Bill - Mathématiques modernes

29. Feb 202430. Mar 2024
29 February — 30 March 2024 Opening 29 February 2024, 18:00 Mennour, 47 rue Saint-André-des-Arts, Paris 6 **François Morellet, Max Bill Mathématiques modernes** Curated by Christian Alandete

artists & participants

Max Bill,  Francois Morellet 
MENNOUR Paris

47, rue Saint‑André‑des‑Arts
75006 Paris

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posted 24. Mar 2024

Edith Dekyndt, Specific Subjects

22. Mar 202427. Oct 2024
22 March – 27 October 2024 ​Opening: 21 March 2024 **Edith Dekyndt, Specific Subjects** ​Curator: María Inés Rodríguez Specific Subjects, Edith Dekyndt’s project for Fondation CAB Saint-Paul-de-Vence, weaves together new and evolving technologies, ancestral knowledge and contemporary issues. Some of the works challenge the decomposition of matter, allowing us to sketch out an atmosphere between brutality and fragility, problematising the presence of these two antagonistic notions in the same place. The exhibition at Saint-Paul-de-Vence is both a journey through Dekyndt’s artistic universe, where the dialogue between nature and culture intertwines with the land, and an experience that transcends the usual spaces of art. As visitors, she invites us to explore multiple levels of meaning and to question our understanding of space, memory and temporality. In the current context, marked by conflicts and radical transformations in the way we live and act, with economic, material, immaterial and emotional repercussions, the artist proposes a series of works in which the dynamic between nature and culture, the rural and the urban, generates new paradigms that must be confronted. The title of the exhibition, Specific Subjects, is a reference to Donald Judd's influential manifesto, "Specific Objects "1, published in 1964. Although her artistic practice, developed since the 1990s, is characterised by a sober language and an intensely evocative materiality, Dekyndt deliberately moves away from a more hermetic minimalism, calling out and evoking 'subjects' rather than 'objects'. By fusing conceptual, scientific and experimental approaches, the artist deconstructs the signs of her creative process. She archives, collects and catalogues images, sounds and objects using a rigorous methodology, manifesting a symptomatic reality through her work. Exploring the spaces in which knowledge is formed and the limits of its confinement, her practice adopts a critical and speculative perspective, establishing the conditions necessary to bear witness to a social and political reality. Revealing an attraction to the elusive and intangible, his work draws on signs of impermanence, while evoking the imprint left by history on the surface of things, architecture and public spaces. This approach underlines the urgent need to question writing and historical narratives. María Inés Rodríguez, Curator of the exhibition 1. Specific Objects, published in 1965 in Arts Yearbook 8.

artist

Edith Dekyndt 
FONDATION CAB Saint-Paul De Vence

5766, chemin des Trious
06570 Saint-Paul-de-Vence

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posted 23. Mar 2024

Mike Kelley. Ghost and Spirit

23. Mar 202408. Sep 2024
23.03.2024 – 08.09.2024 **Mike Kelley. Ghost and Spirit** Das Werk von Mike Kelley (1954 in Detroit, Michigan – 2012 in Los Angeles, Kalifornien) ist experimentell, opulent und verstörend – und es gilt als eines der einflussreichsten seit den späten 1970er-Jahren. Die Kunstsammlung Nordrhein-Westfalen zeigt in K21 eine umfassende Retrospektive, die in Zusammenarbeit mit Tate Modern, London, der Pinault Collection, Paris, und dem Moderna Museet, Stockholm entstand. Ob spiritistische Vorstellungen, Heavy Metal oder die Superman-Comics: Kelley greift Bilder und Mythen aus Pop- und Subkultur auf, um bleibende Fragen nach dem Ort des Menschen in der Welt und der Gesellschaft zu stellen. Prägungen durch Politik und Erziehungssysteme werden ebenso thematisiert wie Klassen- und Genderzugehörigkeit. So fiel Mike Kelley in den 1990er-Jahren mit Skulpturen aus Stofftieren und weiblich konnotierten Handarbeiten auf. Hinter deren vermeintlicher Harmlosigkeit tat sich aber Unheimliches, Bedrohliches, Abseitiges auf. Einer seiner letzten großen Werkkomplexe „Day is Done“ (2005) schöpft aus Karneval, Halloween und Schultheater. In solchen volkstümlichen Bräuchen sieht Kelley ritualisierte Verstöße gegen gesellschaftliche Konventionen. Auch die Kunst selbst kann zu den Orten gezählt werden, an denen solche Regelverstöße stattfinden können. In ihrer Mitte inszeniert Kelley den Künstler als eine höchst fragile Figur. Die Ausstellung wurde organisiert von Tate Modern, London, in Zusammenarbeit mit K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Bourse de Commerce, Paris, und Moderna Museet, Stockholm. Gefördert durch ART MENTOR FOUNDATION LUCERNE, Mike Kelley Foundation for the Arts und Hauser & Wirth.

artist

Mike Kelley 
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posted 22. Mar 2024

Naama Tsabar

22. Mar 202422. Sep 2024
22. März – 22. September 2024 Eröffnung: Donnerstag, 21. März 2024, 19 Uhr Naama Tsabar Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin Naama Tsabars Kunst überwindet die Grenzen von Skulptur, Musik, Performance und Architektur: Der Hamburger Bahnhof präsentiert die Installations- und Performancekünstlerin mit ihrer ersten institu- tionellen Einzelausstellung in Deutschland. Die Ausstellung umfasst drei Werkkomplexe mit partizipativen Wand- und Bodenarbeiten, die vom Publikum auch als Instrumente klanglich aktiviert werden kön- nen. Die für die Ausstellung konzipierte Musikperformance entsteht in Zusammenarbeit mit sich als Frau definierenden oder nicht gen- derkonformen Musiker*innen aus Berlin und New York. Mit der Ver- wendung von Filz und Klang bezieht Tsabar sich auf Joseph Beuys, dessen Werke parallel in der Kleihueshalle gezeigt werden. Die Aus- stellung ist der Auftakt einer Reihe zeitgenössischer Präsentationen im Dialog mit der Sammlungspräsentation von Beuys Werken. Naama Tsabar (geb. 1982, Israel, lebt und arbeitet in New York) er- schließt in ihren interaktiven Werken versteckte Räume und Systeme, re- definiert geschlechtsspezifische Narrative und verschiebt das Seh- Erlebnis zu einem Moment aktiver Partizipation. Ihre Skulpturen und In- stallationen können vom Publikum oder in kollaborativ angelegten Per- formances als Instrumente bespielt werden. In dem transformatorischen Prozess zwischen Skulptur und Instrument, zwischen Form und Sound, wird das intime, sinnliche, körperliche Potential ihrer Arbeiten erfahrbar. Mit der Zusammenarbeit mit lokalen Gruppen von weiblich oder non-binär definierten Performer*innen öffnet Tsabar neue Räume feministischer und queerer Geschichte. Begleitend zur Ausstellung erscheint die vierte Ausgabe der Katalogreihe des Hamburger Bahnhofs, herausgegeben von Silvana Editoriale Milano. Die Ausstellung wird kuratiert von Ingrid Buschmann, wissenschaftliche Mitarbeiterin Hamburger Bahnhof – Nationalgalerie der Gegenwart.

artist

Naama Tsabar 
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posted 21. Mar 2024

Firelei Báez

04. Apr 202402. Sep 2024
April 4–September 2, 2024 **Firelei Báez** This is the first US museum survey dedicated to the richly layered work of Firelei Báez. The exhibition will feature approximately 40 works—paintings, immersive installations, and works on paper spanning nearly two decades of the artist’s practice—and showcase Báez’s profoundly moving body of work, which explores the complicated and often incomplete historical narratives that surround the Atlantic basin. The exhibition will travel across North America to the Vancouver Art Gallery and Des Moines Art Center, and is accompanied by a richly illustrated catalogue co-published by the ICA and DelMonico Books. Organized by Eva Respini, Deputy Director and Director of Curatorial Programs, Vancouver Art Gallery (former Barbara Lee Chief Curator, ICA/Boston), with Tessa Bachi Haas, Curatorial Assistant, ICA/Boston.

artist

Firelei Baez 
ICA Boston

ICA | 25 Harbor Shore Drive
MA 02210 Boston

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posted 20. Mar 2024

Jessica Jackson Hutchins: Wrecked and Righteous

27. Jan 202405. May 2024
January 27 - May 05, 2024 **Jessica Jackson Hutchins: Wrecked and Righteous** Jessica Jackson Hutchins (born 1971, Chicago) has been plumbing the relationship between art and everyday life for nearly thirty years, playfully melding materials with an intuitive, “by any means necessary” approach to traditional mediums and found objects alike. Based in Portland, Oregon, Hutchins gained international recognition for her expressive sculptural assemblages that combine castoff household items with handmade elements to redefine notions of value and beauty. In 2016, her work expanded into fused glass, including vibrant, collage-like windows that bring a form associated with exalted spiritual spaces into the secular realm. Jessica Jackson Hutchins: Wrecked and Righteous comprises works created—and sometimes reconfigured—since the late 1990s. The nonchronological presentation surveys Hutchins’s pursuit of immediacy and communion through art, beginning in the museum’s rotunda entryway with a richly textured, two-story fused-glass window commissioned for the occasion. In the galleries, the artist’s relief paintings, intimate tabletop objects, and needlepoint compositions mingle with selected furniture sculptures—well-worn sofas and chairs cradling lumpy ceramic forms that read as surrogates for the human body. The corporeal aspect of Hutchins’s work comes to the fore in a recent group of wearable food vessels that will be activated during a special performance. The exhibition connects these unwieldy “prostheses” to the artist’s early milagros sculptures: totemic papier-mâché body parts she made for suffering people close to her or in the public eye. Drawing a throughline of vulnerability, interdependency, and repair across Hutchins’s practice, Wrecked and Righteous honors the artist’s special capacity for finding the sublime in ordinary places and neglected things. Jessica Jackson Hutchins: Wrecked and Righteous is organized by Amanda Donnan, Chief Curator and Director of Exhibitions.

curator

Amanda Donnan 
Frye Art Museum, Seattle

704 Terry Avenue
Seattle

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posted 19. Mar 2024

Anicka Yi is on our mind.

25. Sep 202331. Jul 2024
September 25, 2023 – July 31, 2024 **Anicka Yi is on our mind.** This year-long research season uses the work of the artist Anicka Yi as a lens to think about our contemporary moment. A series of open questions map out a broad thematic territory for a year-long schedule of public programs: reading groups, lectures, performances, screenings, and other events explore artists and ideas that emerge as related or as relevant in productive ways. We end the season with an issue of our annual reader. Please join the collective conversation as it evolves over the course of the year: sign up for a reading group, attend an event, consult some of the online resources, and visit the Wattis bar for additional materials. Please sign up to our newsletter to receive notifications and updates. The CCA faculty group who collaborated on this research includes Nilgun Bayraktar, Dave Elvfing, Susie Fu, Taro Hattori, Jackie Im, Brian Karl, Aspen Mays, and Kyungwon Song. With special thanks to Anicka Yi and Remina Greenfield. Season 9: Anicka Yi is on our mind is curated by Jeanne Gerrity and Diego Villalobos, with assistance from Paulina Félix Cunillé. * Introduction by Jeanne Gerrity In a 2021 interview with Gary Zhexi Zhang in Art Review, Anicka Yi said “I think that humans are extremely vulnerable on the planet – it’s almost like we’re not really supposed to be here.” Yi had just opened In Love with the World, her ambitious installation of “aerobes,” floating machines powered by artificial intelligence, in the Tate Modern’s Turbine Hall. The world was still grappling with the ramifications of a global pandemic and a pending climate emergency, and Yi’s unconventional installation seemed to offer a sanguine antidote to the doom-and-gloom cycle of the news, as well as asking us to look beyond the present at living forms that have thrived for eons. Inspired by jellyfish and mushrooms, her AI creatures bobbed gently through the museum, attracted to the body heat of visitors, while scentscapes diffused into the air evoked the history of the site. The installation asks how machines and humans can coexist in a more compassionate way, and relinquishes the dominance of sight as integral to visual art. Yi’s work here, and elsewhere, grapples with the role of the artist in today’s society, which somehow seems so different than a mere decade earlier. Yi radically rethinks this universal question, approaching it with a refreshing and singular optimism.

artist

Anicka Yi 
The Wattis Institute, San Francisco

Wattis Institute for Contemporary Arts / 360 Kansas Street
CA 94103-5130 San Francisco

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posted 18. Mar 2024

MARWAN - Works from 1964 to 2008

08. Feb 202430. Mar 2024
February 8 – March 30, 2023 **MARWAN Works from 1964 to 2008** Join us on Thursday, February 8, from 6 to 9 pm at Sfeir-Semler Hamburg “I understood at the time, that I was not interested in portraiture in its conventional sense, but rather in the human figure’s emotional and psychic evocative power as a metaphor, the body’s ability to incarnate our erotic, social and political yearnings, inhibitions and prohibitions.” MARWAN, 2014 Marwan Kassab Bachi (1934-2016) is an internationally renowned artist, regarded as one of the pillars of modern painting in the Middle East. Living in Berlin since 1957, Marwan’s work embodies the influences of German Expressionism and Sufi mysticism from his native culture. His early works were figurative yet surreal representations of people. Since the early 70s, he increasingly focused on the face, until it became his main subject matter. Each painting is a product of several layers of faces repeatedly painted on top of each other in a flurry of color and brush strokes, in his attempt to discover the inner self, ultimately creating spiritual intensity and depth to his work.

artist

MARWAN 
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posted 17. Mar 2024

Las Vegas Ikebana: Maren Hassinger and Senga Nengudi

15. Feb 202419. May 2024
February 15–May 19, 2024 **Las Vegas Ikebana: Maren Hassinger and Senga Nengudi** The Cooley is pleased to present Las Vegas Ikebana: Maren Hassinger and Senga Nengudi, the first museum exhibition focused on the pioneering collective and cross-genre practices of artists Maren Hassinger (b. 1947, Los Angeles) and Senga Nengudi (b. 1943, Chicago). Since their first encounter in Los Angeles in 1977, Hassinger and Nengudi have developed an expansive body of time-based collaborations that span nearly five decades. Exceeding categorization, their works are grounded in performance, conceptual ideas, and a passionate exploration of the body in motion—tied to their shared training in movement languages developed by choreographers such as Lester Horton and Rudy Perez. While maintaining rigorous solo practices rooted in sculpture and installation, together the artists developed suites of dances, performance events and happenings, videos, and conceptual correspondences. Through this work they vitalized their personal commitments to one another, and to their artistic practices, forging a crucial system of support in periods of institutional neglect. Las Vegas Ikebana: Maren Hassinger and Senga Nengudi explores the longevity and transformative nature of the artists’ collaboration, as it evolved across decades, geographies, and media. Created in close dialogue with the artists, the exhibition is a reflexive record of their work and history, and an enactment of their ongoing practice, built through an ethos of love. The exhibition title Las Vegas Ikebana is derived from a concept that the artists developed in the late ’80s that drew from Hassinger’s experience working in a flower shop in Los Angeles, and Nengudi’s exploration of Japanese aesthetic forms. The phrase “Las Vegas Ikebana” was privately exchanged between Hassinger and Nengudi to describe and catalyze many of their creative expressions for years to come. As Nengudi notes, she liked the term for “the absurdity of it, and how it stirs one’s thought processes.” The phrase also encompasses many aspects of the artists’ individual and collective work such as their interests in improvisational compositions, ritual, popular culture, humor, eroticism, impermanence, and the natural world. The exhibition includes early work made in Los Angeles in the 1970s and ’80s, including Hassinger’s performances with Nengudi’s seminal series R.S.V.P. (1977–present)—and events made with associates including Franklin Parker, Houston Conwill, Ulysses Jenkins, David Hammons, and the collective of Black artists known as Studio Z. It also draws crucial attention to lesser-known works from the 1990s and 2000s, following their departures from Los Angeles. Amidst personal challenges and newfound geographic distance between them, the artists embraced new media such as video and mailed, conceptual correspondences. Las Vegas Ikebana: Maren Hassinger and Senga Nengudi assembles a breadth of materials including video, rare artist books and ephemera, photography, drawings, as well as select sculptures and newly commissioned installations and performances. Las Vegas Ikebana: Maren Hassinger and Senga Nengudi is curated by Allie Tepper, associate curator. It is organized for the Cooley by Tepper with director Stephanie Snyder. Events and performances “Don’t be Scared”: A Talk on the Art of Collaboration by Maren Hassinger and Senga Nengudi Saturday, February 17, 2pm, Performing Arts Building Atrium, Reed College, followed by a reception at the Cooley With opening remarks by exhibition curator Allie Tepper, and closing commentaries by Dr. Leslie King Hammond and Dr. Lowery Stokes Sims. See-See Riders (2024) Friday, February 16, 3pm; Saturday, February 17, 12pm; Saturday, March 23, 12pm A performance choreographed by Senga Nengudi and danced by sidony o’neal and keyon gaskin, presented in the exhibition with Nengudi’s installation See-See Riders. *Limited seating, to reserve please email cooleyperformance@gmail.com Publication The exhibition is accompanied by the first publication on Hassinger and Nengudi’s collective work, edited by Allie Tepper, co-published by the Cooley and Pacific, and designed by Pacific, forthcoming in fall 2024. A scholarly resource and conceptual sourcebook on the artists’ shared creative practice, the book includes newly commissioned conversations and essays by Tepper, Hassinger, Nengudi, Dr. Lowery Stokes Sims and Dr. Leslie King Hammond, Kemi Adeyemi, Sampada Aranke, and Steffani Jemison, alongside extensive archival material. Maren Hassinger and Senga Nengudi come to Reed as Stephen E. Ostrow Distinguished Visitors in the Visual Arts. The program was established by Edward and Sue Cooley and John and Betty Gray in support of art history and its place in the humanities. The program brings to campus creative people who are distinguished in connection with the visual arts and who will provide “a forum for conceptual exploration, challenge, and discovery.”

artists & participants

Maren Hassinger,  Senga Nengudi 

curator

Allie Tepper 
COOLEY Portland

3203 SE Woodstock Blvd.
OR 97202 Portland

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posted 16. Mar 2024

Chantal Akerman - Travelling

14. Mar 202421. Jul 2024
Chantal Akerman - Travelling 14.03.24 → 21.07.2024 This exhibition traces the atypical trajectory of Belgian filmmaker, writer, and artist Chantal Akerman (Brussels 1950 - Paris 2015). From the very beginning in Brussels to the Mexican desert, from her very first films to her last installations in 2015. This is the first major retrospective exhibition on the Brussels-based artist, featuring unique and never-before-seen images, production, and working documents from her archive. Follow all the stages of her career through the years and places Akerman has traversed and filmed. She went there to work with media as diverse as film, television, text, and installation. An scaled-down and adapted version of the exhibition travels afterwards to the Jeu de Paume in Paris (27.09.24 - 19.01.25). Chantal Akerman is an inspiration to all generations. She remains a role model for a lot of directors and artists today. Expect a journey full of images and archives – from the burlesque to the tragic, from the intimacy of a bedroom to the desert. **Parallel to the exhibition, the CINEMATEK is showing a complete retrospective of Chantal Akerman's films. Chantal Akerman Retrospective & Carte blanche** 15.03.24 → 21.07.24 (CINEMATEK)
ART ON PAPER, BOZAR Brussels

BOZAR | Ter Arken rooms, Rue Ravenstein, 23
1000 Brussels

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posted 15. Mar 2024

Pablo Picasso I Max Beckmann. Mensch - Mythos - Welt

17. Feb 202416. Jun 2024
17.02.2024 - 16.06.2024 **Pablo Picasso I Max Beckmann. Mensch - Mythos - Welt** Pablo Picasso (1881 – 1973) und Max Beckmann (1884 – 1950) sind Schlüsselfiguren der Moderne. Beide leisten in der ersten Hälfte des 20. Jahrhunderts entscheidende Beiträge zu einer Neudefinition der Möglichkeiten und der Aufgaben gegenständlicher Malerei.Von unterschiedlichen Voraussetzungen ausgehend, gelangten sie eigenständig zu individuellen Lösungen großer Fragen der Kunst und kreisen mit ihrem Schaffen um Kernfragen der menschlichen Existenz. Trotz unterschiedlicher künstlerischer Auffassungen berühren ihre Positionen sich dabei immer wieder auf überraschende Weise. Während beide Künstler einerseits alte Regeln der Bildordnung zerstörten, griffen sie andererseits auf kunsthistorische Traditionen zurück. Beides setzt eine intensive Auseinandersetzung mit dem Bild und seinen Möglichkeiten voraus: mit dem Verhältnis zu Gegenständlichkeit und Räumlichkeit, mit der Beziehung zwischen Figuration und Abstraktion sowie mit der Erneuerung und Umdeutung ikonografischer Traditionen. Aber auch das eigene Leben, ihr künstlerisches Selbstverständnis, die politischen und gesellschaftlichen Rahmenbedingungen ihrer kreativen Arbeit sowie das Zeitgeschehen wurden von Picasso und Beckmann mit Vitalität und Verve thematisiert. Picasso und Beckmann entwickelten ihre Lebenswerke unabhängig voneinander und bewegten sich in unterschiedlichen Netzwerken. Gerade deshalb ist bemerkenswert, wie sie in ihrem Bestreben, der gegenständlichen, auf den Menschen und sein Weltverhältnis sich konzentrierenden Malerei neuen Sinn und neue Richtung zu geben, oftmals gleichsam Schulter an Schulter agierten und zu parallelen Auffassungen kommen. Andererseits vertraten sie nicht selten auch einander diametral entgegengesetzte Haltungen. Wenngleich beide Künstler einander wohl nie persönlich begegnet sind, auch nicht während Beckmanns mehrfachen Paris-Aufenthalten, nahmen sie einander gegenseitig wahr. Tatsächlich fühlte Beckmann sich von Picassos beispiellosem Erfolg in der internationalen Kunstwelt lebenslang herausgefordert und angespornt. Nur zu gern hätte er seine Bilder neben denen seines heimlichen Rivalen ausgestellt gesehen. Von Picasso wiederum ist überliefert, dass er Beckmanns Werk schätzte. Nach dem Besuch von dessen erster Ausstellung in Paris 1931 soll er über ihn gesagt haben: „Il est très fort.“" Auf breiter Basis und im Rahmen einer Ausstellung miteinander vergleichen konnte man die Werke der beiden Künstler und damit ihre künstlerischen Haltungen und Auffassungen indes noch nie. Das Von der Heydt-Museum Wuppertal und das Sprengel Museum Hannover haben sich zusammengetan, um dies erstmals zu ermöglichen. Für das gemeinsame Projekt stützen sich die beiden Museen in erster Linie auf ihre eigenen reichen Bestände. Das Von der Heydt-Museum war das erste Museum weltweit, das ein Gemälde von Pablo Picasso erworben hat, und zwar im Jahr 1911. Und eines der Schlüsselwerke Max Beckmanns, sein „Selbstbildnis als Krankenpfleger“ (1915), wurde schon 1925 durch den Barmer Kunstverein für den öffentlichen Kunstbesitz in Wuppertal gesichert. ERÖFFNUNG FR 16.2.24, 19:00 UHR EINLASS 18.00 UHR Es sprechen Reinhard Spieler, Direktor Sprengel Museum Hannover; Alexander Leinemann, Kurator Sprengel Museum Hannover; Thomas Hermann, Bürgermeister Landeshauptstadt Hannover; Stephan Weil, Niedersächsischer Ministerpräsident; Francois Delattre, Französischer Botschafter in Deutschland und Schirmherr der Ausstellung; Lavinia Francke, Generalsekretärin

artists & participants

Max Beckmann,  Pablo Picasso 
Sprengel Museum, Hannover

Kurt-Schwitters-Platz
30169 Hannover

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posted 14. Mar 2024

À LA RECHERCHE DE VERA MOLNAR

10. Feb 202414. Apr 2024
February 10–April 14, 2024 **À LA RECHERCHE DE VERA MOLNAR Artworks by Vera Molnar and Homages by Internationally Acclaimed Artists** The Ludwig Museum’s exhibition titled À la recherche de Vera Molnar pays tribute to the artistic legacy of Vera Molnar, who passed away shortly before her 100th birthday. Born in Hungary and educated at the Hungarian Academy of Fine Arts, Molnar lived and created in France from 1947 until her death. From 1968, she was among the first to create artworks using a real computer, and she is still widely regarded as one of the most significant pioneers of computer art. The exhibition’s title refers to Vera Molnar’s series À la recherche de Paul Klee, recalling the artist’s experiments in examining art historical influences through her own creative methods and tools. Similar to the narrator of Marcel Proust’s novel sequence À la recherche du temps perdu (In Search of Lost Time), Molnar was interested not only in the mere recall of the past but also in its reinterpretation in the context of the present. Following this spirit, the two-part exhibition at the Ludwig Museum provides an overview of pivotal chapters in Vera Molnar’s career. Displaying unique and reproduced graphic series and paintings, the exhibition spans from the late 1960s to the present day, presenting the most significant themes and art groups of this unique body of work, tracing the transformations in Molnar’s line and form systems. Vera Molnar’s works are based on programmed algorithms, constructed from basic geometrical forms. In the beginning, she experimented with quite simple algorithms. Her series works arise from small variations of the basic elements, adding what the artist calls “1% disorder.” Discovery and randomness played a significant role in her working method. For Molnar, the randomness generated by the computer revealed the horizon of possibilities, but the decision and choice always remained in the hands of the artist. Balancing on the border between order and disorder, her compositions combine the geometric formal language with playfulness and a personal, unique sensitivity. The other part of the exhibition introduces, for the first time worldwide, a special international group exhibition featuring works and unique reflections by invited internationally acknowledged artists. This section pays homage to Molnar’s legacy, and examines her impact on contemporary art. Exhibiting Artists: Refik ANADOL, Arno BECK, Snow Yunxue FU, Mario KLINGEMANN, Patrick LICHTY, Frieder NAKE, Casey REAS, Antoine SCHMITT, Erwin STELLER, Tamiko THIEL and /p, u2p050, Iskra VELITCHKOVA, aurèce vettier, Mark WILSON, Samuel YAN Curators: Richard CASTELLI, MÁTÉ Zsófia Project Coordination: René FREUND, Vanessa MEYER Special Thanks: Josef BROICH, CSERBA Júlia, HORVÁTH László, BTM Kiscelli Múzeum – Fővárosi Képtár, KUMIN Mónika, PŐCZE Attila
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posted 13. Mar 2024

Thao Nguyen Phan - Reincarnations of Shadows

13. Mar 202411. Aug 2024
13 mar – 11 aug 2024 **Thao Nguyen Phan Reincarnations of Shadows** Visual artist Thao Nguyen Phan (b. 1987) intertwines mythology and folklore from her homeland’s turbulent past with current pressing issues of excessive consumption and the destruction of the earth’s resources. The intersection between the documentary and the supernatural take centre stage in this exhibition, which evokes ghostly presences, lush landscapes and unofficial narratives. Thao Nguyen Phan’s spiritual moving image works revolve around the interaction between people, architecture and nature in Vietnam and the broader Mekong region, which has been plagued by natural as well as manmade tragedies throughout history and still to this day is characterized by the legacy of colonialism, ongoing industrialization and increasing climate change. Reincarnations of Shadows introduces a deep layering of audio, visual and tactile references. Through more than 100 works from the past 10 years, the exhibition will unfold the artist’s captivating imagery through poetic film installations, meticulously executed lacquer paintings, light sculptures, delicate watercolours and architectural interventions. The exhibition is curated by Henriette Bretton-Meyer, presented in collaboration with CPH:DOX and organised by Pirelli HangarBicocca in Milan in collaboration with Kunsthal Charlottenborg. Supported by the Augustinus Foundation, the Danish Arts Foundation, the Obel Family Foundation, the William Demant Foundation.
Kunsthal Charlottenborg, Copenhagen

CHARLOTTENBURG, Kongens Nytorv 1
1050 Copenhagen

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posted 12. Mar 2024

Michael Rakowitz - The Waiting Gardens of the North

15. Jul 202326. May 2024
**15 July 2023 – 26 May 2024 **Michael Rakowitz The Waiting Gardens of the North** We're pleased to present The Waiting Gardens of the North by renowned Iraqi-American artist Michael Rakowitz. Commissioned by Baltic in partnership with the IWM 14-18 NOW Legacy Fund , this major project responds to conflict by, figuratively and literally, nurturing a community and an evolving indoor garden landscape. The IWM 14-18 NOW Legacy Fund is a national partnership programme of over 20 artist commissions inspired by the heritage of conflict. Led by Imperial War Museums, the IWM 14-18 NOW Legacy Fund was created following the success of 14-18 NOW, the official UK arts programme for the First World War centenary. The £2.5 million commissioning programme has been made possible thanks to the success of Peter Jackson’s critically acclaimed film They Shall Not Grow Old, co-commissioned by IWM and 14-18 NOW. Rakowitz’s exhibition has been conceived as a garden that will continue to grow and develop during its run. Alongside newly created artworks, the installation will present a collection of plants at different stages of their growing process. Born out of collaboration with people living in Gateshead and Newcastle with experience of forced displacement, Rakowitz’s ruined garden acts as a metaphor for the overlapping histories of displacement, war, oppression, trauma and adaptation, that people, cultural objects and plants carry with them. Collaborating with the organisations The Comfrey Project, West End Refugee Service (WERS), Scotswood Garden, Dilston Physic Garden, Herb Hub, and Baltic’s Language Café has been instrumental to realising the project and its ongoing activation. The Waiting Gardens of the North is centred around a relief panel from the North Palace of Ashurbanipal (668–631 BCE) in Nineveh depicting the Assyrian gardens, believed to have preceded what is now known as the Hanging Gardens of Babylon. The original panel has been housed in the British Museum since 1856. The exhibition sees Rakowitz recreate this panel in a monumental scale, using his signature collage technique with food packaging, locally sourced from South Asian and African grocery stores. The panel shows a luxurious hillside landscape, watered by an aqueduct. The installation extends beyond the two-dimensional representation in the panel, replicating the layout of the palace in Nineveh with its ruins now holding and growing plant life. The artist’s interdisciplinary practice of excavation, cooking, sculpting and activism is interweaved in this installation, highlighting the ways in which heritage can be both a source of identity and a site of conflict, particularly when cultural signifiers are looted, destroyed and erased. Michael Rakowits smiles in front of his artwork. He has dark curly hair and a moustache. * A Letter from Michael Rakowitz Hello! It is good to be with you here. I must confess: I am not a gardener. My wife is the one with the green thumb, and I have always envied those who dig in the dirt and help new life take root. I have an early memory of the garden my Iraqi grandparents planted on Long Island, New York, but my mother told me recently it wasn’t much — just some cucumbers, tomatoes, and watermelons. As a child she was tasked with its maintenance, although how much of it ended up on the plate to eat is not clear. When I was invited to conceive a garden for the IWM 14-18 Legacy Fund commission at Baltic, I was immediately drawn to the Level 4 Gallery, whose ceiling windows run the span of the space on both sides. Normally, these windows are covered in blinds to protect artwork from sunlight. By removing the blinds, the gallery could become a makeshift greenhouse. For the past 17 years, I have worked with my studio team to reappear the archaeological artifacts looted and destroyed in the aftermath of the 2003 US-led invasion of Iraq. One sculpture — taken not during the war but in the late 1800s and currently held in the British Museum — is a gypsum wall relief panel from the North Palace of Nineveh, made between 645–635 BCE, depicting the gardens of the Assyrian King, Ashurbanipal, which predated the Hanging Gardens of Babylon. A local team of artists has worked with my studio to make a monumental version of this relief out of the packaging of West Asian, South Asian, and African foodstuffs used by many of the people that have arrived to the UK seeking sanctuary, who now reside in Newcastle and Gateshead. The colors on the panel are those that archaeologists believe were used on the original stone panel. The architectural footprint of the North Palace of Nineveh is recreated in the layout of the garden beds, shelves, and workstations behind the panel, on the gallery floor. The Hanging Gardens of Babylon were believed to have been built during the reign of the Neo-Babylonian King Nebuchadnezzar, who ruled from 605–562 BCE. According to one legend, the gardens were built for his wife Amytis, who missed the forested mountains and valleys of her native Media, located in modern-day Iran; a garden to cure homesickness. These two gardens, built under two empires, serve as a point of departure for The Waiting Gardens of the North. The project was inspired by Baltic’s status as a Gallery of Sanctuary and by its strong, ongoing relationships with local charities that provide services for those who have fled their home countries due to the continued impacts of imperialism, colonialism, racism, war, and oppression. The Waiting Gardens of the North features trees, plants, flowers, and herbs requested by the local community of migrants, who miss aspects of their home landscapes, and wish to make them take root, whilst they wait, hopefully, to take root themselves. A hanging garden for lives hanging in the balance. Our garden is meant to be harvested and features four stations: for tea-drying, spice-grinding, distillation of tinctures, and cooking, which will be activated on specific dates throughout the next year. Many displaced persons are temporarily resettled in places like hotels, where they do not have access to kitchens; unable to host, they are perpetually stuck in the position of guest.[i] My hope is that this space can support them to become hosts at Baltic. The Level 5 Viewing Box offers a beautiful view of NewcastleGateshead. From up there it is also possible to see an aerial view of The Waiting Gardens of the North and how its aqueduct lines up with the one depicted in the ancient panel. It is believed that cities first formed when people decided to cook and eat together. Here is an opportunity to build a new place, one where those looking for home are welcomed as equals. And so, in closing, I offer a traditional Arabic greeting, familiar enough that we often forget the beauty of its meaning: Ahlan wa sahlan. May you arrive as part of the family and tread an easy path as you enter. Love, Michael *The architect-artist Sandi Hilal focuses on this power dynamic in her collaborative projectAl Madhafah - The Living Room, to which I am indebted. The Living Room is an ongoing network of spaces set up in different politicized contexts around the world, which looks to invert the relationship between guest and host that refugees find themselves in through the space of the living room. The project seeks to decolonize our relationship to hospitality and to “ensure that everyone has the right to host.” For more information, please visit https://www.decolonizing.ps/site/introduction-living-room/ Michael Rakowitz: The Waiting Gardens of the North is an IWM 14-18 NOW Legacy Fund commission in partnership with Baltic. **
BALTIC Centre for Contemporary Art, Gateshead

S Shore Rd
NE8 3BA Gateshead

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posted 11. Mar 2024

Thirty Years: Written with a Splash of Blood

20. Jan 202410. Mar 2024
January 20 – March 10, 2024 Tokyo **Thirty Years: Written with a Splash of Blood** BLUM will celebrate its thirtieth anniversary with Thirty Years: Written with a Splash of Blood, a milestone exhibition installed across its three locations—Los Angeles, Tokyo, and New York. Co-curated by Tim Blum and postwar Japanese art historian Mika Yoshitake, this presentation is an inter-generational and cross-disciplinary survey of Japanese art from the 1960s to today. The title is a line from Nobel Prize-nominated author Yukio Mishima's Runaway Horses, a celebrated novel that touches on themes of national identity, self-actualization, and the power of reincarnation. This exhibition reflects on Blum’s first trip to Japan forty years ago, which catalyzed the gallery’s groundbreaking work with Japanese and international artists including foundational exhibitions of artists Yoshitomo Nara and Takashi Murakami, the acclaimed 2012 survey Requiem for the Sun: The Art of Mono-ha, as well as Parergon: Japanese Art of the 1980s and 1990s in 2019. This show will feature work by key artists from Gutai, Mono-ha, and Superflat movements through today, traversing the decades from the immediate aftermath of postwar Japan, onward.
Blum, Tokyo °

1-14-34 Jingumae Shibuya
150-0001 Tokyo

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posted 10. Mar 2024

Laure Prouvost - IN THE MIST OF IT ALL, ABOVE FRONT TEARS

24. Feb 202418. Aug 2024
24 February 2024 - 18 August 2024 **Laure Prouvost IN THE MIST OF IT ALL, ABOVE FRONT TEARS** This spring, De Pont will present a compelling and immersive exhibition by Laure Prouvost (1978), in which the artist welcomes visitors into a surreal, absurdist and poetic world of her own making. In IN THE MIST OF IT ALL, ABOVE FRONT TEARS, social engagement and the limitless power of imagination find expression through video, sculpture, performance, textile and text. In an entirely unique manner, Prouvost conveys a hopeful and liberating message concerning themes such as ecology, the female body and migration. Prouvost’s artistic universe is full of contrasts: by turns humorous and serious, her work takes us from dark and dystopian to the light as the artist oscillates between reality and fiction. In a monumental video installation several metres high, ‘Grandma’ – one of the recurring characters in Prouvost’s oeuvre – is given wings. This fulfils her dream to soar high above the clouds like a bird and look down the world from above. Grandma’s dreams and visions form the basis of this exhibition, in which Prouvost confronts the visitor with the consequences of global warming and the migration of people and birds – while at the same time, inviting us to float freely above the clouds and shatter the boundaries that limit us. Prouvost was recently nominated as ‘Artist of the Year’ by the leading British art journal Apollo. She also displayed her work in the French pavilion during the 58th Venice Biennale and was awarded the Turner Prize in 2013.
De Pont Museum, Tilburg

Wilhelminapark 1
5041 EA Tilburg

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posted 09. Mar 2024

Antoni Tàpies - The Practice of Art

21. Feb 202424. Jun 2024
21 February - 24 June 2024 **Antoni Tàpies The Practice of Art** Curator: Manuel Borja-Villel To mark the centenary of the birth of Antoni Tàpies (1923–2012), the Museo Reina Sofía and Fundació Antoni Tàpies have organised one of the most complete exhibitions on the artist to date, spanning over 220 works from museums and private collections from all over the world to shine a light on his career arc from 1943 to 2012. A self-taught artist, music lover and bibliophile, Tàpies constantly wrote and reflected on the human condition, his historical situation and artistic practice, particularly on the limits and contradictions of painting. His beginnings were marked by the legacy of historical avant-garde movements and his ties with, until the early 1950s, the Catalan avant-garde group Dau al Set, after which he embarked upon an extensive stage of experimentation with matter — characterised by the use of materials that were alien to artistic practice, for instance marble dust or cement — earning him international recognition. From the 1960s onwards, he carried out a series of objectual undertakings, in which the matter present in his paintings began to take on the appearance of daily objects as he employed them to create three-dimensional works. At this time, his pollical commitment to anti-Francoism also became more clearly expressed in his work. The start of democracy in Spain, and with it a new cultural reality, coincided with fresh materic investigations, the incorporation of varnish and the influence of Eastern spirituality — reflecting his multiple interests — which would give rise to more refined works elevated with great lyricism. In the last two decades of his life, as one century made way for the next, a sense of nostalgia swept over Tàpies’s oeuvre, with an awareness of his advanced years, death and illness the presiding themes. Through the selected works, some of which have not been shown together for many years, this exhibition foregrounds the prolific career of Tàpies, resituating his work and influences in recent art history

artist

Antoni Tapies 
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