daily recommended exhibitions

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

United States of Americashow map
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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

United States of Americashow map
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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

Germanyshow map
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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

Denmarkshow map
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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

Japanshow map
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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

Netherlandsshow map
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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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posted 08. Mar 2024

You want it to be art and I want it to be magazine

27. Jan 202407. Apr 2024
27 JAN - 7 APR 2024 **You want it to be art and I want it to be magazine** A conversation between HILARY LLOYD and MANY OF THEM. Many of Them Publishing project MANY OF THEM is an editorial project founded in San Sebastián by ANTONIO MACARRO and PEDRO CANICOBA in 2008 to stage encounters between artists and thinkers working across mediums, languages, locations, and disciplines. Now publishing its tenth issue, MACARRO and CANICOBA offer the magazine as a site for possibility and freedom. The publication combines research, conversations, and images that cross thresholds and create new, unexpected intersections and connections. MANY OF THEM: So… HILARY LLOYD: Well, how could I translate the creative process that comes through dancing, nightclubbing, being at a party—all that—into the process of making art? It was September 2022, you were going to make an exhibition about the ten years of MANY OF THEM and invited me to collaborate. We knew that we wanted it to come directly as a result of hanging out and having conversations together, talking about life, love, politics, culture, art, film, books, magazines, music, animals, partying, porn, lots of stuff. Straight on, during one of these conversations, we recognized for the first time that you wanted to make an exhibition that relates to ideas around art and that I wanted to make an exhibition that is all magazine, a magazine, the magazine, magazines. And then? How do I get what I make into a show like this? What do we do with a bunch of objects from others,—a bag, a keychain, an image, a piece of clothing, a painting, a wig—and put it in there? How can it be art and a magazine? Next, during a meeting in the flesh, in San Sebastián, with all the sun and the long, deep views of the pastel-coloured sea, together with you and your cat COQUE, our conversations spiraled out and we decided to inhabit the gap between the experience of looking at a magazine and being inside an exhibition. Somewhere here is You want it to be art and I want it to be magazine. *A conversation between HILARY LLOYD and MANY OF THEM. * Hilary Lloyd Artist Hilary Lloyd’s work centres on film and video whilst also using sculpture, painting and installation. Engaging directly with their sites of production or of exhibition making, the films resist conventional notions of ‘duration’, instead representing filmic tableaux’s to be encountered. Some are almost devoid of movement or incident, while others employ a rapidly panning or shifting point of view. The work involves a tension between an ambiguous, seemingly casual subject matter and a precise arrangement of images and installation equipment. Hilary Lloyd (b. 1964) has exhibited internationally, with recent solo exhibitions including: Dog bEar Scarf, Josey, Norwich (2022); Car Park, Sadie Coles HQ, London (2019); Chance Encounters V, Loewe Foundation, Miami (2019); Bar, BAR, Turin (2019); Theatre, Focal Point Gallery, Southend-on-Sea (2017); Awful Girls, Dorich House Museum, Dorich House Fellowship & Dora Volume 1, Kingston (2017); Blaffer Art Museum, Houston (2016); Robot and Balfour, Sadie Coles HQ, London (2015); Museum für Gegenwartskunst, Basel (2012, accompanied by an extensive catalogue); Artists Space, New York (2011); Raven Row, London (2010); Tramway, Glasgow (2009); Le Consortium, Dijon (2009); Kunstverein München (2006); Waiters, Henry Moore Foundation Contemporary Projects, Venice Biennale (2003); Kino der Dekonstruktion, Frankfurter Kunstverein (2000); and Chisenhale Gallery, London (1999). She was nominated for the 2011 Turner Prize for her exhibition of 2010 at Raven Row, London. Current and recent group shows include: Gonna get you Gonna get you, BAR, Turin (2023): Superficial Authenticity: Politics at the Surface, Filet, London (2022); REPEATER, Sadie Coles HQ, London (2022); Unhappiness is Treason I, Show me Yours (The Politics of Aesthetics), Filet, London (2021); Masculinities: Liberation through Photography, Barbican Centre, London (2020, travelling to Martin-Gropius-Bau, Berlin in 2020); On masculinity, Bonner Kunstverein, Kölnischer Kunstverein, Cologne (2019); Palimpsest, Lismore Castle Arts, Waterford (2019); The Policeman’s Beard Is Half Constructed: Art in the Age of Artificial Intelligence, Bonner Kunstverein (2017); Dora, Stanley Picker Gallery, Kingston University (where she was appointed the first Dorich House Fellow in 2015); Over you / you, 31st Biennial of Graphic Arts Ljubljana (2015); A Singular Form, Secession, Vienna (2014); Remote Control, Institute of Contemporary Arts, London (2012); and Turner Prize, BALTIC Centre for Contemporary Art, Gateshead. Lloyd lives and works in London.

artist

Hilary Lloyd 
Tabakalera, San Sebastian

TABAKALERA | Mandasko Dukearen Pasealekua, 52 / Gipuzkoa
20012 San Sebastian

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posted 07. Mar 2024

GÜNTER FRUHTRUNK- Retrospektive 1952–1982

16. Nov 202310. Mar 2024
16.11.2023 – 10.03.2024 **GÜNTER FRUHTRUNK Retrospektive 1952–1982** Anlässlich des 100. Geburtstags von Günter Fruhtrunk (1923-1982) zeigt das Kunstmuseum eine umfassende Retrospektive des deutschen Nachkriegskünstlers, die seine Werkentwicklung anhand von rund 60 Werken aus allen Schaffensphasen in den Blick nimmt. Fruhtrunks Arbeiten zeichnen sich durch klare Linien, geometrische Formen und kontrastreiche Farben aus. Wie kaum ein anderer Künstler seiner Zeit entwickelte er mit großer Präzision und faszinierender Beharrlichkeit eine eigene abstrakte Bildsprache, die er über die Jahre in vielfältigen Variationen perfektionierte. Durch den Einsatz mathematischer Methoden wie geometrischer Berechnungen und Verhältnisgleichungen erzeugte er optische Täuschungen und ein Gefühl von Bewegung, Vibration und Flimmern in seinen Werken. Es entstanden enorm verdichtete, leuchtende Bilder, die sich der passiven Betrachtung entziehen und den Sehvorgang permanent herausfordern. Nicht zuletzt diese Bildsprache macht das Werk hochaktuell. Die Ausstellung beleuchtet die Werkentwicklung in drei großen Blöcken: Sie reflektiert das bislang wenig gezeigte Frühwerk Fruhtrunks zwischen 1950 und 1954, mit vorwiegend kleinen Formaten, auf denen geometrischen Formen frei im Raum schweben und in denen Bild und Motiv noch getrennte Ebenen darstellen. Der zweite Schwerpunkt beschäftigt sich mit den späten 1950er und 1960er Jahren, in denen Fruhtrunk seine geschichteten Streifenbilder entwickelte. Hier verschmelzen Bild und Motiv miteinander und die Farbe gewinnt immer deutlicher eine eigenständige Bedeutung. Den Abschluss bilden Werke aus den 1970er und frühen 1980er Jahren, in denen sich die Streifenstruktur zu Feldern und Flächen ausbildet und die Emanzipation der Farbe vollständig gelingt. 1970 entstand auch das ikonische blau-weiße Diagonalmuster der Aldi Nord Plastiktüte, das Fruhtrunk als Auftragsarbeit für den Aldi Konzern entwarf. Die Ausstellung findet in Kooperation mit dem Museum Wiesbaden (25.04. -25.08.2024) statt.
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posted 06. Mar 2024

Ana Mendieta: Search for Origin

27. Jan 202419. May 2024
27 January – 19 May 2024 **Ana Mendieta: Search for Origin** Search for Origin is the most extensive exhibition organised in Spain devoted to Ana Mendieta (Havana, Cuba 1948–New York, 1985). The show brings together about one hundred works in spanning seventeen years of the artist’s production (1968–1985), including 13 previously unseen pieces. The exhibition, curated by Rahmouna Boutayeb, Vincent Honoré and Álvaro Rodríguez Fominaya, explores in particular how the artist never ceased to reinvent herself, developing an original, ephemeral sculptural language, at times performative in act, nourished by her research into primitive myths and rock art. The exhibition focuses especially on revealing her relationship to the visible and the invisible, her way of rendering the unspeakable intelligible through the trace of the body, and how it relates to nature. Conceived by MO.CO Montpellier Contemporain (France) and co-produced with MUSAC, Museo de Arte Contemporáneo de Castilla y León, in collaboration with Musée des beaux-arts La Chaux-de-Fonds (Switzerland).

artist

Ana Mendieta 
MUSAC Leon

MUSAC - Museo de Arte Contemporáneo de Castilla y León / Avenida de los Reyes Leoneses, 24
ES-24008 León

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posted 05. Mar 2024

Native America: In Translation

24. Feb 202425. Jun 2024
February 24 – June 25, 2023 **Native America: In Translation** Traveling Exhibition: Art on Hullfish, Princeton University Art Museum, NJ February 5 – April 24, 2022 Cantor Fitzgerald Gallery, Haverford College, PA October 21 – December 10, 2022 Milwaukee Art Museum, WI February 24 – June 25, 2023 University of South Florida Contemporary Art Museum, Tampa, FL August 25 – December 1, 2023 Museum of Contemporary Photography at Columbia College Chicago January 26 – May 12, 2024 Blanton Museum of Art, Austin August 4, 2024 – January 5, 2025 Native America: In Translation, curated by Wendy Red Star, considers the wide-ranging work of photographers and lens-based artists who pose challenging questions about land rights, identity and heritage, and histories of colonialism. The exhibition extends Red Star’s work as guest editor of Native America, Fall 2020 issue of Aperture magazine. In the Apsáalooke (Crow) language, the word Áakiwilaxpaake (People of the Earth) describes Indigenous people living in North America, pointing to a time before colonial borders were established. In this exhibition, artists from throughout what is now called North America—representing various Native nations and affiliations—offer diverse visions, building on histories of image-making. Some of the artists presented in Native America: In Translation are propelled by what the historian Philip J. Deloria describes as “Indigenous indignation”—a demand to reckon with eviction from ancestral lands—while others translate varied inflections of gender and language and the impacts of climate change into inventive performance-based imagery or investigations into personal and public archives. “The ultimate form of decolonization is through how Native languages form a view of the world,” Red Star notes. “These artists provide sharp perceptions, rooted in their own cultures.” Works by: Rebecca Belmore, Nalikutaar Jacqueline Cleveland, Martine Gutierrez, Duane Linklater, Guadalupe Maravilla, Kimowan Metchewais, Alan Michelson, Koyoltzintli, and Marianne Nicolson. Native America: In Translation is made possible, in part, with generous support from the National Endowment for the Arts

curator

Wendy Red Star 
Milwaukee Art Museum

700 N. Art Museum Drive
WI-53202 Milwaukee

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posted 04. Mar 2024

BERNHARD FUCHS / MÜHL

13. Jan 202416. Mar 2024
January 13 to March 16, 2024 Opening Reception on Friday, January 12, 6–9 pm **BERNHARD FUCHS / MÜHL** To kick off the new year, we cordially invite you to join us for the opening of the exhibition „MÜHL“ by Bernhard Fuchs on Friday, January 12, at 6 pm! Bernhard Fuchs’ new series of landscape and nature studies is titled “MÜHL”. The artist, who lives and works in Düsseldorf, regularly returns to his native region in Upper Austria and takes long walks there, in the Mühlviertel. He captures details of nature: stones, water, trees, sky and attempts to appropriate them visually. He creates simple, calm photographs that, in their visual density, capture what is most difficult to capture: an atmosphere, a feeling of belonging and a connection to a place and the elements. At the same time, the series is a reflection on perception itself – on how things that were thought to be familiar can appear strange and unfathomable when viewed in great detail. Bernhard Fuchs, born in 1971 in Haslach, Austria, studied with Bernd Becher at the Academy in Düsseldorf and with Timm Rautert at the Academy in Leipzig. Critically acclaimed previous series and publications include “AUTOS” (Koenig Books, 2008), “ROADS AND PATHS” (Koenig Books, 2010) and “WOODLANDS” (Koenig Books, 2014). Important museums such as the Sprengel Museum in Hanover and the Josef Albers Museum Quadrat in Bottrop have already dedicated large solo exhibitions to his work. The monograph for the current exhibition was published in 2021 by Koenig Books, London.
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posted 03. Mar 2024

TIME IN MY HANDS. LEDA PAPACONSTANTINOU. Α RETROSPECTIVE

14. Dec 202321. Apr 2024
14.12.2023-21.04.2024 **TIME IN MY HANDS. LEDA PAPACONSTANTINOU. Α RETROSPECTIVE** Time in my hands represents the first ever major retrospective exhibition for Leda Papaconstantinou (b. 1945), one of the most important artists in the history of contemporary art in Greece. For over almost five decades, Papaconstantinou developed a diverse body of work that took on a range of forms – performance, sculpture, video, site-specific installations, painting, etc. – in order to explore issues of gender, sexuality, collective and personal memory, history, politics and ecology, centred always on the body. As a trailblazing feminist artist and one of the most important artists of her generation, Papaconstantinou’s work is a seminal reference point for the Greek art scene and serves as an inspiration for subsequent generations of artists. From the 1960s onwards, at a time of social and cultural radicalism, Papaconstantinou was one of the first artists to experiment with the then-emerging medium of performance art. Her first iconoclastic performances, carried out during her studies in England, investigate the construction of gender, identity and the female subject, through a feminist perspective that challenges patriarchal structures and other hierarchical relationships of power. The exhibition includes her films and performances from the 1968–1971 period, her first installations in Greece in the 1970s and 1980s, the 1975–1979 community theatre group “Spetses Players”, and her large-scale video installations of recent years. It aims to showcase and reframe pertinent issues within her art practice concerning gender, identity, the social dimension of the artwork, memory, and the relationship between discourse and corporality. The exhibition is an appraisal of her entire oeuvre, bringing together for the first time a large number of installations, paintings, sculptures, audio-visual and audio works, as well as rare and unpublished photographic and textual archival documents and traces of her performances, highlighting the importance and timely character of her practice, in its own time but also today. The title Time in my Hands derives from the site-specific installation of the same name, created by the artist in 2010 for the Monastiraki Metro station, which was based on a photograph of the video entitled The Arrows are of Eros, and projected onto a wall of the Ottoman baths of Bey Hamam in Thessaloniki. BIOGRAPHY Leda Papaconstantinou (1945, Ambelonas, Larissa) lives and works on the island of Spetses. She created the first performances and installations in Greece and her work is characterised by a consistent investigation into female identity with special focus on the body. Through her multifaceted artistic practice, Papaconstantinou reasserted issues around desire, sexuality, and collective and personal memory, deploying art as a lever for social, political, and ecological thinking. Between 1962–1965, Papaconstantinou studied Graphic Design at the Doxiadis Athens Technological Institute and completed the foundation course at the Athens School of Fine Arts in 1965–1966. She then moved to London to study Fine Arts at the Loughton College of Art (1967–1968) and at the Maidstone College of Art (Kent Institute of Art & Design) 1968–1971. During this time, she also carried out her first performances and film performance works. After returning to Greece in 1971, she had her first solo exhibition at the Ora Cultural Centre in 1974, entitled An Environment. In the years between 1975–1979, she instigated a community-based “poor” theatre called “Spetsiotiko Theatro – Spetses Players” on the island of Spetses in the Saronic Gulf. Subsequent participation in solo and group exhibitions includes The Box, Gallery 3, Athens (1981); 20th São Paulo Biennale (1989); Leda Papaconstantinou: Performance, Film, Video 1969–2004, Bey Hammam, Thessaloniki, organised by the Thessaloniki International Film Festival and the Macedonian Museum of Contemporary Art, In the Name of (2006); 1st Thessaloniki Biennale of Contemporary Art (2007); Forever, Old Oil Mill Factory in Elefsina, Aeschylia Festival (2009); Yes + No, Bath House of the Winds, Athens (2011); and The 3 Papaconstantinou – Theodore, Litsa, Leda, Leda, Fougaro, The Gallery Nafplion (2016).
The National Museum of Contemporary Art Athens (EMST)

EMST | Kallirrois Avenue & Amvrosiou Frantzi Str
117 43 Athens

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posted 02. Mar 2024

Nicolas de Staël

09. Feb 202409. Jun 2024
09.02 – 09.06.2024 **Nicolas de Staël** The Fondation de l’Hermitage is partnering with the Musée d’Art Moderne de Paris / Paris Musées to stage a major retrospective of Nicolas de Staël (1914-1955), a key figure in post-war art. The exhibition will feature a selection of around a hundred paintings, drawings and sketchbooks from many public and private collections in Switzerland and the wider world. The iconic Parc des Princes (1952) will be shown alongside a large group of works that are seldom, if ever, put on public display, offering a new perspective on Staël’s work that highlights certain little-known aspects of his career.
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posted 01. Mar 2024

ART DUBAI 2024

01. Mar 202403. Mar 2024
01.03.2024 - 03.03.2024 **ART DUBAI 2024** Art Dubai is the Middle East’s leading international art fair, taking place every March in Dubai, UAE. Over the past 17 editions, Art Dubai has cemented its role in being a major catalyst in the local, regional and international conversations on art from the Middle East and surrounding region (MENASA – Middle East, North Africa & South Asia), and putting art from these territories onto the global map. As one of the world’s most international art fairs, Art Dubai has further expanded its commitment to cultivating a culture of discovery, offering exciting new global perspectives and broadening conversations about art beyond traditional western-led geographical scopes and narratives. The fair drives meaningful engagement with the rich cultural heritage and contemporary art practices of the region and extending to territories across Southeast and Central Asia, the African continent, and Latin America through presentations across its gallery sections. In its role as talent incubator, Art Dubai has been the launch pad and development platform of the successful careers of artists, curators and art professionals, and continues to celebrate art excellence through its extended fair programming and initiatives. Art Dubai also works closely with its partners in producing innovative art programming and supporting the cultural community. Art Dubai is part of a vibrant and dynamic local art ecology, and operates in close collaboration with institutions that are the heartbeat of artistic production in the UAE, such as the Jameel Arts Centre, Ishara Art Foundation, Sharjah Art Foundation, Maraya Art Centre, Louvre Abu Dhabi, Salama Bint Hamdan Al Nahyan Foundation, Tashkeel, NYUAD Art Gallery and Alserkal Avenue among others.
Art Dubai

Al Sufouh Road, Umm Suqeim
Dubai

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posted 29. Feb 2024

Tracey Rose. Shooting Down Babylon

23. Feb 202411. Aug 2024
23.02.2024 – 11.08.2024 **Tracey Rose. Shooting Down Babylon** Das Kunstmuseum Bern präsentiert die im Zeitz MOCAA entstandene, grosse Retrospektive der südafrikanischen Künstlerin Tracey Rose (* 1974). Die Künstlerin ist seit Mitte der 1990er-Jahre eine radikale Stimme in der internationalen Kunstwelt. In ihren Arbeiten setzt sie sich mit Postkolonialismus, Geschlecht, Sexualität, Rassismus und Apartheid auseinander. Im Zentrum stehen dabei die Kraft der Performancekunst und der Körper, der für Tracey Rose ein Ort des Protests, der Empörung, des Widerstands und des Diskurses ist. Ihre Performances beleuchten zentrale Erfahrungen im Übergang zu einer postkolonialen Welt und kommentieren sie kritisch. Die Künstlerin setzt ihre performative Praxis in verschiedenen Medien wie Fotografie, Video, Installation und Zeichnung um. Kuratorinnen: Koyo Kouoh (Direktorin und Chefkuratorin Zeitz MOCAA) und Tandazani Dhlakama (Kuratorin Zeitz MOCAA) in Zusammenarbeit mit Kathleen Bühler (Chefkuratorin Kunstmuseum Bern) Die Ausstellung wurde von Zeitz MOCAA (Kapstadt, Südafrika) organisiert.

artist

Tracey Rose 
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