daily recommended exhibitions

posted 09. Dec 2023

Thailand Biennale in Chiang Rai 2023

09. Dec 202330. Apr 2024
December 9, 2023–April 30, 2024 many sites in Chiang Rai and Chiangsaen’s Golden Triangle area Thailand Biennale, Chiang Rai 2023 "The Open World" The first edition of Thailand Biennale was initiated by the Office of Contemporary Art and Culture, Thailand’s Ministry of Culture in Krabi in 2018, followed by Korat in 2021. By alternating the locations from various provinces throughout the country, the spirit of the Thailand Biennale decentralizes artistic activities, highlights site specificity, and revitalizes local relics. In December 2023, Thailand Biennale is returning for its third edition in Chiang Rai, the northernmost part of Thailand, with Rirkrit Tiravanija and Gridthiya Gaweewong as Artistic Directors and Angkrit Ajchariyasophon and Manuporn Luengaram as Curators. Situated between Mae Kok and Mekong River, Chiang Rai has had a long and complex history stretching back to at least the thirteenth century. The curatorial team embraces this historical context as a departure point and emphasizes Chiang Rai’s rich cultural heritage to explore the many facets of this vibrant and contemporary region that manifests the importance of the past. The power of multicultural exchange can orient the current global community. Chiang Rai has undergone numerous changes over the centuries and has been shaped by many different civilizational flows due to its strategic position as an intersection of intra-Asian connectivity. Its transformation from the center of an ancient kingdom to an outpost town, and a modern border city symbolizes how societies throughout the world have changed with the passage of time. Titled The Open World, the theme takes its name from the Buddha image enshrined in Wat Pa Sak, one of the most important ancient sites in Chiang Rai. The posture represents wisdom and awakening as Lord Buddha descends from Tavatimsa Heaven to perform a miracle of revelation. With his power, he opens the three worlds—the god world, the underworld, and the human world so that they can see one another. Likewise, Thailand Biennale 2023 aims to “open up” people’s world and their perceptions of art using references to local history, and to engage with contemporary global issues. Simultaneously, the term Open World responds to the current world situation in the post-globalization era, where a borderless world that began after the Cold War era caused the mass migration of people and transnational capital. However, everything started to stall during the COVID-19 pandemic following the closures of international borders. The Open World will be the departure point for participating artists to manifest the entanglements of traditions, mythology, animism, geopolitics, and ecology, as well as art and craft history, and question how we can imagine the possibility of a better future again. We will explore the micro-histories using the context of Chiang Rai as a starting point for building dialogue with neighboring countries and the world through local-to-local connections​. We will question our belief systems, from the times of the ancient state with animism and the Anthropocene by exploring the geopolitical-related ecosystems of the region. We invite artists and viewers to consider the following questions: How do we deal with the complex history of the city, especially small border towns that continually become contested areas? How can we move forward after it has undergone centuries of transformation under various influences? Can we shift perspectives that focus on nation/state and local centric to those that cross local and global perspectives? How can we share resources within the community and expand them to the region and beyond? Can we imagine the possibility of a better future? Thailand Biennale, Chiang Rai 2023 will spread across many sites in Chiang Rai and Chiangsaen’s Golden Triangle area. It will feature artists from the Mekong to the Amazon and beyond. The first list of artists include: Busui Ajaw; all(zone); Baan Noorg Collaborative Arts and Culture; Ho Tzu Nyen; Sriwan Janehuttakarnkit; Ryusuke Kido; Michael Lin; Ernesto Neto; Nguyen Trinh Thi; Soe Yu Nwe; Nipan Oranniwesna; Roongroj Paimyossak; Sanitas Pradittasnee; Navin Rawanchaikul; Tobias Rehberger; Citra Sasmita; Kamonlak Sukchai; Apichatpong Weerasethakul; Haegue Yang; and Sawangwongse Yawnghwe.
Thailand Biennale

Golden Triangle area
Chiang Rai

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posted 08. Dec 2023

Chronicle of Blooming Events

24. Nov 202321. Jan 2024
24.11.2023 - 21.01.2024 **Chronicle of Blooming Events** Triumph Gallery and Studio Silent present the exhibition "Chronicle of Blooming Events", which continues the project "System Assembly". The exhibition will bring together more than twenty Nizhny Novgorod artists. "Chronicle of Blooming Events" is a project-guide demonstrating different facets of Nizhny Novgorod's artistic life. The title of the exhibition quotes the work of Blue Pencil, an anonymous street artist who places laconic and witty inscriptions in urban spaces. The architectural palette of "shining blue" reproduces one of the colors used by the author. Street art, which became a business card of Nizhny Novgorod in the 2010s, is presented in photo-documentations of new projects by the leaders of the artistic process Nikita N., the Bomse team, the TOY team and the young generation of artists - Lev Kais, Nikita Mera, Nikita Etogde, Vera Shirdina and the Lovemarket team. The exposition will be supplemented by books, zines and magazines published by the participants of the exhibition. Studio practices of Nizhny Novgorod artists are represented by a variety of themes, subjects and media - from painting and graphics to contemporary sculpture, installations, photographs, video and performative practices. Some of the works exist in conjunction with the urban context. Andrey Olenev uses authentic urban artifacts in his works, and Nikita N. quotes his own street projects. Painting by the Bomse team creates a vivid accent in the exhibition's exposition by means of rough street aesthetics, while the installation by the TOY team invites you to plunge into the atmosphere of a flea market. The theme of time runs through the works of many authors. Danya Pirogov, a young artist, addresses the issues of temporality of modern life; his graphic sheets resemble sketches of archeological excavations, and his sculptures are reminiscent of objects found during them. Alexey Starkov and Lena Lisitsa address the theme of collective memory through experiments with photography and printed graphics. Artist Vatsa creates magical artifacts based on children's fairy tales. Nikita Pirumov seeks to convey a sense of the obscurity and chaos of modernity through painting. A number of authors offer their methodologies for constructing works of art. Ivan Belov presents formalist experiments with sculptural forms and materials, Vladimir Chernyshev multiplies graphic errors and then tries to correct them. Artyom Filatov's objects are dispersed in the gallery space and mimic technical devices whose operation has been disrupted. Yakov Khorev's video offers the author's model of the artist-viewer relationship, inviting to complicity and exchange of experience. The exhibition "Chronicle of Blooming Events" is planned as a traveling exhibition and will be shown in Kazan, Perm, Yekaterinburg and other cities during 2024. A catalog is being prepared for printing. About the "System Assembly" project The project "Systemic Assembly" addresses the art scenes of different cities in Russia. Russia. Through artists and communities, the project tells about the processes that shape local cultural environments. For the past ten years Triumph Gallery has been constantly collaborating with cultural venues from Russia and showing authors from different cities in its space in Moscow. The gallery's curators have participated in residencies and organized exhibitions in Kazan, Nizhny Novgorod, St. Petersburg, Samara, Yekaterinburg, Voronezh, Novosibirsk, and Tambov. The exhibitions of the Systemic Assembly project were the result of these years of exchange, observation and research. After the premiere in Moscow, the exhibitions of the cycle will go on tour to other cities. Thus, the project launches the process of exchange and familiarization with the art scene of different territories within the country. The first exhibition of the cycle, One-Way Street, representing Kazan's art scene, was held at the Triumph Gallery in the summer of 2023.
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posted 07. Dec 2023

Judy Chicago: Herstory

12. Oct 202314. Jan 2024
12.10.2023 - 14.01.2024 **Judy Chicago: Herstory** “Herstory” is the first comprehensive New York museum survey of work by Judy Chicago (b. 1939, Chicago, IL). “Judy Chicago: Herstory” will span Judy Chicago’s sixty-year career to encompass the full breadth of the artist’s contributions across painting, sculpture, installation, drawing, textiles, photography, stained glass, needlework, and printmaking. Expanding the boundaries of a traditional museum survey, the exhibition will place six decades of Chicago’s work in dialogue with work by other women across centuries in a unique Fourth Floor installation. Entitled “The City of Ladies,” this exhibition-within-the-exhibition will feature artworks and archival materials from over eighty artists, writers, and thinkers, including Simone de Beauvoir, Hildegard of Bingen, Artemisia Gentileschi, Zora Neale Hurston, Frida Kahlo, Hilma af Klint, and Virginia Woolf, among many others. Taking over four floors of the Museum, “Herstory” will trace the entirety of Chicago’s practice from her 1960s experiments in Minimalism and her revolutionary feminist art of the 1970s to her narrative series of the 1980s and 1990s in which she expanded her focus to confront environmental disaster, birth and creation, masculinity, and mortality. Contextualizing her feminist methodology within the many art movements in which she has participated—and from whose histories she has frequently been erased—“Herstory” will showcase Chicago’s tremendous impact on American art and highlight her critical role as a cultural historian claiming space for women artists previously omitted from the canon. “Judy Chicago: Herstory” is curated by Massimiliano Gioni, Edlis Neeson Artistic Director, Gary Carrion-Murayari, Kraus Family Senior Curator, Margot Norton, Chief Curator, Berkeley Art Museum and Pacific Film Archive (former Allen and Lola Goldring Senior Curator at the New Museum), and Madeline Weisburg, Assistant Curator. The exhibition will be accompanied by a fully illustrated catalog co-published by Phaidon and the New Museum, featuring a conversation between the artist and Massimiliano Gioni, and contributions by Glenn Adamson, Connie Butler, Gary Carrion-Murayari, Ann Goldstein, Jennifer Higgie, Candice Hopkins, Amelia Jones, Quinn Latimer, Margot Norton, Kymberly Pinder, Ian Wallace, Madeline Weisburg, and Carmen Winant.


Judy Chicago 
New Museum, New York

235 Bowery
NY-10002 New York

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posted 06. Dec 2023

Tarek Atoui - The Drift

13. Oct 202328. Jan 2024
October 13, 2023–January 28, 2024 Opening: October 12, 6:30pm, with a performance by Tarek Atoui with Swedish organist and composer Hampus Lindwall at 7:30pm **Tarek Atoui The Drift** The IAC has invited the artist Tarek Atoui to present his first major solo exhibition in Europe. This project includes existing works and new productions, and is structured around three axes: the exhibition, the educational spaces and the planned performances. Far from a simple alternation, the artist has imagined this exhibition as a living organism in which sound and human porosities become entangled and intertwined. With no hierarchy of influences or genres, Tarek Atoui’s instrument-works weave networks and are constructed by association. They are constantly evolving, learning from themselves, from the space they occupy and from the hand that plays them. Against the work as an immutable entity, the artist highlights the faculties of improvisation and arrangement inherent in music. His works reinvent themselves, assemble themselves and respond to each other like so many cells open to disturbance and capable of integrating the other—the musician, the visitor, the space… - into their structure. This is what makes The Drift so special. Throughout his career, Tarek Atoui has oscillated between creating instruments and creating listening devices. Projects such as WITHIN and The Reverse Collection imagined new ways of generating sound. Others, such as the Whisperers, explored the way in which a sound that has already been produced can be heard through marble, metal or water. At the IAC, the whole ensemble is transformed into a living body whose organs work in synergy, linked together by computer systems. It is no longer a question of separate projects or pieces of research: sound creation and listening are inseparable. For the visitor, it is not a matter of contemplation. You have to wander, move around, tilt your head, change your height and perspective—in short, cross the exhibition space as you would a landscape. Listening is a commitment, a personal incursion that begins by listening to oneself, one’s curiosity and intuitions. It is the ear that guides your steps, or perhaps the sight of a stone being moved or water flowing. It’s no coincidence that pedagogy takes root in the exhibition space of The Drift. The artist creates a conversation as much as he creates a score. By inviting musicians and audiences to activate and appropriate some of his instruments, he offers a space for exchange in which each person’s singularities contribute to the creation of a shared harmony. The way in which music is played or appreciated is no longer based on a form of knowledge but on an introspective relationship with sounds and instruments. You have to immerse yourself in the soundscape, let yourself be transported by the drift. To drift: to explore at random, almost under the influence of an immaterial force. It is from this movement that the exhibition takes its name: the abandonment of a form of control in favour of a sensitive experience that sweeps us along. Curated by Nathalie Ergino in collaboration with Sarah Caillet. Tarek Atoui Born in 1980, Beirut, Lebanon; lives and works in Paris. Tarek Atoui is an artist and electroacoustic composer, working within the realm of sound performance and composition. He engineers complex and inventive instruments as well as arranges and curates interventions, concerts, performances, and workshops. His work often revolves around large-scale, collaborative performances that develop from extensive research into music history and instrumentation, while exploring new methods of production. Using custom-built electronic instruments and computers, Atoui references current social and political realities, revealing music and new technologies as powerful aspects of expression and identity. Education and social connection are integral aspects of Atoui’s practice. He has exhibited at numerous major institutions such as MUDAM, Luxembourg (2022); Fondation Serralves, Porto (2022); The Contemporary Austin, Texas (2022); the FLAG Art Foundation, New York (2022); the Fridericianum, Kassel (2020); Sharjah Art Foundation, Sharjah (2020); NTU Centre for Contemporary Art Singapore (2018); Fondation Serralves, Porto (2018); Kunstenfestivaldesarts, Brussels (2017); Bergen Assembly (2016); Tate Modern, London (2016); Berkeley Art Museum and Pacific Film Archive (2015); Fondation Louis Vuitton, Paris (2014 and 2015).


Tarek Atoui 
Institut d´art contemporain / Frac Rhône-Alpes, Villeurbanne

Frac Rhône-Alpes | 11, rue Docteur Dolard
69605 Villeurbanne

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posted 05. Dec 2023

Car Crash - Piero Gilardi and Arte Povera

04. Nov 202328. Apr 2024
Car Crash: Piero Gilardi and Arte Povera November 4, 2023–April 28, 2024 Opening: November 3, 6–9pm On Friday November 3, 2023, within the framework of Artissima, the PAV Parco Arte Vivente, will be opening the exhibition Car Crash. Piero Gilardi and Arte Povera that investigates the production of Piero Gilardi (Turin, 1942–2023) during the 1960s. The exhibition aims to present itself as a homage to the founder of the PAV and to revisit the early years of the artist’s career, exploring the years from 1964 to 1969. This was a germinal season during which Gilardi’s multiple areas of interest became clear, together with his huge contribution to the origins of the Arte Povera movement. Car Crash is the first in a series of monographic exhibitions as part of one of PAV’s long-term projects which, by following a chronologically ordered sub-division, will examine the artist’s work in depth. The exhibition covers a rich, even if brief, moment (five years in all), characterised by Gilardi’s involvement in some of the most important stages of the Arte Povera movement, amongst which were the Arte Abitabile exhibition (1966) at the Galleria Sperone, the creation of the Deposito d’Arte Presente in Turin (1967–69), the theory of micro emotive art, through to his definitive liberation from the movement with the exhibition arte povera più azioni povere at the Arsenale di Amalfi (1968). From the very start, what emerged was his interest in the relationship between technology, human beings and nature, together with the desire to create functional works of art animated by the spectator, as well as the opening up to other disciplines such as experiences within the ambit of radical design at the end of the 1960s. What became evident was Gilardi’s unceasing commitment to understanding and theorising the most profound sense of art and the work of the artists encountered at both national and international levels, passing from an inventor of forms to the inventor of formations: his definition of “micro-emotive art” being just one example. This commitment is evidenced by the numerous letters written to friends and colleagues, and by his correspondence sent from New York and various European cities for the magazine Flash Art, forecasting the importance of his theoretical contributions to two milestone exhibitions such as Op Losse Schroeven(Amsterdam, 1969) and When Attitudes Become Form (Berna, 1969). This analytical thought, that includes a critical position in relation to the mechanisms that govern the art market and the art system, beginning in 1969, brought Gilardi to temporarily remove himself from the national and international art scene in order to dedicate himself to political activism in continuity with the issues raised by the political movements of 1968. The title, Car Crash, adapted from an unrealised project for the Piper Club where Gilardi refers to the image of “an automobile that skids silently on the black oil of the floor”, becomes the metaphor for those sulphurous years during which the encounter and clashes with the art system and the construction and deconstruction of relationships, theories and imaginations are the sign of the great issue at stake for art at that time. It is precisely with the dynamic Piper Club experience and the exhibition of the nature-carpets set up inside the venue in January 1967 that the PAV exhibition opens. The discotheque, or rather, the “divertimentificio” (amusement factory) in Turin, reproducing its definition in the words of Tommaso Trini, welcomed, from the second half of the 1970s, experimentations and various form of performative art, from Carmelo Bene to the Living Theatre, and it became a fertile terrain for artists, amongst whom were Pistoletto, Merz and Boetti, who, like Gilardi, revolved around the Arte Povera Movement. The opening up to art created to be lived and directly involving the spectator took shape from the very birth of the nature-carpets, environments made in expanded polyurethane to be walked on and inhabited, on which the artist had been working since 1966. The series of works came from a thought conceived during a nature walk along the riverbed of the Sangone stream near Turin, during which the artist came across a mound of litter abandoned on the riverbank. This resulted in the desire to create forms representing an ideal natural context while using an artificial and contemporary material such as expanded polyurethane, a technology that permitted the construction of “practically usable aesthetic objects”. “I am the product of a great period for technology but, nonetheless, I love nature. Surely, there must be a way of combining these two sensations”, declared the young Gilardi in his article “Sette più sette artisti d’oggi le loro opere i loro abiti” published in the magazine Uomo Vogue in 1969. Lastly, it was precisely during these years that Gilardi’s multi-form activities saw the elaboration of a method of working foam rubber, and specifically, the artist’s invention of a process of colouring and finishing that was resistant to manipulation. This formula was applied to the industrial production of audacious design objects by means of a collaboration with the Gufram company. This encounter engendered the iconic Sedilsasso (1968), a pouf designed by Gilardi himself, and other products that were part of the ferment generated by radical Italian design, subsequently internationally recognised with the exhibition Italy, The New Domestic Landscape, at the New York Museum of Modern Art in September 1972. The exhibition, Car Crash. Piero Gilardi and Arte Povera narrates the story of the young artist Piero Gilardi by means of three fundamental themes (the extra-artistic space; from pop costumes to political costumes; the production of useful art) with the aim of getting to the roots of his work and raising questions based on his practices which, developing over his long career, brought about the foundation of the PAV Parco Arte Vivente. This experimental Centre of contemporary art currently interprets nature, beginning with a public park within the urban landscape, a place of encounter and workshop experiences with, at its very heart, ecology, the public and the artists, “the project of a life’. The documents in the exhibition were collected thanks to Archivio Domus, Archivio Fotografico Enrico Cattaneo, Cittadellarte - Fondazione Pistoletto, Archivio Derossi Associati, Centro di Ricerca Castello di Rivoli (CRRI), Fondazione Centro Studi Piero Gilardi, Fondazione Merz, Galleria Giraldi, Galleria Lia Rumma, Gufram. The exhibitions have been sponsored by the Compagnia di San Paolo, the Fondazione CRT, the Regione Piemonte and the Città di Torino.


Piero Gilardi 


Marco Scotini 
Parco Arte Vivente, Turin

PAV | Via Giordano Bruno 31
10134 Turin

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posted 04. Dec 2023

Etel Adnan & Simone Fattal - Voices without borders

27. Aug 202301. Jan 2024
Etel Adnan & Simone Fattal Voices without borders 27. August 2023 – 1. Januar 2024 Eröffnung am 26. August 2023, 18 – 21 Uhr Voices without borders ist ein intimer Dialog zwischen den Künstlerinnen Etel Adnan und Simone Fattal, zwei bedeutenden Stimmen der arabischen Welt. Die Ausstellung im KINDL reflektiert die Multidisziplinarität im individuellen und gemeinsamen Œuvre der beiden Künstlerinnen und gibt Einblicke in das künstlerische und literarische Werk der Lebenspartnerinnen. Der Titel der Ausstellung, Voices without borders, spiegelt ihre gemeinsame, tiefe Beziehung zur Literatur. Mit Adnan und Fattal präsentiert das KINDL Komplizinnen im feministischen, politischen und künstlerischen Engagement, die mit Sinn für Radikalität und im Glauben an die Kraft der Worte wirkten. Die Ausstellung konstelliert erstmals umfänglich Gemälde, Leporellos, Tapisserien, Grafiken und Skulpturen der beiden Künstler\*innen. Leben und Werk der beiden „Universalgelehrten“ werden außerdem in einem Schaukasten zu Fattals Verlag The Post-Apollo Press sowie in zwei Dokumentarfilmen von Marie Regan und Deena Charara unter der Mitwirkung von Etel Adnan im M1 VideoSpace beleuchtet. Etel Adnan (1925 in Beirut – 2021 in Paris) war Dichterin, Malerin und Philosophin und ist eine wichtige Figur der arabischen Moderne. Ihr Leben war von der Kindheit in einer multikulturellen Familie und später, als Philosophiestudentin im Libanon, in Paris und der San Francisco Bay Area, auch von Reisen, vor allem nach Mexiko und Nordafrika, geprägt. Seit ihrer Kindheit war sie fasziniert vom Schreiben und der Poesie. Ab 1952 lehrte sie für zwanzig Jahre Philosophie am Dominican College in San Rafael in Kalifornien, wo sie das Medium der Malerei für sich entdeckte. Der Berg Tamalpais, den sie dort von ihrer Wohnung aus sehen konnte, wurde schnell zu ihrem Hauptmotiv. Zeitlebens versuchte sie sein Wesen in ihrer Malerei zu fassen und umkreiste dieses Thema in ihrer Literatur und Malerei in unendlichen Variationen. Die Grenzen zwischen Sprache und Malerei wurden für sie immer durchlässiger und als Reaktion auf den Algerienkrieg löste sie sich von der Sprache der Kolonialmacht Frankreich: „Ich musste nicht mehr auf Französisch schreiben, ich malte einfach auf Arabisch.“ Im Medium des Leporellos bringt Adnan Malerei, Kalligraphie und Dichtung unmittelbar zusammen und im Buch Arabische Apokalypse lässt sie grafische Zeichen direkt in den literarischen Textverlauf einfließen. Ein weiteres in der Ausstellung verhandeltes Thema ist die Bedeutung des Weltraums und der Raumfahrt im Denken und Arbeiten von Etel Adnan. 1972 lernten Etel Adnan und Simone Fattal sich in Beirut kennen und gingen eine lebenslange Partnerschaft ein. 1980 verließen die beiden das Land aufgrund des Libanesischen Bürgerkriegs und zogen nach Kalifornien. Simone Fattal (\* 1942 in Damaskus, lebt in Paris) ist Künstlerin, Übersetzerin und Verlegerin und bewegt sich zeitlebens zwischen Malerei, Bildhauerei und Poesie. Aufgewachsen in Beirut, studierte sie Philosophie an der Sorbonne in Paris, bevor sie in den Libanon zurückkehrte, wo ihre Bilder in zahlreichen Ausstellungen gezeigt wurden. 1982 gründete Fattal den Verlag The Post-Apollo Press, um Etel Adnans Roman Sitt Marie Rose zu veröffentlichen, den diese 1978 als Reaktion auf die Schrecken des Bürgerkriegs schrieb – heute ein Klassiker der Antikriegsliteratur. Mit The Post-Apollo Press wurde sie zu einer wichtigsten Förder\*innen zeitgenössischer Poesie. Zwischen 1982 und 2018 veröffentlichte sie über 60 Werke von Autor*innen und Dichter*innen aus der arabischen Welt, aus den USA und Europa. Ursprünglich im Medium der Malerei zuhause, näherte sich Fattal in Kalifornien der Bildhauerei an und entwickelte ein reiches Werk von Keramikskulpturen, Drucken und Collagen mit Bezügen u.a. zur sumerischen Mythologie, zur altägyptischen Formensprache und zur Philosophie. Im Kontext der ersten umfassenden monografischen Ausstellungen zum Werk von Etel Adnan in Deutschland erarbeiteten das Lenbachhaus in München und die Kunstsammlung Nordrhein-Westfalen, Düsseldorf, in Kooperation mit dem KINDL eine umfassende Publikation zum Werk von Etel Adnan, mit Beiträgen u. a. von Sébastien Delot und Simone Fattal, hrsg. von Sébastien Delot, Susanne Gaensheimer und Matthias Mühling im Hirmer Verlag, München.

artists & participants

Etel Adnan,  Simone Fattal 
KINDL – Zentrum für zeitgenössische Kunst, Berlin

12053 Berlin

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posted 03. Dec 2023


24. Jun 202316. Dec 2023
June 24–December 16, 2023 **David Ireland THE CONDITION WHERE ART WOULD DISAPPEAR** David Ireland’s most iconic works to explore questions surrounding conceptual art and the issues artists confront when deep in studio work will be on view at 500 Capp Street. The rooms of the House will be populated with works that will, for the first time since 500 Capp Street’s public opening, provide a preview of David Irelands’ live-work art practice from 1974 to 2004. These iconic tableaux will illuminate how Ireland navigated between the correlation of work and site and will cast light on the point in his work where the studio became the central object of the art itself. On view will be such treasures as Marcel B. (1980–1994), a cascade of sardine cans that serve as a pun-like homage to fellow artist Marcel Broodthaers; Ireland’s sculptural tribute to Yves Klein; and his South China Chairs (1979), arranged as they were with the well-known Broom Collection with Boom (1978/1988) between them. Also on view are a number of early prints by Ireland, including a series of 1972 lithographs made while studying at the San Francisco Art Institute, which have never before been exhibited in the Bay Area. * **Launch of the Paule Anglim Archive Room** June 24–August 26, 2023 500 Capp Street celebrates the launch of its newly-named Paule Anglim Archive Room, opening the space to the public for the first time for a special archival show. Named after one of San Francisco’s most important gallerists who represented and championed Ireland and many other local conceptual artists, the Paule Anglim Archive Room houses objects, artworks, photographs, and ephemera that serve as an essential time capsule of the conceptual art movement of the 1970s–90s in the Bay Area and beyond. In 2022, Anglim’s estate donated several small artworks, papers, and more to 500 Capp Street, enriching the archive with works by many of Ireland’s contemporaries including Gay Outlaw, Paul Kos, Enrique Chagoya, William T. Wiley, Tom Marioni, Tony Labat, and Alan Rath. Select works from the newly expanded collection will be on display alongside pieces from Ireland’s personal collection and works by female conceptual artists from his circle including Hannah Wilke, Mildred Howard, Katherine Sherwood, Amy Trachtenberg, Ann Hamilton, Mie Preckler, Catherine Wagner, and Peggy Ingalls. Also on view are other donated or loaned works including several gifted by Jim Melchert; William T. Wiley’s 1977 book, Suite of Daze, on loan from printer Timothy Berry; and a just announced loan from Suzaane Hellmuth and Jock Reynolds of works by Nayland Blake, Paul DeMarinis, Bob Jones, and Jim Pomeroy. Screening in the Garage will be Same Difference (1975), a film by Al Wong with sound by Terry Fox on loan from Canyon Cinema. Catalogs, personal correspondence, and other ephemera documenting the lives and careers of Ireland and his contemporaries will also be on display.

The David Ireland House | 500 Capp Street
CA 94110 San Francisco

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posted 02. Dec 2023

Nathalie Djurberg & Hans Berg

09. Sep 202328. Apr 2024
9.9.2023 – 28.4.2024 Lovecraft, temporäres Ausweichquartier der Sammlung Goetz Karlsplatz 21-24, 80335 München **Nathalie Djurberg & Hans Berg The Experiment** Die Sammlung Goetz hat einen neuen Ausstellungsort mitten in München. Im ehemaligen Kaufhof am Stachus – dem Zwischennutzungsprojekt LOVECRAFT – wird sie künftig eine Fläche von circa 2000 qm im Untergeschoss als temporäres Ausweichquartier für das wegen Sanierung geschlossene Ausstellungsgebäude in Oberföhring bespielen. Den Start macht das Künstlerduo Nathalie Djurberg & Hans Berg mit der raumgreifenden Multimediainstallation The Experiment. Die Arbeit besteht aus einem surreal anmutenden Garten mit mehr als hundert überlebensgroßen Pflanzen, die Nathalie Djurberg aus verschiedenen Kunststoffen, Pappen und Draht geformt hat. Inmitten dieser wundersamen Pflanzenwelt werden mit Greed, Forest und Cave drei Stop-Motion-Filme präsentiert, in denen die Künstlerin Puppen aus Plastilin und Stoff in surrealen, humorvollen, aber auch beängstigenden Geschichten zum Leben erweckt. Die Musik zu den Filmen komponierte Hans Berg, der damit die Charaktere begleitet und die Handlung vorantreibt. In Greed treiben drei lüsterne kirchliche Würdenträger ihr Unwesen mit einer nackten, ihnen schutzlos ausgelieferten Frau. Wiederkehrendes Element in den Filmen sind tierartige Geschöpfe, die ihren animalischen Trieben freien Lauf lassen. In Forest, dem zweiten Teil der Trilogie, handelt es sich jedoch um Pflanzen. In diesem Film verirren sich eine junge Frau und ihr Begleiter in einem düsteren Märchenwald. Aber der Feind ist nicht immer das andere, sondern befindet sich auch ein Stück weit im Menschen selbst. In Cave, dem dritten Videofilm von The Experiment, ist eine Frau in einem absurden Kampf mit sich selbst verstrickt. Die Grenzen zwischen Opfer und Täter scheinen sich hier endgültig aufzulösen. Die Multimediainstallation The Experiment entstand 2009 für die Biennale in Venedig, wurde mit dem Silbernen Löwen für die besten Nachwuchskünstler\*innen ausgezeichnet und machte das Künstlerduo schlagartig bekannt. „Es war das erste Mal, dass wir auf diese Weise an einem Projekt gearbeitet haben,“ berichtet Nathalie Djurberg: „Aus dem Wunsch, nur ein paar Skulpturen und Videoarbeiten zu machen, wurde schließlich ein größeres Projekt, sodass wir gar nicht mehr aufhören konnten, weil jede Blüte eine andere Blüte brauchte und das Scheitern in der Produktion so unwiderstehlich und zugleich erlaubt war.“ Die Betrachter*innen fühlen sich wie Alice im Wunderland, wenn sie an den weit geöffneten, feucht glänzenden Blütenkelchen und einem Dickicht aus Schlingpflanzen vorbeiwandern. Die Sammlung Goetz hat The Experiment bereits in ihrem Ausstellungsgebäude im Base103 gezeigt. Mit der Präsentation im ehemaligen Kaufhof zeigt sie nun die Multimediainstallation an einem ungewöhnlichen Ort ohne museale Infrastruktur. Passend zum Titel der Arbeit, handelt es sich um ein Experiment, das Risiken birgt, aber auch die Chance eröffnet, die Multimediainstallation im Zusammenspiel mit dem besonderen Ort zu erleben und damit ein neues Publikum für Kunst zu begeistern. „Die Architektur und das Design des Kaufhauses sind weit vom klassischen Galerie- oder Kunstraum entfernt,“ sagt Hans Berg: „Das finden wir sehr spannend, weil es die Arbeiten in einen ganz anderen Kontext stellt – einem unwirtlichen, heruntergekommenen und verlassenen Ort, der meiner Meinung nach das Gefühl des Verfalls und der Vergänglichkeit der Skulpturen noch verstärkt. Sie scheinen an diesem vergessenen Ort gewachsen zu sein, an dem sich schon lange niemand mehr aufgehalten hat; wenn wir nicht hinsehen, geschehen seltsame Dinge, die wir nicht kontrollieren können. Das könnte zumindest unsere Angst oder unsere Hoffnung sein – je nachdem, wie man den Ort empfindet.“ LOVECRAFT beabsichtigt, das Gebäude im Rahmen eines ganzheitlichen Nutzungskonzepts u.a. für Kunstausstellungen, Sportangebote, kulturelle Events, Einzelhandel, Gastronomie und Events zu nutzen. Das Gebäude verfügt über ein Kellergeschoss, ein Erdgeschoss und sieben weitere Stockwerke.

artists & participants

Hans Berg,  Nathalie Djurberg 
Sammlung Goetz, München

Oberföhringer Straße 103
81925 Munich

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posted 01. Dec 2023

Artes Mundi 10

20. Oct 202325. Feb 2024
October 20, 2023–February 25, 2024 **Artes Mundi 10** (AM10) The AM10 exhibition will comprise significant solo presentations of new and existing work of seven of the world’s most important international contemporary artists. Rushdi Anwar (Born Kurdistan. Lives and works between Thailand and Australia) exhibiting at The National Museum Cardiff. Carolina Caycedo (Born UK to Colombian parents. Lives and works in USA) exhibiting at Oriel Davies Gallery and Chapter. Alia Farid (Born Kuwait. Lives and works between Kuwait City and Puerto Rico) exhibiting at The National Museum Cardiff. Naomi Rincón Gallardo (Born USA. Lives and works in Mexico) exhibiting at Chapter. Taloi Havini (Born Bougainville (Nakas/ Hakö tribe. Lives and works in Australia) exhibiting at Mostyn and Chapter. Nguyễn Trinh Thi (Born and continues to live and work in Vietnam) exhibiting at Glynn Vivian Art Gallery and Chapter. Mounira Al Solh (Born Lebanon. Lives and works in Lebanon and The Netherlands) exhibiting at The National Museum Cardiff. With presenting partner Bagri Foundation, Artes Mundi 10 (AM10), the UK’s leading biennial exhibition and international contemporary art prize, has launched its tenth anniversary edition. Presenting work across five venue partners in Wales for the first time, AM10 features seven international contemporary visual artists and is open until February 25, 2024. The winner of the prestigious 40,000 GBP Artes Mundi Prize—the UK’s largest contemporary art prize—will be announced in January during the exhibition run. AM10 sees each artist present a major solo project, including new productions, unseen works and several UK premieres. Some artists are presenting across multiple venues, whilst every artist has work at a location in Cardiff. The artist exhibition locations for AM10 are: Mounira Al Solh, Rushdi Anwar and Alia Farid at National Museum Cardiff (one of the Amgueddfa Cymru—Museum Wales family of museums); Nguyễn Trinh Thi at Glynn Vivian Art Gallery, Swansea and Chapter, Cardiff; Taloi Havini at Mostyn, Llandudno and Chapter, Cardiff; Carolina Caycedo at Oriel Davies Gallery, Newtown and Chapter, Cardiff; and Naomi Rincón Gallardo at Chapter, Cardiff. Nigel Prince, Director of Artes Mundi, said: “We are delighted to be presenting a stimulating and thoughtful series of presentations for AM10. Working with each artist and our venue partners, we have been able to present a series of in-depth shows that collectively address issues surrounding land use, territory and displacement through histories of environmental change, conflict and enforced migration, conditions that speak to us all today.” Deputy Minister for Arts, Sport and Tourism, Dawn Bowden, said: “On its 10th anniversary edition, I’m delighted that we’ve been able to support Artes Mundi to take the exhibition across Wales for the first time and that it will be presented at five nationwide venues in Cardiff, Swansea, Newtown and Llandudno. The event presents an exciting platform bringing together international artists with local, national and international audiences and communities.” As an important arbiter of cultural exchange between the UK and international communities, Artes Mundi has built a reputation for bringing together art by some of the most relevant artistic voices engaging with urgent topics of our time. Past editions have seen Artes Mundi work with artists at crucial stages of their careers, often being their first introduction to UK audiences, with many now established figures on the world stage, including Dineo Seshee Bopape, Prabhakar Pachpute, Ragnar Kjartansson, Theaster Gates, John Akomfrah, Teresa Margolles, Xu Bing, and Tania Bruguera.
Artes Mundi, Cardiff

National Museum Cardiff | Cathays Park
CF10 3NP Cardiff

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posted 30. Nov 2023

GIOVANNI MORBIN - Ozionismo, manifesto orizzontale

18. Nov 202305. Jan 2024
GIOVANNI MORBIN Ozionismo, manifesto orizzontale Die Neudefinition der Untätigkeit 18.11.2023 – 05.01.2024 ERÖFFNUNG / OPENING: 18.11.2023, 17:00 – 21:00 Uhr 18:30 Uhr: Performance Giovanni Morbin galerie michaela stock Der renommierte italienische Konzept- und Performancekünstler Giovanni Morbin präsentiert eine neue Ausstellung und Performance in Wien. In einer Welt, die unaufhörlich in Bewegung ist und in der unermüdlichen Produktivität als höchstes Ziel gefeiert wird, fordert der italienische Konzept- und Performancekünstler Giovanni Morbin dazu auf, unsere Ansichten über Ruhe und innere Reflexion in seiner neuesten Ausstellung bei galerie michaela stock zu überdenken. Der Dreh- und Angelpunkt von Giovanni Morbins Ausstellung ist seine neueste Serie "Ozionismo, manifesto orizzontale". Dabei handelt es sich um eine tiefgründige Betrachtung des Ruhestands, inklusive eines Manifests zu diesem Thema. Das Konzepts wird noch deutlicher, wenn man bedenkt, dass der Künstler in diesem Jahr von seiner Position als Professor an der Accademia di Belle Arti di Verona in den Ruhestand tritt. Für Morbin markiert der Ruhestand nicht das Ende, sondern eine Transformation - das Abstreifen einer Schicht, um eine neue zu enthüllen, eine Entwicklung, die fasziniert, provoziert und inspiriert. In seiner Serie "Ozionismo, manifesto orizzontale" entführt Morbin die Ausstellungsbesucher in die Sphäre der Untätigkeit. In dieser neuen Werkgruppe webt Morbin eine komplexe Erzählung um die paradoxale Beziehung zwischen Ruhe und Schöpfung, und regt uns dazu an, die Natur des künstlerischen Ruhestands zu hinterfragen. Die Ausstellung in Wien markiert den Beginn eines Zyklus von Einzelausstellungen von Giovanni Morbin in drei renommierten Institutionen. Diese Ausstellungen, kuratiert von Alenka Pirman und Daniele Capra, erstrecken sich über die nächsten vier Monate und führen von Ljubljana über Venedig bis nach Bologna.
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posted 29. Nov 2023

Tunga - Eu, Você e a Lua (Me, You and the Moon)

09. Aug 202328. Jan 2024
August 9, 2023–January 28, 2024 Tunga Eu, Você e a Lua (Me, You and the Moon) Tunga (1952–2016) explored alchemy, psychoanalysis, science and philosophy. Over four decades, he created a unique mythology, in which the issue of immutability and transformation are fundamental. Never before exhibited in Brazil, the installation Eu, Você e a Lua (2015) (Me, You and the Moon) was one of the last major works completed by the artist and will be presented from August 9 to January 28, 2024, at the Sala de Vidro (Glass Room) of the Museu de Arte Moderna de São Paulo (Museum of Modern Art of São Paulo). The exhibition is endorsed by the Tunga Institute. “In Tunga’s poetic reasoning, what is on planet Earth or outside, the internal and external, like me, you and the moon, become an indivisible entirety”, reflects Cauê Alves, chief curator of MAM, in the text accompanying the work. Eu, Você e a Lua (Me, You and the Moon) brings together recurring elements of his oeuvre, such as stones, mirrors, bottles in crystal, plaster or resin, and plates suspended in arcs and rods. The core of the installation is formed by a large, hollow and petrified tree trunk, supported by two tripods. Under the shadow cast by the work in the Glass Room, an amber trails almost the entire length of the trunk. The mirrors that compose the work reflect quartz bottles from above and from below. “The fossil of a tree trunk that remains intact, suspended in time, coexists with the essence of ember. This wood infused fragrance releases drops, as if an hourglass were marking time passing and the transformation of matter. Resorting to the smell and vision, the original and prehistoric elements in the work by Tunga merge with the contemporary and the ephemeral presence of the fragrance”, explains Cauê Alves. The work will be shown at MAM as it was originally exhibited in France in 2015, at the Center d’Arts et de Nature, in Domaine de Chaumont-sur-Loire, with gravel flooring, which constitutes the woody and earthy atmosphere of the environment. Tunga used to imagine the human body rebuilt from landscape and for this reason he assembled disparate elements to create a new sensibility. “I call this the ‘countenance of the moon’. What is at play here is the transmutation of the act of viewing into perfume”, stated the artist in an article by Myriam Boutoulle, “Tunga, l’amour, la lune et l’arbre alchimique,” published in 2015.


mam - Museu de Arte Moderna, São Paulo .

Parque do Ibirapuera, portão 3 - s/nº
04094-000 Sao Paulo

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posted 28. Nov 2023

The Otolith Group …But There Are New Suns

13. Oct 202316. Dec 2023
October 13–December 16, 2023 Preview: October 12, 6–9pm, with conversation between Kodwo Eshun, Anjalika Sagar and Dr. Ranjana Thapalyal **The Otolith Group …But There Are New Suns The Ignorant Art School Sit-in #3 ** Cooper Gallery’s critically lauded five-chapter exhibition and event project The Ignorant Art School: Five Sit-ins towards Creative Emancipation enters its third iteration in Autumn 2023 with Sit-in #3 titled …But There Are New Suns; the first major exhibition in Scotland by the Turner Prize nominated artist collective The Otolith Group. Founded in London in 2002 by Anjalika Sagar and Kodwo Eshun, The Otolith Group practices modes of digital image making, exhibition making and discourse making that seek to activate the chronopolitical potentials of differentiated futurisms. In its recitation of the epigram, written by the great science-fiction novelist Octavia Butler, the exhibition title …But There Are New Suns alludes to an imagination of scale capable of gaining traction upon the multiple alienations differentially experienced by communities living and working in and through the“Racial Capitalocene.” * In approaching digital video as the occasion and the site for the study of study …But There Are New Suns focuses on two installations: What the Owl Knows (2022) and O Horizon (2018). Co-produced with Cooper Gallery, the UK premiere of What the Owl Knows can be characterised as a work that revels in what it does not reveal, a work that attunes the auditor to the tone and the texture of attentiveness devoted by painter Lynette Yiadom-Boakye to the demeanour and the disposition, the manner and the moods within and outwith her paintings. The installation O Horizon (2018) invites audiences to encounter scenes from the life within and outwith Visva-Bharati, the university that extends the art school founded in Santiniketan in West Bengal in 1921 by the polymath Rabindranath Tagore. The studies of study evoked throughout O Horizon offer prismatic insights into the forms and shapes of a Tagorean ethos in the second decade of the 21st century. In embracing Senegalese film director Ousmane Sembène’s idea of cinema as a night school or l’ecole du soir, the events series Sit-in Curriculum #3 celebrates the sociality of moving images as the occasions for the informal study of study. The screenings, discussions, performances and reading groups that constitute the Sit-in Curriculum #3 aim at the interruption and suspension of colonial orders of knowledge production through an open invitation to all that wish to gain traction on the convergence of multiple crises. *See Kathryn Yusoff, A Billion Black Anthropocenes, University of Minnesota Press, 2019 and Françoise Vergès, Racial Capitalocene, Verso Blog Post, 2017. The Ignorant Art School: Sit-in Curriculum #3—DXG: The Department of Xenogenesis The event series, Sit-in Curriculum #3 is conceived and activated in collaboration with The Department of Xenogenesis (DXG), a time space enacted by The Otolith Group. The curriculum is an open invitation for interlocutors to think together critically.

artists & participants

Kodwo Eshun,  Anjalika Sagar,  The Otolith Group 
Cooper Gallery, Dundee

13 Perth Rd
DD1 4HT Dundee

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posted 27. Nov 2023

Lee Ufan

27. Oct 202310. Mar 2024
27. Oktober 2023 – 10. März 2024 Eröffnung: Donnerstag, 26. Oktober 2023, 19 Uhr Lee Ufan Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin Der Hamburger Bahnhof präsentiert die erste Retrospektive des Ma- lers und Bildhauers Lee Ufan in Deutschland. Lee zählt zu den wich- tigsten Vertreter*innen der Mono-ha-Schule in Japan und der Dansaekhwa-Bewegung in Korea, die sich parallel zu anderen mini- malistischen Kunstströmungen entwickelte. Die Ausstellung zeigt ca. 50 Werke aus fünf Jahrzehnten seines Schaffens. Lees jahrzehn- telange Auseinandersetzung mit Malerei thematisiert ein außerge- wöhnliches Highlight: Rembrandts berühmtes „Selbstbildnis mit Samtbarett“ (1634) aus der Berliner Gemäldegalerie wird erstmals im Hamburger Bahnhof gezeigt und tritt in Dialog mit Lees raumgrei- fender Installation „Relatum – The Mirror Road“ (2016/2023). So führt Lees Kunst die Besucher*innen in die prägenden Kunstströmungen Japans und Koreas der 1970er-Jahre ein und ermöglicht einen neuen Blick auf eine Ikone der westeuropäischen Kunst. Die Ausstellung gibt einen Einblick in das Werk des koreanischen Künst- lers Lee Ufan (geboren 1936, lebt und arbeitet in Kamakura, Japan), fast 50 Jahre nach dessen erster Ausstellungsbeteiligung in der Kunsthalle Düsseldorf. Lees philosophische Schriften prägten das Künst- ler*innenkollektiv Mono-ha (dt. Schule der Dinge), das von 1968 bis 1975 in Tokio aktiv war. Mono-ha zählt zu den prägendsten Stilen der Nach- kriegskunst in Japan. In den Skulpturen und Installationen verbanden die Künstler*innen Rohmaterialen wie Steine, Äste oder Erde mit Industriema- terialien wie Stahl oder Glas. Dieses Verständnis von Kunst als Neuord- nung der Dinge zeigt etwa Lees Skulpturen-Serie „Relatum“ (ab 1968). In der Dansaekhwa-Bewegung setzten sich koreanische Künstler*innen ab Mitte der 1970er-Jahre mit Abstraktion und Materialität vor allem in mono- chromer Malerei auseinander. Davon zeugen Gemälde aus Lees Serien „From Point“ (ab 1973) und „From Line“ (ab 1978). Im Garten des Muse- ums wird die Skulptur „Relatum“ (1977) aus der Sammlung der National- galerie gezeigt, die erstmals seit 1985 wieder in Berlin zu sehen ist. Wäh- rend der Laufzeit wird eine künstlerische Intervention Lees im Rembrandt- Saal der Gemäldegalerie gezeigt. Lee, der in seinen Werken immer wie- der auf europäische Wurzeln verweist, tritt damit in einen vielschichtigen Dialog mit den Werken Rembrandts. Zur Ausstellung erscheint eine Publikation. Kuratiert von Sam Bardaouil und Till Fellrath, Direktoren Hamburger Bahnhof. Assistenzkuratorinnen: Luisa Bachmann und Lisa Hörstmann, wiss. Museumsassistentinnen i. F. In Zusammenarbeit mit der Lee Ufan Foundation, Arles. Mit großzügiger Unterstützung der Freunde der Nationalgalerie.


Lee Ufan 
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posted 26. Nov 2023

NICE 2023. Film Screening: Like Turtles

26. Nov 202326. Nov 2023
26 Nov 2023, 18:00-19:30 Place Garage Auditorium **NICE 2023. Film Screening: Like Turtles** Director Monica Dugo Italy, 2022, 82 min. DESCRIPTION An Italian tragicomedy about a woman who decides to get over her husband leaving by hiding in the wardrobe. Teenager Sveva and her restless seven-year-old brother Paolo live with caring parents in the center of Rome. The children have no idea that their father Daniele, a respected doctor, has long been tired of the relationship with their mother Lisa but is scared to say so. So, when he takes all of his white shirts from the wardrobe and leaves home, it is a real shock for every member of the family. Lisa cannot cope and decides to live in the wardrobe. Sveva and Paolo don’t know what to do and react to their mother’s behavior in different ways. Sveva is angry and tries to encourage Lisa to comes out, but Paolo is even prepared to part with his favorite panther toy to make his mother’s life in the wardrobe more comfortable. This debut feature by Italian actress Monica Dugo, who also plays the role of Lisa in the film, was first shown at the Venice Film Festival and then at the Festival do Rio (Brazil). Like Turtles is a sensitive and, at first glance, naive film, but in just over an hour the director offers a touching story about how to live with loss and pain and how there are no rules for grief. The lead character’s children help her to believe that things can get better and to recover from her difficult past. They are firm in their belief that life is a good thing. The title of the film is also incredibly touching. When he realizes that his mother has moved into the wardrobe, Paolo tells her a story that he heard from his teacher. When winter comes, turtles also move to a secluded place in order to rest and build up their strength.


Monica Dugo 
Garage Museum of Contemporary Art, Moscow

Garage Centre for Contemporary Culture, | Gorky Park, 9/32 Krymsky Val St.
119049 Moscow

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posted 25. Nov 2023

NICE 2023. Film Screening: Spotty and Me

25. Nov 202325. Nov 2023
25 Nov 2023, 18:00-19:30 Place Garage Auditorium **NICE 2023. Film Screening: Spotty and Me** DESCRIPTION An Italian comedy about how there are no rules when it comes to love. The lead is played by Filippo Scotti, star of Paolo Sorrentino’s Hand of God. Eva is a charming but scatterbrained law student. Matteo is only 22, but he is a talented animator and is already working for a serious Italian company. She is sociable and loves to have fun, but money is always an issue, and he leads a quiet life in a huge designer apartment. At first glance these two have nothing in common other than their age. However, soon Spotty, Matteo’s imaginary dog, for whom he hires Eva as a dog sitter, unexpectedly brings them together and helps them deal with their psychological problems. Spotty and Me is a film with a deceptively simple plot. Every day a girl comes to play with a boy dressed as a cute cartoon dog and gets paid for it. But the story’s simplicity conceals a layer of pain and loneliness with which Eva and Matteo have got used to living, and, at the same time, there is much mutual joy as a result of their meetings and relief at finally being understood. This film by Cosimo Gomez, who is known primarily as the designer of numerous Italian films and TV series, is full of nice but subtle details, such as the fact that the lead actor’s sounds similar to that of his alter ego. The cinematographic freedom and desire for escapism in Spotty and Me prompt comparisons with the work of Michel Gondry, another well-known film fantasist. The action of this strange and touching romance takes place against the architectural beauty of Bologna in Italy, which adds yet more charm to this delightful, good-natured, and colorful film by Gomez.


Cosimo Gomez 
Garage Museum of Contemporary Art, Moscow

Garage Centre for Contemporary Culture, | Gorky Park, 9/32 Krymsky Val St.
119049 Moscow

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posted 24. Nov 2023

Dorothy Iannone - Love Is Forever, Isn’t It?

06. Oct 202321. Jan 2024
Dorothy Iannone Love Is Forever, Isn’t It? October 6, 2023–January 21, 2024 The exhibition Love Is Forever, Isn’t It? presents one of the most comprehensive surveys of Dorothy Iannone’s prolific body of work, to be showcased at M HKA. The artistic practice by Dorothy Iannone spanned paintings, artists’ books, video installations, sculptures, drawings, and sound works. In her visual and writing oeuvre, she created a unique relationship between text, image, audio, and sculptural objects, emphasising their narrative and fictional dimensions. The primary focus of this project is the recontextualisation of Iannone’s work, specifically examining its intrinsic performative nature, which has been scarcely investigated until now. The exhibition explores novelistic conventions, narrative threads, relationships between words and images, as well as autofictional and biographical elements within her creations. Iannone examined topics related to female sexuality, which has led to her work being censored on multiple occasions. In her vibrant oeuvre, she explored feelings and emotions, creating an erotic iconography largely inspired by non-Western and Buddhist imagery. She passionately described her intimate friendships and relationships with her muses, artists, and lovers. Though she shared personal and artistic associations with Fluxus, Dorothy Iannone never considered herself part of the movement. Undoubtedly, her transdisciplinary and multifaceted practice establishes a unique dialogue with the neo-avant-garde movements of the 1960s, 70s, and 80s. The exhibition Love Is Forever, Isn’t It? takes viewers on an emancipatory journey towards unconventional love, the celebration of matriarchy, and Eros. As she eloquently stated in one of her texts: “When I painted and wrote and sang and filmed my message, one might call it, it filled all of my mind. And nothing gave me more pleasure than expressing it (almost). If, in any way, I have helped people to come closer to themselves, that would mean a lot to me.“ The publication Love Is Forever, Isn’t It? serves as an extension of the exhibition in collaboration with JRP|Editions. It features essays by Alison Gingeras, Ana Mendoza, and Joanna Zielińska that delve into the concept of performativity, both in artistic terms and in the context of feminism and female sexuality. The book underscores the significance of Dorothy Iannone’s contributions to contemporary art within the international avant-garde while shedding light on the numerous acts of censorship that impacted her artistic journey. The book is set to be released during the exhibition course in 2023. Dorothy Iannone (1933–2022) was an American visual artist renowned for her vibrant and expressive artistic language. Born in Boston, Massachusetts, Iannone initially pursued literature at Boston University before shifting her focus to art in the late 1950s. In the early 1960s, she moved to Europe and became associated with avant-garde art movements seeking to break down artistic boundaries and challenge conventional cultural norms. Throughout her career, Iannone’s art has been deeply autobiographical, reflecting her experiences and relationships. Her work often features vibrant, colourful, and explicit depictions of sexuality and the human body, exploring themes of love, ecstasy, and the pursuit of personal freedom. Her bold and unapologetic approach to sexuality has occasionally led to censorship and exclusion. Iannone’s art has been exhibited in galleries and museums worldwide, her work was presented at: Migros Museum (Zurich), New Museum (New York), Louisiana Museum (Copenhagen), and Berlinische Galerie (Berlin) among other venues. Curator: Joanna Zielińska
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posted 23. Nov 2023

Ana Mendieta: Silhouette on Fire / earth opens paths

19. Sep 202321. Jan 2024
Sesc Pompeia September 19, 2023–January 21, 2024 **Ana Mendieta: Silhouette on Fire / earth opens paths (Ana Mendieta: Silhueta em Fogo / terra abrecaminhos)** “Pain of Cuba/ body I am/ my orphanhood I live In Cuba where you die/ the Earth that covers us/ speaks. But here,/ covered by the earth whose prisoner I am/ I feel death palpitating underneath/ the earth. And so,/ As my whole body is filled with want of Cuba/ I go on to make my work upon the earth,/ to go on is victory.” —Ana Mendieta, 1981 An artist who left marks. Literal ones, etched into stone, and symbolic ones, imprinted in the field of the feminine-subjective, the collective imagination, and the feminist struggle. This is the legacy of Cuban-American Ana Mendieta (1948–1985), whose visceral work is now receiving its first comprehensive exhibition throughout Brazil and Latin America. Starting in September, Sesc Pompeia, an iconic cultural space in São Paulo, will host Silhueta em Fogo | terra abrecaminhos, an exhibition curated by Daniela Labra and Hilda de Paulo, with assistance from Maíra Freitas. This proposal combines a retrospective exhibition of Mendieta’s work with a group show featuring works by 20 contemporary female artists from different generations – daughters of the mestizo diaspora and borderlands. For the curatorial approach of the group show, the curators combined their ongoing research projects to address references such as Gloria Anzaldúa, Donna Haraway, bell hooks, Paul B. Preciado, and Denise Ferreira da Silva. Silhueta em Fogo features Mendieta’s pioneering work in body art, ecology, archetypical femininity, ancestry, healing, ecology, criticism, and performativity. To materialize her original and incisive visual poetry, concerning a diversity of themes, she experimented with a wide range of mediums, including Super-8, photography, wood and clay sculptures, drawings, rural interventions, and actions in domestic spaces. The exhibition presents an unprecedented number of the artist’s historical works, especially films made between 1970–1980 and self-performative photographs, as well as a sculptural proposition. Digitized versions of original 8mm films are shown, along with groups of photographs. Works like the series Untitled (Facial hair transplant) from 1972/1997 show Ana Mendieta in situations that grapple with questions concerning gender and documentation, while others record her corporeal interventions on the earth, also recorded on film. The group show terra abrecaminhos, held in tandem with the historical exhibition, features the work of about 20 female artists, whose works echo archetypical, cultural, political, and spiritual aspects of Ana Mendieta’s work in their eco-feminine symbolism. The curators have invited artists from different generations, daughters of the mestizo diaspora and borderlands, as articulated by Chicana philosopher Gloria Anzaldúa. The works, spanning various mediums including live performances, share numerous aesthetic and political intersections with those of Ana Mendieta. The participating artists in terra abrecaminhos are Amy Bravo, Beth Moysés, Brígida Baltar, Carolee Scheemann, Cecilia Vicuña, Celeida Tostes, Grasiele Sousa, Gil DuOdé, Las Nietas de Nonó, Larissa de Souza, Laura Aguilar, Lia Chaia, Luana Vitra & Iara Izidoro, Márcia X. Panmela Castro, Patricia Dominguez, Puta da Silva, Regina José Galindo, Rica Lee, Rubiane Maia, Sallisa Rosa, Suzana Queiroga, Tadáskía, tatiana nascimento, Virginia Borges, Virgínia de Medeiros, Vitória Basaia, Vulcanica Pokaropa, and Yara Pina.

Servico Social do Comercio - Sesc | Visual Arts and Technology Department | 991 Alvaro Ramos Avenue
03331-000 Sao Paulo

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posted 22. Nov 2023

Dieter Krieg „Allen Malern herzlichen Dank“

23. Nov 202318. Feb 2024
opening: 22. Nov 2023 07:00 pm
23.11.2023 – 18.02.2024 Eröffnung: 22.11.2023, 19 Uhr Der Eintritt ist am Eröffnungsabend frei Dieter Krieg „Allen Malern herzlichen Dank“ Schenkung Dieter Krieg aus der Sammlung Oehmen Seit den 1980er Jahren ist die Sammlung von Lisa und Stephan Oehmen ebenso stetig wie organisch gewachsen. Ihren deutlichen Schwerpunkt in der figurativen Malerei verdankt sie nicht zuletzt der prägenden Begegnung mit Dieter Krieg, sowie der Freundschaft zu Hartmut Neumann, der als langjähriger Professor an der Hochschule für Bildende Künste Braunschweig viele Kontakte zu jungen Absolventen der Hochschule herstellt. Heute reicht das Spektrum der Sammlung von Tim Berresheim und Andreas Schulze, über André Butzer und Miriam Cahn bis hin zu Judith Samen und Pieter Schoolwerth. Innerhalb dieses Konvoluts stellen die rund 40 Arbeiten, die das Ehepaar aus allen Schaffensperioden Dieter Kriegs erworben hat, das Herzstück dar. Dieter Krieg (1937-2005) gehört zu den wichtigen, bis heute aber noch nicht angemessen gewürdigten Vertretern innerhalb der deutschen Malerei der zweiten Hälfte des 20. Jahrhunderts. Nach seinem Studium an der Karlsruher Kunstakademie bei HAP Grieshaber und den frühen konzeptuellen Arbeiten Anfang bis Mitte der 1970er Jahre, entwickelte er sich neben Walter Stöhrer und Horst Antes zu einem der zentralen Vertreter einer Neuen Figuration, die sich gegen das damals vorherrschende Primat der Abstraktion stellten. Dieter Kriegs immer konzeptuell grundierter malerischer Furor entzündete sich am Abbild und am Gegenstand, blieb aber stets verknüpft mit einer kritischen Untersuchung des eigenen malerischen Tuns. Insofern wäre es eine Verkürzung, wollte man Krieg als gegenständlichen Maler bezeichnen. Wichtiger war es ihm die Frage zu provozieren, was wir eigentlich sehen, wenn wir auf seine oft ins Überdimensionale vergrößerten Motive schauen. Mit dem Konvolut aus der Sammlung des Ehepaar Oehmens in Hilden verfügt das Museum nun über einen gültigen und qualitativ hochwertigen Querschnitt durch das Werk Dieter Kriegs. Der Titel der Ausstellung bezieht sich auf eine Arbeit Dieter Kriegs, bei der er innerhalb der Jahre 1975 und 1976 eine Lesung aller in den 36 Bänden des Allgemeinen Lexikons der Bildenden Künstler von der Antike bis zur Gegenwart gelisteten Künstlernamen realisierte.


Dieter Krieg 
Kunstmuseum Bonn

Friedrich-Ebert-Allee 2
53113 Bonn

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posted 21. Nov 2023


05. Oct 202307. Jan 2024
At Serpentine South and in The Royal Parks GEORG BASELITZ: SCULPTURES 2011 - 2015 5 October 2023 – 7 January 2024 Artists including Alvaro Barrington, Huma Bhabha, Tracey Emin, Rashid Johnson, Jenny Saville, Erwin Wurm and Rose Wylie respond to Baselitz’s influence in the accompanying catalogue Serpentine is honoured to present its first solo exhibition of Georg Baselitz (born 1938 in Deutschbaselitz, Saxony) from 5 October 2023 to 7 January 2024. It will include a series of sculptures and drawings as well as a monumental nine-metre-tall sculpture Zero Dom (Zero Dome) within the Royal Parks, presented for the first time in the UK. These pieces offer an intimate glimpse into the artist’s studio practice and explore the frailty of the body in relation to the highly physical and raw processes he employs to make the works. The exhibition follows a long history of presenting sculpture inside its galleries and in the park includingmajor shows of Henry Moore (1978), Anthony Caro (1984), Louise Bourgeois (1985, her first in a UK institution), Alberto Giacometti and more recently Nairy Baghramian and Phyllida Barlow. With a career spanning over six decades, Georg Baselitz emerged in post-war Germany as one of the most influential contemporary artists of his generation. Since 1969, he has inverted the human figure and other motifs in his expressive paintings to sever his works from content and narrative. Instead, Baselitz focuses on form, colour and texture, bringing new perspectives to the tradition of figurative painting. Baselitz turned to sculpture in the 1980s, continuing to explore the tensions between the figurative and the abstract through his crude approximations of figures and body parts carved from wood. Georg Baselitz: Sculptures 2011-2015 will feature 10 wooden sculptures which have never been exhibited before. These works will be presented alongside 68 related drawings rendered in pencil, pen and ink. The exhibition will offer a unique opportunity to gain insights into Baselitz’s sculptural process, highlighting the latest developments of the artist’s practice during this period. Baselitz turned to sculpture in the 1980s, continuing to explore the tensions between the figurative and the abstract through his crude approximations of figures and body parts carved from wood. These wooden sculptures were not originally intended for public exhibition, as they were made as maquettes for bronze works. Each one is carved from a single tree trunk, reduced by using power saws, axes and chisels. This method gives form to solid, impactful figures while maintaining the materiality of timber with distinctive incisions and notches on its surface. The accompanying drawings were made not as preparatory sketches for the maquettes, but during the sculpting phase. Together, the drawings and maquettes highlight the synthesis of Baselitz’s two- and three-dimensional ways of making and explore the possibilities and impossibilities of translating from painting to sculpture, and from sculpture to drawings. Georg Baselitz said: “Sculpture is a thing like a miracle. It is built up, decked out, made arbitrary not as the sign of thoughts but as a thing within the limits of the shape. Even if a sculpture is hung from the ceiling, it remains a thing.” “My carvings are best described by Immanuel Kant: ‘Out of the crooked wood of humanity, nothing entirely straight can be built. It is only the approximation of this idea that nature imposes upon us.’” Bettina Korek, CEO, Serpentine, and Hans Ulrich Obrist, Artistic Director, Serpentine, say: “Serpentine is honoured to stage this incredible body of wooden works and related drawings, which have never been presented to the public before. Aligned with Serpentine’s ethos of spotlighting pioneering figures and following a tradition of presenting outstanding sculpture shows, we are thrilled to introduce these works to the public. The dialogue and resonance with contemporary artists and Serpentine’s history, will shine a new light on Baselitz’s eminent and influential oeuvre.” Highlights will include Sing Sang Zero, 2011, a sculpture continuing Baselitz’s practice of modelling his figurative works on the artist himself and his wife Elke, as well as BDM Gruppe (BDM Group), 2012, a work drawn from his personal childhood memory of three members of the BDM (League of German Girls, a Nazi youth movement), his sister with her friends, walking arm in arm. These tall sculptures reference his personal life and explore how the passing of time informs and affects his practice. Zero Mobil (Zero Mobile), 2013-2014, is suspended from the ceiling, and meditates on mortality through the motif of the skull, poetically using wires to connect pieces. The work embraces the contradictions of humanity and recalls the “vanitas” in which symbolic figures are arranged to convey the fragility of time. Zero Dom (Zero Dome), 2021, a nine-metre-tall patinated bronze sculpture will be installed on the plinth outside Serpentine South with its corresponding raw maquette featured in the show. Made from 5 carvings in the form of legs, it references Baselitz’s fascination in the foot motif. The drawings included in the exhibition will give visitors insights into the artist’s studio and how his sculptural undertaking relates to his two-dimensional practice. They will reveal how the artist considers different approaches to the central themes in his work. Accompanying the exhibition is a catalogue which includes newly commissioned texts by contemporary artists Alvaro Barrington, Huma Bhabha, Tracey Emin, Rashid Johnson, Jenny Saville, Erwin Wurm and Rose Wylie reflecting on Baselitz and how they connect to his work. Collectively, these contributions give the reader insights into how Baselitz’s distinctive practice has influenced and intrigued different generations of artists working across a variety of media. Noble laureate Herta Müller and Norman Rosenthal wrote new poems in response to Baselitz’s sculptures while Michael Baxandall and Eric Darragon provide art historical contextualisation to this body of work. A section by Baselitz himself on his sculpture practice will also feature in the catalogue, as well as an interview between the artist and Hans Ulrich Obrist. It is designed by A Practice for Everyday Life. Alvaro Barrington said: “Baselitz’s works are monumental in the traditional definition of the term: even when small in size, they function as monuments. They often loom above their viewers, who must deal with their scale. But what turns these monumental sculptures on their heads is how deeply they relate to the artist’s body. When I look at the work, I am aware of my body in relationship to the sculpture, but I am more aware of his body, of the relationship the maker has with his work.” Tracey Emin said: “‘[Baselitz’s] art is unapologetic… In the 1990s when it felt to me that the emotional doors of art were closed, [Baselitz was] there forcefully trying to smash them open…[Baselitz] kept the gateways open for artists like me.’” Rose Wylie said: “Exciting to see some new sculpture ….and it’s terrific to see drawings, and more than one, in fact several, which relate to the sculpture; and drawings that also stand alone as drawings… It’s about the excitement of first seeing his work... And about flicking into his show now at the Serpentine. I’m so pleased this later sculpture is coming to London.”
Serpentine Galleries, London

Kensington Gardens
W2 3XA London

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posted 20. Nov 2023

Inquire - Julius von Bismarck

27. Oct 202316. Dec 2023
27.10.2023 - 16.12.2023 **Inquire Julius von Bismarck** A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction. Donna Haraway, A Cyborg Manifesto In his solo exhibition In the Beginning, Julius von Bismarck presents our familiar surroundings continually in new guises. Whether clad trees or wrapped plants, the often bizarre-looking scenes are clearly the result of human activity. Yet people are only present here in the form of the effects of their actions. The protagonists of the works are plants and entire landscapes in a highly technical world. As early as 1985, Donna Haraway described in her essay A Cyborg Manifesto how the fusion of machines and living organisms not only produces hybrids, but also the superimposition of social realities and fiction. Human cyborg existence begins with the first items of clothing. It is the moment of origin when humans began to detach themselves from their own environment. Von Bismarck transfers this moment to plants and stages cyborg landscapes that use the progressive technologisation of our environment as a moment of social reflection. The machine-milled aluminium frames of the photo series We Were All Naked (2023) offer a view of alien worlds as if from a spaceship window. Here, whole areas of land are covered with foil, deprived of the air they need to breathe by a hose. Like a spider’s web, plastic film stretches over stones and small trees, transforming them into an unfamiliar environment. The context of the depopulated scene can hardly be surmised. In this series produced especially for the exhibition, von Bismarck confronts us with the fact that it is often impossible for non-human beings to adapt quickly enough to the conditions of their environment, changing due to human technologisation. We humans are able to isolate ourselves from our environment, while most other living things perish when they are removed from their ecosystems. The photo series was created in Madagascar, one of earth’s biodiversity hotspots. Analogous to vacuum-packed produce, the artist here wraps living plants in plastic and vacuum-packs them. Indeed, this deprives them of the air they need to breathe. The plants are preserved in their present state and inevitably die. At the same time, the shiny plastic film mirrors our inability to preserve our own environment. The work Heat Shield (2021) also presents a doomed attempt to preserve a natural monument: The tiled tree in the gallery space is a heat shield, a custom-made garment of tiles for the world’s oldest tree, Old Tjikko, which has defied all forces of nature for 9550 years. The protective cover, whose aesthetics are evocative of technically sophisticated heat shields used in the space industry, may protect the tree from vandalism or fire, but it leaves no room inside for survival. Again, the artist tackles human attempts to intervene in systems that we do not fully understand. The technology that enables us to expand our own living environment simultaneously ensures the disappearance of other forms of life. The artist addresses this displacement, which begins with the mere act of observation, in the video work Geh aus mein Herz! (2023). Waving treetops, grasses blowing in the wind and landscapes shifting with air currents are visible. The acoustic accompaniment by a choir suggests that the breath of the singers sets the treetops in gentle motion. In fact, the movements are created by the strong downdraft of the helicopter from which the artist filmed the terrain in motion. The almost too beautifully staged Alpine landscape is disturbed by the exhaust-breath of the helicopter, which triggers the actual movement of the trees and plants—simultaneously revealing a view that would otherwise be denied to the human eye. Thus, the mere act of observing the landscape brings about a change in it. The soothing, undulating images are accompanied by the hymn Geh aus, mein Herz, und suche Freud, (Go forth, my heart, and seek delight) sung by relatives of the artist. The hymn sings the praise of nature’s beauty as well as the joy in contemplating it and underscores the Christian, monotheistic component of a social construction of nature. The technology that enables us to expand our own living environment simultaneously ensures the disappearance of other forms of life. The artist addresses this displacement, which begins with the mere act of observation, in the video work Geh aus mein Herz! (2023). Waving treetops, grasses blowing in the wind and landscapes shifting with air currents are visible. The acoustic accompaniment by a choir suggests that the breath of the singers sets the treetops in gentle motion. In fact, the movements are created by the strong downdraft of the helicopter from which the artist filmed the terrain in motion. The almost too beautifully staged Alpine landscape is disturbed by the exhaust-breath of the helicopter, which triggers the actual movement of the trees and plants—simultaneously revealing a view that would otherwise be denied to the human eye. Thus, the mere act of observing the landscape brings about a change in it. The soothing, undulating images are accompanied by the hymn Geh aus, mein Herz, und suche Freud, (Go forth, my heart, and seek delight) sung by relatives of the artist. The hymn sings the praise of nature’s beauty as well as the joy in contemplating it and underscores the Christian, monotheistic component of a social construction of nature. About Julius von Bismarck In his works Julius von Bismarck explores people’s ability to perceive, and he uses the laws of physics to challenge the way we are used to seeing things.
Sies + Höke, Düsseldorf

Poststr. 2 / Poststr. 3
40213 Dusseldorf

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