daily recommended exhibitions

posted 23. Apr 2024

Yoko Ono Music of the Mind

15. Feb 202401. Sep 2024
15 February – 1 September 2024 **Yoko Ono Music of the Mind** Delve into the powerful, participatory work of artist and activist Yoko Ono Yoko Ono is a trailblazer of early conceptual and participatory art, film and performance, a celebrated musician, and a formidable campaigner for world peace. Developing her practice in the United States, Japan and the UK, ideas are central to her art, often expressed in poetic, humorous, profound and radical ways. Spanning more than seven decades, YOKO ONO: MUSIC OF THE MIND is the UK’s largest exhibition celebrating key moments in Ono’s groundbreaking, influential and multidisciplinary career, from the mid-1950s to now – including her years in London where she met her future husband and longtime collaborator John Lennon. The show traces the development of her practice and explores some of Ono’s most talked about and powerful artworks and performances. This includes Cut Piece (1964), where people were invited to cut off her clothing, to her banned Film No.4 (Bottoms) (1966-67) which she created as a ‘petition for peace’. Visitors are invited to take part in both simple acts of the imagination and active encounters with Ono’s works, such as Wish Trees for London, where visitors can contribute personal wishes for peace. Audiences will discover over 200 works including instruction pieces, scores, installations, films, music and photography. The exhibition reveals a groundbreaking approach to language, art and participation that continues to speak to the present moment. Supported by John J. Studzinski CBE The exhibition is organised by Tate Modern, London in collaboration with Kunstsammlung Nordrhein-Westfalen, Düsseldorf


Yoko Ono 
Tate Modern, London

TATE MODERN | Bankside
SE1 9TG London

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posted 20. Apr 2024

60. Venice Biennale 2024

20. Apr 202424. Nov 2024
April 20 to November 24, 2024 **60. Venice Biennale 2024** 60th International Venice Biennale Anna Maria Maiolino and Nil Yalter Golden Lions for Lifetime Achievement of the Biennale Arte 2024. The Awards Ceremony and inauguration will be held on Saturday 20 April 2024 at Ca’ Giustinian. * Collateral Events of the Biennale Arte 2024 There are 30 projects selected as a Collateral Event by the Curator of the 60th International Art Exhibition, Adriano Pedrosa. The Exhibition, entitled Stranieri Ovunque – Foreigners Everywhere, is organized by La Biennale di Venezia chaired by Roberto Cicutto. The Collateral Events, promoted by non–profit national and international bodies and institutions, take place in several locations; they offer a wide range of contributions and participations that enrich and enlarge the International Exhibitions of La Biennale di Venezia. This year edition features projects coming from Bangkok, Barcelona, Berlin, Cincinnati, Cleveland, Düsseldorf, Gangneung-si, Göttingen, Gwangju, Hannover, Hong Kong, Lagos, London, Long Beach, Macao, Madrid, Mumbai, New York, Palestine, Paris, San Juan, Seoul, Taipei, Toronto, Venice, Wakefield, Warsaw, Wonju-Si. LIST OF THE PROJECTS: Above Zobeide (working title) Macao Museum of Art (organising institution), Macao All African Peoples' Consulate (working title) The Africa Center e Open Society Foundations (organising institution), New York Anchor in the Landscape (working title) Artists and Allies of Hebron (organising institution), Hebron/Berlin Andrzej Wróblewski. In First Person (working title) Starak Family Foundation (organising institution), Warsaw Berlinde De Bruyckere: City of Refuge III (working title) Abbazia di San Giorgio Maggiore - Benedicti Claustra Onlus (organising institution), Venice Borincano Lament (working title) Consolato REM Brega (organising institution), San Juan Catalonia in Venice_ Bestiari (working title) Institut Ramon Llull (organising institution), Barcelona Cosmic Garden (working title) Chanakya Foundation (organising institution), Mumbai Daring to Dream in the World of Constant Fear (working title) Victor Pinchuk Foundation (organising institution), Kyiv Dichotomy jerba (working title) Kunstpalast Düsseldorf (organising institution), Düsseldorf Ernest Pignon-Ernest – untitled (working title) Fondation Louis Vuitton (organising institution), Paris Ewa Juszkiewicz. Un ballo in maschera (working title) Fundación Almine y Bernard Ruiz-Picasso – FABA (organising institution), Madrid Futuring Global Asias (working title) Asymmetry Art Foundation e Asia Forum (organising institution), London Grand Hotel (working title) Art Museum at the University of Toronto (organising institution), Toronto Jim Dine - Dog on the Forge (working title) Kunsthaus Goettingen (organising institution), Göttingen Josèfa Ntjam: swell of spæc(i)es (working title) LAS Art Foundation (organising institution), Berlin La Maison de la Lune Brûlée (working title) Fondation d'Entreprise Wilmotte and Hansol Foundation of Culture (organising institutions), Paris, Wonju-Si Madang, 30th Anniversary Archive Exhibition of the Gwangju Biennale (working title) Gwangju Biennale Foundation (organising institution), Gwangju Mirror Stage (working title) Kestner Gesellschaft (organising institution), Hannover Passengers in transit (working title) Centre of Contemporary Art Lagos – CCA (organising institution), Lagos Peter Hujar: Portraits in Life and Death (working title) The Ukrainian Museum (organising institution), New York Quartetto/suivre le fil (working title) Fondazione dell'Albero d'Oro (organising institution), Venice Seundja Rhee: Towards the Antipodes (working title) Korean Research Institute of Contemporary Art – KoRICA (organising institution), Gangneung-si Shahzia Sikander: Collective Behavior (working title) Cincinnati Art Museum and Cleveland Museum of Art (organising institutions), Cincinnati, Cleveland The Endless Spiral (working title) Museum of Latin American Art – MOLAA (organising institution), Long Beach The Spirits of Maritime Crossing (working title) Bangkok Art Biennale Foundation (organising institution), Bangkok The Sweet Mistery (working title) Yorkshire Sculpture Park (organising institution), Wakefield Trevor Yeung: I wish I were irreplaceable. Hong Kong in Venice (working title) Hong Kong Arts Development Council e M+ West Kowloon Cultural District Authority (organising institutions), Hong Kong Yoo Youngkuk (working title) Yoo Youngkuk Art Foundation (organising institution), Seoul Yuan Goang-Ming Everyday War (working title) Taipei Fine Arts Musuem of Taiwan (organising institution), Taipei
Venice Biennale

Ca’ Giustinian, San Marco 1364/A
30124 Venice

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posted 19. Apr 2024

Ka’a Pûera: we are walking birds

20. Apr 202424. Nov 2024
April 20–November 24, 2024 **Ka’a Pûera: we are walking birds** Artists: Glicéria Tupinambá with the Tupinambá Community of Serra do Padeiro and Olivença; Olinda Tupinambá; and Ziel Karapotó Brazil’s participation at the 60th International Venice Biennale features the resistance and artistic production of Brazil’s native peoples, updating the problematic issues of colonization. The Hãhãwpuá Pavilion—as the Brazilian Pavilion is referred to in this edition of the Biennale—presents Ka’a Pûera: we are walking birds, curated by Arissana Pataxó, Denilson Baniwa, and Gustavo Caboco Wapichana. The title alludes to two interconnected interpretations. Firstly, it refers to areas of cropland which, after being harvested, become dormant, and low-lying vegetation emerges, revealing the potential for resurgence. In addition, the capoeira is also known by the Tupinambá as a small bird that lives in dense forests, camouflaging itself in the environment. In this edition of the Biennale, the Hãhãwpuá Pavilion is notable for its presentation of native peoples and their artistic production, especially the resistance of the knowledge and practices of coastal inhabitants. The exhibition addresses issues of marginalization, dispossession, and rights violations, inviting reflection on resistance and the shared essence of humanity, birds, memory, and nature. Glicéria Tupinambá, previously announced artist, works with the Tupinambá Community of Serra do Padeiro and Olivença, in Bahia, to create her works. The Pavilion also features works by artists Olinda Tupinambá and Ziel Karapotó. “The show brings together the Tupinambá Community and artists coming from the coastal peoples—the first to be transformed into foreigners in their own Hãhãw (ancestral territory)—in order to express a different perspective on the vast territory where more than three hundred indigenous peoples live (Hãhãwpuá). The Hãhãwpuá Pavilion tells a story of indigenous resistance in Brazil, the strength of the body present in the retaking of territory and adaptation to climatic emergencies,” say the curators. The Tupinambá were considered extinct until 2001, when the Brazilian State finally recognised that not only had they never been exterminated, but that they were actively fighting to reclaim their territory and part of their culture, taken away by colonization. “The exhibition is being held in the year in which one of the Tupinambá mantles returns to Brazil after a long period in European exile, where it had been since 1699 as a political prisoner. The garment spans time and brings the issues of colonization into the present day, while the Tupinambá and other peoples continue their anti-colonial struggles in their territories—like the Ka’a Pûera, birds that walk over resurgent forests,” the curators add. Andrea Pinheiro, president of the Fundação Bienal de São Paulo, emphasizes that “we are living in a moment of convergence between the past, the present, and the future, in order to find a path towards sustainable ways of life and a rethinking of human relations. The questions raised by the work of the curators and artists point to relevant paths for the arduous process ahead of us.” The term Hãhãwpuá In this edition, the Brazil Pavilion is referred to by the curators as the Hãhãwpuá Pavilion, symbolizing Brazil as an indigenous territory, with ‘Hãhãw’ meaning ‘land’ in the Patxohã language. The name ‘Hãhãwpuá’ is used by the Pataxó to refer to the territory that, after colonization, became known as Brazil, but which has had, and still has, many other names. The official representation of Brazil at the 60th Venice Biennale is presented by the Fundação Bienal de São Paulo, the Ministry of Foreign Affairs and the Ministry of Culture.
Brazilian Pavilion at the Venice Biennale

Brazilian Pavilion at the Venice Biennale / Padiglione del Brasile / Giardini Castello / The Hãhãwpuá Pavilion
30122 Venice

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posted 14. Apr 2024

Tongues of Fire

22. Feb 202405. May 2024
February 22–May 5, 2024 **Tongues of Fire** The participating artists are Anna-Kaisa Ant-Wuorinen, John Gerrard, Noémie Goudal, Lungiswa Gqunta, Agnieszka Kurant, Ana Mendieta, Tuda Muda, Tuan Andrew Nguyen, Gala Porras-Kim, The Atlas Group in collaboration with Walid Raad, Hannah Ryggen, Sin Wai Kin, and Thu Van Tran. Tongues of Fire is a thematic group exhibition that brings together artists who have been deeply touched and transformed through the challenges manifest in the burnt and burning. Hailing from diverse generations and backgrounds, these individuals converge to explore how flames have served as agents of change across time and space. In response to our home building’s former life as a fire station, and Trondheim’s history as a city shaped by blazes whose traces are still present in its design today, the exhibition contemplates fire’s many physical facets—its light, its heat, its other phenomena. Through the mediums of tapestry, video, computer simulation, sculpture, photography, and drawing, the artworks simultaneously kindle reflection on broader themes such as wonder, intimacy, and passion, and the urgent concerns of war, repair, and climate. By sharing narratives, strategies, and recollections, with a special emphasis on communal remembrance, the exhibition sheds light on the intertwined history of fire and humanity, inviting reflection on whether this intricate and fragile relationship is now teetering out of control. The pivotal role of the arts in shaping the politics of memory and the regional specificities of fire is highlighted through a collection of historic objects sourced from Trondheim’s archives, including the city’s repeatedly burnt cathedral. Together, these artworks gather to pose a question: what lies ahead in our ever-evolving “Age of Fire”? On a formal and technological level, several works in the exhibition directly relate to fire. In the most apparent instances, this involves the heating, burning, charring, and melting of wood, metal, and other materials. However, the exhibition also features lens and screen-based works to highlight the hidden connection that all electronically powered devices share, often tied to the burning of some fuel. These “fire images,” which we consistently consume, whether on our phones or elsewhere, not only contribute to our addiction to fossil fuels, but also resonate with an ancient parable. Similar to Prometheus, who endured eternal torment for stealing fire from the gods, we too bear the consequences of our insatiable consumption. In addition to the core contemporary art exhibition, Tongues of Fire is grounded by artifacts from Trondheim’s own tale. These include the score to a 17th century “Fire Ballad” that attributes the blame for the 1681 inferno that devastated Trondheim to the city’s own moral decay alongside Johan Caspar de Cicignon’s (c. 1625–96) Enlightenment plan for the subsequent rebuild following rationalist design principles. Archival photographs document Kunsthall Trondheim’s home building’s former life as a fire station alongside images of key fires in the city’s history. One such fire, which consumed parts of the Archbishop’s Palace in 1983, is represented through a collection of early 20th century stone gargoyles and other grotesques that once adorned the adjacent Nidaros Cathedral until they were scorched in that event. This incident altered their color and texture from cool stone-gray to a rust-like encrusted orange. These carvings find reflection in several other objects on loan from the Cathedral dating back to the 12th century. Each, in its own way, bears witness to Trondheim’s connection to both the burnt and the burning. Exhibition Curators: Adam Kleinman and Katrine Elise Agpalza Pedersen / Exhibition Producer: Kaja Grefslie Waagen / Program Manager: Joe Rowley / Installation team: Stefan Dimitrij Henriksen Fische, Andreas Fortes, Oliver Gustav Gunvaldsen, Joel Hynsjö, Joe Rowley, Cas van Son, with Sunna Dagsdóttir, Dag Olav Kolltveit, Mateusz Pitala, Monika Raźny, Marie Sigerset. The exhibition is supported by The Fritt Ord Foundation and The Finnish-Norwegian Cultural Institute (FINNO). Kunsthall Trondheim is supported by the Norwegian Ministry of Culture, Trondheim municipality/Tråanten tjïelte, and Trøndelag fylkeskommune/Trööndelagen fylhkentjïelte.
Kunsthall Trondheim

Dronningensgate 28
7011 Trondheim

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posted 09. Apr 2024

Formen des Ungehorsams - Cornelia Herfurtner

09. Feb 202404. May 2024
KUNSTPAVILLON 09.02.2024 – 04.05.2024 Eröffnung: 08.02.2024, 19.00 Begrüßung: Angelika Wischermann (Vorstandsmitglied) Einführung: Bettina Siegele **Formen des Ungehorsams Cornelia Herfurtner** kuratorische Begleitung Bettina Siegele Für ihre Solo-Ausstellung Formen des Ungehorsams im Kunstpavillon setzt die Künstlerin Cornelia Herfurtner ihre bereits über mehrere Jahre andauernde Recherche zur Geschichte des Versammlungsrechtes und Strategien sozialer Bewegung zu Selbstschutz und Nutzung des öffentlichen Raums fort. Anhand von Holzreliefs und komplexer mehrteiliger Installationen arbeitet die Berliner Bildhauerin zur Geschichte und Gegenwart der Versammlungsfreiheit und zivilem Ungehorsam. Formen des Ungehorsams ist Teil des von Bettina Siegele kuratierten Jahresprogramm The Resistance of Nothingness. Jury Jahresprogramm: Didem Yazıcı (Kuratorin und Direktorin Yapı Kredi Culture Arts and Publishing), Michael Strasser (Künstler und Vorstandsmitglied) & Bettina Siegele (Künstlerische Leiterin und Geschäftsleitung, Künstler:innen Vereinigung Tirol).


Bettina Siegele 
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posted 01. Apr 2024


15. Mar 202411. May 2024
15. März – 11. Mai 2024 **MAJA DANIELS GERTRUD** Die Fotografin und Filmemacherin Maja Daniels spielt gerne mit den Grenzen zwischen Dokumentarischem und Fiktionalem. In Anlehnung an eine alte Geschichte über ein Mädchen, das in einem Dorf im schwedischen Dalecarlia der Hexerei beschuldigt wird, verbindet sie Vergangenheit und Gegenwart, Mythos und Realität und stellt den Lauf der Geschichte in Frage. Im Jahr 1667, an einem kalten Herbsttag in Älvdalen in der Region Dalecarlia in Schweden, wurde ein zwölfjähriges Mädchen namens Gertrud Svensdotter der Hexerei beschuldigt. Ihr angebliches Verbrechen bestand darin, mit übernatürlichen Kräften auf dem Wasser gelaufen zu sein. Der Vorfall markierte den Beginn der schwedischen Hexenverfolgung, einer Periode der Massenhysterie und des Terrors, die acht Jahre andauerte und fast 300 Menschen den Tod kostete. In Schweden wie auch im übrigen Europa markierten Hexenprozesse das Ende der feudalen Gesellschaft und leiteten die Moderne und später die kapitalistische Ära ein. In der neuen, von Angst geprägten Weltordnung veränderten sich die Rolle der Frau und die Wahrnehmung der Natur radikal: Frauen wurden in ihrer Freiheit eingeschränkt (sie waren auf die traditionellen Vorstellungen der Kernfamilie beschränkt: zu Hause bleiben und Kinder bekommen), und der Wald hörte auf, ein Ort des Mythos zu sein, und wurde zu einer natürlichen Ressource. Maja Daniels verbrachte einen Großteil ihrer Jugend in Älvdalen und hörte sich die Geschichten ihrer Großmutter an. Die Ausstellung Gertrud bringt die Geschichte des kleinen Mädchens, das auf dem Wasser ging, in die Gegenwart und lässt die Welt, in der Gertrud lebte, nach anderen Gesetzen wiedergeboren werden. In dieser neuen Welt ist die Abfolge der Ereignisse noch nicht festgelegt. Die Fotografin untersucht, wie dominante Ideologien und eine Kultur des Schweigens in Schweden ein bestimmtes Verständnis der Welt geprägt haben. Für Maja Daniels sind Fotografie und Film magische Räume, die sich dem Wissen widersetzen, Vergangenheit und Zukunft verschmelzen lassen und die Grenzen der Welt, wie wir sie kennen, neu definieren. Man könnte argumentieren, dass die Fotografie, wie auch die Mythen, auf einer gefährlichen Form der Täuschung beruht. Ist Magie nicht letztlich das Versprechen von etwas im Tausch gegen nichts? Das ist vielleicht seine erlösendste Kraft: Nicht alles muss und kann gemessen und erklärt werden. Die meisten ihrer Arbeiten sind das Ergebnis von Performances in natürlichen Umgebungen, in denen Maja Daniels ihre eigenen Rituale konstruiert und neue Mythologien erschafft. Ihr Ansatz spiegelt den surrealistischen Wunsch wider, die Welt neu zu verzaubern. Hier wird der vom Klimawandel bedrohte Wald zu mehr als einer bloßen natürlichen Ressource. Es ist ein Ort der Erinnerung, der Sprache, der Geschichte, der Kultur, der Mystik und der Vorstellungskraft. Vielleicht ist Magie keine Tätigkeit, sondern eine ganze Denkweise.


Maja Daniels 
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posted 31. Mar 2024

Edith Dekyndt. Song to the Siren

13. Mar 202422. Apr 2024
Teatrino di Palazzo Grassi 13.03.24 — 22.04.24 **Edith Dekyndt. Song to the Siren** In the morning light of an autumn day in 2022, Edith Dekyndt filmed a young woman lying down near the Monument to the Partisan Woman, which sits in the waters of the Venice lagoon along the promenade leading to the Biennale Gardens. She holds a white cloth in her hand with which she wipes, cares for, cleans, repairs, caresses, and consoles the bronze statue depicting this woman from another time who is partially immersed in the lagoon, her hands tied, presumably close to her end, a fate suffered by so many partisan women during WWII, especially in Venice. In this film presented in the Foyer of the Teatrino at Palazzo Grassi, Edith Dekyndt draws the viewer’s attention to our ability to preserve memories, with some measure of dread over their recurrence. The bronze statue, made in 1969 by the sculptor Augusto Murer, lies on a structure and a support created by Carlo Scarpa that sits in the water. Song to the Siren forms part of a series of actions in which the same gesture is enacted at several public historical monuments to echo contemporary situations. The titles are always those of songs whose lyrics provide an open, timeless resonance. In this video, the title comes from Song to the Siren (1970) by Larry Beckett and Tim Buckley, which has been recorded by many artists, from This Mortal Coil to Robert Plant.


Edith Dekyndt 
Palazzo Grassi, Venice

Palazzo Grassi, Campo San Samuele, 3231
30124 Venice

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posted 30. Mar 2024

Petrit Halilaj: RUNIK

23. Nov 202307. Apr 2024
23.11.2023 - 07.04.2024 **Petrit Halilaj: RUNIK** Through drawing, sculptures, costumes, and installations, Petrit Halilaj’s (b. 1986) migratory creatures gather around a scaled floating structure of the house he and his family built in the country’s capital of Pristina after their old home in Runik was destroyed during the bombings of the Kosovo War. As part of the exhibition, Halilaj has also inscribed a large scale chicken—a bird famously known as one of the few unable to fly—onto a Boeing 737 aircraft operated by Aeroméxico. Both the architectural rendition of his family home and the airplane serve as vessels for Halilaj’s memories of belonging and dreams of migration. Petrit Halilaj: RUNIK is the artist’s first solo exhibition in Latin America, showcasing how art has not only been his vehicle to travel and learn about the world, but also a medium through which he can explore and express complicated emotions about the history of his homeland and his identity. Now living in Berlin but with strong roots in Kosovo and close ties to several places around the world, Halilaj’s understanding of home is anchored in bonds of affection. Curated by: José Esparza Chong Cuy Curatorial Assistant: Ana Sampietro Brosa ‍
Museo Tamayo, Mexico City °

Paseo de la Reforma No. 51, Col. Bosque de Chapultepec
11580 Mexico City

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posted 29. Mar 2024


07. Feb 202426. May 2024
From February 7th to May 26th, 2024 **CHRISTA SOMMERER AND LAURENT MIGNONNEAU. “THE ARTWORK AS A LIVING SYSTEM”** On February 7th, will be presented the exhibition "The Artwork As a Living System", of the artistic duo formed by Christa Sommerer and Laurent Mignonneau, pioneers in the "Art of the Interface". “The Artwork As a Living System” exhibition provides an overview of the work of Christa Sommerer and Laurent Mignonneau, pioneers of the “Art of Interface”. The project, connects art and nature with the most innovative techniques used in virtual, responsive and interactive projects. Following stops in Germany (ZKM- Center for Art and Media, Karlsruhe), Austria (OÖ Landes-Kultur GmbH, Linz) and Belgium (iMAL – Art Center for digital cultures & technology, Brussels), Sommerer and Mignonneau present this special exhibition for the Azkuna Zentroa Exhibition Hall. It reveals the central theme of their work, i.e. works of art act as living systems for life cannot be understood as a single entity but only as a plurality of perspectives. This is the leitmotiv of these technologically creative, scientifically instructive and artistically imaginative pieces, now classics of digital art, with which the artists have made a fundamental contribution to both 21st century art and the science of artificial life. The exhibition consists of 18 works. Most of them are interactive installations where people touch and experience the artworks, exploring and interacting with the natural environments and becoming part of their simultaneous transformation in the digital space. They are almost classics of digital art that have won awards at major art, science and digital culture festivals around the world, and many of them have been shown at more than 250 exhibitions. They are multimedia works of art based on scientific findings that open up the possibility of exploring the growth of plants or the behaviour of small computer-generated creatures, such as flies and beetles, and their integration in complex ecosystems. These installations simulate living systems in which the digital space is transformed by touching some plants, typing on a typewriter or moving in front of a screen. An artistic experience that connects concepts related to the most diverse fields of science and technology: from quantum physics and the theory of complex systems to molecular genetics, nanoscience and artificial life. This exhibition is based on a concept by Karin Ohlenschläger and is co-produced by ZKM | Karlsruhe Art and Media Center, Germany, OÖ Landes-Kultur GmbH, Linz, Austria and iMAL, Brussels, Belgium. It was initially curated by Karin Ohlenschläger, Peter Weibel and Alfred Weidinger.

artists & participants

Laurent Mignonneau,  Christa Sommerer 
Azkuna Zentroa, Bilbao °

Azkuna Zentroa, Arriquibar Plaza, 4
48010 Bilbao

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posted 28. Mar 2024

Lydia Ourahmane - 108 Days

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

Placa dels Angels, 1
08001 Barcelona

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posted 27. Mar 2024


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


MAK Center, Los Angeles

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

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posted 26. Mar 2024


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


Melike Kara 
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posted 25. Mar 2024

François Morellet, Max Bill - Mathématiques modernes

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

artists & participants

Max Bill,  Francois Morellet 

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

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posted 24. Mar 2024

Edith Dekyndt, Specific Subjects

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


Edith Dekyndt 
FONDATION CAB Saint-Paul De Vence

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

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posted 23. Mar 2024

Mike Kelley. Ghost and Spirit

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


Mike Kelley 
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posted 22. Mar 2024

Naama Tsabar

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


Naama Tsabar 
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posted 21. Mar 2024

Firelei Báez

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


Firelei Baez 
ICA Boston

ICA | 25 Harbor Shore Drive
MA 02210 Boston

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posted 20. Mar 2024

Jessica Jackson Hutchins: Wrecked and Righteous

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


Amanda Donnan 
Frye Art Museum, Seattle

704 Terry Avenue

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posted 19. Mar 2024

Anicka Yi is on our mind.

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


Anicka Yi 
The Wattis Institute, San Francisco

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

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posted 18. Mar 2024

MARWAN - Works from 1964 to 2008

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


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