daily recommended exhibitions

posted 02. Aug 2021


26. Jun 202129. Aug 2021
ST. AGNES | NAVE 26 June - 29 August **ANDREAS SCHMITTEN. SESSHAFT** KÖNIG GALERIE presents SESSHAFT, the first solo exhibition of Andreas Schmitten in the NAVE of St. Agnes. The exhibition shows new large-scale spatial sculptures. The monumentality of the works is emphasized by the high walls and sacred atmosphere of the former church space. In the past, "overpresentation" was common, especially in churches. Schmitten reinforces this impression with elaborately crafted pedestals, some of which are more prominent than the sculptures they support. The reduced formal language of the works and the perfect craftsmanship with which they are made encourage associations with design. The comparison, however, ignores an essential difference: design is focused on functionality, while Schmitten's sculptures solely fulfill their purpose in themselves as artistic objects. The title of the exhibition, SESSHAFT [Settled], refers to the human way of life. Since humans abandoned the nomadic lifestyle tens of thousands of years ago, they have left ever more obvious traces of their existence, also in the form of artistic production. Globalization is making this lifestyle increasingly vulnerable. Schmitten deals with questions about forms of life: For him the pandemic was a turning point that put a spotlight on humanity and how we live together. Whereas Schmitten's sculptures had previously often been negatives of human bodies, bodily fragments are now clearly visible. These elements in the form of legs, arms and a face merge seamlessly into basins. As a place of purification, these usually serve to rinse away bodily secretions, an action that suddenly took on special significance during the pandemic. SESSHAFT challenges the viewer to reflect on current ways of life and human interaction.

St. Agnes, Alexandrinenstr. 118–121
10969 Berlin

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posted 01. Aug 2021

Studer/van den Berg, Maria Guta, Simone C. Niquille - Pax Art Awards 2020

09. Jun 202115. Aug 2021
opening: 09. Jun 2021
09.06.2021 – 15.08.2021 Opening day: Wednesday, 09.06.2021 Studer/van den Berg, Maria Guta, Simone C. Niquille - Pax Art Awards 2020 Swiss Media Art The exhibition shows selected works by the winners of the Pax Art Awards 2020. The exhibition presents new works by the winners of the 2020 Pax Art Awards: Studer/van den Berg, Maria Guta and Simone C. Niquille. The Pax Art Awards, given by the Art Foundation Pax in collaboration with the HeK, honor and promote media-specific practices of Swiss artists whose works employ or reflect on media technologies and their effects. The exhibition was made possible thanks to the support of the Art Foundation Pax.
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posted 31. Jul 2021

Christian Newby - Boredom - Mischief - Fantasy - Radicalism - Fantasy

13. May 202129. Aug 2021
Christian Newby Boredom>Mischief>Fantasy>Radicalism>Fantasy May 13–August 29, 2021 Collective is delighted to announce a major new commission by artist Christian Newby, to be displayed in our City Dome exhibition space. Responding to this remarkable building, originally built to house an astronomical telescope, Christian has created a large-scale, highly decorative, architectural intervention in the form of a nine-metre-wide textile, Flower-Necklace-Cargo-Net, which reshapes the space. The images depicted on the tapestry are an intuitive reaction to typical rug and textile design and subvert traditional motifs such as flowers, geometric patterns, birds and shells. In this new work these motifs are pictorially contained by a large net that envelopes the whole work and alludes to our shared experience of enclosure during the Coronavirus lockdown. Christian’s practice focuses on experimental textile production. This new work for his largest exhibition to date combines artist’s mark-making with industrial carpet tufting to explore how questions of labour, authorship and materiality define the fine and applied arts. Boredom>Mischief>Fantasy>Radicalism>Fantasy proposes industrial textile as a structural model for how we tacitly encounter a variety of broader cultural and economic questions. Through the process of production using an industrial hand-held carpet-tufting gun, Christian explores the potential capacity of this machine as a mark-making tool in place of its primary function in a rote manufacturing process. As a tool, it oscillates between the high volume of commercial production and the emboldened mastery and skill associated with artisanal handcrafts. For Flower-Necklace-Cargo-Net, Christian uses the tufting gun as a fundamental equivalent to a pencil, spray can, paintbrush, or tattoo needle, to question how textile works are positioned between craft and fine art. An accompanying specially-produced newspaper, Ornament & Crimes, offers a context for the new tapestry and includes; a new essay by writer Andrew Bourne; drawings; writing and scores by Christian, which offer in-depth information on the artist's practice; the decision-making processes around the materials he used; drawing of marks he wants to make, and notation on how to use and maintain the tufting gun to achieve them. Christian Newby is an artist based in London. He graduated with an MFA from Glasgow School of Art (2009). Selected exhibitions include: Brick-Wall-Spider-Web-Post-It-Note, Beers London (2019), Yo Compro Calidad, Matadero, Madrid (2017); Tetracontameron Space Between, London (2016) and Le Club des Sous l’Eau’ Palais de Tokyo, Paris (2016). Christian has been an artist in residence at the Academy of Visual Arts, HKBU, Hong Kong (2019), Matadero Madrid El Ranchito exchange with Arthouse Foundation, Lagos, Nigeria (2017); and URRA/Gasworks Residency, Buenos Aires (2015). He is currently undertaking a PhD at the Contemporary Art Research Centre, Kingston University, London. Christian Newby is represented by Patricia Fleming Gallery, where he is also presenting The drum, the chime, the scrape, the splash, the jerk, a solo exhibition from March 26–May 29, 2021.
Collective Edinburgh

City Observatory | 38 Calton Hill
EH7 5AA Edinburgh

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posted 30. Jul 2021

Michael Stevenson. Disproof Does Not Equal Disbelief

03. Jul 202119. Sep 2021
03.07.2021 - 19.09.2021 **Michael Stevenson. Disproof Does Not Equal Disbelief** Curator: Anna Gritz. Assistant Curator: Léon Kruijswijk The exhibition Disproof Does Not Equal Disbelief by the Berlin-based artist Michael Stevenson (born in 1964, New Zealand) is an unconventional invocation of his practice over the past 35 years. Since the 1980s Stevenson has developed an artistic language that operates at the juncture of economy, technology, education, and faith, exploring the infrastructural systems that condition these disciplines and their entanglement. The exhibition marks Stevenson’s first institutional solo exhibition in Berlin and presents a focused revision of his work, in which early paintings are brought into dialogue with more recent, expansive installations. Fragmentation is the logic of display for Stevenson’s older bodies of work, which together suggest that our lives take place in the boneyards of industry. Navigation through the galleries is based on an analogy—that of a great fish or a whale’s digestive tract. In this way, the architecture becomes a corpus and, by extension, the contents therein, on the floor, on the wall, studies in its entrails. With this exhibition, Stevenson provides insights from the belly of our constructed world, thereby raising the awareness that challenging rational theories does not automatically and irrevocably equal disbelief. Disproof Does Not Equal Disbelief is being presented in partnership with the institution formerly known as Witte de With Center for Contemporary Art (Kunstinstituut Melly) in Rotterdam, where a previous iteration was presented from September 20, 2020 – February 14, 2021.
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posted 29. Jul 2021

Claudia Comte - After Nature

11. May 202122. Aug 2021
Claudia Comte After Nature May 11–August 22, 2021 What comes first, day or night? There is no right answer. They are eternally consecutive, as are the elements displayed in the two rooms. A wall painting of a wave breaks through both spaces. First, we find a series of coral-shaped wooden sculptures, leading us on to the obscurity of the ocean’s depths; there we are greeted by a new family of digitally animated corals, forming and coming apart, playfully giving us a new insight into their morphology. Since 2018, the Swiss artist Claudia Comte has been collaborating with TBA21–Academy, making works focused on the preservation of the world’s oceans. This new site-specific installation for the Museo Nacional Thyssen-Bornemisza, produced during her 2019 TBA21–Academy Residency at Alligator Head Foundation in Port Antonio, Jamaica, is the first major presentation of the artist’s work in Spain. Comte understands coral reefs as a generative biological entity whose damage is a threat to planetary life. Hence, she has created this new multimedia immersive environment that reflects on different kinds of knowledge, such as marine bioluminescence, the memory of trees, and the communication of algae, unfolding through two distinct spaces, separated into day and night. The exhibition is an invitation to meditate on our approach to vulnerable ecosystems and the danger they are facing due to human activity. And it is also about regeneration, the possibility of life, of the re-emergence of life after destruction. Comte will create a new piece about the production and research process that will simultaneously be shown on TBA21’s digital space st_age. There will also be a talk between the artist and curator, Chus Martínez, presented by Francesca Thyssen-Bornemisza, founder and president of TBA21 and Markus Reymann, Director of TBA21—Academy.


Claudia Comte 


Chus Martinez 
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posted 28. Jul 2021

Hannah Wilke. Art for Life’s Sake

04. Jun 202116. Jan 2022
4 June 2021 – 16 January 2022 **Hannah Wilke, Art for Life’s Sake** Alison Jacques is delighted to announce 'Hannah Wilke: Art for Life's Sake' at The Pulitzer Arts Foundation, St. Louis, US, the first major survey of Hannah Wilke's (b. 1940, New York, NY, US; d. 1993, Houston, Texas, US) work in over a decade. Curated by Tamara H. Schenkenberg with Kate Harnish and opening to the public on Friday 4 June, this career-spanning exhibition encompasses Wilke’s prolific practice from the 1960s to her untimely death in 1993, bringing together works on paper, photography and video, as well as numerous examples of her diverse sculptural work in clay, latex and other non-traditional materials. Throughout her career, Wilke developed a various, boundary crossing art that included numerous media, from sculpture and photography to video and work on paper. Regarded as one of the foremost American artists of the 1960s, her experimental techniques and provocative forms express the vitality and pleasures of the body. She applied a feminist critique to her era’s repressive norms of gender and sexuality to create work that affirms life. 'I have always used my art to have life around me,' Wilke proclaimed. 'Art is for life’s sake.' Hannah Wilke: Art for Life’s Sake' positions some of Wilke's most iconic works alongside others that have rarely been shown, demonstrating the artist's versatility and innovative approach to materials. The survey will offer new perspectives, revealing Wilke as a trailblazer who was as invested in advancing the position of women in society as she was in developing a unique artistic practice. The survey will be accompanied by an illustrated catalogue, co-published by the Pulitzer Arts Foundation and Princeton University Press. Edited by Schenkenberg and Donna Wingate, the comprehensive catalogue will feature essays by Connie Butler, Chief Curator at the Hammer Museum, Los Angeles, and Glenn Adamson, Senior Scholar at the Yale Center for British Art, New Haven.


Hannah Wilke 
Pulitzer Arts Foundation, St. Louis

PULITZER ARTS | 3716 Washington Boulevard
MO-63108 St. Louis

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posted 27. Jul 2021

Mia Unverzagt. Wie man Muster verbindet

18. Jul 202126. Sep 2021
Mia Unverzagt Wie man Muster verbindet | How to combine patterns | Como combinar patrones 18.07.2021 - 26.09.2021 Von 2016 bis 2019 war Mia Unverzagt unterwegs – auf einer Reise durch Zentralamerika. In diesen vier Jahren hat die Künstlerin ein mobiles Atelier eingerichtet, in dem sie ihre Fotoperformances, Zeichnungen und anderen künstlerischen Arbeiten realisiert hat. Die dort entstandenen und die daraus resultierenden aktuellen Arbeiten präsentiert die Ausstellung „Wie man Muster verbindet“ im Syker Vorwerk. Geprägt durch die komplexen Eindrücke ihrer Reise, das Weggehen, das Unterwegs-Sein und das Nach-Hause-Kommen, verbindet Mia Unverzagt unterschiedliche künstlerische Techniken und Gattungen in Form von Collagen im Raum. Auf verschiedensten Materialien präsentiert sie dokumentarische Fotos vom Leben der Menschen in abgelegenen Gemeinden in Südmexiko und Guatemala, Bilder von Fotoperformances, für die sie mit Menschen vor Ort zusammengearbeitet hat, Zeichnungen, die während der Reise entstanden sind und Textilien aus verschiedenen Gemeinden, die von Unverzagt unterwegs gesammelt wurden. Darüber hinaus wird eine Videoarbeit gezeigt, für die ein Schnittregisseur in San Cristóbal de las Casas/Mexiko und eine Schnittregisseurin in Bremen/Deutschland ihre jeweilige Version aus Interviewmaterial schneiden, das Mia Unverzagt und Paco Vazquez im Sommer 2019 in Chiapas, Mexiko aufgenommen haben. Der Fokus liegt auf Kleidung und anderen Textilien und auf der Frage, wie diese den Alltag beeinflussen und vice versa von diesen beeinflusst werden. Anhand von Stoffen lassen sich viele Geschichten erzählen. An ihnen lässt sich ablesen (daher vielleicht die Nähe der Worte Text und Textil), woher eine Person kommt, welchen Status sie hat, welche Rolle sie im sozialen Gefüge spielt und nicht zuletzt welche Vorstellungen den Träger\*innen wichtig sind, welche Wertvorstellungen und Weltbilder sie haben. Textilien zeugen auch davon, in welcher Tradition eine Person steht, welche Techniken und Ideen innerhalb eines sozialen Gefüges weitergegeben wurden und welche sich verändert haben oder verloren gegangen sind. Die Vermischung und Verwischung unterschiedlichster Traditionen, das Einarbeiten verschiedener Quellen in die eigene Erinnerung und Geschichte haftet Kleidung und Stoffen an. Die Fragen wie man diese Quellen nutzt und welche Schlüsse daraus für das Leben heute und die Regeln, nach denen es gestaltet wird, gezogen werden, sind das Interesse von Mia Unverzagt. Durch die collageartige Verbindung der unterschiedlichen künstlerischen Arbeiten in den Räumen des Syker Vorwerks und auf den Seiten des begleitenden Kataloges wird sowohl die Nähe als auch der Abstand von Künstlerin und Betrachter\*innen zu den Personen und Realitäten, um die es in der Ausstellung geht, sichtbar gemacht und die immanente Frage gestellt, wie viel wir eigentlich von einer anderen Kultur verstehen können.


Mia Unverzagt 
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posted 26. Jul 2021


05. Jun 202121. Aug 2021
VERLÄNGERT BIS 21. AUGUST (05.06.2021 - 31.07.2021) **Ralf Brög. KURVEN EIER BLASEN** Die dem Ausstellungstitel innewohnende Ambivalenz ist symptomatisch für Brög´s Arbeiten. Einfach und klar treten uns drei Begriffe entgegen von denen wir intuitiv zu wissen glauben was Sie benennen. Jedoch der erste Ansatz gedanklicher Nachverfolgung lässt uns die labyrinthische Ausbreitung der vielfältigen Pfade erahnen, die uns zur weiteren Erkundung angeboten werden. Die Ausstellung vereint ausschließlich neue Arbeiten und Werkgruppen. Wie wir es von früheren Ausstellungen Brögs kennen, werden Themen und Motive in vielfältigen Formaten und Medien durchgespielt. Wir begegnen Skulpturen, Zeichnungen, Bildern (Bildräumen), die sich auf verschiedenen Ebenen wechselseitig beeinflussen. Kurven - In der Mathematik ist eine Kurve ein eindimensionales Objekt und kann jeden beliebigen Verlauf annehmen. Ob die Kurve in der zweidimensionalen Ebene liegt („ebene Kurve“) oder in einem höherdimensionalen Raum (siehe Raumkurve), ist in diesem begrifflichen Zusammenhang unerheblich. Eier - Mit 15 Zentimetern Durchmesser und einem Gewicht von 1.500 Gramm haben afrikanische Sträuße die absolut gesehen größten Eier der Welt, für die man zum Weichkochen über eine Stunde benötigt. Blasen - Eine Blase ist ein gasförmiger Körper innerhalb einer Flüssigkeit. Er ist von dieser durch eine in sich geschlossene Phasengrenzfläche getrennt. Befinden sich Blase und Flüssigkeit in Ruhe zueinander, so ist die Blase kugelförmig.


Ralf Brög 
Petra Rinck Galerie, Düsseldorf

PETRA RINCK GALERIE | Birkenstrasse 45
40233 Dusseldorf

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posted 25. Jul 2021

Runo Lagomarsino. The Square Between the Walls

12. Jun 202129. Aug 2021
12.06.2021 - 29.08.2021 **Runo Lagomarsino. The Square Between the Walls** Runo Lagomarsino, was born in Lund, Sweden in 1977 and studied at the Malmö Art Academy. After sharing his time between Brazil and Sweden for some years, he now lives and works in Malmö. The Square Between the Walls, Lagomarsino’s solo exhibition at Lunds konsthall, brings together a group of recent and older works with two new commissions dwelling on his own family’s history. The artist‘s family fled the military regime in Argentina and settled in Lund in the late 1970s. His father found employment with Åkerlund & Rausing (now A&R Carton), where the presses worked around the clock to print cardboard for different sorts of packaging. Two new commissions, Mad Toy and Home Waits for No One (both 2021), are inspired by Lagomarsino’s memories of visits to this factory with his father. They are shown together with a number of other recently produced works. Visitors to the exhibition also have the unique opportunity to see one of the artist’s earliest works, A Song of Bola de Nieve (1997), a humorous piece in which he sings and simultaneously translates a song from Spanish into Swedish. Lagomarsino works in a variety of media but often creates installations that combine ready-made objects, sculptural elements, photography and film, as well as occasional performance-based or interactive elements. He enlists the autobiographical to comment on social and political issues that affect all of us. He allows private memories to challenge collective ones, reminding us how intricately history—even its overlooked facts—is embedded in the present. His practice relies on the subversive and utterly precise use of language and symbols, and especially their implications for institutions, which is meant to empower viewers and encourage them to reflect on possible, probable and desirable futures. As part of his exhibition, Lagomarsino has invited Malmö-based Bélgica Castro Fuentes to show a selection of her arpilleras, narrative textile images sustaining a legacy of commentary and resistance through patchwork and embroidery that goes back to the self-organised women’s resistance groups during the military dictatorship in Chile in the 1970s and ’80s. The catalogue contains two specially commissioned texts: an essay by Chilean art writer and curator María Berríos, putting Lagomarsino’s (and Castro Fuentes’s) work into a broader historical and cultural context of exile, and Retrovisor (Rearview) by Argentine writer Alan Pauls. The latter is a literary reflection on Lagomarsino’s two newest works and their relationship to El juguete rabioso (“The Mad Toy”), a novel that another Argentine writer, Roberto Arlt, published in 1926. Runo Lagomarsino’s work has been extensively shown in Sweden and internationally amongst other places at Moderna Museet, Stockholm; Malmö Konstmuseum; Malmö Konsthall; LACMA, Los Angeles; Kunsthal Charlottenborg, Copenhagen; Museo Nacional Centro de Arte Reina Sofía, Madrid; Guggenheim Museum, New York; M HKA, Antwerp; and Dallas Museum of Art, Texas, as well as in the Venice and São Paulo biennials. We thank the artist and all the other collaboration partners for this exhibition, including the lenders—Francesca Minini, Milano; Galerie Nordenhake, Stockholm; Nils Stærk, Copenhagen, and Mendes Wood DM, São Paulo—and, especially, AR Packaging Systems AB and Lund Water Front Packaging District in Lund, who helped produce the two newly commissioned works.
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posted 24. Jul 2021

Craving for Humanity - The world of Barthélémy Toguo

07. Apr 202105. Dec 2021
07.04.2021 - 05.12.2021 Craving for Humanity - The world of Barthélémy Toguo Free rein at the Fondation Dapper: Cameroonian artist Barthélémy Toguo. Sensitive, socially-aware art that explores the failed workings of today’s world so as to critique them, drawing on African cultures. From watercolours of suffering bodies, sometimes strewn with nails, to monumental installations asking questions about our planet’s future, the angle of intimate and collective experiences is used by the Fondation Dapper to explore the works of Barthélémy Toguo in a monograph coordinated by the foundation’s director, Christiane Falgayrettes-Leveau. Following an original theme, some of the artist’s works are compared with pieces of old African art. Barthélémy Toguo (born 1967) is a central, pioneering figure in the international art world. He lives and works between Cameroon and France. Through his creations, he seeks to raise social wareness. Driven by the need to create in order to make statements, he designs works that respond directly to the upheavals of today’s world (wars, abuse of power, immigration, famine and dangers). Using a range of techniques—from drawing, watercolour and sculpture to photography, performance and installation art— Barthélémy Toguo uses a range of techniques to ask us questions about our humanity. An exhibition organised by the Fondation Dapper, curated by Christiane Falgayrettes-Leveau
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posted 23. Jul 2021

Baltic Triennial 14: The Endless Frontier

04. Jun 202115. Aug 2021
Baltic Triennial 14: The Endless Frontier June 4–August 15, 2021 Curators: Valentinas Klimašauskas & João Laia Architecture: Isora x Lozuraityte studio (Petras Išora and Ona Lozuraitytė) Design: Nerijus Rimkus Project Manager: Julija Fomina Participating artists: Jüri Arrak (Estonia), Tekla Aslanishvili (Georgia), Zuzanna Czebatul (Germany/Poland), Juta Čeičytė (Lithuania), Anna Daučíková (Czechia/Slovakia), Aleksandra Domanović (Serbia), Harun Farocki (Germany) and Andrei Ujica (Romania), Uli Golub (Ukraine), Edvinas Green (Lithuania), Henrikas Gulbinas (Lithuania), Flaka Haliti (Kosovo/Germany), Roman Himey-Yarema Malashchuk (Ukraine), Klára Hosnedlová (Czechia), Monika Janulevičiūtė & Antanas Lučiūnas (Lithuania), Milda Januševičiūtė & Miša Skalskis (Lithuania), Agnė Jokšė (Lithuania), Krõõt Juurak (Estonia) & Alex Bailey (UK), Dóra Maurer (Hungary), Flo Kasearu (Estonia), Zsófia Keresztes (Hungary), Jiri Kovanda (Czechia), Vojtěch Kovařík (Czechia), Tomasz Kowalski (Poland), Edward Krasiński (Poland), Žygimantas Kudirka (Lithuania) & Felicita (Poland/UK), Dasha Kuznetsova (Russia), Danutė Kvietkevičiūtė (Lithuania), Sasha Litvintseva (Russia), Natalia LL (Poland), George Mačiūnas (Lithuania), Rachel McIntosh (US/Finland), Ania Nowak (Poland/Germany), Markéta Othová (Czechia), Jaakko Pallasvuo (Finland), Agnieszka Polska (Poland), Nada Prlja (Bosnia and Herzegovina/North Macedonia), Anni Puolakka (Finland), Karol Radziszewski (Poland), Marija Teresė Rožanskaitė (Lithuania), Adam Rzepecki (Poland), Kirill Savchenkov (Russia), Sergey Shabohin (Belarus), Jura Shust (Belarus), Janek Simon (Poland), Martina Smutná (Czechia), Virgilijus Šonta (Lithuania), Anastasija Sosunova (Lithuania), Mladen Stilinović (Croatia), Viktor Timofeev (Latvia/USA), Dominika Trapp (Hungary), Goran Trbuljak (Croatia), Evita Vasiljeva (Latvia), Mona Vatamanu & Florin Tudor (Romania), Austėja Vilkaitytė (Lithuania), Stephen Webb (US/Finland), Jonas Zagorskas & Žilvinas Dobilas (Lithuania), Artur Žmijewski (Poland), and others. Partners: Autarkia, Atletika, Editorial, Lithuanian Artists’ Association, Swallow, Tech Arts in partnership with Rupert The 14th edition of the Baltic Triennial (BT14) is set with the conviction that in a paradoxical time of fragmented integration, addressing the local is, simultaneously, to question the global. Consequently, and for the first time since it was established in 1979, BT14 focuses on the geopolitical territory of Central and Eastern Europe and includes historical as well as contemporary artistic practices. The BT14’s take on the region engages with its composite constitution, highlighting transnational connections. The inclusion of some artists from locations such as the Balkans, the Caucasus or Finland, underlines Central and Eastern Europe’s porous boundaries as well as its belonging to a global and multilayered network of systems. Regularly experiencing abrupt shifts, Central and Eastern Europe is a key crossroad for social issues related to ideology, ecology and economy. The region’s gravitational pull is further highlighted by the introduction or anticipation of numerous tensions, which later also emerged elsewhere such as disinformation, man-made industrial disasters, nativist nationalism, or the oppression of non-normative identities. The BT14 connects the rich artist-led Vilnius scene. As the organising institution, the Contemporary Art Centre (CAC) invited the project spaces Atletika, Autarkija, Editorial, Rupert, and Swallow to join as partners. Each platform will autonomously develop a project while including some of the artists presented at the CAC’s exhibition. Another ally, the Lithuanian Artists’ Association, shared their spaces and archive, which holds key documents about the early iterations of the Baltic Triennial. In collaboration with international partners Kim? Contemporary Art Centre (Riga, Latvia), the Estonian Centre for Contemporary Art (Tallinn, Estonia), and Mousse Publishing, the CAC, Vilnius will also produce a reader with launch events planned in cities including Berlin, Riga, Timișoara, Vilnius, and Warsaw during autumn and winter 2021/2022. BT14’s architecture project by Isora x Lozuraityte studio proposes a radical reshaping of the CAC’s iconic city-centre building, rechoreographing its spaces through a number of interventions which place ecological sustainability at its core and uncover the layered history of the site. Together, the voices grounding BT14 map Central and Eastern Europe as a kaleidoscopic, queer space-time of a strange realism whose extraordinary polyphonic juxtapositions echo the complexity of the world at large. Supported by: Lithuanian Council for Culture, the Baltic Culture Fund, Frame Contemporary Art Finland, Goethe-Institut Litauen
Baltic Triennial Vilnius, Tallinn, Riga

Contemporary Art Centre (CAC) | Vokieciu 2
LT-01130 Vilnius

Lithuaniashow map
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posted 22. Jul 2021

Radically Naive

07. May 202110. Oct 2021
Radically Naive / Naively Radical May 7–October 10, 2021 Radically Naive / Naively Radical captures the state of mind foisted on us by the present era. An era in which we seem to be drifting from tipping point to tipping point: 9/11 and the so-called War on Terror, the Arab Spring, the alt-right, #MeToo, the migration crisis, Trump, #BLM, the constant threat of climate change...is COVID-19 the final nail in the coffin? Do we now submit to the sea of polarisation? Or do we stand strong against the tide of cynicism? In an open exhibition without any imposed thesis, Radically Naive / Naively Radical seeks to positively reevaluate the notion of naivety: doing over analysing, making over designing. It is a search for institutional meaning, for the (im)material character of art, for cultural uniqueness and artistic autonomy. Participating artists: Thomas Bellinck, Ben Benaouisse, Seyni Awa Camara, Saddie Choua, Helga Davis & Anouk De Clercq, Vesna Faassen & Lukas Verdijk, Iman Issa, Léonard Pongo, Egon Van Herreweghe, Gert Verhoeven, Katarina Zdjelar Curated by Joachim Naudts.


Joachim Naudts 
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posted 21. Jul 2021

Picasso & Les Femmes d’Alger

07. May 202108. Aug 2021
Picasso & Les Femmes d’Alger Picasso & Les Femmes d’Alger Eine Sonderausstellung der Nationalgalerie – Staatliche Museen zu Berlin geplant von 7. Mai – 8. August 2021 Pablo Picassos Spätwerk beginnt 1954 mit „Les Femmes d’Alger“, einer seiner wichtigsten und außergewöhnlichsten Werkserien. Erstmals seit 65 Jahren zeigt das Museum Berggruen in Deutschland den Großteil der weltweit verstreuten Ölgemälde. Der malerische Zyklus steht für einen veränderten Blick auf Malerei und ist in seiner künstlerischen Variation einzigartig in Picassos Gesamtwerk. Inspiriert von Eugène Delacroixʼ berühmter Darstellung „Die Frauen von Algier“ (1834/1849), die er im Louvre studiert hatte, widmet sich Picasso der großen Idee der malerischen Variation in völlig neuen Dimensionen: In drei Wintermonaten 1954-55 entstehen 15 Ölgemälde, sowie über 100 Zeichnungen und Druckgrafiken, in denen er die Anordnung von Delacroix‘ Figuren bis zur anatomischen Überdehnung variiert. Die Darstellungen sind zum Teil farbintensiv und weichkurvig, andere erinnern mit scharfen Kanten in Grautönen an seine kubistische Phase. Der Reichtum an Variationen und die vielfältigen Anspielungen auf die Kunstgeschichte macht die Serie zu einem der größten Manifeste auf die Möglichkeiten von Malerei. Seit Jahren zeigt die Nationalgalerie im Museum Berggruen als einziges öffentliches Museum in Europa dauerhaft ein Werk der Serie: Die zwölfte Version (kurz „Version L“ genannt) bildet den Ausgangspunkt der Ausstellung, die mit über der Hälfte der Ölgemälde einen signifikanten Teil der berühmten Serie aus US-amerikanischen Museen und internationalen Privatsammlungen nach Berlin bringt. Papierarbeiten aus dem Musée Picasso Paris begleiten die Entwicklungsschritte zwischen den Ölgemälden. Leihgaben aus dem Louvre und dem Musée Fabre in Montpellier präsentieren Picassos Inspirationen. Zeitgenössische Werke, u. a. von Künstler*innen aus Algerien, setzen das Thema der „Femmes d’Alger“ bis in die Gegenwart fort. Zur Ausstellung erscheint eine dreisprachige (DE/EN/FR, 192 Seiten) Publikation im Hirmer Verlag mit Wiederabdrücken von Texten des US-amerikanischen Kunsthistorikers Leo Steinberg (1920-2011) und der alge-rischen Schriftstellerin Assia Djebar (1936-2015).
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posted 20. Jul 2021


02. Jul 202119. Aug 2021
July 2–August 29, 2021 **sonsbeek20—24 force times distance ⏤ on labour and its sonic ecologies** (April 10–June 21, 2021) artistic director: Bonaventure Soh Bejeng Ndikung general director: Steven van Teeseling co-curators: Antonia Alampi, Amal Alhaag, Zippora Elders, Aude Christel Mbga, Vincent van Velsen New opening dates This edition of sonsbeek aims at stretching and decelerating the traditional format of large-scale art exhibitions. Shifting this format has become more important than ever before, in order to achieve a long-term, reciprocal and dedicated relation between artists, institutions, place and audiences. Since its postponement was announced last year, sonsbeek20→24 has been working on various platforms like exhibitions, discursive programs, residencies, publishing and radio. These platforms will be explored throughout its time frame by engaging audiences and contributors in a shared journey with main partners Museum Arnhem and ArtEZ University of the Arts, as well as other institutions in the city of Arnhem. The exhibition that will open on April 10, 2021 will be the next step in this process of ripening and fermentation of Force Times Distance – On Labour and its Sonic Ecologies. New collaborations with Stedelijk Museum and Centraal Museum At Stedelijk Museum, works by Dutch painter and composer Sedje Hémon (1923–2011); artist and designer Imran Mir (1950–2014) from Pakistan; and Afro-Brazilian painter, poet, essayist, playwright and politician Abdias do Nascimento (1914–2011) will be shown. Bonaventure Soh Bejeng Ndikung, artistic director of sonsbeek20→24, states: “In the curatorial framework of sonsbeek20→24: On Labour and its Sonic Ecologies, we chose to listen carefully to the screeches as much as the whispers emanating from those spaces, and responding with the works, the voices, the beings and presences of three historical artistic positions: Sedje Hémon, Abdias Do Nascimento and Imran Mir. All three artists navigated the waters of abstraction, expanded the shutters of modernism, reconfigured as well as liberated minimalism from the claws of the Western invention myth and significations, as well as situated the notion of conceptualism within other and wider geographies and cultures. We do think that the Stedelijk Museum offers an appropriate institutional, artistic and historical framing within which notions of modernism can be questioned and pluralized.” Centraal Museum in Utrecht will be partnering with sonsbeek20→24 in a continued collaboration format of interventions and presentations connected to the museum’s collection, which expands from visual art of the middle ages to contemporary work, including important collections of applied arts and fashion. "Over the years, artists of sonsbeek20→24 will be invited to engage with the collection of The Netherland's oldest civic museum. One of the challenges of our time is the re-reading of collections and archives. What stories do collections tell about their own limits, about the history of labour, about who narrates and who is narrated about? This rich collection will be our food for thought for the next years," Ndikung states further. From Arnhem, and Beyond The exhibition is supported by a lively public programme, that kicked off online in June in the form of an Editorial Room, which began to unpack the central themes of the curatorial framework by way of essays, performance, mixtapes, films and radio broadcasting. In addition, sonsbeek has set out a further conversation with the public in the form of two conjunctions organized in collaboration with Dutch Art Institute (DAI), in Tunis and at Radio Kootwijk on the Veluwe. In 2021, this programme unfolds into a more extended conversation, connecting the themes to local labour histories by working together with communities, artists and entrepreneurs to expand sights, sounds and experiences of sonsbeek20→24. With the new partnerships sonsbeek20→24 expands its original format that traditionally focused on presenting works in Arnhem’s Park Sonsbeek. In 2021, the 15th century Eusebius Church, an iconic landmark and important point of gathering for Arnhem citizens throughout the centuries—most notably in its ruins shortly after World War II—will host a large number of works in which the relation between ritual and labour is explored. At the centrally located Collectie De Groen several artists will present immersive works that evolve around notorious projects of human and natural extraction all over the globe. At Rozet, sonsbeek’s archive will be shown, a recent undertaking to enhance the sustainability of the historically significant art event. The investigation and manifestation of reflections on labour and its sonic ecologies will continue with a large number of pavilions and installations through the parks of Sonsbeek and Zypendaal, Buitenplaats Koningsweg in collaboration with Machinery of Me and Atelier Freiraum, via De Hoge Veluwe National Park stretching all the way to the renowned sculpture garden of Kröller-Müller Museum. There, three monumental sculptures will be installed that both challenge and meaningfully expand the overly present western positions in form, choice of materials and crafts, as well as conceptual approach. Participants of sonsbeek20→24 Leo Asemota, Julieta Aranda, Sam Auinger, Black Archives, Cheick Diallo, Ndidi Dike, Justine Gaga, Ellen Gallagher, Antonio Jose Guzman, Louis Henderson and João Polido, Kudzanai-Violet Hwami, Yinka Ilori, Anne Duk-Hee Jordan, Mae-Ling Lokko and Gustavo Crembil, Ibrahim Mahama, Oscar Murillo, Hira Nabi, Olu Oguibe, Wendelien van Oldenborgh, Laure Prouvost, Raumlabor, Willem de Rooij, Nader Mohamed Saadallah, Mithu Sen, Farkhondeh Shahroudi, Libita Sibungu, Buhlebezwe Siwani, Jennifer Tee, Sunette L. Viljoen, Omer Wasim, Werker Collective, as well as historical positions like stanley brouwn, Sedje Hémon, Imran Mir, and Abdias do Nascimento. Abigail Collins, Alaa Abu Asad, Family Connection (Quinsy Gario & family), Em’kal Eyongakpa, Heimprofi (Krista Burger), Anneke Ingwersen, InDifferent (Elmar Noteboom & Community), Iheb Guermazi, Amal Khalaf, Susanne Khalil Yusef, Robin D.G. Kelley, Richard Kofi, Thokozani Mhlambi, Alia Mossallam, Farida Nabibaks, Beya Othmani, Charlotte Rooijackers, Marinella Senatore, Ali Tnani, The Saida Manoubia Musical Troupe of Najoua Balti, Tito Valery, Saas-Fee Summer Institute of Art (with, a.o. Christopher Cox, Ananya Jahanara Kabir, Ulrich Krieger, Cecile Malaspina, Kamila Metwaly, Nástio Mosquito, Warren Neidich, Anri Sala and Greg Tate) constitute sonsbeek20→24 public, radio and educational programmes. Force Times Distance—On Labour and its Sonic Ecologies The concept which was a starting point for artistic director Bonaventure Soh Bejeng Ndikung and his team of co-curators: Antonia Alampi, Amal Alhaag, Zippora Elders, Aude Mgba, Vincent van Velsen carries the title Force Times Distance – On Labour and its Sonic Ecologies. Based on labour and sonicity, the project engages in processes of story-telling from here and a yonder. Stories of paid and unpaid labour, forced and voluntary labour, physical and mental labour, skilled and unskilled labour, productive and unproductive labour, while centering around the worker’s humanism. Stories told through a wide spectrum of sonic renderings. With its ears on the ground, sonsbeek20→24 will listen to local and global shifts in sociopolitics, economy, health, arts, as well as science and technology, while being cognisant of the repercussions of these shifts on class, gender, identity, race, migration and otherwise.

Stichting Sonsbeek Internationaal, Bovenbeekstraat 21
6811 CV Arnhem

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posted 19. Jul 2021


21. May 202120. Aug 2021
JAMES LEE BYARS: THE MILKY WAY AND THE STAR MAN 21 May - 20 August 2021 James Lee Byars: The Milky Way and The Star Man opens 21 May at Michael Werner Gallery in London and will remain on view through 20 August 2021. Gallery hours are Tuesday through Saturday, 10AM to 6PM. For more information, please contact the gallery at press@michaelwerner.com, visit www.michaelwerner.com, or contact Carrie Rees, Rees & Co. at carrie@reesandco.com. Follow the gallery on Instagram, Twitter, Facebook and Wechat.
Michael Werner Gallery, London MAYFAIR

22 Upper Brook Street
W1K 7PZ London

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posted 18. Jul 2021


10. May 202110. Oct 2021
DAMIEN HIRST curated by Anna Coliva and Mario Codognato 10 May to 10 October 2021 An impressive group of works from Hirst’s series Treasures from the Wreck of the Unbelievable will be exhibited throughout the museum alongside the ancient masterpieces. From colossal to very small sculptures, all made of precious materials such as bronze, Carrara marble and splendid malachite, will be displayed alongside his Colour Space paintings amongst the permanent collection. The vision combines contemporary art with that of the past, prompting us to reconsider their respective statuses and create new boundaries.


Damien Hirst 
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posted 17. Jul 2021


12. Jun 202131. Oct 2021
opening: 24. Apr 2020 06:00 am
12.06.2021– 31. 10.2021 ** 8. SOCLE DU MONDE BIENNALE 2021** "WELCOME BACK MY FRIENDS TO THE SHOW THAT NEVER ENDS" (April 24th – August 27th, 2020) The Socle du Monde Biennale 2020 “Welcome Back My Friends to The Show That Never Ends” bridges past, present and future by fostering an exchange between different generations of international artists. The city of Herning, three museums and a former high school are transformed into a showplace for seven unique stages, connecting historical Arte Povera works with younger and emergent positions. With architectural interventions, playful objects and installations, thought-provoking images and sound, Socle du Monde invites visitors to participate in a festival-like experience where real and artistic life melts, where geographic and artistic boundaries are blurred and where old and new friends meet. El Anatsui, Giovanni Anselmo, Arad Arefe, Kirsten Astrup & Maria Bordorff, Alighiero Boetti, Mauro Bonacina, Ry David Bradley, Pier Paolo Calzolari, Ahmet Civelek, Sven Dalsgaard, Herman de Vries, Marcin Dudek, Luciano Fabro, Antony Gormley, Kari Anne Helleberg Bahri, Jannis Kounellis, Charles LeDray, Marisa Merz, Mario Merz, Klaus Munch, Rasmus Myrup, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Jaume Plensa, Emilio Prini, Maria Roosen, Lauren Seiden, Kimsooja, Kristian Touborg, Spencer Tunick, Gilberto Zorio
Socle du Monde Biennale, Herning °

Heart - Herning Museum of Contemporary Art, Birk Centerpark 8
7400 Herning

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posted 16. Jul 2021

Gerhard Richter

26. Mar 202125. Jul 2021
**26.03.2021 - 25.07.2021** **Gerhard Richter** Die umfassende Landschaftsausstellung Mit rund 130 Werken umfasst die Ausstellung sämtliche von Richter zum Thema Landschaft verwendeten Medien von Malerei, Zeichnung, Druckgrafik und Fotografie bis hin zu Plastiken und Künstlerbüchern. Vertraute und neue Einblicke Mit Gerhard Richter wird im Kunsthaus Zürich einer der bedeutendsten zeitgenössischen deutschen Künstler gefeiert. Es ist die erste Einzelausstellung im Kunsthaus und sie widmet sich einer zentralen Bildgattung seines Schaffens, der Landschaftsmalerei. Zu sehen sind 130 Arbeiten, die meisten davon erstmals in der Schweiz oder nach Jahrzehnten wieder öffentlich, wie das «Stadtbild PX» (1968), spektakuläre «Seestücke» aus Berlin und Bilbao und das energiegeladene «Dschungelbild» (1971) aus Privatbesitz. Neben 80 Gemälden werden Zeichnungen, Fotocollagen, übermalte Fotografien, Druckgrafiken und Künstlerbücher präsentiert. Auf 1200 Quadratmetern durchlaufen die Besucherinnen und Besucher Richters Schaffensprozess von 1957 bis 2018. Landschaften aus zweiter Hand Von Anbeginn sieht Richter die Landschaft durch das mechanische Reproduktionsmedium der Fotografie. Überwiegend eigene Fotos bilden den Fundus für diese Bilder. Der Künstler stellt somit im Prinzip keine Landschaften, sondern Fotografien von Landschaften dar. Die spezifisch fotografische Ästhetik von Ausschnitt, Bildaufbau und Farbigkeit bleibt deutlich sichtbar, wie etwa in dem Ölgemälde «Waldhaus» (2004) mit Blick auf das Angestelltenhaus des berühmten Hotels in Sils Maria. Damit beginnt seine kritische Reflexion der verlorenen Möglichkeiten der Malerei. Landschaften in der Abstraktion Vor allem in den 1960er- und 1970er-Jahren entstanden stark abstrahierte Gebirgs-, Park- und Stadtbilder, die die Möglichkeiten einer ursprünglich fotografisch basierten Abstraktion malerisch noch weiter ausloten. Diese Werke changieren zwischen abbildhaft dargestellten Landschaftsmotiven und einer selbstreferenziellen Farbmaterialität in breiten Pinselstrichen. Bei diesem dualistischen Prinzip geht es nicht um eine klassische Abstraktion im Sinne einer Autonomisierung der Form, sondern vielmehr um die Frage, wie weit man – ausgehend von fotografischen Vorlagen – die Verselbständigung der Form treiben kann. Das zweiteilige, 250 x 680 cm messende Werk «St. Gallen» (1989) ist in der Abstraktion so weit gediehen, dass selbst Einheimische keine topografischen oder architektonischen Merkmale ihrer Stadt wiedererkennen. Landschaften als fiktionale Konstrukte In den 1970er- und 1990er-Jahren produzierte Richter auch Landschaften in Form fiktionaler Konstrukte. Anhand von Ölgemälden, Druckgrafiken, Fotocollagen und einem dreidimensionalen Objekt stellt er Landschaften und monumentale Räume dar, die es in der Wirklichkeit nicht geben kann. Meeres-, Berg- und Wolkenbilder wurden motivisch so zusammengesetzt, dass sie aufgrund ihrer Grösse oder Anordnung jede reale Erfahrung übersteigen. Übermalte Landschaften Ungegenständliche Übermalungen mit Ölfarben entstehen ab 1965, wobei so vielfältige, immer auch physisch geprägte Techniken wie das Abklatschen, Abschaben, Aufspachteln und Überrakeln zum Einsatz kommen. Durch die Fotografie einer Landschaft wird abbildhaft ein gegenständliches Motiv vermittelt, während gleichzeitig eine abstrakte Farbmaterie auf der Fläche appliziert wird. Diese zwei Wirklichkeitsebenen – auch mit Titeln ohne Ortsangabe wie bei «10.Apr.2015» (2015) – erscheinen als eine ineinander verzahnte Einheit, sie gehen hier eine enge, spannungsreiche und zugleich subtile Verbindung ein. « Solche Werke zeigen meine 'Sehnsucht', sie sind ein 'Traum nach klassischer Ordnung und heiler Welt.' » — Gerhard Richter, 1981 Landschaft in unruhigen Zeiten Unsere Bewunderung für Landschaften und ihre ästhetische Qualität steigt zu Beginn der Industrialisierung im 19. Jahrhundert. Und ihre Wertschätzung wächst mit deren Verwüstung durch Kriege und ökologische Katastrophen. Die Evokation eines starken Gefühls ist der Kunst- und der Landschaftsbetrachtung gemein. Das Jahr 2021 steht noch im Zeichen der Corona-Krise, deren spürbarste Konsequenzen auf persönlicher Ebene das Physical Distancing sowie die starken Mobilitätseinschränkungen sind. Die Programmierung der Ausstellung in dieser Zeit ist ein Hoffnungsschimmer. Ein Besuch im Kunsthaus Zürich macht deutlich, wie wertvoll sinnliche Erfahrungen im gemeinschaftlichen Rezeptionsvorgang sind, vor allem dann, wenn sie zu Projektionsflächen von Sehnsucht werden, wie im Falle von Gerhard Richters Landschaften. In Zusammenarbeit mit dem Bank Austria Kunstforum Wien. Kuratoren: Hubertus Butin (Berlin) und Cathérine Hug (Kunsthaus Zürich)
Kunsthaus Zürich

Heimplatz 1
CH-8024 Zurich

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posted 15. Jul 2021

Chiara Fumai. Poems I will never release 2007–2017

08. May 202103. Oct 2021
08.05.2021 - 03.10.2021 Chiara Fumai. Poems I will never release 2007–2017 A project produced by Centro per l'arte contemporanea Luigi Pecci and Centre d'Art Contemporain Genève In collaboration with La Casa Encendida - Madrid, La Loge - Brussels and The Church of Chiara Fumai Three years after her untimely death, the Luigi Pecci Centre for Contemporary Art in Prato is dedicating to Chiara Fumai the retrospective exhibition Poems I Will Never Release, curated by Milovan Farronato and Francesco Urbano Ragazzi in collaboration with Cristiana Perrella. The exhibition is part of a wide-ranging project that brings together several European institutions with the aim of revisiting the artist's work, preserving her legacy and passing it on to a wide audience. Presented at the end of 2020 at the Centre d'Art Contemporain Genève, the exhibition - after the Centro Pecci - will travel for the next two years to La Loge in Brussels and to the Casa Encendida in Madrid, deepening the investigation on a creative personality who has markedly developed the languages of performance and feminist aesthetics in the 21st century. Poems I Will Never Release brings together a very complete body of work, which translates into material form the elusive performances that Chiara Fumai has programmatically excluded from a documentation process. Rejecting a sort of latent prejudice linked to her being a female artist, Chiara Fumai has adopted a vocabulary of threat, revolt, vandalism, violence and boredom to trigger uncomfortable situations and shape collages, environments and actions to promote her ideals of anarchic feminism.


Chiara Fumai 
Centro Pecci, Prato

Centro Pecci, | Viale della Repubblica 277
I-59100 Prato

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posted 14. Jul 2021

Yinka Shonibare CBE. End of Empire

22. May 202103. Oct 2021
Museum der Moderne, Mönchsberg * Yinka Shonibare CBE. End of Empire 22.05.2021 - 03.10.2021 Kurator_innen: Thorsten Sadowsky, Marijana Schneider Der britisch-nigerianische Künstler Yinka Shonibare CBE (1962 London, UK), gehört zu den bedeutendsten und vielseitigsten Künstlern Großbritanniens. Er untersucht in seinen Werken das Erbe des westlichen Kolonialismus, das bis in die Gegenwart Spuren hinterlassen hat. Bekannt geworden ist er mit seinen Installationen mit kopflosen lebensgroßen Figuren in historischen Kostümen, die aus bunten Batikstoffen geschneidert sind. Der Künstler sieht sich in der Rolle eines „postkolonialen Hybriden“, der mit einer subversiven künstlerischen Strategie bevorzugt Episoden aus der europäischen Kunst und Geschichte des 18. und 19. Jahrhunderts aufgreift und zu tragikomischen Szenen menschlichen Tuns ausgestaltet. In seinem multimedialen Gesamtwerk untersucht Shonibare die Konstruktionen von Rasse, Klasse sowie nationaler und kultureller Identitäten anhand der historischen Wechselbeziehungen zwischen Afrika und Europa. Die retrospektive Ausstellung versammelt rund 60 Arbeiten der letzten 30 Jahre. Zur Ausstellung erscheint ein umfassender Katalog.
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