The intersection of art and anthropology can be traced to the long-standing human desire to collect, classify, and display across cultures and time. In Western societies, the systematic accumulation and exhibition of objects considered to be culturally valuable dates back to the Renaissance-era cabinet of curiosities, or Wunderkammer, the precursor by several centuries to the modern art museum. Meant to inspire and amaze, these cabinets began in private, domestic spaces but over time expanded to entire rooms in the public sphere, eventually becoming what we know today as natural history, anthropology, and ethnographic museums. It wasn?t until the late seventeenth century that the first art museums appeared, taking their cue from these private curio collections turned public, where art collections of the royal, wealthy, and ruling elite made their way into public spaces for exhibition. In many ways, art museums evolved in opposition to natural history museums, the relationship between the two echoing undercurrents of the longstanding discussion between ?high? and ?low? art. In tandem, anthropological endeavors aspired to remain a comfortable distance from notions of fine art, averse to ethnographic methods becoming aestheticized and the inherent colonialist impulses present in both fields. (...)

RACING THE GALAXY reports on the gradual dissolution of dichotomies between East and West, in the era of global communication and the confrontation or melting of cultures, referencing the idea that artistic forms travel, mingle and enrich each other, from one continent to another. Dealing around the concept of nomadism and displacement inherent to all artists, the exhibition is a survey into the artistic approaches of Kazakh and international artistic scene, confronting historical figures with a younger generation of artists born with the appearance of the internet. It organizes itself around the central axis of the impermanence of things, social, political, economic, aesthetic rules and convenes all artistic forms?installation, performance, painting, sculpture and video photography. Astana Art Show 2019 aims is to penetrate the unique intuitions of the artists gathered in the exhibition and the thematic and stylistic amplitude embraced by a contemporary artistic scene, which constantly reinvents itself and resonates well beyond its borders.

The work of Nikita Kadan (born 1982 in Kiev) centers on his artistic exploration of post-communist social and political developments, and their origins and causes in the Soviet system. Kadan produces drawings, paintings, and photography as well as objects, sculptures, and installations. The artist is a sensitive and critical observer and interpreter of historical shifts, and also of the connections and continuities between the communist past and turbo-capitalist present. He is a member of the artists’ group R.E.P. (Revolutionary Experimental Space) and co-founder of the activists’ group Hudrada. As an activist in the field of art and politics, Kadan also works with architects, sociologists, and human rights activists.

In his exhibition, the artist addresses the visibility and function of the artistic avant-garde in Ukraine within contemporary neoliberalism, which—in the conflict with Russia—is shaped by a politics based on military goals and an ideology of anti-solidarity in the fabric of society.

Taking the politics of making as its point of departure, this group exhibition explores the cultural meanings that emerge from the materials artists use. Drawing on the writings of Édouard Glissant, guest curator Daisy Desrosiers assembles a selection of works that engage often-overlooked narratives within cultural histories, considering the itinerant and opaque legacies that surround certain materials. Ideas of belonging, witnessing, domesticity, and migratory journeys are brought to the fore, engaging shared and self-reflective experiences and inviting audiences to be guided by the stories that they tell.

In April 1955, representatives of 29 newly, and struggling-to-be, independent countries from Asia and Africa gathered for a conference in Bandung, Indonesia, to champion common interests of national sovereignty, decolonisation, anti-imperialism and economic development. The international meeting of new geopolitical alliances represented 54% of the world population at the time and signalled a pivotal moment for postcolonial political order. From this encounter emerged the Non-Aligned Movement (NAM) formed by nations that embraced the above and shunned the polarities of the Cold War – the Third World. [...]

Hans Ulrich Obrist continues his Entretiens Infinis [Infinite Interviews] at the Fondation Cartier, leading a debate marathon during which he talks with the exhibition’s artists.
With Gabriel Abrantes (Portugal), Evgeny Antufiev (Russia), Charlie Billingham (United Kingdom), Kasper Bosmans (Belgium), Formafantasma (Italy), Miryam Haddad (Syria, France), Lap-See Lam (Sweden), Tenant of Culture (Netherlands), Marion Verboom (France) and Jonathan Vinel (France).

From April 12 to 27, Black.Art.Empowerment: I see, I speak, I am movement, curated by Rhodnie Désir, will feature gatherings and socio-artistic laboratories by Afrodescendant artists from Montreal and the diaspora. The focus will be on issues and experiences of civil rights social engagement. This three-week event is organized in conjunction with performances by five international artists.
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Kapwani Kiwanga
AFROGALACTICA : A brief history of the future [performance]
19/04/2019 20h

The "revue" (show) L'Homme aux cent yeux - in a nod to its glorious ancestors of the 30s and to the spirit of the Music Hall - proposes an annual programme of live interventions, open to all kinds of artistic creation (acoustic, filmic, choreographic, etc.), by artists invited to occupy the exhibition spaces in two phases. All the artists invited for the previous episodes of L'Homme aux cent yeux* (revue) gather in the empty spaces of the plateau - in between exhibitions - and propose a follow-up to their first intervention for a new happening, acme of the events programme.

Since the second half of the twentieth century, in particular poets and artists in Eastern Europe have taken up the challenge of reflecting on and investigating the instrumentalization of language for communicative and political-ideological purposes. They did so by drawing attention to the material and medial dimension of language, and by creating performative situations for themselves and their audiences within which possibilities of verbal expression could be tested and acted out. The exhibition presents authors from subcultures in socialist states along with contemporary positions. Now and then, poetry and performance take on an exceptional topicality in periods of political crisis, as these ephemeral and flexible art forms enable the reflection of relations and contexts that remain otherwise undiscussed.
11/03/2019 - Workshop: Poetry & Performance

«Si la Raison n?y peut, que toutes ces morts y aillent, et nous lavent le regard!», Patrick Chamoiseau, Frères migrants.

Des gens périssent dans la Méditerranée, la photo du corps du petit Aylan Kurdi est gravée dans notre mémoire à tous, elle nous rappelle que ce sont des dizaines de milliers de personnes qui se sont noyées dans cette mer pour échapper à la misère, aux guerres depuis ce siècle nouveau.
Le Cyclop est un monument d?histoire de l?art et un monument d?histoire, c?est une sculpture qui fait état des doutes et des luttes du XXe siècle, de ses modifications, c?est une ?uvre éminemment politique. L?Hommage aux déportés d?Eva Aeppli nous rappelle l?histoire européenne et l?horreur des camps de concentration et d?extermination nazis. Il nous rappelle l?exode de nos parents, de nos grands-parents lors de la Deuxième Guerre mondiale, pas si lointaine. Si Le Cyclop témoigne de ces événements, il nous rappelle qu?ensemble, nous pouvons agir et changer le monde.
Voyageurs clandestins, expulsés, exilés, migrants climatiques et/ou économiques, réfugiés, enfin, une structure gonflable de 4 000 m2 de l?architecte Hans-Walter Müller a pu en accueillir certains de manière digne, un temps, porte de la Chapelle, à Paris.
Six artistes qui s?intéressent, dans leur travail, au sort des réfugiés ont bien voulu répondre à notre appel pour composer cette exposition et réfléchir à un nouvel horizon d?hospitalité.

LISTEN TO US is an invitation to listen to the works. Their sensual presence and intelligence are telling a lot about our common reality and encourage our own reflection.
Additionally, beside the works from the Art Collection Telekom, a few newly commissioned artworks by Bulgarian artists and some works of the recent history of contemporary art in Bulgaria will be integrated in the exhibition.
The project is accompanied by its own educational and mediation programme, reaching out to the general public, kids and schoolkids and elderly people. Starting in autumn 2018, first workshops establish practical training experiences for students and curators to mediate content and storylines of the works in the exhibition.The project is curated by Nathalie Hoyos and Rainald Schumacher.

Du 4 avril au 16 juin 2019, la Fondation Cartier pour l?art contemporain présente Jeunes Artistes en Europe. Les Métamorphoses, une exposition consacrée à la diversité des voix et à la vitalité des échanges qui animent le vaste territoire artistique européen. Elle réunit 21 artistes de 16 pays s?exprimant à travers la peinture, la sculpture, la mode, le design ou le film. L?exposition sera également rythmée par un ambitieux programme de Soirées Nomades. Premier volet d?une série d?expositions sur les jeunes scènes artistiques à travers le monde, Les Métamorphoses célèbre une nouvelle génération de créateurs incarnant le visage de l?Europe d?aujourd?hui et de demain.

Curated by Rudi Fuchs

« À l'échelle du cosmique, seul le fantastique a des chances d'être vrai. » Ce postulat énoncé par Teilhard de Chardin au milieu du XX^e siècle constitue une excellente entrée en matière pour accéder à cet autre monde, niché à l'intérieur de notre monde, auquel le titre de cette exposition fait référence.

UN AUTRE MONDE///DANS NOTRE MONDE questionne tous azimuts notre rapport au réel à travers de nombreux secteurs de la création et de la connaissance, aux frontières de la science, de la tradition, du fantastique, de la science-fiction et, in fine, du réel. L'exposition ravive une quête de savoir visant à dépasser l'apparente contradiction entre matérialisme et spiritualisme, aux croisements de l'art et de la technologie, de l'alchimie et de l'anthropologie, de l'érudition et de la culture populaire, de l'ésotérisme et de la physique quantique, de l'avéré et de l'imaginaire.

[...] "Les Orphelins" correspondent aux photographies extraites de travaux réalisés par l'artiste tels que l'image d'un tuyau à la forme étrangement naturelle ou la photographie proche du tableau pictural de deux interrupteurs et d'un mur dont la fissure vient contrarier la géométrie.
Si son oeuvre ne relève pas de l'autobiographie," Autoportrait #2" de 1999 et édité en 2005, rappelle comme un clin doeil la présence de la photographe et sa pratique de terrain. [...]

A collection is a closed set; hence the works selected for the exhibition certainly do not exhaust the topic of the transformations associated with the 1989 breakthrough in all its complexity. Yet the exhibited works obviously point to some issues which thirty years later, and viewed from today?s perspective, still seem not to have been properly worked through.
 
The main objective of the exhibition is to present the most important phenomena that emerged in Polish art after the year 1989. However, the presence of artists originating from Central-Eastern Europe and the countries of the South Caucasus which regained their independence after the fall of the Soviet Union (Armenia and Azerbaijan), is an extremely important element of the project. On the one hand, it arises from the curatorial conception of Collection II; on the other, it points to new, complex artistic geographies in the world of art, which emerged after the fall of communism, the disintegration of the world?s binary divide, and the illusory ?end of history?.

Les Abattoirs, Musée - Frac Occitanie Toulouse is presenting an exhibition dedicated for the first time to the relationship between Picasso and the Spanish exile. Deployed on two floors of the Slaughterhouses, it explores how the historical and personal upheaval of exile affected Picasso, as well as the number of artists who were contemporary with him.

"Picasso et l'exil" follows on from the Guernica exhibition presented at the Musée national Picasso in Paris, which it extends with a new section, a contemporary section, including appropriations of Guernica as a work of peace, artistic interventions on exile, as well as invitations to Spanish curators and artists, completes this theme on the Abattoirs website. As part of a territory-wide project, exhibitions of contemporary art on the themes of history and exile will also be developed in other Toulouse sites and throughout the Occitania region, under the title "Je suis né étranger".

Inspired by a True Story: What was the Network of Networks?

Thirty years ago as the Soviet Union collapsed, the Open Society Institute, an unprecedented civil society initiative created by philanthropic activist George Soros, stepped in to facilitate vulnerable transition in most major cities throughout Eastern Europe and Central Asia. This non-governmental organization helped to implement a wide variety of neoliberal educational initiatives in areas such as public health and independent media that accelerated the path towards democracy and free-market thinking—ideals that were often incompatible with the previous system. One of the prolific ways this was done was by ushering in the most avant-garde program of contemporary art in human history in the form of the Soros Centers for Contemporary Art (SCCA), established in twenty major cities across the former bloc. [...]

The exhibition Southern Constellations: The Poetics of the Non-Aligned emphasizes the ideas, ideals and principles of the movement, particularly in close connection with its cultural policies and place them in a contemporary context with the question: Could there be a non-aligned contemporaneity? And if so, what would it be like? However, the topics covered in the exhibition are not to be considered some kind of exoticism of the past, nor do they harbor nostalgia for the movement itself. Instead, the focus is on the way the ?southern constellations? envisioned forms of politics that took as their starting point the life of peoples and societies that had been forcibly relegated to the margins of the global economic, political and cultural system. Struggles against poverty, inequality, and colonialism in the world system coupled with transnational solidarity which took many concrete forms could be included in a reconsideration of the history and legacies of the NAM today.

As part of the Demonstration Rooms project, Céline Condorelli, Kapwani Kiwanga and Judy Radul have been invited to reflect on the presentation of the collection in the Albertinum. In various rooms of the museum they have developed artistic interventions that interrogate customary viewing habits and spatial perception. Hence, this project builds upon the ideas of El Lissitzky who in 1926 created a ?Demonstration Room? for the Dresden International Art Exhibition, through which he sought to make the viewing of art a more active process by taking an unconventional approach to interior design. Even today, the progressive designs of Mondrian and Lissitzky still have the potential to inspire innovative thinking.

The title Dramaturkia. Chapter I: introduction is inspired by the work of Babi Badalov, an artist and poet from azerbaïjan. The exhibition, which will take place at the university of antwerp from february 22 of 2018 until may 22 of 2019, is the beginning of an exhibition cycle exploring the topic of the middle east. The viewers are to be immersed in a narrative space offering several levels of interpretation dealing with politics, history, women and conceptual ideas. Ten artists from various horizons, coming from the middle east as well as from western europe, will present their personal views on those contemporary issues. The term ?greater middle east? was introduced under the george bush administration in order to reshape this vast ensemble. Its boundaries were arbitrarily determined by the united states. Indeed, history and geography forged the middle east as well as fractured it.

In an era when humanity is facing new challenges posed by big data, bioengineering and climate change, Whitechapel Gallery has invited ten groups of artists, architects and other cultural practitioners to explore the potential of collaboration and offer their visions of the future. They imagine scenarios in which queer desire, house music and fracking meet on a mountainside; grief and microbes generate new possibilities for housing; or machines dispense objects and emotions to support our place in the technological world of tomorrow.

At the core of Safe Passage, Kiwanga?s exhibition at the List Center, is an engagement with racialized surveillance and the power dynamics inherent in seeing and being seen. Kiwanga follows the lineage of surveillance and positions it in relation to blackness in America, from its roots in slavery to the role that technology performs today. Safe Passage presents four recent interconnected bodies of work that address the history of forced visibility, strategic concealment, and networks of resistance.

The invitation of the Câmara Municipal de Lisboa to Fundación ARCO to hold the Criteria exhibition falls within its programme of exhibitions of private collections that began with the Fundación Serralves Collection and that of Fundación La Caixa. This invitation will serve to further strengthen, if possible, ARCO and IFEMA’s ties with Portugal, as well as to continue furthering the work of Fundación ARCO in promoting the collecting and appreciation of contemporary art, especially on the Portuguese art scene.

In 2019 De Ketelfactory celebrates its 10-year anniversary. A wonderful occasion to bring together all artists who ever exhibited work here.
Winnie Teschmacher invited them to create a work of art about ‘silence’, no bigger than 30 x 30 x 30 cm. Allof the artists accepted her invitation. It is the start of De Ketelfactory’s ‘Silence collection’.
The images, writings, films and objects will be presented downstairs. The setup will change regularly, making for a constantly changing exhibition.
The ‘Silence collection’ has a predecessor. Some thirty years ago, a mysterious Museum of Silence travelled through our country. Curator and artist Rob G.M. Vrakking had used mail art to ask hundreds of national and international artists to send him an object about silence.
The response was overwhelming: sculptures, paintings, drawings and written pieces arrived in the post.
After ten years, the collection was consigned to the Osthaus Museum in Hagen, Germany. There, the works lay wrapped up and unseen in the attic for years.
In 2018 Kester Freriks – writer of the book Silence, space, darkness – appealed for the Museum of Silence to be brought back and exhibited in the Netherlands once more.
De Ketelfactory accepted the invitation and collected the archive from Hagen.
For the next months, the collection will be displayed in alternated setups on the top floor of De Ketelfactory.

Grace Wales Bonner explores mysticism, ritual and magical resonances within black cultural and aesthetic practices. Over the course of one month, a multi-sensory installation and a series of happenings will invite contemplation and activate the spaces of the Serpentine.

The exhibition will include a series of site-specific shrines by Kapwani Kiwanga, Eric N. Mack, Paul Mpagi Sepuya and Grace Wales Bonner. The musician Laraaji will lead a series of meditation workshops during the exhibition?s opening days that will become a lasting shrine of sound within the space, whilst Rashid Johnson?s installations using carpets will create a sense of grounding throughout the Gallery. Interested in the improvisation, intentionality and repurposing of shrines from the Black Atlantic, Wales Bonner will draw upon their relational nature, as material portals into multiple worlds and frames of experience.

Since 2011, De Vishal has awarded the Vishal Art Prize to one of its members every two years. There are three categories: the Young Talent Award, the Mid-Career Award and the Work Award. This year, Kees Visser was awarded the last category. The prize consists of a personal exhibition at the Vishal and a sum of money. "nadorst" presents a selection of his works from the seventies. The exhibition will open on December 15 at 4pm and will continue until January 13, 2019.

Nikita Kadan engages in contemplative art, tying closely in with the social circumstances and history of Ukrainian and Soviet culture. His objects ? even if referencing extreme experiences ? are devoid of emotional embellishment. Kadan exercises his activities on images, objects, archives, yet primarily on local 20^th and 21^st century discourses in a global perspective. In a quest for inspiration, he travels the world, explores literature, the Internet, cultural institutions storage and archives, and co-operates with groups of people representing a broad spectrum of political preference.

The exhibition interprets the Phrygian myth of Attis recorded in Pausania, with its motifs of fluidity and transformation of female and male,living and dead, anatomical and floral, human and divine ? bringing these motifs into contemporary political context.

« Les formes du monde » sont toutes entières contenues dans un dessin, voilà ce qu'on pourrait dire en particulier des oeuvres réunies ici. C?est avec ce point de départ que Johana Carrier et Marine Pagès ont formé le groupe constitué de Io Burgard, Matthieu Cossé et Dirk Zoete.
L?exposition « Comme les nuages, les formes du monde tournent les unes dans les autres », citation extraite d?un poème de Hans Arp, est à l?image du dessin qui cherche, forme et se déploie sans fin, faisant écho à la manière de travailler de ces trois artistes, à la représentation du monde avec et à partir du dessin. Seules quelques lignes ont la capacité de créer un espace, des figures, comme une illusion de profondeur suggère un volume. Tout ce qui se dessine ici converge.

Créée en 2008 par Johana Carrier et Marine Pagès, Roven éditions est une structure éditoriale associative française. Elle publie la revue critique sur le dessin contemporain Roven ainsi que des ouvrages sur l'art contemporain et le dessin.

En parallèle de l'exposition, une soirée de projection de films d?artistes aura lieu le Samedi 17 Septembre. Le film de Georges Tony Stoll, Gravité Abstraite, de 2003 sera diffusé à cette occasion.

Anna-Eva Bergman (1909-1987) is a Norwegian artist who considers the ?rhythm? such a painting essential structural element, a rhythm resulting from the use of certain materials -metal sheets, gold leaf, silver or copper- forms, lines and colours. Her work undergoes a radical turn from the 50s, when she focuses on pictorial abstraction. The landscape then becomes the essential reference of her work: natural motifs, Scandinavian mythology -stones, planets, mountains, boats- or Norwegian light. Her relationship with Spain began in 1933, when she settled for a year in Menorca with her partner, Hans Hartung. The trip to Andalusia in 1962 will be, however, the most decisive for her work: there she begins to elaborate her first horizons, a motif that she will resume when contacting with the Norwegian landscapes. This link between Norway and Spain -north and south- leads to a similar formality between both landscapes, which acquire, on the other hand, very different tonalities. The stone motifs it is also fundamental in the artist, which began to develop in 1951 on her trip to Norway and took over in the early seventies to travel the interior of the peninsula, as testified by her series ?Stones of Castile?.

Punk Orientalism focuses on the theme of non-conformity as a tool for investigating contemporary art and critical enquiry on the spaces and places that identify with Central Asia and the Caucasus from a post-Soviet perspective. Rooted in the conceptual capacity of ?punk? the exhibition centres on the contemporary theme of resistance and highlights the practices of artists who have questioned changing and divided societies from a variety of different historical and conceptual vantage points. Featuring a spectrum of recent artwork, projects, text based art (zines) and new media Punk Orientalism presents a forum for diverse artistic voices from a complex and multifaceted part of the globe, where artists have actively challenged draconian state and academic policies, mapped new territories and formed new artistic movements. Overall the exhibition aims to present overlooked models of artistic reality, which cross-circulate between different societal, cultural and political systems and provide alternative contexts from which globalism and other modernisms can be accessed from a non Eurocentric perspective. By adopting an ideas driven narrative Punk Orientalism offers proposals that solicit a redefinition of fixed geographical rubrics and instead offers a nuanced survey of recent artistic thinking.

During November 9, december 16, 2018,  an exhibition "(un)named" will be on display at the Museum of Odessa Modern Art. It combines reflections of the artist Nikita Kadan, historians, and other scholars on the subjects of contested issues of the past, particularly those connected with the crime of the Nazis and Stalinism, ethnic cleansings and other acts of violence in the 1930-1940s.

If one of the main purposes of science fiction is to predict the future by simultaneously analysing the present and the past, it is important to emphasise that this genre?s literary tradition was continually hostage to the patriarchal and white narrative of its authors. Over recent decades, Afrofuturism has defended an artistic practice that combines scientific fiction with elements and traditions of a diaspora that is attentive to its historical roots in an Ancient Africa well before the colonial era. Can a community whose past has been deliberately erased seek out marks from its history and imagine possible futures?

The Museum of Modern Art in Warsaw and the Museum of Warsaw welcome guests to the 10th edition of the WARSAW UNDER CONSTRUCTION festival, taking place this year in both Warsaw and Kiev at once. The Warsaw exhibition will be held in the former Cepelia pavilion at the intersection of ul. Marsza?kowska Street and Al. Jerozolimskie in the city centre.

Kapwani Kiwanga creates works across installation, sound, performance, sculpture and video that marry her training in anthropology, comparative religion and documentary film with her interests in history, memory and storytelling. Presenting rigorous research in imaginative ways, Kiwanga intentionally confuses truth and fiction in her work to enable marginalized narratives to flourish. With a veracious appetite for exploring different pockets of knowledge, she has tackled subjects as far ranging as space travel, anti-colonial struggles, geology and disciplinary architectures.

The first exhibition, "The World on Paper" will focus on the bank's extensive collection of paper-based works, featuring Germany's Katharina Grosse and American artist Ellen Gallagher, as well as Nairobi-born and Brooklyn based Wangechi Mutu.In total, the grand opening of the palace will show around 300 highlights from the bank's extensive collection of works on paper, which it began building in the 1970s. The show will run until January 9, 2019.

Parajanov at Asymetria marks the first Polish show of this minor retrospective of photography by Yuri Mechitov. 

The third cycle of Temporary Structure in which artists design a functional background for the gallery saw the creation of a cloakroom by Klára Hosnedlová, as well as the first presentation space (display) designed by the Belgian artist Wesley Meuris. Pictures and textiles from the property of the City of Ostrava have replaced artworks by the winners of the Jind?ich Chalupecký Prize from the Magnus Art collection as decorative and conceptual elements of the interior (decor).

Since the second half of the twentieth century, in particular poets and artists in Eastern Europe have taken up the challenge of reflecting on and investigating the instrumentalization of language for communicative and political-ideological purposes. They did so by drawing attention to the material and medial dimension of language, and by creating performative situations for themselves and their audiences within which possibilities of verbal expression could be tested and acted out.
The exhibition presents authors from subcultures in socialist states along with contemporary positions. Now and then, poetry and performance take on an exceptional topicality in periods of political crisis, as these ephemeral and flexible art forms enable the reflection of relations and contexts that remain otherwise undiscussed.

M HKA : EXTRA MUROS

Exhibition project Middle Gate II ? The Story of Dymphna is a cooperation between M HKA, the Museum of Contemporary Art Antwerp, and cultural centre de Werft in Geel. Middle Gate II is the sequel to the exhibition Middle Gate made by Jan Hoet in Geel in 2013. The concept of the exhibition is intricately interwoven with the legend of Saint Dymphna, patroness of the possessed and mentally ill and patron saint against epilepsy and insanity. The legend of Dymphna is also closely linked to the identity of Geel, town of mercy.

Metaphorai. Narration Created Humanity

The project?s 2018 edition is titled ?Metaphorai. Narration-Created Humanity?, and will take place at the Ancient Bath contemporary art complex between 14 September and 14 October. The edition?s curators will be Katya Angelova and Alessandra Poggianti. The title, ?Metaphorai.?, corresponds to the Greek word for public transport vehicles: "You take a metaphor ? a bus or a train ? to go to work or get back home. Stories can carry this noble name too: Everyday stories that cross and organise locations; they pick out the locations and link them; they then create sentences and routes out of them".* The exhibition explores the city as a collection of possible stories, and also as a blank sheet of paper that welcomes a story each time somebody is looking at it or is pacing around it in a different manner.

During a trip to Mexico, painter Eva Nielsen and sculptor Marion Verboom, explored Mexican, Mayan and Aztec architecture, both vernacular and contemporary. Nielsen and Verboom are interested in the organic aspect of these architectures invoking hidden worlds that seem to reappear on the surface of the world. Inspired by Luis Barragán and his architecture, a symbol of the blend of modern architecture and Mexican culture, the exhibition affirms the power of these visions of the world by mixing multiple cultures hardly present in the founding myths. Between naturalism, stylization and geometrization, a history of past and future forms is at stake, that of the ruins of a civilization that has been or is yet to come.

?One Thing Plus Another Thing or One Thing Minus Another Thing.
That?s How Stories Begin.?
(Quoted from: ?Le Rapport Darty?, Jean-Luc Godard & Anne-Marie Mie?ville, 1989)

Helena Almeida
Katinka Bock
Pavel Büchler
Heman Chong
Julien Crépieux
Angela Detanico & Rafael Lain
Jason Dodge
Omer Fast
Laëtitia Badaut Haussmann
Christopher Knowles
Dominique Petitgand
Amalia Pica
Jimmy Robert
Yann Sérandour
Ian Whittlesea

Curated by: Chris Bestebreurtje, Petra Kuipers and Sam Steverlynck

The Inhabitants of Colosseum
Performance, sound sculpture
27 July 2018, 8 pm
Colosseum, Stone Bridge 

The Inhabitants of Colosseum
Installation, 2018
Städtische Galerie im Leeren Beutel

The exhibition Yesterday, Today, Today at Art Space Schloss Buchberg near Gars am Kamp is a joint project by the collectors Gertraud and Dieter Bogner and mumok. We present works inside and outside by eight artists that enter into dialog with the historical architecture and the surrounding landscape and thereby set off an inspiring interplay between history and present, yesterday and today.
The Bogners have been using this originally medieval castle since the 1970s as a dynamic stage for the exploration of contemporary art. References to architecture and to abstract forms and an interest in works that take an analytical approach to language and new media technologies have always been key elements in the Bogners? collecting philosophy. These themes and this diversity of media are the basis of this exhibition, which runs against traditional delineations between art genres and the conventional contrasts between past and present. By bridging different periods, the works on show also present the coexistence of abstract forms and concrete contents and of aesthetic structures and real situations.

This exhibition marks the beginning of a longer series of exhibitions with artistic positions that stand up for a diverse society and against illiberal tendencies?in Austria, in Europe and beyond.

Initially, works by visual artists will be shown and discussed that deal with present anti-fascist struggles, the preservation of basic democratic rights and social orders beyond the concept of nations.

With a keen sense for drawing and for use of materials, Anna Zvyagintseva captures traces of daily life, encounters, coincidences or autobiographical facts in her sculptures, drawings and film works. Ukrainian artist Nikita Kadan uses his artworks to compel us to think about the manipulations of history that occur in modern political and historical discourses. 

The exhibition attempts to respond to the current debate in Poland and around the world on the ?crisis of Enlightenment values.? To what extent is the crisis something new and self-contained, and to what extent is it inherent in the internal dynamics of the Enlightenment? The issue of the Enlightenment is always an issue of the here and now: any understanding of today?s reality without drawing on the sources of modernity will always be incomplete. This is clearly evident in the Polish context, where discussions and conflicts over the approach to modernity, and the role of religion and tradition, the significance of what is public and shared, have remained unresolved since the days of Stanis?aw August, but continue to drive thinking about a better future.

Screening of the video "Philippe".

In the third chapter Variations on Time, Karma Ltd. Extended presents the work of female artists who deal with non-anthropocentric, organic tenses and question the traditional time patterns. By providing access to forms of knowledge and understandings that the dominant linear and anthropocentric time culture suppresses, they invite us to imagine different ways of interspecies co-existence and counter-narratives.

Working with sound, film, performance, and objects, Kapwani Kiwanga (born in Canada, based in Paris) relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. Her work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories. Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, creating speculative dossiers from future civilizations to reflect on the impact of historical events. In the series Subduction Studies (2015-2017), Kiwanga observes the space between Earth's continents, specifically Africa and Europe. The speculation of Pangaea Ultima suggests a supercontinent occurring again, which will see Europe slipping underneath Africa.

Kiwanga is the winner of the 2018 Frieze Artist Award. Her work has been shown at the Hammer Museum (Los Angeles, 2018), Tate Liverpool (2017) and Portikus (Frankfurt, 2017), among others. Kiwanga’s performances have been presented at Documenta 14 (Athens, 2017), Momentum 9 (Oslo, 2017), Tate Modern (London, 2014) and Centre Pompidou (Paris, 2014), among others.

The project "Babi Badalov & LOBSTERREALISM" consists of two independent exhibitions and is devoted to the problem of inner freedom and the spirit of nonconformism, which are fundamental components for a modern artist who professes the practice of art as personal life creation. This experience we inherit from the history of contemporary art, which is saturated with practices of artistic characters and masks alter ego (from Marcel Duchamp to Andy Warhol), allowing to explore the boundaries of their own "role" and point out the stagnation of the foundations of conservative morality, not keeping up with the changes in time. In modern times, we recognize this line of development as a reaction to intensive European migration, the processes of mixing cultures and traditions, and at the same time, the search for identity and a feeling  of a unique autonomous individuality. An important symptom is the increasing variability of gender and social roles.

Gandy gallery is pleased to announce the opening of the international group show which will be a new edition of the exhibition project Migration of Energies which was held in 2006 in Gandy gallery in Bratislava. The second part of this international exhibition will present works of fourteen artists or artistic groups who come from different countries and who work with different kind of media. What brings them together is the subject-matter of the show which will be more focused on the issues of the ecology, as well as the transcendental within the topic of the migration.

To celebrate its third anniversary, the Richard Taittinger Gallery is pleased to present a unique vision of monochrome through a selection of works from the past 60 years in the exhibition "UNTITLED (MONOCHROME), 1957-2017".
The exhibition explores different artistic experiences through monochrome works by American and international artists. Among them, Ellsworth Kelly, one of the most radically abstract painters, Nassos Daphnis, Marcia Hafif, Joseph Marioni, Allan McCollum, Steven Parrino, Stephen Prina.
Their works dialogue with European masters such as Bernard Aubertin, Enrico Castellani, Yves Klein, Walter Leblanc, Piero Manzoni, Guy Mees, Olivier Mosset, Aurélie Nemours, Turi Simeti, Kees Visser and Marthe Wéry.
The exhibition also looks at research and works by other international artists such as Alan Charlton, Henry Codax, Claudia Comte, Edith Dekyndt, Will Kerr, Lab-au, Teresa Margolles, Navid Nuur, Fabrice Samyn, Peter Scott and Morgane Tschiember.

Created in 1998 and endowed with 55 000?, the Aurstrian Price for Architecture and Art Firedrich Kiesler has already been decerned to American artists like Frank O. Gehry, Bruce Nauman or to the Danish, Olafur Eliason. Yona Friedman has been awarded for his "visionary work and his impact on the profession" stated the Austrian government.

Kapwani Kiwanga is the winner of the Frieze Artist Award, a major opportunity for an emerging artist launching at Frieze New York 2018. The artist will realize an open-air installation in Randall?s Island Park, for the Frieze New-York art fair in may of 2018.

Stories of Almost Everyone is an exhibition about the willingness to believe the stories that are conveyed by works of contemporary art.

Museum of Contemporary Art, Zagreb, presents with I AM THE MOUTH, works from Art Collection Telekom. The corporate Art Collection Telekom was initiated by Deutsche Telekom in 2010 and comprises today of some 200 art works by about 60 artists from around 15 countries. The collection has a clear focus on contemporary art from Central and Eastern European countries.
The title of the exhibition I AM THE MOUTH is from a video work by Polish artist Agnieszka Polska. It expresses the characteristic qualities of contemporary art from a region in Europe, which is searching for identity in the global context. These voices are looking for new social and political structures, for a democratic and civic exchange by balancing opposing ideas and interests.

Politics refugees, poetic refugees
Visual poetry and performance of the artist.
Exhibition of collages, paintings and textiles exploring the limits of language, testifies to the artist's exile and experience between several languages and cultures.

Georges Tony Stoll, L'Actualité des Galeries, L'Oeil #706, november 2017

Text by Eric de Chassey, Artpress n°449, november 2017

Magali Lesauvage, Journal des Arts, n°488, from 3 to 16 november 2017

With Maxime Bondu & Daniel Zamarbide & Leopold Banchini, Laurence Favre Gaël Grivet Severin Guelpa Valentin Lunik & Guillaume de Morsier Laurence Piaget Camille Villetard-Matthieu & Barbezat et Sabine Zaalene.

Sculptural intervention in Cultural Center of Merksem

With Ammar Abo Bakr, Etel Adnan, Mustapha Akrim, L'Atlas, Fayçal Baghriche, Khaled Ben Slimane, Mounir Fatmi, Parastou Forouhar, Heather Hansen, Rachid Koraïchi, Nja Mahdaoui, Hassan Massoudy, Mari Minato, Bahman Panahi, Sara Ouhaddou, Hossein Valamanesh and Bernar Venet

In 2017, the biennial theme New Literacy will explore how the fourth industrial revolution is transforming the way we live, work, dream, and play. The theme is studied by a variety of exhibitions and programs, including the Main project, Artist-in-Residence program, Research project, Special projects, Parallel program, as well as research and education programs and events of the biennial University. 

Curator of the Main project João Ribas has suggested the guiding themes of ?image as witness," "the choreographies of capital,? and ?the persistence of the word.? The 4th industrial revolution is being shaped by new literacies around images, movements, and languages. All industrial revolutions transform our relation to space and time, as well as work and play. Today most of us walk around every day with an immense archive of images in our pockets; the changing nature of work, and the movement of the body, both individual and collective, defines a kind of choreography; language is adapting once again to this new revolution. 

The work of the Antwerp artist Wesley Meuris (1977) examines in depth the presentation systems which occupy exhibition spaces. This is how he has built, like a craftsman, museum and zoological furniture. However, these stereotyped structures are empty, and clearly will remain so. An object ordinarily intended to show is now something to be looked at and is straightway transformed into a sculptural object. A conceptual task covering the monstration processes which recalls the inheritance of Marcel Broodthaers who had already, with his Musée d?Art Moderne Département des Aigles, raised similar concerns in 1968.
For our exhibition Wesley Meuris creates new sculptures and collages.

The Or Gallery is a non-profit, artist-run centre in Vancouver, Canada, with a focus on contemporary, conceptual practices. Since its inception in 1983, the Or Gallery has acted as a space for research, conceptual experimentation and documentation. The exhibition Kapwani Kiwanga: Flowers for Africa is scheduled for September 9 ? October 14, 2017 with an opening reception on Friday, September 8, 2017.

Kapwani Kiwanga?s ongoing series, Flowers for Africa,is a conceptual project that questions the material from which history is understood and imaged. Starting with research into visual archives relating to decolonization, Kiwanga located archival photographs that pictured different flower arrangements used in ceremonies or events related to the independence of African countries. She then took these images to a local florist and worked with them to recreate the bouquets found in the photographs, as closely as possible using available flowers. The fresh arrangements are then displayed in the exhibition and left to wilt over the duration of the show, just as memory might fade over time.

For the exhibition at the Or Gallery, we will recreate all of the works to date in Kiwanga?s Flowers for Africa series. These works exist in the form of a protocol; each time they are exhibited the organizing institution recreates the artworks. This exhibition is organized by artist and writer, Kathleen Ritter, and accompanied by a conversation between Ritter and Kiwanga on the use of archival research in contemporary cultural production. A publication will be produced after the exhibition.

Working with sound, film, performance, and objects, Kiwanga relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. Her work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories. Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, telling Afrofuturist stories and creating speculative dossiers from future civilizations to reflect on the impact of historical events.

Kiwanga was born in 1978 in Hamilton Canada and lives in Paris, France. She graduated from McGill University, Canada with a degree in Anthropology and Comparative Religions. She has been artist-in-residence at L?Ecole National Supérieure des Beaux-arts, Paris. Le Fresnoy: National Contemporary Art Studio (France); MU Foundation, Eindhoven (Netherlands); Le Manège, Dakar, Senegal. She has exhibited her works internationally and her film and video works have been nominated for two BAFTAs and have received awards at international film festivals.

Patrick Beaulieu, Vincent Chevillon, Eric Giraudet de Boudemange, Raphaëlle de Groot, Kapwani Kiwanga,
Nadia Myre, Eléonore Saintagnan, Sébastien Rémy et Cyril Verde.

Curator: Ann Stouvenel

Everything begins with a journey, from the idea itself to the physical displacement. From oceans crossed to populations encountered, from a simple click on send to treading on well-worn paths, globe-trotting artists are full of wonderful tales. These stories recall fortuitous discoveries made on stopovers, here and there, somewhere in our global and post-digital world. Curiosity leads to the collection of information from those who are most willing to share it. The transfer of these stories, from their point of origin to here, is led by these great travellers who navigate the depths that sublimate reality. Artists immerse themselves in these depths. From their chosen raw materials, they collect, cut, assemble, divert, re-appropriate, and create relationships. They have returned with unique beliefs and customs, memories of a history marked by the collateral damage of modernism, the feedback of the journey itself, and moments of reverie. Back home again, distance is re-established and opens the door to other worlds, revealed, questioned, mystified, re-enchanted.The works on view here have been specifically produced or recreated for this exhibition context.

Ann Stouvenel / Translation Jo-Anne Balcaen

Dans l'atelier de la Mission photographique de la Datar

Dominique Auerbacher (1955), Gabriele Basilico (1944-2013), Alain Ceccaroli (1945), Despatin (1949) & Gobeli (1949), Robert Doisneau (1912-1994), Tom Drahos (1947), Pierre de Fenoyl (1945-1987), Jean-Louis Garnell (1954), Albert Giordan (1943), François Hers (1943), Josef Koudelka (1938), Christian Milovanoff (1948), Sophie Ristelhueber (1949), Holger Trulzsch (1939)

The work of the Antwerp artist Wesley Meuris (1977) examines in depth the presentation systems which occupy exhibition spaces. This is how he has built, like a craftsman, museum and zoological furniture. However, these stereotyped structures are empty, and clearly will remain so. An object ordinarily intended to show is now something to be looked at and is straightway transformed into a sculptural object. A conceptual task covering the monstration processes which recalls the inheritance of Marcel Broodthaers who had already, with his Musée d'Art Moderne Département des Aigles, raised similar concerns in 1968. For the exhibition devoted to him at the MAC's, Wesley Meuris is presenting, as empty vivariums, three «cages», as well as a monumental installation which questions the spectator on his method of perceiving the exhibition area.

The exhibition, born out of the collaboration with the Power Station of Art in Shanghai presents the intense and conflictual relationship between the Utopian dimension of design and its realization through the work of Yona Friedman.

The theory of mobile architecture, conceived by Friedman in 1950s, called into question the Modernist vision whereby the inhabitants are required to adapt to a building and not the reverse: through models, drawings and installations the exhibition recounts the development of this theory while at the same time exploring the theme of improvisation as a ?possibility? in the world of architecture, as theorised by Friedman from the 1970s.

A Handful of Dust is a speculative history of the 20th century, tracing a visual journey through the imagery of dust from aerial reconnaissance, wartime destruction and natural disasters to urban decay, domestic dirt and forensics.

The exhibition features works by over 30 artists and photographers including Marcel Duchamp, Walker Evans, Robert Filliou, Mona Kuhn, Man Ray, Gerhard Richter, Sophie Ristelhueber, Aaron Siskind, Shomei Tomatsu, Jeff Wall and Nick Waplington alongside magazine spreads, press photos, postcards and film clips.

Conceived by writer and curator David Campany, the exhibition takes as a starting point the 1920 photograph taken by American artist Man Ray of Marcel Duchamp?s work in progress The Large Glass (1915?23) deliberately left to gather dust in his New York studio. First published in André Breton?s seminal Surrealist journal, Littérature in 1922 and captioned as a ?view from an aeroplane? by Man Ray, the photograph went on to appear in various journals, books and magazines, cropped and  contextualized differently each time, before the image was formally titled Élevage de poussière (Dust Breeding) (1920) in 1964.

Event :

Sophie Ristelhueber

In conversation with David Campany

16h / Kapwani Kiwanga - conférence-performance / 26 min

Béatrice Balcou, Marcelline Delbecq & Ellie Ga, Ben Evans & Luís Miguel Félix, Ricardo Jacinto, Kapwani Kiwanga, Anouchka Oler, Catarina de Oliveira, Onze Heures Onze Orchestra, Pétrel | Roumagnac (duo), Projecto Teatral

With: Natalie Czech; Kapwani Kiwanga
Episodes by: Chiara Camoni, Douglas Coupland, David Horvitz, Bruno Munari, Ettore Sottsass Jr.

Flowers are Documents ? Arrangement I and II gathers and juxtaposes the positions of various artists whose ongoing interest in the subject of flower arrangement opens out into investigations of several parallel fields of research.

Drawing on this traditional ?theme? in painting and responding to the landscape of the South Tyrol with its rooted and blooming floricultural industry, the exhibition proposes practices that focus on and problematize notions of decoration and ornament, the ephemeral and the marginal.
Bouquets and ikebana become agents that make it possible to move alongside historical events and extreme presents so as to address issues like decolonization, legality, cultural identity and placemaking. At the same time they question what a document is by offering oblique ways of understanding both the nature of ?the exhibit? and the act of exhibiting itself.

As consecutive seasons, the two chapters Arrangement I and Arrangement II unfold around real flower compositions by four artists as an accumulation in space. Four new commissions are accompanied and supported by ?episodes? conceived by other artists, designers and writers: vases, books, videos and exhibition projects. By changing the configurations of the works, the successive arrangements intertwine the ?event? of blossoming with the process of ageing so as to stress the time-based nature of the ?matter?

Show Me Your Archive and I Will Tell You Who is in Power combines an exhibition with a public program of lectures, panel discussions, performances and screenings to present stories from the history of feminist struggle. Issues of race, gender and class are covered from a so-called intersectional perspective, an approach that works to bring to the fore the combinations of discriminatory practices and the dynamics they engender. The project’s title refers to the 2009 lecture of the same name by Gloria Wekker, renowned Surinamese-Dutch scholar with an established reputation within the transnational and Black European feminist discourse.

Show Me Your Archive and I Will Tell You Who is in Power wishes to extend its scope beyond Western, white feminism and to trace the beginnings of a transnational and intersectional perspective in Belgian feminism and beyond. The project’s starting point was the Ghent Royal Academy of Fine Arts and its first (and thus far sole) female head Chantal De Smet, who held the position from 1989 to 1996. In the early 1970s, De Smet was a central character in the Ghent Dolle Minas, one of the first initiatives of the second feminist wave in Flanders. She was also one of the driving forces behind the Belgian Angela Davis Committee.

It was the second feminist wave that pushed the United Nations to taking measures to improve the position of women, resulting in the UN declaring the period 1976-1985 the decade of the woman and the organisation of women’s conferences in Mexico City (1975), Copenhagen (1980) and Nairobi (1985). FORUM ’85, the alternative conference of women’s movements and non-governmental organizations taking place alongside the official UN conference in Nairobi was a key moment in the history of transnational feminism. Attended by 14,000 women, activists and feminists from mainly non-Western countries, it was the first occasion of that scale to stage worldwide encounters and exchanges of ideas.

Documents from public archives that provide insight in these historical and local contexts make up the backbone of the exhibition. In addition, visual artists Marwa Arsanios, Saddie Choua, Amandine Gay, Kapwani Kiwanga, Ato Malinda, Eva Olthof and collective Study Group for Solidarity and TransActions were invited to make new work, connecting with these archives and themes and approach them from a postcolonial, transnational or politically emancipatory context. They offer new critical perspectives on history and in turn help to shape the guise of another new wave of feminism.

The public program wishes to think about how feminism can radically rethink notions such as class, gender and race from a postcolonial perspective. The program starts with a screening of Françoise Dasques’ film La conférence des femmes – Naïrobi (1985) about FORUM ’85, followed by a conversation between Paola Bacchetta (professor of Gender and Women’s Studies, University of California, Berkeley) and French political scientist Françoise Vergès.

Show Me Your Archive and I Will Tell You Who is in Power is organized by KIOSK and KASK / School of Arts Ghent in the context of The Uses of Art – The Legacy of 1848 and 1989, a project initiated by the museum confederation L’Internationale with the support of the Culture Programme of the European Union. The project is curated by Nataša Petrešin-Bachelez, Wim Waelput and assistant curator Rachelle Dufour.

In cooperation with Amsab-
ISG, AVG-Carhif and Sophia asbl/vzw.

Video projection P#13 Shanghai and P#09 Chicago.

With :

Charlotte Barry, Jérémy Berton, Antoine Carbonne, Pierre Daniel, Paul Duncombe, Julien Fargetton, Antonin Gerson, Charlotte Gigan, Aurélie Gravelat, Hell'o, Romuald Jandolo, Chloé Jarry, Anto Kre, Jean Lain, Céline Lambert, Adrien Lefebvre, David Leleu, Hugues Loinard, Aurélien Maillard, Bérénice Merlet, Hélène Moreau, Armand Morin, Nylso, Benjamin Ottoz, Mahé Rigoll, Pia Rondé & Fabien Saleil, Ernesto Sartori, Security Check Required.

A smooth aquatic road movie. The story of a coincidence in the shape of a Rorschach test. Shot on the Canal du Midi. Based on a true story.

Karina Bisch
Elvire Bonduelle
CARISSA
Cats Hats Gown
CORIOLIS SOUNDS
François Curlet
Cédrick Eymenier
GENERAL IDEA
LAPIN-CANARD
Mathieu Mercier
RAYDA
SYNDICAT
Le Bureau des Tropicool
Florian Viel
We Are The Painters
WE DO NOT WORK ALONE

Utopia/Dystopia is the first "manifesto exhibition" at MAAT?s new building. Establishing a dialogue with the site-specific commissions at the museum's Oval Gallery, these group shows present side by side works of artists and architects who, in their respective fields, have produced insights and critical reflections on crucial themes of our times.

Echoing the 500th anniversary of Thomas More's Utopia, the show reveals how the dichotomy between utopia and dystopia reflects a time of paradoxical acceleration, where anxiety and optimism collide. Today, technological developments stimulate expectations of enhanced connectivity and a better quality of life. However, cyclical crises also constantly disturb the social, political and ecological spheres. With utopian and dystopian narratives typically emerging in such troubled periods, artists and architects, writers or filmmakers are crucial in proposing contradictions and proposing illuminating new possibilities. Encompassing a wide range of ideas, from a profound reflexion on the downfall of Modernism to the current political scene, Utopia/Dystopia promotes a dialogue between more than 60 artworks and projects that present unique views on the subject since the early 1970s.

Alexander Brodsky & Ilya Utkin, Mathis Altmann, Filipe Alves, Andreas Angelidakis, Archigram, Archizoom, Timo Arnall, åyr, Kader Attia, Pedro Bandeira, Pedro Barateiro, Olivo Barbieri, James Beckett, Berdaguer & Péjus, Alain Bublex, Jordi Colomer, Robert Darroll, Inês Dantas, Tacita Dean, DIS, Diogo Evangelista, Inci Eviner, Didier Faustino, Cao Fei, Ângela Ferreira, Yona Friedman, Cyprien Gaillard, Pierre-Jean Giloux, Clara Ianni, Renaud Jerez, Gonçalo Mabunda, Michael MacGarry, Luca Martinucci, Office em colaboração com / in collaboration with Dogma, Olalekan Jeyifous, OMA, Miguel Palma, Pedro Portugal, William Powhida, Tabor Robak, André Romão, Aldo Rossi, Jonas Staal, Beniamino Servino, Michael E. Smith, Superstudio, Ryan Trecartin, Nasan Tur, WAI Think Tank, Wolfgang Tillmans, Lebbeus Woods.

Patrick Javault invites Kapwani Kiwanga, artist, and Oulimata Gueye, curator.

To Make Art to Take Clothes Off is a specific project of Babi Badalov for MUSAC, and his first solo exhibition in Spain.

Born in 1959 in Lerik (Azerbaïdjan), Babi Badalov lives and works in Paris. Language is the core material of his work. Through language, the artist explores contemporary geo-political situations drawing on personnal experiences. His migrations from and to former USSR, USA, Europe, minor Asia and the Middle-East are rooted in his pictural and graphic art, an ornemental poetry which gives to read and to see the cultural, historical, ideological overlappings of our globalised world.

"Variable Dimensions" is a descriptive term commonly used in captions of artworks, especially in the field of contemporary art, but rarely used in the field of architecture, where dimensions are used for construction and hence naturally pre-defined. This exhibit suggests a fresh look on this difference and reinvents dialogues around the relationship between
artists and architecture.

With :

Absalon, Saâdane Afif, Francis Alÿs, Nazgol Ansarinia, Giovanni Anselmo, Juan Araujo, Farah Atassi, John Baldessari, Thomas Bayrle, Pierre Besson, Julien Bismuth, Mel Bochner, Nathalie Brevet_Hughes Rochette, stanley brouwn, Carlos Bunga, Pedro Cabrita Reis, James Casebere, David Claerbout, Abraham Cruzvillegas, Thomas Demand, Denicolai & Provoost, Peter Downsbrough, Olafur Eliasson, Cevdet Erek, Larissa Fassler, Hans-Peter Feldmann, Jean-Pascal Flavien, Zachary Formwalt, Peter Friedl, Carlos Garaicoa, Isa Genzken, Liam Gillick, Dan Graham, Pierre Huyghe, Bertrand Lamarche, Gordon Matta-Clark, Rita McBride, Jorge Méndez Blake, Matt Mullican, Bruce Nauman, Olaf Nicolai, Daniela Ortiz, Alexandre Périgot, Charlotte Posenenske, Evariste Richer, Thomas Ruff, Ed Ruscha, Julião Sarmento, Rirkrit Tiravanija, Rui Toscano, Lawrence Weiner, Erwin Wurm.

The exhibition Burdened landscape: from Kiefer to Ristelhueber shows how artists can transform the traces of war and conflict into a metaphor for humanity.

Auschwitz, Lampedusa and Aleppo, these places are seared into our collective consciousness. History has also left its mark in art. For Anselm Kiefer, all of Germany as a landscape is contaminated. The exhibition includes his work Bilder-Streit. Using his characteristic materials such as linoleum, oil paints, sand and jute, he expresses his need for a new German identity. Where Kiefer depicts a quest, Sophie Ristelhueber literally records the traces of conflict. Her work Fait portrays the almost serene remains of the first Gulf War in Kuwait.

Curated by Julie Crenn


Kwame Akoto / Almighty God / Pilar Albarracin / Elodie Antoine / Pierre Ardouvin / Marion Auburtin & Benjamin L. Aman / Omar Ba / Enrico Baj / Rina Banerjee / Raphael Barontini / Zoulikha Bouabdellah / Thérèse Bonnelalbay / Anne Brégeaut / Bernard Buffet / Marcos Carrasquer / Henri Darger / Hélène Delprat / Mathilde Denize / Dewar & Gicquel / Hervé Di Rosa / Jean Dubuffet / Christelle Familiari / Richard Fauguet / Harald Fernagu / Aurélie Ferruel & Florentine Guédon / Charles Fréger / Vidya Gastaldon / Romuald Hazoumé / Hessie / Hippolyte Hentgen / David Hockney / Benoit Huot / Lydie Jean-Dit-Pannel / Milan Kunc / Yayoi Kusama / Carlos Kusnir / Charles Lapicque / Francisco Larios / Léa Le Bricomte / Mélanie Lecointe / Fernand Léger / Eugène Leroy / Natacha Lesueur / Aurélie William Levaux / Pascal Lièvre / Myriam Mechita / Elena Moaty / Pierre Molinier / Lucien Murat / Hassan Musa / Otobong Nkanga / ORLAN / Régis Perray / Guillaume Pinard / Agathe Pitié / Raphaëlle Ricol / Athi Patra Ruga / Lionel Sabatté / Peter Saul / Judith Scott / Sarah Tschann / Sarah Tritz / Willem Van Genk / Alan Vega / Erwan Venn / Marion Verboom / Adrien Vermont / Jean-Luc Verna / Gretel Weyer / Maria Jeona Zoleta / Unica Zurn.

Les 28 et 29 janvier 2017, une assemblée d'écrivains, poètes, artistes, intellectuels, juristes, politologues, migrants, oeuvrera à l'écriture collective d'une Constituante pour un peuple qui manque.

Dans le cadre du Festival Hors Pistes 12ème édition (25 janvier au 12 février 2017).

Grande salle du Centre Georges-Pompidou de 14h à 21h.

CURATOR: CAROLIN KÖCHLING

Kapwani Kiwanga's artistic approach is grounded in her anthropological background. Historical facts, fictional, magical and supernatural elements are interwoven in Kiwanga's research-based projects. In her lecture-performance Afrogalactica: A brief history of the future (2012-ongoing) she takes on the role of a fictional anthropologist to speculate on the future, investigating Afrofuturism as a means to examine the past from an African or African disaporic subjectivity.

Born in Hamilton, Canada and based in Paris, Kapwani Kiwanga produces works across installation, performance, and video that marry her training in anthropology and comparative religions with her interests in history, memory, and mythology. Presenting rigorous research in imaginative ways, Kiwanga intentionally confuses truth and fiction in her work in order to enable fantastical narratives.

For her first solo exhibition in the United States, Kiwanga presents a site-specific installation, video, and prints that draw on the artist's research into the design of institutional spaces, including materials found in the University of Chicago's Special Collections Library. Across the elements of Kapwani Kiwanga: The sum and its parts, Kiwanga deconstructs the physical and psychological qualities of different built environments including schools, prisons, hospitals, and mental health facilities. In the main gallery, Kiwanga brings together architectural elements from historical and contemporary versions of these spaces including wall sections, lighting fixtures, and surface treatments creating a spatial collage that escapes the sum of its fragments. For these works, Kiwanga has drawn from her extensive research into disciplinary architectures throughout time, extracting specific details from the designs of late 19th century workhouses and reformatory schools in Britain and France respectively.

A distinctive feature of the exhibition is the artist's transposition of two-tone color palettes, often used in the interiors of institutional spaces, onto the gallery walls. Social hygiene movements and hospital reforms at the turn of the 20th century inform the artist's selection of colors as well as the work of Chicago-born color consultant and color theorist Faber Birren. A student in the College at UChicago in the early 1920's, Birren later established a consulting company, advising on the use of color in industry and the workplace. Drawing from color design studies by Faber Birren and Company held at the University of Chicago's Special Collections Library, Kiwanga thereby recalls the application of color theory to the conditions of work, learning, surveillance, healing, and care. Also on view is a selection of prints that reproduce images from Birren's archive and a new film A primer that delves deeper into the spatial histories of different building typologies. The new commissioned film A primer is co-produced by Logan Center Exhibitions, University of Chicago and The Power Plant, Toronto.

The title of the coming edition of flagship exhibition project of the Pune Biennale is based on a wordplay between "Habit" and "Cohabit". By attaching the suffix "co" before "habit" a rather alternate meaning is obtained. A habit, or ritual, is literally turned into something else, suggesting a transformation in our own behaviour: we get of rid of our habits to start a cohabitation, to live with someone else, to share our living condition with the other, with another.

Cohabitation suggests the politics of living arrangements, from being arbitrarily denied spaces to rent, to the street and the politics of sleep. The city of Pune, economically and culturally a leading city in the state of Maharashtra, is one of the fastest growing cities in India and its growth is a factor of attraction for workers, professionals, students, and migrants from India as well as from East-Asia, the Middle-East and Africa. Pune becomes an interesting place to host a reflection on the potentialities, repercussions and consequences of such a movement of people and the development of Asian cities in the present time. At the same time, Pune's local situation can allude to a wider reality of, certainly more dramatic, migratory movements that are taking place in other parts of the world and the subsequent struggles for cohabitation.

The exhibition Habit-co-Habit aims to present different forms in which artists reflect on topics such as migration, cohabitation, adaptation, and assimilation.

Portikus is pleased to present the exhibition House of Commons with works by younger and internationally established artists. Throughout its duration, House of Commons changes constantly and thus sees itself less as a static group exhibition than as a dynamic project. Art works will be added, swapped out, and rearranged weekly. Each of these presentations will be enhanced by discussions of the works, film screenings, and performances. The exhibition is kicked-off with the juxtaposition of only two works: Danh Vo?s sculpture WE THE PEOPLE (2011), a one-to-one replica of the Statue of Liberty in 225 fragments, of which Portikus shows a part of the foot, and Passer en Angleterre, Accès terminal transmanche, Calais, juillet 2007, a photograph by Bruno Serralongue that captures a moment of waiting in the lives of refugees on the French coast. Starting from this dual presentation, the exhibition continues to grow, and in subsequent chapters presents more photographs, paintings, sculptures, and video works.

House of Commons arose in response to the political events of recent months in Europe and the United States. A general change in mood can be sensed?events such as the Brexit referendum and the election of Donald Trump call into question the basis of democratic action and reveal the importance of constructive debate over different opinions and views. Against this backdrop, the exhibition presents both artistic works that deal explicitly with political or social issues as well as works dealing with more fundamental questions inherent in art itself. In this way, Portikus takes a political stance, argues through art, and using the simple gesture of juxtaposition, emphasizes the importance of dialogue and engagement with opposing opinions for our common coexistence.

Reading and installation of Grégory Buchert.

Curators : Marianne Derrien et Sarah Ihler-Meyer

Avec Marc Lenot, historien de l'art et auteur du blog Lunettes rouges, Juliana Borinski, photographe, et Denis Bernard, photographe et enseignant en design graphique.

Jeudi 24 novembre de 18h30 à 20h

2016 has marked the two hundred years of the sinking of the ship La Méduse. Stories of horror scenes, cannibalism and images of the end of the world were told by the survivors. This story, for the 21th century viewer, evokes a horror that has became almost banal in the contemporary world conveyed instantly by the press, internet and television. The cultural and aesthetic changes of the new century, subject of many fantasies and questions, suggest the impression of an era coming to an end. The imaginary world of the end of time or the violence visible through different mass medias take their place in a moment where threats (political, social or environmental) are nonetheless very real.

The anguish of the end is the topic of fictions in which artists take over, both for its eminently dramatic and for poetic possibilities it offers: Monira Al Qadiri composes a doomsday religious song, Rachel Rose rebuilds the history of art with a disaster, Deimantas Narkevicius revisits the story of the nuclear threat, Cédrick Eymenier suggests the end of a civilization, and Basma Alsharif mocks the violence of the images.

Presented by Loïc Le Gall & Olivier Zeitoun, following by a talk with Cédrick Eymenier.

with works by : Halldór Ásgeirsson, Art Orienté Objet, Basserode, Caroline Corbasson, Johan Creten, Philippe Deloison, Damien Deroubaix, Paul-Armand Gette, Evi Keller, Bertrand Lamarche, Julie Legrand, Sandra Lorenzi, Myriam Mechita, Jean-Michel Othoniel, Olivier Raud, Jean-Jacques Rullier, Lionel Sabatté, Elsa Sahal, Erik Samakh, Vladimir Skoda, Tunga.

curator : Pascal Pique & le musée de l'invisible

The sixth cycle of Prix Pictet will tour to Tokyo, Japan in October 2016, marking the second occasion on which the award has traveled to Tokyo. The exhibition, featuring the work of the twelve shortlisted photographers, amongst which Sophie Ristelhueber,of Prix Pictet Disorder, open from October 21st til 27th at BANK Gallery.

Opening on October 16, 2016.

On occasion of its grand opening, the Luigi Pecci Centre for Contemporary Art presents the inaugural exhibition The End of the World, curated by director Fabio Cavallucci in collaboration with an international team of advisors including Antonia Alampi, Luca Barni, Myriam Ben Salah, Marco Brizzi, Lorenzo Bruni, Jota Castro, Wlodek Goldkorn, Katia Krupennikova, Morad Montazami, Giulia Poli, Luisa Santacesaria, Monika Szewczyk and Pier Luigi Tazzi.

Including the work of over 50 international artists in an exhibit which will occupy a space of over 3,000 square metres, the exhibition encourages us to take an outsiders perspective on our current reality. Spectators will enter through the new wing of the museum, designed by Maurice Nio, and once inside will experience a feeling of being projected a few thousand light years away from the present to review our world as if it were geological eras from our current time.

This journey is made up of works by already established international artists and also those of younger, emerging artists, many of whom come from regions of strong contrast and conflict. Throughout the exhibition, various mediums and artistic expressions will be interconnected: music, theatre, cinema, architecture and dance, depicted not only through specific pieces but as integral moments of the show as a whole.

The End of the World will be accompanied by a series of conferences and debates which will develop the various themes explored in the exhibition, and will include scientific, philosophical and literary aspects; from more recent theories of physics to archaeological topics, and from science fiction to ecology and sustainability.

The exhibition will include works by: Adel Abdessemed, Jananne Al-Ani, Darren Almond, Aristide Antonas, Riccardo Arena, Kader Attia, Babi Badalov, Fayçal Baghriche, Francesco Bertelè, Rossella Biscotti, Björk, Umberto Boccioni, Cai Guo-Qiang, Julian Charrière and Julius Von Bismark, Ali Cherri, Ana Livia Cordeiro, Isabelle Cornaro, Hanne Darboven, Pippo Delbono, Marcel Duchamp, Marlene Dumas, Federico Fellini, Lucio Fontana, Carlos Garaicoa, Arash Hanaei, Camille Henrot, Thomas Hirschhorn, Joakim, Polina Kanis, Robert Ku mirowski, Andrey Kuzkin, Volodymyr Kuznetsov, Suzanne Lacy, Ahmed Mater, Boris Mikhailov, Henrique Oliveira, Lydia Ourahmane, Piotr Pavlevsky, Gianni Pettena, Pussy Riot, Józef Robakowski, Batoul Shimi, Fari Shams, Hiroshi Sugimoto, Emmanuel Van Der Auwera, Ekaterina Vasilyeva and Hanna Zubkova, Andy Warhol, Ingrid Wildi Merino, Andrzej Wróblewski, Aik Yakubovich, Qiu Zhijie, Istvan Zimmerman and Giovanna Amoroso, David Zink Yi.

Publisher : Christophe Lemaitre
Texts by : Christophe Lemaitre, Petra Lange-Berndt, Gregory Buchert, Le Bureau/, Paul-Hervé Parsy, Nathalie Leleu, Amelia Groom
Iconography/Pictures : Alexis Guillier
Layout : Spassky Fischer
ISBN : 9-782954-684284
Black and white + 1 color offset print
12,5 x 20cm, 224 pages
2 languages : French, english

Exhibition

Giovanni Bonfanti, Pier Paolo Pasolini, Dodici Dicembre, 1971. Courtesy Cineteca Bologna.

Gordon Matta-Clark, Fresh Kill, 1972. Courtesy Gallery David Zwirner et Electronic Arts Intermix.

Otolith Group, Communists Llike Us, 2006. Courtesy LUX.

Pier Paolo Pasolini, La Rabbia, 1963. Courtesy Minerva Pictures Group, Rome.

Société Réaliste, Universal Anthem, 2013. Courtesy Galerie Jérôme Poggi, Paris.

RUN, RUN, RUN, an exhibition about the concept of artist -run space, designed by twenty European structures and more than forty artists, transforming the Villa Arson in vast project of creation and experimentation. Project upon the 20th anniversary of La Station (Nice).

English version online soon !

Opening on September 24th, 2016 - Galerie haute

Artists : Lena Amuat & Zoë Meyer, Iván Argote, Bernard Aubertin, Elisabeth Ballet, Iain & Ingrid Baxter, Janos Ber, Anna-Eva Bergman, Nicolas Chardon, Claire Chesnier, Constant, Adrien Couvrat, Salvatore Emblema, Herbert Hamak, Donald Judd, Maude Maris, Marianne Mispelaëre, Vera Molnár, François Morellet, Gyan Panchal, Bruno Rousselot, Eva Taulois, Olivier Vadrot, Kees Visser.

 With the collaboration of Julien Griffit. Curated by Emile Ouroumov.

Group show with Lara Almarcegui, Darren Almond, Alice Anderson, Sylvaine Branellec, Mauro Ceolin, Claude Closky, Pierre Corroenne, Rodolphe Delaunay, Mark Dion, Cevdet Erek, Geert Goiris, Anne-Marie Jugnet et Alain Clairet, Sanna Kannisto, Jochen Lempert, Olivier Leroi, Wesley Meuris, Hugues Reip, Thomas Ruff, Batia Suter.

Opening reception: Friday, September 16, 6-10pm

For Larissa Fassler, observing, describing, and naming are strategies to make different realities visible, an approach she believes leads to a deeper understanding of a place, or that counters assumptions, blindness, or even refusals to see reality. For the past ten years, Fassler has been making map-drawing hybrids and objects of urban spaces that comfortably exist between models, sculptures, and relational actions. Her work is developed using a self-mapping exercise, walking, counting, and note taking, often charting the same territory multiple times, which generates a series of interpretations of the same space that differ in precision, dimensions, and proportions. These notations are then transcribed or modeled to activate each layer of architectural detail, advertising slogan, conversation, action, or census-like observations of highly complex public sites.

Curator : Clelia Cloussonnet

Artists : Alberto Baraya, Joscelyn Gardner, Sasha Huber & Petri Saarikko, Kapwani Kiwanga, Pia Rönicke, Beatriz Santiago Muñoz

The exhibition Botany under Influence investigates the economic and diplomatic implications of nature?s uses and exchange flows. In the colonial era, for instance, Western powers built their wealth looting human and natural resources; systematically appropriating or exporting workforce, plants and minerals. As an aftereffect, control over flora and seeds has become a symbol of national, political and food sovereignties.

Opening on September 5th, 2016

Anne Imhof, Clarisse Hahn, Clément Cogitore, Julien Crépieux, Louise Sartor, Marie Voignier, Mélanie Matranga and Will Benedict.

The Fondation d'entreprise Ricard will present its eighteenth annual prize this coming autumn, curated by Isabelle Cornaro.

The prize exhibition, featuring works by eight artists displayed in the Foundation's own premises and the adjoining cinema, highlights not only the diversity of artistic practices on the modern art scene but above all the prevalence of contemporary iconography drawing on images bearing some relation to current affairs or simply marked by the information circuit. The artists also share a fascination with the original context of the forms they work with and how they are transformed in and through the work of art. They can be said to share an interest in montage, both in the actual process of editing for instance, using framing devices to pin down bodily movements or retain only material essential to the narrative and as alterations to temporal continuity, questioning how narrative segments are arranged in succession. The works on display, whether films, static visual art, performances, or installations, are thus on the cusp between capturing movement and pinning it down, between representation and incarnation. In this sense, they meet a desire to create visual situations.

The 18th annual Fondation d'entreprise Ricard Award Ceremony
The Fondation d'entreprise Ricard Prize will be awarded on October 21, 2016. The jury members are art collectors, patrons of major contemporary art museums, and the curators of previous Fondation d'Entreprise Ricard Prize exhibitions. The prize consists of the purchase of a work by the winning artist, which is then donated to the Pompidou Centre where it is put on show in the permanent collection. The Fondation d'Entreprise Ricard also finances a personal project involving foreign travel for the winning artist.

Artistic director : Maria Lind

In light of the art sphere's focus on infrastructure in many parts of the world, in the treacherous terrains of existing public and private systems, art itself seems to be partly forgotten. At GB11, attention is directed to artworks and projects addressing the agency of art in terms of the question, what does art do?

A central part of this interest in the performative aspect of art is its projective and imaginative qualities art's active relationship to the future. Other concerns of GB11 include the mediation of art: art's embeddedness in various contexts and the potential of connecting dots between already existing activities and people near and far.

The eighth climate of the exhibition's title refers to a state one might reach using imaginative capacities. The notion of the eighth climate dates back to 12th century Persian mystic and philosopher Sohravardi, and was elaborated by 20th century French philosopher Henri Corbin. It is an addition to the seven physical climates of the earth identified by ancient Greek geographers. Unlike the seven earthly climates, the eighth climate is not based on a separation of matter and spirit, history and myth; rather, it is ontologically real and has concrete effects.

The eighth climate might well resonate with global warming. However, in the context of GB11, the eighth climate helps us explore art's capacity to say and do something about the future, without either being paralyzed by its prospects or defaulting to established technologies of prediction. The eighth climate evokes art as a seismograph, detecting change before other means of observation, whether the artists are conscious of it or not, allowing for slightly differents and perhaps ambiguous and conflictual perspectives on how art engages with what lies ahead of us. This neither implies art for art's sake nor a utilitarian approach.

While placing art center stage, GB11 is a constellation of various parts taking place throughout 2016. GB11 comprises Monthly Gatherings, the ongoing Infra-School, a group of national and international Biennale Fellows, the Forum, two publications and an exhibition which stretches from the Gwangju Biennale building to other venues and places in the city.

Monthly Gatherings is a series of informal gatherings in Gwangju, focusing on art and this city. A collaboration with art collective Mite-Ugro, and with participants such as local artists, students and other Gwangju residents as well as GB11 artists, the gatherings consist of The Mite-Ugro Art Book Collection, group readings, artists screenings, The Art Work in Focus and curated walks.

With Infra-School, GB11 connects its curatorial and artistic knowledge to the existing formal and informal educational institutions in Gwangju and beyond. Infra-School consists of lectures, presentations, group discussions and seminars by GB11 artists and curators as well as jointly organized conferences, colloquia and fora. Among the Infra-School associates are Chosun University, Hongik University, RAT School of ART, The New Centre, Seoul National University ? Asia Centre, and the Inter-Asia Biennale Forum.
The GB11 Biennale Fellows consist of roughly 100 small- and medium-scale art organizations across the world, whose work makes important contributions to the art of today, yet remains under the radar. Biennale Fellows will continue doing the important work they normally do, without GB11 being involved in their activities. In a two-day forum, Biennale Fellows, as well as their peers and colleagues, are invited to come together, share experiences and discuss the future of this kind of work, especially with regards to questions of value, continuity and scale.

The French Institute organizes several workshops about culture facing world's upheavals. Many participants will talk about the re-socialisation of public space by artists.

With Matthieu Bardiaux (director of the French Institute in Istanbul), Alban Corbier-Labasse (director of the French Institute in Casablanca), Jérôme Poggi and many others.

Welcome to Caveland! is a wandering, multifarious, multidisciplinary project by French director Philippe Quesne, a huge, exploded installation of episodes, images, small events and possible ways of seeing.

Like a travelling circus or a fairground attraction, Welcome to Caveland! treks from town to town seeking refuge in various places, where it marks the beginning of a programme.

At the Santarcangelo Festival, Welcome to Caveland! will present La nuit des taupes while also running Caveland Cineclub, a cinema programme on the theme of the underground and the invisible comprising a series of installations and performances to be held at various times and places in the Festival. At Piazza Ganganelli a number of elements along the path in Welcome to Caveland! will be staged, including traces of the project and its mutation from place to place, performance to performance, keeping the imaginary and image-creating marks of its transformation alive. Philippe Quesne's thrilling imagination and disconcerting visual world will mirror the atmospheres and panoramas of Santarcangelo 2016.

Sous le soleil exactement, Coucher de soleil et lever de rideau

Commissariat Eloïse Guénard
with works by Mathilde Barrio Nuevo, Nina Beier et Marie Lund, Dominique Blais, Caroline Corbasson, David Coste, Julien Creuzet, Nicolas Darrot, Edith Dekyndt, Simon Faithfull, Bertrand Lamarche, Paul Pouvreau, Lotty Rosenfeld, Jean-Claude Ruggirello, Sigudur Arni Sigurdsson.

>>> more information

"Les quatre expositions du mois : Anna-Eva Bergman en ses aubes abstraites"
Text by Emmanuelle Lequeux
Beaux Arts Magazine, July 2016

Curator : Raffaella Frascarelli

Artists: Giorgio Andreotta Calò, Meris Angioletti, Franc esco Arena, Kader Attia, Elisabetta Benassi, Daniel Buren, Loris Cecchini, Zhen Chen, Isabelle Cornaro, Michael Dean, Tomaso De Luca, Giulio Delvé, Maria Adele Del Vecchio, Gabriele De Santis, Flavio Favelli, Piero Golia, Petrit Halilaj, David Horvitz, Kapwani Kiwanga, Jannis Kounellis, Marko Lulic, Emiliano Maggi, Masbedo, Rosalind Nashashibi, Alessandro Piangiamore, Gianni Politi, Valerio Rocco Orlando, Michal Rovner, Marinella Senatore, Sissi, Pascale Marthine Tayou, Adrian Tranquilli, Guido van der Werve, Nico Vascellari, Tris Vonna Michell, Sislej Xhafa.

Peace Treaty is a project with an international scope which comprises a collection of exhibitions, contemporary artistic productions, publications, seminars and conferences on the representation of peace in the history of art, culture and law.

It starts with the emblematic figure of Franscisco de Vitoria, who was the the inspiration for the first international school of law - the School of Salamanca - in the 16th century, an era that was defined by the expulsion of Moors and Jews from the Iberian peninsula, the colonisation of America and wars against «heretics». It concludes with the series of peace agreements that emerged from the successive wars of the past century up until the present.

Peace Treaty analyses the relationship between war and peace to understand the symbolic transfers that occurred between both, with the goal of understanding the world and its laws not in order to submit to them, but to make them more hospitable.

In addition, the central exhibition 1516-2016: Peace treaties, which will be held in San Sebastian, is a project that will include seven exhibitions on historical events, a case study, and seven contemporary art productions in various areas such as Alzuza, Bayonne, Bilbao and Vitoria.

The offering also includes an educational plan which has been developed in collaboration with Tabakalera. The project publications will include three essays from art critics Susan Buck-Morss, George Didi-Huberman and Ángel González García, a collection of works from Archivo F.X.: Pure violence; as well as an encyclopaedic compendium with materials from the project.

After four years of research, which included the project's first instalment, 1813. Siege, burning and reconstruction of San Sebastian, an important legacy will result. This will include a series of material on the representation of the figure of «Peace», for both researchers and professionals, as well as aficionados and visitors.

June 17 > August 28, 2016

www.lapanacee.org

more information >>>

This project is involving research, a display, and public programs explores the subject of migration on Teesside and elsewhere, bringing together documents, artefacts and artworks made by Middlesbrough-based asylum seekers and refugees as well as British and international artists, scholars and activists.

Artists : George Afedzi Hughes, Pierre-Louis Baron, Gracia Barrios, Chris Beas, Beni Bischof, Guillaume Bresson, Frédéric Bruly Bouabré, Daniel Buren, Jacques Callot, Chéri Chérin, Claude Closky, Nicola Costantino, Wim Delvoye, Gabriele De Santis, Gérard Deschamps, Omar Victor Diop, Fahd El Jaoudi, Dario Escobar, Richard Fauguet, Patrick Guns, Andreas Gursky, Fabrice Hyber, Khaled Jarrar, David LaChapelle, Lola Lasurt, Thomas Lélu, Stephen Loye, Nøne Futbol Club, Présence Panchounette, Laurent Perbos, Gérard Quenum, Alain Séchas, Juergen Teller, Jean Terry, Georges Tony Stoll, André Trèves, Sturtevant, Iris Van Dongen, Kehinde Wiley.

Curator : Jean-Max Colard

Curator : Chris Sharp

A Change of Heart is an exhibition all about flowers. Directly addressing a subject matter that has always been historically marginalized as a subgenre, seen as little more than the byproduct of a charming amateurism, and minor art making, A Change of Heart embraces the floral still life in all its formal, symbolic, political and aesthetic heterogeneity. The exhibition seeks to mobilize and put into dialogue a radical and even dizzying diversity of approaches, including the queer, the decorative, the scientific, the euphemistic, the memento mori, the painterly, the deliberately amateur and minor as a position, and much more. To this end, the exhibition combines a broad selection of recent historical works
starting from the ‘60s and the following decades up to a selection of emerging positions which address the floral each in their own way. At once quaint and absurd, the exhibition intends to touch, provoke and overwhelm through the concentrated and manifold complexity of its singular and timeless subject matter. The exhibition will be accompanied by a print handout of selected floral poem.

Curator : Émile Ouroumov with Catherine Pavlovic

With : Mathieu Kleyebe Abonnenc, Lawrence Abu Hamdan, Zbynek Baladrán, Eric Baudelaire, Julien Bismuth, Maxime Bondu, Anetta Mona Chisa & Lucia Tká ová, Nemanja Cvijanovic, Loreto Martínez Troncoso, Roman Ondák, Christodoulos Panayiotou, Sébastien Rémy, Matthieu Saladin, Charlotte Seidel, Remco Torenbosch,  Cyril Verde, Marie Voignier, Lois Weinberger, Carla Zaccagnini, H.A. Schwartz, Eichstaedt, Kern, Dziurzynski, Ramones, Agrawal, Shah, Kosinski, Stillwell, Seligman, Ungar.

Curator : Sandra Patron

Artists : Xavier Antin, Thomas Bayrle, Katinka Bock, documentation céline duval, Jimmie Durham, John Giorno, Andy Goldsworthy, Carsten Höller, João Maria Gusmão + Pedro Paiva, Mike Kelley, Alison Knowles, Katinka Lampe, Guillaume Leblon, Allan McCollum, Adrien Missika, Joan Mitchell, Matt Mullican, Dieter Roth, Georges Tony Stoll, Gérard Traquandi, James Turrell, Kelley Walker.

Curator : Elena Sorokina
Associated curator : Vit Havránek

With : Babi Badalov, Eva Kotakova, Joao Enxuto et Erica Love, Stano Filko, Zhanna Kadyrova, Gluklya (Natalia Pershina-Yakimanskaya), Kiluanji Kia Henda, Pavel Pepperstein

Contributions by : Zbynek Baladrán, Ekaterina Degot, Elitza Dulguerova, Vít Havránek, Leonid Heller, Myriam Lefkowitz, Jean-Claude Marcadé, Louisa Martin-Chevalier, Ioulia Podoroga, Julie Pellegrin, Natasa Petresin-Bachelez, Barbara Piwowarska, Pauline Simon.

In early Russian science fiction literature, museums actively travelled in time and space: museums on Mars or museums in the thirtieth century were described in detail. The vivid imagination of the authors oscillated between technological, ecological and various other models, until the museum completely blended into life and thus disappeared altogether. These museums rarely collected; they researched, educated, or functioned as laboratories. They acted as producers of the future rather than organisers of the past. At cross-roads between a museum and science fiction, this project takes these historical texts as a lens through which current encounters between radical speculative fiction and museums scientific narratives can be considered.

This week-long project comprises a temporary display, choreographed interventions, and a series of performative conferences, featuring artists and curators talks, music, and readings of sci-fi texts.

Des dispositifs/Devices
L'Architecture d'Aujourd'hui
May 2016
Text written by Régis Durand

Opening April 24th at 4pm

free shuttle bus from Opéra Bastille 3.30pm to La Ferme du Buisson  / reservation at (+33)1 64 62 77 00

After a number of well-received exhibitions abroad, La Ferme du Buisson is now presenting her biggest solo show to date. Kapwani Kiwanga draws on her training in the social sciences for experimental projects in which she plays the part of a researcher.


For her exhibition at La Ferme du Buisson, she is occupying all the art centre?s exhibition spaces with previous works and three big, site-specific installations. Via this blending of materials and ideas relating to economics, agriculture, magic, anthropology and museology, she extends earlier research, undertaken at the Jeu de Paume and the South London Gallery, into belief systems and pre- and post-independency trajectories in Tanzania.

Her project combines two lines of research : the first focusing on the magical powers attributed to plants in situations of political and social resistance ; and the second into the concept of Ujamaa, the origin of pan-African socialism. In organic installations, videos, sound pieces and performances, Kapwani Kiwanga takes us on a journey through belief systems involving supernatural powers and political utopianism. This leads her, in turn, to scrutinise our ability to continue believing in various forms of resistance despite the failures of the past.

La Ferme du Buisson, scène nationale de Marne-la-Vallée
Allée de la Ferme
77186 Noisiel

More information on : http://www.lafermedubuisson.com/

Medicine in Art is another exhibition in the series that confronts terms permeating the public sphere of reference with the viewpoint of the artist. Medicine is present throughout human life and impacts on all its aspects. Medicine offers help and cure, while putting us to task and inspiring reflection. The connotations it has are, above all, illness, pain and therapeutic treatment. Another theme is physical wasting and death. Illness goes hand in hand with care giving and compassion and this is the area of medicine that the patient and doctor share. Medicine is also a science, which in its vast scope comprises pharmaceutical, biological and psychological experimentation, dealing with the ethical issues that ensue. This scientific aspect also includes the psychology of illness understood as the relationship between the state of the mind and the state of the physical body.

Curator : Suspended Spaces
From April 22nd to May 2nd, 2016

http://carpe.pt/

2016 is a meaningful year for Ireland as it marks the 100th anniversary of the 1916 Easter Rising, a moment of great significance in the struggle for liberation from British colonial rule. Responding to the context of the centenary, EVA International 2016 curated by Koyo Kouoh will be entitled Still (the) Barbarians and will investigate the post-colonial condition of Ireland as a point of departure from where artistic reflections, critical redefinitions and political transformations are articulated.

Still (the) Barbarians participating artists:

Tom Flanagan and Megs Morley (Ireland) / Liam Gillick (UK) / Yong Sun Gullach (Denmark) / Carsten Höller (Belgium) / Dorothy Hunter (Northern Ireland) / Jeremy Hutchison (UK) / Joanna Hutton (UK) / Alfredo Jaar (Chile) / Michael Joo (USA) / Journal Rappé(Senegal) / Kapwani Kiwanga (Canada/France) / Abdoulaye Konaté (Mali) / Syowia Kyambi (Kenya) /Kemang Wa Lehulere (South Africa) / Leung Chi Wo (Hong Kong) / Charles Lim Yi Yong (Singapore) /Alice Maher (Ireland) etc.

With Mathieu K. Abonnenc, Fadlabi, Rana Hamadeh, Kapwani Kiwanga
Curator : Jens Maier-Rothe

Shifted from a familiar mental movement, we suddenly find ourselves in the middle - in between things, between this and that sense, between one fiction and many others. "Between One Time and Another" unhinges a series of narratives and stories, re-choreographing them in a different way. Documented as fragments, suspended in time and decomposed into narrative textures and ideological strands, they are investigated, filtered and rearranged in a new light. Narratives and stories take on a different sort of legibility, giving insight into the workings of their historical effects. Arranged in seemingly static configurations, the artists refract the light of historical facts, turning cartographies upside down. They speculate on future pasts, question stratigraphic oracles and expose new concepts of "otherness" as outdated strategies of alienation. Mute things are given a voice and once forgotten ideas reappear as fantastic interpretations of today's power relations, yielding a collection of told stories and untold histories, strange encounters with local heroes and fossil witnesses of colonial inversion. Together they create a multi-perspective projection machine, sharpening our sensesfor the narrative layers of power, violence and hegemony over the supposed "Other".

Transit: Ströme. Larissa Fassler & Mirko Martin

The theme "Transit" is evident for the cooperation between Schader-Foundation and Hessian State Museum Darmstadt against the backdrop of aspects of integration, digitalisation, traffic and urban planning etc. It encompasses a large number of problems, developments and tendencies regarding society as a whole. On the artistic side, it is apparent that the theme similar lends itself to a wide variety of different aspects. The intense perception of transitory states, processes, places with a view to time, material, subjective emotion and research can be detected in contemporary works in particular. But broaching this theme in the context of a dialogue between the social sciences and art can solely concentrate on a specific area that, in conjunction with the sociological discussion, is also impressively visualisable artistically.

Transit is a movement in time and space. The transitory space can be described with the term "place". A place can be specific and firmly determined, ideal or physical ? but it can also be an unspecified, undetermined space, open, unbounded, undefined. Places are subject to changes owed to ongoing or concluded processes. A place can be a transitory that is constantly being traversed, walked and driven through or which quasi stands still, empty, waiting for another purpose, thus indirectly making its transitory function ever more present.

Like a flow, a place and the transitory occurrence can be observed from a distance or the viewer himself is a part of this place. Artists proceed to places of transit in an observational distance or become themselves a part of the place ? comparable to a field researcher. In many cases they concern "non-places" (after the definition coined by the cultural anthropologist Marc Augé), which are not clearly defined as spaces having specific characteristics, local qualities or identificational offerings. But it can also concern very specific, special places that are accordingly used in special ways. Both types of places unfold a corresponding impact affecting social life. Places are products of social life.

But Transit is not an isolated phenomenon or a delimited process but one that goes on permanently, both as a living and growth process encompassing constant changes and metamorphoses as well as a societal process where social, economic and individual actions bring forth changes and transformations in addition to follow-up processes. In a globalised environment and in a corresponding quantification of the participants as their material and ideal products, these processes manifest themselves in flows: commodity flows, data flows, flow of funds, recycling flows and even flows of images, ideas and culture in a quasi infinitely self-perpetuating circulation. This is regional and individualistic, respectively, as well as ultimately also locatable, particularly in urban spaces.

The artists Larissa Fassler (Berlin) and Mirko Martin (Berlin) examine the theme of transit in such diverse artistic genres as drawing, prints, sculpture and film. Their artistic perception is characterised by formally precise, empirical approaches, exact observation and an aesthetic vocabulary that makes the thematic entities "Transit: Flows" tangible in their processuality and visual impressiveness.

Curator: Dr. Klaus-D. Pohl

Initiated by the Fondation de France in 1991, the New Patrons action allows anyone who wishes to commission an artwork of general interest to an artist.
In France, more than 350 works of art have been produced or are currently in progress in nineteen regions, half in rural areas, and in extremely varied contexts: urban, suburban or rural areas, public spaces or institutions (high schools, hospitals, prisons), associations, etc. The New Patrons action is also undertaken in European countries, in particular Belgium, Italy, Germany, Spain, Poland and Norway.
The originality of this program is based on a new connection between three privileged actors: the artist, the commissioning citizen and the cultural mediator approved by the Fondation de France, accompanied by the public and private partners gathered around the project.

Wednesday, April 13th
from 7.30 to 9 pm
Directed by Max Bonhomme and organized by Profession Photographie.

INHA
Salle Demargne
2, rue Vivienne
75002 Paris

Larissa Fassler - Reviews
Art Forum
April 2016
Text written by Mara Hoberman

In 2016, two prominent exhibition projects explore the pressing question of which factors remain relevant to the writing of art history. While "Postwar - Art between the Pacific and Atlantic, 1945-1965" concentrates on the time immediately after World War II, "A History: Contemporary Art from the Centre Pompidou" provides an overview of contemporary art since the 1980s with 160 works by more than 100 artists.
The year 1989 marked a break with the past and the start of a new era. The fall of the Berlin Wall toppled divisions in the world of European art, while the events of Tiananmen Square focused attention on a new China. The ongoing globalization allows for an unprecedented mobility. The static understanding of identity, once based on origin and nationality, has since given way to a more transnational and variable narrative. Contemporary artistic proposals, which arise from the new "decolonized subjectivity", are also based on a new understanding of site-specificity. For example, in the 1960s and 1970s the protagonists of Land Art still understood landscapes primarily as post-industrial ruins. In contemporary artistic practice, however, space is defined above all socially and politically - by traumatic historical events, home country, exile, diaspora and hybrid identities, such as African-American, Latino, Turkish-German, African-Brazilian, and so forth. The new presentation of the Centre Pompidou contemporary collections at Haus der Kunst focuses particularly on this altered geography, notably the former Eastern Europe, China, Lebanon, and various Middle Eastern countries, India, Africa, and Latin America. This is the first time such a large-scale view of the Centre Pompidou collection has been presented outside France.
The exhibition project will be accompanied by "Improvise NOW!", a music program with concerts, talks, and lectures, in cooperation with the Goethe-Institut. The exhibition is organized by the Centre Pompidou, Paris, and Haus der Kunst, Munich

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CONNECTED offers a unique and surprising journey between real and virtual through the worlds of singular creation and reveal the use of new technologies in visual arts. While emphasizing the identity of the former power station which houses them, the works featured question the theme of the connection ? physical and psychological ? which links the artistic creation to its author and the viewer. The public itself is called to actively get involved in this meeting and to interact with works : the spectator is connected and caught by body-machines, images created in animated 3D, interactive video sequences and more. Over twenty Belgian and international artists sign this invitation to encounter uncommon sensory experiences and virtual perceptions.

My Body Is the City. Larissa Fassler's feminist psychogeography
Canadian Art
Spring 2016
Text written by Diana Sherlock

Group show

Curated by Nathalie Ergino, assisted by Magalie Meunier

With Saâdane Afif, Giulia Andreani, Leonor Antunes, André-Pierre Arnal, Laëtitia Badaut-Haussmann, Delphine Balley, Isa Barbier, Ivan De Menis, Julien Des Monstiers, Davide Balula, Basserode, Laurent Baude, Cécile Beau, Neil Beloufa, Julie Béna, Berdaguer & Péjus, Eva Bergera, Amélie Bertrand, Jonathan Binet, Anne Blanchet, Olivier Blanckart, Michel Blazy, Botella Bruno, Véronique Boudier, Patrick Bougelet, Julien Crépieux etc.

Group show

With : Maria Thereza Alves, Andrea D’Amore, Gianfranco Baruchello, Babi Badalov, Jacopo Benassi, Enrico Bertelli, Shannon Bool, Federico Cavallini, Gianluca Concialdi, Leone Contini, Juan Pablo Macías, Gabriele Morleo, Mariechen Danz, Colin Darke, Jimmie Durham, Dario Gentili, Heide Hinrichs, Giacomo Laser, Claudia Losi, Filippo Manzini, Luca Pozzi, Daniel Maier-Reimer/Luca Vitone, Pietro Riparbelli, Gianluca Rossetti.

More information on : http://cmlivorno.wix.com/caricomassimo

Opening : March, 4th, 6.00 pm

Le Granit
1 Faubourg de Montbéliard
90002 Belfort

Opening : March 4th, 6 pm

Group show

With Christiane Blattmann, Marguerite Duras, Dan Graham, Martin Hoener, Julia Klotzl, Nicolas Milhé, Nicolas Roggy, Swen-Erik Scheuerling, Yann-Vari Schubert, Georges Tony Stoll

The exhibition will open on March 3, 2016 at 6pm

Group show

Artists participating: Adrian Melis, Anja Majer, Bethan Huws, Carey Young, David Horvitz, Fabian Boschung, Fayçal Baghriche, Hans Eijkelboom, Iván Argote, Javier Calvo, Jay Chung, Nicolas Robbio, Nina Beier & Marie Lund, Julian Charrière, Sigurdur Gudmundsson, Swen Renault, Thomas Moor

The 2016 Commissioned Artist is Kapwani Kiwanga, appointed by the Focus curators, Julia Grosse and Yvette Mutumba, and The Armory Show. The Armory Show launched its distinguished Artist Commission in 2002, extending its commitment to supporting artists' development by providing a global stage for their work. In this capacity, Kiwanga will inform the visual identity of the fair by contributing to the design of the official fair Catalogue, realizing an on-site commissioned project and producing a limited edition artwork with proceeds benefitting The Museum of Modern Art in New York.

MEDIA LOUNGE PROGRAM

Video screening followed by Q&A discussion with video artists and curators

Curators: Berta Sichel, Museo Nacional Centro de Arte Reina Sofía, Madrid and Bureau Phi Art Projects; Jenny Marketou, Artist

Consultants: Yasmina Reggad, Curator; Ava Ansari, Artist

Group show

The Media Lounge presents a program of videos by international established and emerging artists from Middle East region and North Africa, working in constructed documentary, emergency cinema, experimental, essayistic or narrative style. The program is devoted to works that play out interpretations of humanity, place, and the invisible histories in times and places in conflict. It explores how video art and artists provide alternatives to predominant ways in which national myths, identity and politics of representation is organized, appropriated, disseminated through moving image and networks on and off line.

Gregory Buchert integrates the art residence at Maison des arts de Malakoff (February 29th - July 3rd 2016)

Group show

With Alighiero e Boetti, Ian Hamilton Findlay, Douglas Gordon, Kapwani Kiwanga, Laure Prouvost etc.

Place du Château
87600 Rochechouart, France

Solo show - Babi Badalov

FERIA DE MADRID
Halls 7 and 9

Solo show

Public opening : February 18th

Place: Level 1B, Palier du Loup and Palier New York

13 Avenue du Président Wilson, 75116 Paris

Photo André Morin

Group show

With Paolo Codeluppi & Kristina Solomoukha - Kapwani Kiwanga - Nicolas Milhé - Bruno Petremann -Slimane Raïs - Erwan Venn - Fabien Zocco.

63 Bd Besson Bey | 16000 Angoulême

Opening : February 5, 7pm

The Funny Thing About Orthodoxy

Exploring power relationships in both the cultural and political realms, Ideologue brings together the work of nine artists who employ humor and hyperbole to address platforms of ideology.
The vast image culture of our globalized existence is an arena wrought with diverse and often conflicting ideologies. Representations of heritage, religion, governance, and desire speak to the ways by which ideology appears natural or intrinsic, rather than as part of our world’s culturally produced belief systems.
Ideologue seeks to conjure the subtle structures that shape societal values, such as individual freedom, progress, nationalism, and identity. Through text, print, video, and sculpture, the projects in this exhibition playfully map out how contemporary artists poke fun at the political universe and its claims to social truth.

Artists: Kathryn Andrews, Iván Argote, Fayçal Baghriche, Christoph Büchel, Jeremy Deller, Basim Magdy, Dan Mills, Larissa Sansour, Julia Wachtel

Artists: Kathryn Andrews, Iván Argote, Fayçal Baghriche, Christoph Büchel, Jeremy Deller, Basim Magdy, Dan Mills, Larissa Sansour, Julia Wachte.

Exploring power relationships in both the cultural and political realms, Ideologue brings together the work of nine artists who employ humor and hyperbole to address platforms of ideology.
Framed within the animated climate of another presidential election year, Ideologue evokes the subtle structures that shape societal values, such as individual freedom, progress, nationalism, and identity.

An exhibition by Philippe Quesne

Opening : February 4th, 7pm

Centre Commercial Le Méridien
1er étage
Route de Pau - 65420 Ibos

Group show

Artists: Jane Alexander, Berry Bickle, Zoulikha Bouabdellah, Loulou Cherinet, Safaa Erruas, Pélagie Gbaguidi, Amal Kenawy, Kapwani Kiwanga, Nicène Kossentini , Mwangi Hutter , Fatima Mazmouz, Julie Mehretu, Myriam Mihindou, Aida Muluneh, Wangechi Mutu, Otobong Nkanga, Tracey Rose, Berni Searle, Sue Williamson, Billie Zangewa, Amina Zoubir.

Curatorship: Orlando Britto Jinorio

HALLS 4 AND 5

Group show

With Bertrand Lamarche, Fayçal Baghriche, Maxime Bondu, Gregory Buchert, Société Réaliste etc.

Group exhibition organized by Paula Doepfner

With works by Ulf Aminde, Kerstin Brätsch, Annabel Daou, Mariechen Danz, Antje Engelmann, Thomas Helbig, Sejla Kameric, Kapwani Kiwanga, Michael Müller, Marinella Senatore and Anna Witt

Solo show

Romestraat 11
B-8400 Ostende

Opening : January 28th, 6 pm - 8 pm

Curator : Catherine Bédard

Organized wiith Galerie Jérôme Poggi, Hessian State Museum Darmstadt/Schader-Foundation and the Deutsche Bank Collection.

5 rue de Constantine
75007 Paris

More than anything, today’s world can be considered in a state of flux, where our national and cultural boundaries are constantly being challenged. Through eight different works and projects, the artists Nevin Aladag, Fayçal Baghriche, Adriana Bustos, Danica Daki?, Ines Doujak & John Barker, Agnieszka Kurant, Walid Raad and Ala Younis spark conversations about migration, identity, power and hope for the future.

This exhibition examines both migration and the broader framework of globalisation. The starting point is the movement of people and knowledge in the world today, where cultures interact continuously. The global economy, new technology and channels of information are interconnected to the point where it affects us all in an instant. It has become impossible to process all the knowledge we have access to.
The world is getting smaller. Time runs faster. These have become common metaphors for visualising the changes we are experiencing. Images can help make sense of and categorise our experiences, and make us see the situation from a different angle. Transcultural Flux offers new ways to talk about issues such as migration, identity, war, power and hope. The artists bring us new perspectives and open up for different interpretations of the possible directions the world is taking, now and in the future.
See Transcultural Flux in Bergen 22 January - 20 March at the two venues Stiftelsen 3,14, Vågsallmenningen 12, and Bergen Kjøtt, Skutevikstorget 1. A film programme at Cinemateket USF will accompany the exhibition. Transcultural Flux will be shown at Akershus Kunstsenter, Lillestrøm, 12 May - 12 June, with selected works.

Kapwani Kiwanga produces works across installation, performance, and video that marry her training in anthropology and comparative religions with her interests in history, memory, and mythology. Presenting rigorous research in imaginative ways, Kiwanga intentionally confuses truth and fiction in her work in order to enable the flourishing of fantastical narratives.

For her first solo exhibition in the United States, Kiwanga presents a selection of newly commissioned work. Across sculptural installations and prints, Kiwanga deconstructs the physical and psychic qualities of built environments including schools, prisons, hospitals, and mental health facilities. In the main gallery, Kiwanga brings together architectural elements from historical and contemporary versions of these spaces including wall sections, lighting fixtures, and surface treatments to propose a spatial collage that escapes the sum of its fragments. A distinctive feature of the show is the artist?s transposition of two-tone color palettes, often used in the interiors of institutional spaces, onto the gallery walls. Kiwanga thereby recalls the application of color theory to the conditions of learning, surveillance, healing, and care. A separate single-channel video in an adjoining gallery delves deeper into the spatial histories of different building typologies.

Curator: Sandra Patron

Group show

With Matthew Antezzo , Cécile Bart, Abdelkader Benchamma, Benoît Broisat, Julien Crépieux, Simone Decker, Philippe Decrauzat, Erik Dietman, Fred Eerdekens, Emmanuelle Etienne, Omer Fast, Joan Fontcuberta, Ross Hansen, Pierre Joseph, Véronique Joumard, Zilvinas Kempinas, Suzanne Lafont, Perrine Lievens, Rafael Navarro,  Douglas Gordon/ Rirkrit Tiravanija, Walid Raad, Man Ray, Samuel Richardot, Christian Robert-Tissot, Yvan Salomone, August Sander, Patrick Van Caeckenbergh.

The Merchant House is pleased to announce our TMH Winter Group Show featuring Italian artist Pino Pinelli in dialogue with the two Dutch artists, Kees Visser and André de Jong, from the gallery program.The show highlights how, notwithstanding their powerful distinctive work, these artists share a number of artistic techniques and concepts: palpable texture and nonlinear, or curved, geometry, which implicitly connect to the ideas of metaphor, allegory, and figure. And how their highly personal analysis of painted surface implicates a play between painting and sculpture: Pinelli?within the Mediterranean matrix exposed by the influential art critic Achille Bonito Oliva in reference to the Italian Minimalia, while Visser and De Jong?along a northerly artistic trajectory, as both found inspiration in Iceland and live and work in the Netherlands. The three artists, therefore, can be seen as exploring post-minimal abstraction in their research of autonomous creative language.

with works by avec les oeuvres de Pino Pinelli, André de Jong, Kees Visser

Group show

Avec Cédrick Eymenier

1, Place Montfort
84110 Vaison la Romaine

Performance

LaM, 1 allée du Musée
59650 Villeneuve d’Ascq
France

Lecture

Invited by Antoinette Ohanessian

December 15th, 6.00 pm

Group show

Avec Vanessa Billy, Maurice Blaussyld, Katinka Bock, Peter Buggenhout, Julien Crépieux, Dario D’Aronco, Maria Loboda, Mel O’Callaghan, Bruno Persat