" Gilles Fuchs, Président de l?ADIAF, a dévoilé le  18  décembre 2019  chez  ARTCURIAL, les noms des quatre artistes en lice pour la 20ème édition du Prix Marcel Duchamp. Sélectionnés par les collectionneurs de l?ADIAF, ces artistes sont invités par le Centre Pompidou pour une exposition collective dont le vernissage  aura lieu à l?automne prochain. Le jury international se réunira et proclamera le lauréat le lundi 19 octobre 2020. "

Les artistes nommés sont :
Alice ANDERSON,
Hicham BERRADA,
Kapwani KIWANGA,
Enrique RAMIREZ.

Félicitations à Kapwani Kiwanga !

The exhibition "On the Threshold" will focus on themes related to nature and the concept of life in an artistic context. The works selected for this project will invite the viewer to dive into environments and narratives that address social, political and speculative scenarios of the present and the future. The exhibition conceived by Tom Eccles and Hans-Ulrich Obrist, co-artistic director and Vassilis Oikonomopoulos, senior curator of Luma Arles, will evoke the intense cross-fertilization of art and media disciplines that exists today, as well as the rich connections between art and other disciplines.

The starting point for this exhibition project of the Albertinum is the art and visual culture of the international solidarity movements of the former GDR. Angela Davis (*1944), a symbol of global civil rights and social movements, has been campaigning against inequality for decades.

With the help of the Crédac, Kapwani Kiwanga invites local actors, researchers, intellectuals, artists, musicians and dancers to intervene in a sculptural setting in the form of a discussion, conference or performance to discuss the questions raised by her project.

The work of the native Antiguan and Barbudan artist Frank Walter (1926–2009) encompasses numerous paintings, drawings, sculptures, writings, and tape recordings that will here be on view in a museum for the first time.

The works by John Akomfrah, Khalik Allah, Kader Attia, Marcel Broodthaers, Birgit Hein, Isaac Julien, Julia Phillips, Howardena Pindell and Rosemarie Trockel revolve around colonialism in the Caribbean in the past and present as well as the intellectual contexts? of colonial and post-colonial thought. They address the visual regime of racism that also finds expression in the exoticizing gaze, and describe the complexities of identity, class and racialization. Julien Creuzet, Kapwani Kiwanga and Carolyn Lazard have produced new works specifically for the show.

"Larissa  Fassler - Berlin Psychogeography

Although the political system, society and the arts have changed dramatically since Baluschek?s artistic production over 100 years ago, many of the themes he dealt with are still or have again become highly topical: lack of affordable housing, immigration, social injustice and the impact of new technologies on life and work.  

What might art look like that grapples with the actual political problems of a big city in the 21^st century's Larissa Fassler's psychogeographical work is an impressive response to this question. Underlying her work are years of studying urban structures that have been combined from personal observation, digital measurements and historical archival work. Her images not only show plainly the explosive information on the political, economic and social realities of a place, its past and present, but like a documentary, they make the interconnections between these levels aesthetically tangible.

On display are works related to places in Berlin-Kreuzberg that castigate gentrification, the lack of housing and economic power structures, which not only closes a thematic, but a biographical circle as well: during Baluschek's childhood in Berlin, his family was forced to move apartments five times within 10 years, always near Hallesches and Kottbusser Tor, into what were then new housing developments."

The Museum of Contemporary Art Tokyo and KADIST present the exhibition Things Entangling, the culmination of a major, long-term curatorial collaboration.Trees, fossils, books, artifacts—these are some of our companions as we live in and make sense of a world in which realities and histories collide and reverberate continuously. This exhibition features artworks by twelve artists/groups that trace and animate the trajectories, nexuses, and mutations of things that resonate with a specific time and place. These things might be material objects or living subjects, but they are always also mediators of meaning, ideology, and memory. When these artists’ practices invoke anthropology, archaeology, or historiography to seek rootedness, they aim less to excavate or clarify the past than to open up a new politics of interpretation for building the present.

The title of this exhibition, which is taken from the magnificent song by the Japanese artist Yoko Ono, invites us to see the world differently. Like a poetic journey, the Museum of Contemporary African Art Al Maaden (MACAAL) invites us to explore the works of emerging and established international artists who, in a sensitive and committed way, question their environment, drawing on their own experiences.

For the 2020 Capture Photography Festival, Franco-Canadian, Paris-based artist, Kapwani Kiwanga has created Counter-Illumination (2020), a site-specific commission. This work is featured on the façade of the Dal Grauer building, a modernist power structure, partly obscuring its dominant glass façade.

The Dhaka Art Summit (DAS) is an international, non-commercial research and exhibition platform for art and architecture related to South Asia. With a core focus on Bangladesh, Das a cumulative exercise of sharing knowledge and community with each edition building on scholarship and themes of previous iterations, dynamically responding to its time.

In her work, Franco-Canadian artist Kapwani Kiwanga (b. 1978, Hamilton, CA) questions the ways in which the writing of history, power systems and the generation of knowledge function, undermining the official understanding of truth by expanding history with popular belief, spirituality, magic and mythology. She reacts in particular to the power dynamics of architecture and examines the effect of public buildings on the human body, focusing on design elements and on forms of racist surveillance.

This solo exhibition across 800 m² will reflect Kiwanga's career with a selection of significant, representative works and new site-specific pieces. It will function as a narrative that places emphasis on the impact of disciplinary architecture and spatial elements on the human body as well as the research into post-colonial histories and stories in which truth and fiction are combined.

Kapwani Kiwanga lives and works in Paris. She was awarded the Sobey Art Award (CA) and the Frieze Artist Award (USA) in 2018.

Kate and the time machine is a proposal by Bertrand Lamarche on the place that the figure of Kate Bush holds in his artistic practice.
Bertrand Lamarche's installations are conceived as dynamic systems fuelled by different centres of interest: meteorological phenomena, large architectural ensembles, spatio-temporal distortions... Without ever falling into reference, his works are as if haunted by the remembered presence of Kate Bush. Like a set of active principles, the voice, music and image of the British pop singer influence the visual artist in his practice, infusing his work with a dimension that is both ecstatic and conceptual.

Made of Honey, Gold, and Marigold is a contemporary exploration of the sun, as an activator of sensory engagement, provoking deeper contemplations on sensuality, eroticism, pleasure, and politics of desire. Inspired by Dionne Brand?s descriptions of her young protagonist Maya and her awakening self-awareness, the selected works by Kapwani Kiwanga, Kosisochukwu Nnebe, and Rajni Perera, draw attention to a multilayered sensory ecology that weaves together embodiment, space, and the radiance of the sun.

Walls Turned Sideways: Artists Confront the Justice System features work by artists from across the nation that addresses the criminal justice system, mass incarceration, and the prison-industrial complex. Representing the full range of contemporary art production made in the studio and the social realm, the exhibition includes artworks that take social justice issues as a subject matter; and position the prison and court systems as structures for dismantling through institutional critique. The artworks in the exhibition are extraordinary for the scale and ambition by which they mobilize in order to bring visibility to offenses within the justice system.

AN EXHIBITION OF:
A certain lack of coherence

ARTISTS: Babi Badalov, Daniel Barroca, António Bolota, Camilo Castelo Branco, Merlin Carpenter, Rolando Castellón, June Crespo, Luisa Cunha, Stephan Dillemuth, Loretta Fahrenholz, Pedro G. Romero, Dan Graham, Alisa Heil, Mike Kelley, Ruchama Noorda, Silvestre Pestana, Josephine Pryde, Xoan Torres

The Galeria Municipal do Porto challenged the project Uma Certa falta de Coerência (A certain lack of coherence) to develop an exercise that would start from the problem of the relationship between the practice of independent (and artist self-managed) conservation and the institutional context of the exhibitions. A certain lack of coherence has been developing his work independently since 2008, in a small area of Caldeireiros Street, where the breathability of the air is often questioned "as if there were less than 21% of O2 than usual". Oxygen accounting tells us about its scarcity, the economy of effort and dependence. Faced with the impossibility of transferring this atmosphere and its challenges, the Municipal Gallery project will test its own production policies and forms of understanding, taking as its starting point the exercise of survival in unfavourable conditions and subject to institutional oppression, the sense of friendship and disinterested exchanges in periods of extreme individualism and hyper-capitalization, the removal of freedom in good taste and the imagination of professionalism and presentation.

In 1992, the French philosopher and anthropologist Marc Augé described the ?non-lieu? as a universal site devoid of social or architectural identity; a typical product of our Western super-modernity which, thanks to its ?in-between status?, will never achieve the status of a fully humanised place. Examples of ?non-places? cited by Augé are airports, hotel rooms, metro stations and motorways, although museums might also be candidates for this designation. Due to their impersonal, anonymous and transient nature, ?non-places? arouse a range of indefinable feelings, from ?unheimlichkeit? (uncanniness), nostalgia, detachment and dehumanisation; to a longing for, or expectation of, exoticism, escapism, freedom or a brighter future.

Whilst the ?non-place? is interpreted from a socio-anthropological point of view, based on its anonymous nature and effect on human psychology, many artists conversely seem to understand it as utopian. For them, the ?non-place? is a metaphor for the longing for a place in which pure autonomy reigns, both with regards to the art itself, and in relation to the society in which it is situated. In any case, the majority of artworks in this exhibition depict not only an unattached, distant, estranging and alienated interaction with today?s super-modern, fleeting reality; but also seldom tolerate other works in their vicinity. Hence the decision to present them here as independent of one another, as ?non-places? in between concrete site and mental space, between somewhere and nowhere, here and now, and there and then.

Featuring work by artists Maurice Blaussyld, Dirk Braeckman, Jean-Marc Bustamante, Johan De Wilde, Alberto Garutti, Mark Manders, Wesley Meuris, Reinhard Mucha, Dennis Oppenheim, Paul Thek, Jan Vercruysse, Henk Visch and Lawrence Weiner.

Pour le troisième volet du cycle « Matters of Concern | Matières à panser » initié en avril 2019 à La Verrière, l?espace bruxellois de la Fondation d?entreprise Hermès, le commissaire Guillaume Désanges présente une exposition personnelle de l?artiste azéri vivant en France, Babi Badalov.
« La pratique généreuse et foisonnante de Babi Badalov explore de manière concrète ? à travers dessins, collages, éditions, peintures sur murs, tissus et objets ? les liens entre les images et les mots, et la manière dont la non-maîtrise d?une langue réinvente nos relations au savoir, mais aussi aux autres et au monde, sur le mode de l?étrangeté, de l?altérité et de la poésie. Entre art brut, clas- sicisme, baroque et punk, ses ?uvres jouent avec virtuosité des formes et des couleurs, usant volontiers de l?arabesque dans l?écriture des mots et slogans sur tous types de supports. Cette calli- graphie obsessionnelle, qui est la marque de son art, expérimente une plasticité du langage à travers des jeux de mots, des répétitions et des homophonies, mis en relation avec des images et des matières. Proche du gra ti, elle reste marquée par le décoratif et l?ornement, révélant des  liations entre le dessin et l?écriture que l?Occident a e acées, mais qui existent notamment dans la tradi- tion musulmane, dont l?artiste est en partie issu. Utilisant des mate?riaux précaires ou de récupération, dans une esthétique de l?urgence et de la nécessité, ce travail reléve d?un artisanat singuliérement stylisé, qui fait preuve d?une grande dignité, voire d?une indéniable séduction, malgré une pauvreté des moyens. À travers cet outil de communication direct, l?artiste aborde des questions sociales et géopolitiques qui font écho à sa propre vie. Intégration culturelle, mondialisa- tion, migration, genre, activisme, post-colonialisme : autant de sujets et motifs qui peuplent sa poésie graphique. C?est même toute une gamme de dénonciations des positions dominantes du monde qu?il interprète, dans une pratique actualisée de l?agitprop. »
Extrait du texte de Guillaume Désanges

OPEN SPACE presents Ubiquitous Surfaces, an exhibition that explores two kinds of surface that have become integral to the human experience; the surfaces of the city and the surfaces of images; the architectural facade and the screen. The two are not separate, but they increasingly resemble each other; the discolouring of a facade is now most reminiscent of a degrading image. 

Ubiquitous Surfaces brings together works by nine Istanbul-based artists, as well as works from the Huma Kabakc? Collection. Taking Istanbul as a case study, the artists’ works collectively explore how the production and recording of images shape our relationship with the city. The exhibition follows from a series of talks, titled Not / Seeing The City, which took place at SALT in Istanbul, with exhibiting artists Oddviz Collective, Alper ?en (Art?ki?ler Collective) and Serkan Taycan, who discussed developing technologies of vision and their place in understanding urban transformations.

The works of Serkan Taycan, Larissa Fassler and Erdal ?nci all reference Taksim Square, a politically significant public space in Istanbul. Looking at it through different means of image-making, from GIFs to cartography, the artists follow the surface movements of people on the concrete expanse, observing, tracing and rearranging their interactions. Oddviz Collective, Kerem Ozan Bayraktar and Lara Ögel look more closely at the actual surfaces of walls, facades and streets, which have become the sites of inscription for political histories. The surfaces they play with are the interfaces between the city and its inhabitants, carrying both expressions and erosions. Ara Güler, Berkay Tuncay, Art?ki?ler Collective & Sevgi Ortaç’s works question how images build collective visual memories of the city. Reaching from mid-century analogue photography to handy-cams and broken jpegs, they look at how images disseminate meaning and affect.

All of these artists record, document, reproduce, montage, erase and manipulate images of the city – either those that are formed directly on its surfaces, or those transposed onto screens, in an effort to process the density of information and find new possibilities for interaction.

Leave No Stone Unturned [Remuer la terre] is the first collective exhibition in Morocco that initiates reflections on nature, politics and power structures, moving from Morocco to Tunisia, Israel/Palestine, South Africa, Haiti, Turkey and even deserts. It is essential to encourage dialogue on the issue of flora and systems of meanings, particularly from a postcolonial perspective and in a South-South exchange. Rummaging through soil, seeds and plants, we discover another nature: a nature not only constructed by its relations with man - often through domination and exploitation, but also through respect, spirituality and healing - but that reclaims its agency.

Clelia Coussonnet

From an emotional point of view, 100 images, objects and films by forty international contemporary artists invite you to approach art intuitively.

What does art trigger in us? To what extent does the vision of art depend on our personal experiences and memories? What feelings arise when we look at works of art when only intuition guides our gaze?

The exhibition FEELINGS aims to stimulate this direct dialogue between the artwork and the viewer in order to motivate an intense emotional debate.

 Africa is often seen as a continent of people on the move. Great migrations figure in the myths of origins for many ethnic groups: for example, the Bantu expansion of movement from central Africa, the 'Hamitic myth' of migration from north to south, and even the Voortrekkers' 'Great Trek' in South Africa. These stories serve an important function in the construction of Africa and its people in the modern world. In the context of current global discourse where "South-North exodus" occupies media attention and becomes ever more precarious, statistics show that most Africans move within their own country, in rural-to-urban migration, or to other countries in the same region, therefore creating diasporas within the continent and in their own countries.
While the term diaspora is now used to refer to any migrants group and their descendants who maintain a link with their place of origin, it is rarely applied to African populations within Africa, raising the critical question: why not?
A dearth of diasporas within Africa seems strange when one juxtaposes two persistent themes that often recur in many discussions about Africa: a long history and practice of migration within the continent; and the close attachment of people and place, in particular land.

This fall, MoMA PS1 will present a large-scale group exhibition examining the legacies of American-led military engagement in Iraq. While brief, the 1991 Gulf War marked the start of a lengthy period of military involvement in the country that led to more than a decade of sanctions and the 2003 Iraq War. The invasion in 2003 galvanized a broader international response, prompting anti-war protests around the globe. Though the Iraq War officially ended in 2011, artists have continued to examine these conflicts and their ongoing impacts.

Theater of Operations explores the effects of these wars on artists based in Iraq and its diasporas, as well as responses to the war from artists in the West, revealing how this period was defined by unsettling intersections of spectacularized violence, xenophobia, oil dependency, and new imperialisms. On view across the entire MoMA PS1 building, the exhibition will feature the work of over 50 artists including Afifa Aleiby, Dia al-Azzawi, Thuraya al-Baqsami, Paul Chan, Harun Farocki, Tarek Al-Ghoussein, Guerrilla Girls, Thomas Hirschhorn, Hiwa K, Hanaa Malallah, Monira Al Qadiri, Nuha al-Radi, and Ala Younis.

The violent injustices, dramatic specifics and complex trajectories of the emergencies which put artists at risk - be they Afro-indigenous Brazilians, Iraqis or Kurds from across ancient Mesopotamia?s blood-soaked contemporary borders, secular artists under religious regimes, Europeans of Romani descent, dissident ecologists, or indeed any dissenting voices resisting the crude appeals of hydra-headed fascism - are all radically different.
From a perspective of safety - where you, dear reader, are most likely located - all of these violations of physical dignity and freedom of expression are clustered under one universal: their haptic absence. In other words, these emergencies are scarcely felt in the here and the now. Or do you feel something that scrapes your skin, embattles your ears, stings your eyes - your very own - dear reader?
Emergencies flash by on screens, generated somewhere, somehow by someone, or some algorithmic machine. One by one, each is soon suppressed by newer news, with the angry seas of mass (mis)information rising. It?s always been easier to let yourself forget.
The Helsinki edition of the Artists at Risk (AR) Pavilion is an exhibition of first-hand witnesses and story-tellers; bodies as living documents; makers of unmade monuments; creators of memory-machines of worlds whose language you may have forgotten, denied or never learned. Translating the physically-absent into the mentally-present: the art of making memory.

Waiting for Omar Gatlato is a survey of contemporary art by Algerian artists and by those in its diaspora. The project expressly refuses thematic axes, such as memory or exile, the violence of the civil war, in favor of the open-ended framework Algerian film critic and lawyer Wassyla Tamzali sets out in her eponymous volume, published in Algiers in 1979. In her book, Tamzali argues that Merzak Allouache?s 1976 feature film Omar Gatlato represents a turn toward the individual in Algerian society, their desires and the contradictions they struggle with. This exhibition proposes that an analogous ouveture vers le quotidian is taking place today's art scenes and, indeed, even in its streets.

The Algerian context is hard to integrate into a broad regional history because it is exceptional, even when viewed together with its North African neighbors, Tunisia and Morocco. The specificity of its long, intimate colonial relationship to France, the fact that it experienced a violent Islamic coalition movement in the 1990s, decades before the rise of ISIS, and the significance of its non-Arab, Muslim Berber minority in political discourse and cultural life are just a few factors contributing to this exceptionalism.

"En Attendant Omar Gatlato" is presented with full acknowledgment of this exceptionalism and the attendant impossibility both political and aesthetic of representing an artistic context that is at odds with its own national mythology. The exhibition nevertheless takes a claim for national specificity seriously, not as a way to essentialize artists from Algeria or its diaspora, but as an important structuring condition of their cultural production both at home and abroad. 

The Sun Ra Repatriation Project is an artistic endeavour to repatriate Sun Ra to his homeland: Saturn. Sun Ra was an influential American jazz musician and composer who affirmed his extraterrestrial origin. He created an "Astro-black" philosophy, which he transmitted until his death in 1993. Inspired by Sun Ra's mythology, The Sun Ra Repatriation Project fashions a four-stage system of interplanetary communication: Phase I - Image production those who knew Sun Ra provide physical descriptions of him during videoed interviews. A composite sketch of Sun Ra is produced from these accounts. Phase II - Coding and Transmission the composite portrait is transformed into a radio wave and sent to Saturn. Phase III - Reception and Observation the project monitors Saturn. this data is sonified and broadcast into the exhibition space. Phase IV - Decoding, Analysis, Interpretation this observational data is decoded and archived regularly. this record creates a research document to be analysed and possibly decipher a message confirming Sun Ra's safe arrival.

Art et Science de Marconi aux ondes gravitationnelles

L?exposition, organisée par Stavros Katsanevas, propose un fascinant voyage entre art et science sur fond de découvertes passionnantes en physique contemporaine.

La découverte récente des ondes gravitationnelles issues de la fusion de trous noirs et / ou des étoiles à neutrons produisant des vibrations dans l?espace-temps, ajoute le ?rythme? ou, dans un certain sens, le ?son? de l?espace, à la compréhension millénaire de l?Univers en tant qu?image visuelle sublime mais silencieuse ; donnant l?occasion d?aborder à nouveau l?intégration de l?humain dans le cosmos, la terre et la société. Le parcours de l?exposition présente des installations, sculptures, vidéos, ?uvres graphiques et photographies réalisées par les artistes suivants: Gorka ALDA, Pavel BÜCHLER, Attila CSÖRG?, Raphaël DALLAPORTA, Raymond GALLE, Bertrand LAMARCHE, Liliane LIJN Letizia DE MAIGRET, Aitor ORTIZ, Tomás SARACENO, Jol THOMSON.

Photography and documents, 1983-2018 is the second meeting in the walls with a history of the Frac collection. This exhibition highlights issues related to the evolution of this medium, both in terms of its conservation, its production and more broadly the status of photography in a contemporary image society.

After more than 35 years of existence, the Frac now has a collection of more than 1,000 works by 540 artists who, throughout the year, can be seen throughout the region, nationally and internationally, at the considerable rate of a thousand loans per year. Five years after its installation in Kengo Kuma's building, the Frac has decided to devote an exhibition to its collection each year.

The Frac adventure is not without its many paradoxes. Everyone has their own opinion on the issue, which shows, if necessary, that our Frac belong to the collective history. And the public nature of the collection leads us today to make visible to as many people as possible those strong works that returned to the Frac some thirty years ago, between 1983 and 1990. The first paradox, and not the least, is to speak of a collection when we are a Regional Fund for Contemporary Art. The second is to use this contemporary heritage by promoting its demonstration, sometimes at the limit of current conservation standards. The Frac's critical fortune is rich in articles and diverse and varied views on the use of these publicly funded collections. This use value is important because it carries within it all the symbolism of a collection that aims to raise awareness of contemporary art among as many people as possible. It is finally the mirror of an era, and it is always very difficult to write the narrative of the present in all objectivity.

A form of subjectivity totally claimed and assumed because, unlike a private collection, building the Frac collection is the result of collective work and the mobilization of volunteer experts who shape this public collection through their proposals. Their choices allow us to look back at the history of the taste of an era, at an artistic topicality whose rhythm is measured by a short time and aesthetic affinities that are constantly being renewed.

This exhibition of the Frac's photographic collection is the occasion for a collaboration with the Centre Photographique de Marseille, which will also inaugurate on 11 October a focus on the Cnap's photographic collections.

Translated with www.DeepL.com/Translator

Twenty  years  after  the  previous  presentation  of  works  from  the  collection  of  the  Frac  Bretagne  at the Passerelle, and at the very moment when Etienne Bernard has been nominated its new director, this  exhibition  presents  a  selection  of  recently  acquired  works  in  comparison  with  more  historical pieces. They invite the viewer for a dreamlike expedition, From the Earth to the Moon.  The  first  idea  for  the  exposition  followed  the  theme  of  the  voyage  at  sea,  in  the  context  of  the homecoming of Emperor Napoleon?s rowing galley to Brest after an absence of more than 70 years away  at  war1.  We  alluded  to  Homer,  Conrad,  Rimbaud  and  the  great  epics  and  we  made  our  first choice  between  the  aesthetic  quality  of  the  works  and  the  theme,  without  forgetting  our  own pleasure of discovery among the 5000 artworks of the Frac. This was all done in collaboration of the Director at the time, Catherine Elkar. After  several  twists  and  turns  and  surprises,  wehad  to  make  a  second  selection  which  took  us audaciously  from  the  Earth  to  the  Moon.  Through  approximately  thirty  works  that  intermingle,  that dialogue,  that  wander  between  the  air  and  water,  between  minerals  and  the  galaxies,  between energy and the worldof dreams. All not without a dose of derision and the spinning of metaphors. They are mostly recent acquisitions, but we did not prohibit ourselves with making connections with older works.  L?Abrestoiseby Olivier Tourenc and Les Grands Sélénitesby DiMatteo take us on a voyage from the Earth to the Moon, which passes by L?Ithaqueby Marcel Dinahet or Maya, l?île perdueby Alexandre Ponomarev. No Pipeby Etienne Bossut keeps measure, Guillaume Leblon and Steven Pippin deal with time, Marcel Broodthaersdreams. Richard Long walks in the landscape and creates magical circles there,  like  Wilfrid  Almendra  and  his Grand  Opus, while  Nikolas  Fouré  and  the Mesures,  Marion Verboom and her Concrétionsor Nicolas Floc?h bring us back to earth. Gloria Friedman seestheLe Soleil levant sur la rivière (Sunrise on the River)through plastic piping, which are near terra cotta Medasa heads by Michel Gouéry. La Ventrue Anita Molinaro shows its extravagence and its excesses and is confronted by the purity of form by BriacLeprêtre.  You  see,  we  are  not  too  serious,  but  we  hope  to  share  the  pleasure  of  seeing  or  seeing  again artworks that allow us to go on a voyage.

An exhibition designed by FRAC Normandie-Rouen, curated by Véronique Souben.

On the occasion of the 140th anniversary of the Pedagogical Museum created by Jules Ferry, the Frac is investing, for the first time, the MUNAÉ, in a major exhibition.

Based on works from his collection but also from public collections, this exhibition is an opportunity to discover how contemporary artists have taken possession of the school, its furniture and its teaching methods, to propel him into the artistic sphere.
Sometimes a donkey's hat or a teacher, the artists divert the tools of the schoolchild, from compass to blackboard, replay the alphabet like the atlas and develop both playful and interactive approaches to education. In this exhibition, a new learning story is then composed where knowledge and power go hand in hand.

The exhibition route is divided into two axes. The first is devoted to school furniture and tools for both the student and the teacher. Contemporary artists make every effort to divert notebooks, backpacks, desks and books to restore visions that are sometimes political, social and also recreational. The world of school, of study, becomes the driving force for formal, narrative and conceptual experiments. The exhibition continues on the upper floor with a second part relating to teaching and more specifically to play as a method of transmitting knowledge. From the awakening mat to the hopscotch and the mikado, the artists revisit the classics of educational games.

Among the 93 works on display, this exhibition is an opportunity to discover the works of internationally renowned artists such as Barbara Kruger, Eric Duyckaerts or Annette Messager, but also artists who are very present on the national scene such as Aurélien Froment, Julien Discrit or Julien Prévieux, and in particular very active artists from Normandy such as Sophie Dubosc, documentation céline duval or Simon Nicaise.

From 20th September 2019 to 22nd December 2019 the frac île-de-france is holding an exhibition with works from its collection at the Château de Rentilly (Parc culturel de Rentilly - Michel Chartier), where the selection of works is left purely to chance : a random draw, open to everyone  via a plugin on the frac website, has taken place from Marsh 05 to Marsh 25, to choose a letter from the alphabet determining the artists to be exhibited. The " winning " letter is " D " : all artists in the collection whose name begins with " D " are  part of the exhibition and all their works will systematically be exhibited*.

While this project is the first of its kind, it is consistent with the approach to the collection fostering experimentation - while at the same time respecting the works and artists involved - in particular through a both fun and conceptual approach.

Reflecting past exhibitions, whether at the Plateau or Château, along with historical exhibitions - from Surrealists, Fluxus to more recent proposals from Bertrand Lavier or Bob Nickas -, there is a predefined rule or protocol here that must be rigorously and religiously adhered to.

As a result, whereas the true stance of an exhibition is generally determined through the selection of works, in this exhibition a predetermined principle is set in motion leaving no room for any subjective choices. From another point of view it is something truly arbitrary, the rule that is defined largely governs the next steps?
Beyond this apparent paradox, the exhibition and this stance enable works to be exhibited and compared on a completely new level.
Detached from any pre-existing or predominant theme, they appear de facto in perfect autonomy. That?s the real objective: to introduce works from the collection in their integrity, for what they are, without any preconceptions or bias.

A strange metal object lies shattered in the desert sands. Is it from outer space? Or is it a fragment of our military disasters? This image by Sophie Ristelhueber (b. 1949, France ), taken in Kuwait after the Gulf War, is likened by novelist Tom McCarthy (b. 1969, UK) to the starling's nest colonised by honey bees in W.B. Yeats's Meditations in Time of Civil War (1922). The photograph and poem are the starting point for Empty House of the Stare, McCarthy?s meditation on surveillance and control, and their malfunction and breakdown.

Guest curator McCarthy builds his narrative around the work of seven artists in "la Caixa" Collection of Contemporary Art. In Illuminer (2001) by Steve McQueen (b. 1969, UK), a man watches a report about military operation in Afghanistan on tv in a dark hotel room. A sculpture by Isa Genzken (b. 1948, Germany) - crumpled bookshelves found on a lower Manhattan street after September 11, 2001 - bears an uncanny resemblance to the remains of the twin towers. From his series Destructuras, Aitor Ortiz (b. 1971, Spain) photographs a modernist building as a haunting concrete shell. If the reels of tape in the archive by Pedro Mora (b. 1961, Spain) contain any recordings, they are irretrievable.

We enter the ground floor gallery towards a radiant portal by Eugenio Ampudia (b.1958, Spain) that might offer illumination and clarity but could be a trick of the light, an illusion. Eve Sussman's (b. 1961, UK) film about a worker in City-A, a Central Asia oil town uses an algorithm to determine the sequence of scenes so that, like real life, the story is never the same twice.

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. (...)

Het is of de stenen spreken (silence is a commons), four solo shows by Babi Badalov, Ansuya Blom, Ama Josephine Budge, and Mire Lee, opens 14 September!


If together we talk and separately we understand, what might we understand together if we listen to the stones speak? How do we unlearn to speak for the commons and listen to them instead? And how can we protect language commons that are of neither power nor capital?



The Autumn 2019 exhibition program at Casco Art Institute presents Het is of de stenen spreken (silence is a commons), featuring four solo shows of the distinguished artistic practices and languages by Babi Badalov, Ansuya Blom, Ama Josephine Budge, and Mire Lee. Each artist presents forms of communication that transgress the norms and habits shaped by power and capital-driven media.

The exhibitions open on Saturday, 14 September with a celebratory program from 12:00 - 18:00 at Casco Art Institute: Working for the Commons and on het Domplein as part of Uitfeest, the opening of the cultural season in Utrecht organized by Culturele Zondagen.

The show, organised on the 80th anniversary of the outbreak of World War II relies on three precisely determined focal points ? Guernica and the 1930s, the ?Arsenal? exhibition and the 1950s, contemporary art and (post-)fascism ? to present the singular and distinctive tradition of anti-fascist art. It is also held as part of the Anti-Fascist Year, a country-wide initiative of public institutions, NGOs, social movements, collectives, artists, and activists, which goal is to oppose movements endorsing post-fascist ideas, discourses, and practices in current public sphere.

Artist Babi Badalov will lead a participatory workshop on mask-making and a collective mural painting with a mixed group of social workers, people in the refugee struggle, and youth from Casa delle Agriculture. Part of a long-term support to this collective of organic farmers, using storytelling, story-placing, and visual self-representation, the work aims to center those thriving against land enclosure, forms of displacement and exploitation. It also celebrates land defenders, the Indigenous resurgence worldwide, and those who fight for a more just, equal, and non-extractive relationship with both human and non-human species.

The diary used to be our most private and secret thing ? until it wasn?t. Think of all the diaries (sometimes with a little lock on them) pried open and read by those described in less than flattering terms on their pages. That scene is a common trope in literature, theatre and cinema, just like the diary entry as a narrative form.

Many diarists have dreamt ? privately, secretly ? about posthumously sharing their life with the interested public. Publishing diaries (and writers? letters, and artists? notebooks) has become a whole industry driven by our lust for illicit insight, and ultimately our hope that process will reveal itself as superior to product.

Social media have accelerated this transformation of the private into the public. Today, it seems, little privacy remains. We upload our lives onto insidiously designed platforms, willingly sharing sensitive data with the real clients of Gmail and Facebook and Instagram. When they pursue us with individually tailored ?prediction products? we feel only vaguely spooked, although their digital mindreading threatens to deprive us of our human unpredictability and thereby of our free will.

The word ?Kazakh,? appears in the 13th century, to signify the ?free man,? the ?wanderer? (nomad) or the ?exiled?; it means a free individual who had left his people for freedom. The spirit of nomadism and freedom shared by the artists is the guiding thread of the exhibition which aims to raise awareness on the dissonances of a changing world and its contemporary mirages.

Racing the Galaxy brings together 20 artists from 15 countries, enriching each other and creating a new intercultural dialogue.

The exhibition deals with the gradual dissolution of dichotomies between East and West, in the era of global communication and the confrontation and melting of cultures, referencing the idea that artistic forms travel, mingle and enrich each other, from one continent to another. Built around the concepts of instability, change and mutation, Racing the Galaxy gathers experiences, territories, continents and people. It reveals the ambivalence of migrating artists and motionless travellers, always taken between different states, different positions.

Racing the Galaxy evokes the impermanence of things, social, political, economic, aesthetic rules and convenes all artistic forms. It embodies the plurality of the contemporary artistic scene facing the new challenges of the contemporary world such as globalization, multiculturalism, identity, gender, minorities, the quest for the future, the instability of perception and preconceived ideas as well as the appropriation of history. These artists lucid and informed by their multiple displacements and by their mastery of new technologies, set up speculative fictions, investigation and diversion strategies, mapping aesthetically social and political problems.

Du 1er juillet au 25 août 2019, pour l?exposition inaugurale de son nouveau bâtiment, l?École nationale supérieure de la photographie d'Arles a le plaisir d?accueillir la collection agnès b., dont le commissariat est assuré par 7 étudiants de l?école. C?est aussi la première fois qu?agnès b. montre une sélection des photographies de sa collection aux côtés de travaux d?étudiants en cours de cursus. L?exposition Modernité des passions, avec le généreux soutien de la Fondation des Artistes, s?inscrit dans le cadre d?un projet pédagogique lié aux pratiques de commissariat. Ainsi, depuis 2018, un groupe d?étudiants a endossé le rôle de commissaire et sélectionné plus d?une centaine d?oeuvres pour réaliser cette exposition. Comment donner à voir la singularité d?une collection ? Comment rendre visibles les pratiques contemporaines de la photographie ? Et comment rendre compte des recherches et des pratiques de l?image et du photographique au sein de l?école ? Tels sont les questionnements au coeur de cette exposition et de l?expérience pédagogique du projet qui tente d?éprouver ce que peut être la modernité aujourd'hui.

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.

Phrygian Obelisk by Nikita Kadan is linked to the mythological figure of Attis, a symbol of eternally reviving nature. In various versions of the myth, the genitals cut off by the hero in a fit of madness turn into plants or fungi. The obelisk grows out of a vegetable garden, which inconspicuously reminds one about spontaneous gardening in downtown Kiev during the Maydan. The garden refers to the worship of Attis but also to the laws of vegetation, first and foremost to the cyclical nature and reversibility of processes. Both a vertical metal object of human height and plant matter represent mankind; the Donetsk architectural catalogue complements the semiotics by placing a metaphor in the context of a place.

Backdrop for living or contemplative space, landscape is both ubiquitous and invisible. Landscape remains, nevertheless, a major political and sociological issue. Photographers explore our surroundings, looking to capture new facets of a shifting landscape. How can landscape, an exemplar of durability and sculpted by man and nature over the ages, be reconciled with the intrinsically instantaneousness act of taking a photograph?

The exhibition PAYS-AGES (Landscapes) offers us some complementary and diverse visions of landscape as represented by today's photographers, video artists and painters.

As part of the 50 years of Lac Salagou, one room of the exhibition will be devoted to the photographs of Georges Souche known for his series 'Planet Salagou'.

WITH DOVE ALLOUCHE, JOAN AYRTON, FRÉDÉRIC BENRATH, MICHAËL BIBERSTEIN, BEATRIX VON CONTA, THIBAUT CUISSET, VÉRONIQUE ELLENA, ELGER ESSER, GILERT FASTENAEKENS, JEAN-LOUIS GARNELL, WERNER J. HANNAPPEL, ALEXANDRE HOLLAN, GABRIEL OROZCO, SOPHIE RISTELHUEBER, GEORGES SOUCHE.

Stars Are Closer and Clouds Are Nutritious Under Golden Trees is a two-part exhibition and public program taking place at the MMAG Foundation between June 13 and December 5, 2019. The project takes Jean Genet's final book, the poetic and self-reflexive Prisoner of Love (1986), as its point of departure. Love for landless revolutions inspired Genet to narrate another kind of story about his time with the Palestinian fedayeen and the Black Panthers during the 1970s.

Reconsidering the vocabularies and incomplete histories of 20th-century political subjectivity, Stars Are Closer and Clouds Are Nutritious Under Golden Trees inhabits different times and spaces, thinking in the languages of the region, including Arabic, English, French, Kurdish and Turkish. The program connects figures of the political left from Turkey who fought in Palestine in the 1970s with Palestinian feminist movements of the British Mandate period. It follows the story of the Portapak camera that recorded Jean Genet in Jordan and then traveled to North America and Africa, feeding into the eroticism of revolutionary desire and power while highlighting the contemporary dilemma of the Kurdish autonomous women's movement in northern Syria. In other fragments of history, the Soviet film archive recently found in Amman walks alongside an accelerated dream that was triggered by the once-iconic political spectacle of the plane hijackings. The fighters of Monique Wittig's Les Guérillères (1969) merge with the Black Panther who found inspiration in the poetry of Palestinian Samih al-Qasim.

These narrative fragments form a political and poetical imaginary that will gradually take over the MMAG Foundation over six months. The two parts of the exhibition, opening on June 13 and September 19 respectively, will be bridged by a public program that includes lectures, conversations, screenings and workshops. The project is a collective effort by artists, activists, archivists and academics to explore the different ways we can counter hegemonic discourses and histories of the context.

Because the world needs other kinds of stories.

Curated by Frits Gierstberg - art historian, critic and curator and Head of Exhibitions at the Nederlands Fotomuseum in Rotterdam (Netherlands) -, this exhibition and its catalogue bring together, for the first time in Spain, a number of long-term photography commissions that focus on the changing rural, urban and suburban European landscape. Both cover a period from 1984 until today and concern projects that have been given by public or semi-public institutions in a number of European countries, regions and cities. Works by almost sixty photographers will be presented along the many publications that were produced in the context of the selected commissions: Mission photographique de la DATAR (France), Mission photographique Transmanche (France), Linea di Confine per la Fotografia Contemporanea (Italy), Ekodok-90 (Sweden), Fotografie und Gedächtnis [Photography and Memory] (Germany), Long-Term Photographic Observation of Schlieren (Switzerland), Places. Denmark in Transition (Denmark) and RO_Archive (Romania).

Museo ICO presents a selection from the collection of the CRP/.

For the 21st time, the exhibition will be presenting paintings and sculptures, photographs and installations by 200 selected artists from all over the world. NordArt is one of the largest annual exhibitions of contemporary art in Europe. NordArt, conceived by Chief Curator Wolfgang Gramm, year after year redefines itself anew and setting new priorities. Around 3,000 artists from 102 countries applied for the NordArt 2019.

This year's Focus Country is on France, with its own pavilion under the patronage of the Ambassador of France in Germany, Anne-Marie Descôtes.

FRENCH PAVILLION - Some of Us

Curator: Jérôme Cotinet-Alphaize
Associate curator: Marianne Derrien

The country pavilion titled ?Some of Us? is dedicated to French female artists born between the late 1960s and early 1990s who have made a name for themselves in our neighbouring country and beyond in recent years. The exhibition aims to investigate the development across two generations of women, illuminating commonalities and examining what is typically French or perhaps Western.
?Some of Us? is an exhibition in two parts: ?Focus? is based on a selection of emerging artists with recent recognition in France. As a complement to this focus, the second exhibition ?Statement? offers a panorama of more than a hundred female artists.

Serpentine Galleries present the third instalment of this year-long symposium and research project, presented as part of the General Ecology project. The Shape of a Circle in the Mind of a Fish with Plants brings together scientists, anthropologists, artists and theologians around plant sentience, plant intelligence, communication with the vegetal world and forms of mysticism and healing. Participants include Saelia Aparicio, Antoine Bertin, Vivian Caccuri, Teresa Castro, Amy Hollywood, Kapwani Kiwanga, Natasha Myers, Michael Marder, Tabita Rezaire, Kim Walker, Elvia Wilk and more to be announced. A new commission from Chris Watson will be presented on the night.

Soirée de lancement de l'ouvrage collectif La Besogne des Images (art, littérature, philosophie) sous la direction de Léa Bismuth, critique d'art et commissaire d?exposition, et Mathilde Girard, psychanalyste et écrivaine, co-édité par Filigranes Éditions et Labanque Béthune.
Ce livre fait suite à l'expérience curatoriale La Traversée des Inquiétudes, menée par Léa Bismuth au centre de production et de diffusion en arts visuels Labanque, à Béthune de 2016 à 2019, mais n'en constitue pas le catalogue. Ces expositions librement inspirées de la pensée de Georges Bataille ont permis l'émergence d'une forme nouvelle de savoir prolongée dans cet ouvrage avec des écrivains, philosophes, artistes.

Lectures de Léa Bismuth, Mathilde Girard, Yannick Haenel, Bertrand Schefer, Pierre Weiss.
Projection d'un film de Georges Tony Stoll, Film, 26 minutes.

TAF will host GALLERIES dealing in CONTEMPORARY VISUAL ARTS, actively engaged in the organisation of exhibitions and contributing to the contemporary ARTISTIC DISCOURSE. Galleries are selected according to their professional REPUTATION, ARTISTS represented, CURATORIAL DECISIONS, geographical FOCUS, and commitment to building a SOUND ART MARKET. Participants in TAF 2019 edition include, from Georgia, LC Queissier, Erti, Project Art Beat, Ria Keburia Gallery, Window Project, Vanda Gallery, TBC, Baia Gallery, Chardin Gallery. And Kamel Mennour (France), Gisela Clement (Germany), Simone Subal (USA), Rooster (Lithuania), Q gallery (Azerbaijan), Art Agency (Bulgaria), Valid Photo BCN (Spain), Levy Delval (Belgium), L?Aleatoire (France), AB43 Contemporary (Switzerland), Eugster (Serbia), as well as The Screening Room (video art) in collaboration with Gallery Apart (Italy), Madragoa (Lisbon), 22,48m2 (France), Jerome Poggi (France). Galleria Continua (France, China, Cuba, Italy), Vin Vin (Austria), Levy Delval.TAF will host GALLERIES dealing in CONTEMPORARY VISUAL ARTS, actively engaged in the organisation of exhibitions and contributing to the contemporary ARTISTIC DISCOURSE. Galleries are selected according to their professional REPUTATION, ARTISTS represented, CURATORIAL DECISIONS, geographical FOCUS, and commitment to building a SOUND ART MARKET. Participants in TAF 2019 edition include, from Georgia, LC Queissier, Erti, Project Art Beat, Ria Keburia Gallery, Window Project, Vanda Gallery, TBC, Baia Gallery, Chardin Gallery. And Kamel Mennour (France), Gisela Clement (Germany), Simone Subal (USA), Rooster (Lithuania), Q gallery (Azerbaijan), Art Agency (Bulgaria), Valid Photo BCN (Spain), Levy Delval (Belgium), L?Aleatoire (France), AB43 Contemporary (Switzerland), Eugster (Serbia), as well as The Screening Room (video art) in collaboration with Gallery Apart (Italy), Madragoa (Lisbon), 22,48m2 (France), Jerome Poggi (France). Galleria Continua (France, China, Cuba, Italy), Vin Vin (Austria), Levy Delval.TAF will host GALLERIES dealing in CONTEMPORARY VISUAL ARTS, actively engaged in the organisation of exhibitions and contributing to the contemporary ARTISTIC DISCOURSE. Galleries are selected according to their professional REPUTATION, ARTISTS represented, CURATORIAL DECISIONS, geographical FOCUS, and commitment to building a SOUND ART MARKET. Participants in TAF 2019 edition include, from Georgia, LC Queissier, Erti, Project Art Beat, Ria Keburia Gallery, Window Project, Vanda Gallery, TBC, Baia Gallery, Chardin Gallery. And Kamel Mennour (France), Gisela Clement (Germany), Simone Subal (USA), Rooster (Lithuania), Q gallery (Azerbaijan), Art Agency (Bulgaria), Valid Photo BCN (Spain), Levy Delval (Belgium), L?Aleatoire (France), AB43 Contemporary (Switzerland), Eugster (Serbia), as well as The Screening Room (video art) in collaboration with Gallery Apart (Italy), Madragoa (Lisbon), 22,48m2 (France), Jerome Poggi (France). Galleria Continua (France, China, Cuba, Italy), Vin Vin (Austria), Levy Delval.TAF will host GALLERIES dealing in CONTEMPORARY VISUAL ARTS, actively engaged in the organisation of exhibitions and contributing to the contemporary ARTISTIC DISCOURSE. Galleries are selected according to their professional REPUTATION, ARTISTS represented, CURATORIAL DECISIONS, geographical FOCUS, and commitment to building a SOUND ART MARKET. Participants in TAF 2019 edition include, from Georgia, LC Queissier, Erti, Project Art Beat, Ria Keburia Gallery, Window Project, Vanda Gallery, TBC, Baia Gallery, Chardin Gallery. And Kamel Mennour (France), Gisela Clement (Germany), Simone Subal (USA), Rooster (Lithuania), Q gallery (Azerbaijan), Art Agency (Bulgaria), Valid Photo BCN (Spain), Levy Delval (Belgium), L?Aleatoire (France), AB43 Contemporary (Switzerland), Eugster (Serbia), as well as The Screening Room (video art) in collaboration with Gallery Apart (Italy), Madragoa (Lisbon), 22,48m2 (France), Jerome Poggi (France). Galleria Continua (France, China, Cuba, Italy), Vin Vin (Austria), Levy Delval.

THEIR PAST, YOUR PRESENT, OUR FUTURE is the third chapter of a series of international exhibitions organised under the title HOTEL EUROPA by French-Italian curator Théo-Mario Coppola. The project is an opened dialogue within different artists practices related to Europe as a state of mind and not necessary as a continent. The third edition of HOTEL EUROPA will highlight the cultural relations between the Georgian art scene and European artists.

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 œuvre 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.

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.

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.

Curated by Rudi Fuchs

[...] "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. [...]

« 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.

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".

Parallèlement à l?exposition de Thomas Houseago, et à l?occasion de nouvelles donations majeures, le nouvel accrochage des collections du Musée d?Art moderne explore le thème de la narration envisagée comme une expression plastique plutôt que littéraire. Tel un récit révélé à travers l?histoire et le temps, Rumeurs & Légendes présente un art confronté à son actualité politique, sociale et esthétique tout en restant perméable aux aléas de l?histoire personnelle.

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.

On danse ? Oui, on danse. Tous. On n’est pas forcément Nijinski, Beyoncé, ni Fred Astaire, mais peu importe, à un moment ou à un autre, on danse : dans une fête, en club, dans un concert, ou seul dans son salon. La danse n’est pas qu’une affaire de virtuoses, nous la connaissons et la fabriquons tous. C’est bien de cela que traite l’exposition « On danse ? », présentée au Mucem : un fait social partagé, créateur de liens, qui traverse nos vies et nos sociétés de part en part.
Du corps, premier territoire de la danse, à la transe qui nous le fait oublier, l’exposition invite à découvrir la danse là où on n’a pas l’habitude de la voir et à réaliser à quel point elle modifie le rapport à soi et aux autres.
Dans une scénographie qui invite au mouvement, le visiteur est libre d’aller et venir, s’asseoir, s’étirer, s’allonger, s’adosser, pour découvrir films, pièces sonores et extraits de textes. Ces œuvres sont agencées en un flux audiovisuel de six heures qu’il s’agit de prendre au vol pour quelques minutes ou quelques heures.
Libre à vous de passer d’un écran à un autre, d’éprouver et choisir la façon dont vous regardez, écoutez, au gré des volumes, des courbes et des matières de l’espace d’exposition… On danse ?

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.

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?

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.

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.

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.

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.

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.

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

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

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.

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.

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

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.

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

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