?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

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.

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.

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.

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.

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

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

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

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

Sculptural intervention in Cultural Center of Merksem

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

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

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

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

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

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

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

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

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

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

Curator: Ann Stouvenel

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

Ann Stouvenel / Translation Jo-Anne Balcaen

Dans l'atelier de la Mission photographique de la Datar

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

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

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

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

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

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

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

Event :

Sophie Ristelhueber

In conversation with David Campany

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

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

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

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

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

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

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

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

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

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

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

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

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

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

With :

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

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

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

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

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

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

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

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

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

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

With :

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

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

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

Curated by Julie Crenn


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

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

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

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

CURATOR: CAROLIN KÖCHLING

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

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

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

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

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

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

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

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

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

Reading and installation of Grégory Buchert.

Curators : Marianne Derrien et Sarah Ihler-Meyer

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

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

Opening on October 16, 2016.

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

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

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

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

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

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

Exhibition

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

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

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

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

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

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

English version online soon !

Opening on September 24th, 2016 - Galerie haute

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

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

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

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

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

Curator : Clelia Cloussonnet

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

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

Opening on September 5th, 2016

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

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

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

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

Artistic director : Maria Lind

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

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

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

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

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

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

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

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

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

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

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

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

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

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

>>> more information

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

Curator : Raffaella Frascarelli

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

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

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

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

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

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

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

June 17 > August 28, 2016

www.lapanacee.org

more information >>>

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

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

Curator : Jean-Max Colard

Curator : Chris Sharp

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

Curator : Émile Ouroumov with Catherine Pavlovic

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

Curator : Sandra Patron

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

Curator : Elena Sorokina
Associated curator : Vit Havránek

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

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

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

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

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

Opening April 24th at 4pm

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

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


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

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

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

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

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

http://carpe.pt/

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

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

Still (the) Barbarians participating artists:

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

Transit: Ströme. Larissa Fassler & Mirko Martin

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

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

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

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

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

Curator: Dr. Klaus-D. Pohl

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

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

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

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

INHA
Salle Demargne
2, rue Vivienne
75002 Paris

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

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

>>> more information

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

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

Group show

Curated by Nathalie Ergino, assisted by Magalie Meunier

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

Group show

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

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

Opening : March, 4th, 6.00 pm

Le Granit
1 Faubourg de Montbéliard
90002 Belfort

Opening : March 4th, 6 pm

Group show

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

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

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

Group show

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

MEDIA LOUNGE PROGRAM

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

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

Consultants: Yasmina Reggad, Curator; Ava Ansari, Artist

Group show

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

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

Group show

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

Place du Château
87600 Rochechouart, France

Solo show - Babi Badalov

FERIA DE MADRID
Halls 7 and 9

Solo show

Public opening : February 18th

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

13 Avenue du Président Wilson, 75116 Paris

Photo André Morin

Group show

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

63 Bd Besson Bey | 16000 Angoulême

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

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

Opening : February 5, 7pm

The Funny Thing About Orthodoxy

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

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

An exhibition by Philippe Quesne

Opening : February 4th, 7pm

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

Group show

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

Group show

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

Curatorship: Orlando Britto Jinorio

HALLS 4 AND 5

Solo show

Romestraat 11
B-8400 Ostende

Opening : January 28th, 6 pm - 8 pm

Curator : Catherine Bédard

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

5 rue de Constantine
75007 Paris

Group exhibition organized by Paula Doepfner

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

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

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

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

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

Curator: Sandra Patron

Group show

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

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

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

Group show

Avec Cédrick Eymenier

1, Place Montfort
84110 Vaison la Romaine

Performance

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

Lecture

Invited by Antoinette Ohanessian

December 15th, 6.00 pm

Group show

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

Exhibition « Les fragments de l'amour» , La Traverse, Alforville

With Charbel-Joseph H. Boutros, Anne-Lise Broyer, Julien Crépieux, Mathilde Denize, Emma Dusong, Mounir Fatmi, Hervé Guibert, Javier Perez, Axel Pahlavi, Alix Cléo Roubaud, Dorothée Smith, Agnès Thurnauer, Joao Vilhena.
Curator : Léa Bismuth.

Tuesday, December, 8th, 6.00 pm - 10.00pm : Opening with Léa Bisuth and the artists

Opening : December, 2nd, 6.00 pm

Curator: Pierre Vialle

Group show

With Giulia Andreani, Art & Language, Jean-Philippe Basello, Gaston Damag, Alice Didier-Champagne, Benjamin Efrati, Olivier Garraud, Godspeed You! Black Emperor, Adrien Guillet, Ann-Marie James, Emma Kay, Daphné Le Sergent, Louise Pressager, Julien Prévieux, Sebastien Rémy, Vittorio Santoro, José Johann Seinen, Hugo Sicre, Fabiola Torres-Alzaga, Thomas Wattebled

As part of its commitment to COP 21, SNCF Stations & Connexions offers a series of artistic events on the theme of climate warming.

With Lean Ehrlich, Thierry Suzan, Anoux Garcia, Société Réaliste ...

Exhibition from the 28th of November to 12th of March 2016.

Curated by: Tripode & Mosquito Coast Factory

With Maxime Bichon, Jagna Ciuchta, Julien Crépieux, Élise Florenty & Marcel Tu?rkowsky, et Éric Stéphany

L’architecture comme construction de climats

Auditorium of ENSA-V

Debate I - Thursday, November 19th, 2.00 - 6.00 pm

With : Cyrille Simonnet, Philippe Rahm, Bertrd Lamarhe, Matthias Schüler, Manola Antonioli

Opening: November 13, 2015, 6 pm

Mayakovsky 102, the open office of tranzit. hu, 1068 Budapest, Király utca 102.

Artist and poet Babi Badalov was born in Lerik, Azerbaijan in 1959. From 1980, he lived in Leningrad, where he became a member of the “The New Artists” group formed by rebelling local artists as well as artists coming from distant places of the Soviet Union. The “New Artists,” gathering around Timur Novikov, engaged in conceptual painting, and presented their art works in unusual urban locations through illegal actions that were either tolerated or persecuted by the sate. Badalov participated with large-scale paintings and objects in the exhibition The New from Petersburg at M?csarnok/Kunsthalle Budapest in 1990. After his Budapest visit, his 20-year long asylum seeking started during which he lived as an artist, gay rights and political activist. After the exhibition in Budapest, Badalov went to Germany then to the United States and in 1994, he returned to Saint Petersburg, and some years later, to Azerbaijan. He then moved to the United Kingdom where, after two years, he could not obtain the refugee status and was deported back to Azerbaijan. After spending three days in Azerbaijan and two months in Saint Petersburg, he went to several places within the Schengen Area, to Finland, Germany, Belgium, and then France where he sought asylum and was finally granted refugee status in 2011. He currently lives in Paris, and has participated in several international exhibitions, among others the Moscow Biennial currently on view. Badalov’s art is a kind of perpetual diary writing and collection of materials around the everyday life of being an immigrant and a refugee, which he displays as drawings, collages, installations, and performances. Coming from a Muslim cultural background, his visuality is shaped by both Eastern and the Western cultures. The artist’s works speak to the brutality of a fast-changing world, where vulnerable groups, including refugees all around the worlds, face the limits of the states’ actions for problem solving. Practices developed in Western countries—that have decades-long experience in accommodating foreigners—are not always humane, and by no means provide long-term or comforting resolutions for people who are forced to leave their home countries.

As the title of the exhibition indicates, the artist believes in the power of words; his visual poetry can also be interpreted as poetical agitation. Badalov’s exhibition made for the spaces of Maykovsky 102, the open office of tranzit.hu, comprises often pun-based poetical-political texts written in a calligraphic style typical of the artist, visual poetry painted on walls, as well as collages of drawings and found materials. In addition, display manikins in clothes with radical messages, evoking protesters and foreigners, will populate the spaces of tranzit.hu.

Group show - Finalits' photographies of Prix Pictet.

Twelve finalists :
Ilit Azoulay, Valérie Belin, Matthew Brandt, Maxim Dondyuk, Alixandra Fazzina, Ori Gersht, John Gossage, Pieter Hugo, Gideon Mendel, Sophie Ristelhueber, Brent Stirton, Yang Yongliang

The rhythms, lines, fields, and volumes of Anna-Eva Bergman’s art are inspired by nature. Her simple, geometric, and natural forms conjure up a sense of the poetical and the spiritual. The exhibition has been set up according to Bergman’s own categorization in her note «Les Themes».

Web site of the Museum

Curated By: Dr. Alexandra MacGilp

Artists: Fayçal Baghriche / Nick Ferguson / Tatiana Echeverri Fernandez / Sonja Gerdes / Ludovica Gioscia / Hans Rosenström / Kim Schoen

Imitation Game is an exhibition of newly-commissioned outdoor sculpture for Maraya Art Park. The artists explore what makes us human in the digital age. They examine our interaction with the chatbots who increasingly haunt the online world. Memory is one thing that machines are not able to imitate and this is addressed poetically in the exhibition. Exuberant sculptures and installations playfully examine the torrent of consumerism that engulfs our everyday existence and how it shapes our identity. The artists also investigate these questions with a focus on the idiosyncratic response of the Arab world to today’s global monoculture. They imagine alternative presents and futures as well as making us aware of the histories of the built environment, urban and rural, that surrounds and shapes us.

Curators: Gabriel Bauret, Géraldine Bloch

Institut du Monde Arabe
1, rue des Fossés-Saint-Bernard
Place Mohammed-V 75005 Paris

A major work of art by French artist Sophie Ristelhueber, purchased by the National Gallery of Canada in 2013, is now on view in the Gallery's contemporary art galleries. Titled Fait, this photographic installation produced in 1992 comprised of 71 aerial and ground views of the Kuwait desert taken after the first Gulf War. The NGC is the only museum to have acquired the work in its entirety.

At the Artissima art fair, Torino.

6th November, 1.30 pm - 2.30 pm, at the Meeting point.

With :

Francesca Comisso : curator, mediator for the New Patrons in Italy
Mario Airò : artist
Anna Rowinski : patron
and Jérôme Poggi, director of SOCIETIES / Objet de production and mediator for the New Patrons in Paris

Group show

With Fayçal Baghriche, Maxime Bondu, Julien Crepieux, Kapwani Kiwanga

Artissima is Italy?s most important contemporary art fair. Since its establishment in 1994, it has combined the presence of an international market with a focus on experimentation and research.
Nearly two hundred galleries from around the world participate every year. In addition to the fair, Artissima is also composed of three art sections, headed by a board of international curators and museum directors, devoted to emerging artists, performances and rediscovering the great pioneers of contemporary art.
Artissima will be held in Torino from 6 to 8 November at the Oval, a glass pavilion built for the 2006 Winter Olympic Games in the industrial archaeology complex of the Lingotto.
It is curated by Artissima Srl, a company connected with the Fondazione Torino Musei.

More information

Group show

With Renaud Auguste-Dormeuil, Fayçal Baghriche, Marcel Broodthaers, Wim Delvoye, Angela Detanico et Rafael Lain, Mounir Fatmi, Robert Filliou, Marco Godinho, Bouchra Khalili, Kimsooja, Sigalit Landau, Michelangelo Pistoletto, Philippe Ramette, David Renaud.

Curator : Sylvie Zavatta

Solo show

Opening November 3rd, 6.00 pm

Solo show

Opening : October, 29th, 6.00 pm

Curator : Emile Ouroumov.

[...] it involves speculation based on confirmed data in the present, past or anticipated in the future. Made of reconstructions and simulacra, Maxime Bondu's work is an invitation to grasp this element of relentless uncertainty, which is part and parcel of our reality.

Solo show

Place Sainte-Catherine 44 1000 Bruxelles

Following the previous exhibitions of the Private Nationalism Project (Prague, Košice, Pécs, Cracow, Bratislava), two Budapest institutions will now host the project’s closing exhibition, entitled Imagined Communities, Personal Imaginations. The exhibition, which is based on Edit András’ comprehensive curatorial concept, will be on view at the Budapest Gallery and the Kiscell Museum – Municipal Gallery. It showcases works by 39 socially committed contemporary East-Central European artists who address questions of imaginations concerning the nation, phases in the formation of national identities and the issues raised by nationalism.
The title of the exhibition is borrowed from the influential book Imagined Communities: Reflections on the Origin and Spread of Nationalism, by political scientist and historian Benedict Anderson. In his book (which has been published in Hungarian as well), Anderson defines nationalism and nationality as cultural products of an imagined political community, the individual members of which, despite the absence of face-to-face relationships, share strong attitudes and beliefs about their own people and other peoples. The exhibition aims to shed light on the subject and content of national imagination and assumes that nationalism in any form has a more visual nature than other political currents: nationalism presents itself in a plethora of vivid images, symbols and myths, to which dreams, fantasy and imagination also contribute. In the first part of the exhibition, the works on view at the Budapest Gallery address the various phases in the formation of the nation concept and present numerous manifestations of national imaginations, while the works displayed in the church nave and oratory of the Kiscell Museum present alternative imaginations of the nation. The exhibiting artists participate in the contestation of the meanings of the ‘imagined communities’ as active and critical citizens. From within and from outside of the nation they create an imagined space on the margins of the dominant culture, offering (re)interpretative and critical possibilities and alternatives.
The Private Nationalism Project is an initiative of the Approach Art Association based in Pécs. The PNP is a series of international art and cultural programs. It has been realized as a collaborative effort among eight institutions from six countries. The invited artists and the 15-member international curatorial staff represent primarily the region of Central-East Europe and countries and cultures in the adjacent areas. More than 70 artists participated in the six exhibitions that have been held so far.

Group show

With Martin PIACEK (SK) | Michal MORAVÍK (SK) | Karol RADZISZEWSKI (PL) | Mykola RIDNYI (UA) | Martina SLOVÁKOVÁ (SK) | SOCIÉTÉ RÉALISTE (Ferenc GRÓF, Jean-Baptiste NAUDY) (H/FR) | Gökçe SÜVARI (TR) | József SZOLNOKI (H/D) | Bálint SZOMBATHY (H/SRB) | Mark THER (CZ) | Jaroslav VARGA (SK) ...

Curator: Edit Andras

Solo exhibition
Salon Blanc, Oostende, Belgium
1 day art project room
info@salonblanc.be
Romestraat 30
8400 Oostende

Group show

With Julien Prévieux, , Philippe Ramette, , Emmanuel Régent,  Germaine Richier, , Anri Sala, Sarkis, , Société Réaliste, , Tadzio, , Nathalie Talec, , Tsuneko Taniuchi, …

Solo show

The large-scale installation entitled108 Minutes A Day (Gagarin)by Italian-Swiss artist Vittorio Santoro was especially conceived for the rectangular space of the MoCA Pavilion. The work takes the form of an architectural intervention including sculptural floor objects and it combines elements of historical research around the first human journey into outer space as well as participatory conversations with more than 90inhabitants in Hangzhou, among them students of the China Academy of Art of Hangzhou where the artist is presently a visiting artist.

October 22nd, 12.00, Auditorium

In "A Conservator's Tale", Kiwanga assumes the role of a conservator in charge of very specific and subjective archives. She makes silent objects speak, embodies forgotten accounts and tells fantastical stories. Unusual anecdotes, unspoken facts and mythical beasts all have their place in the stories told by Kiwanga. By combining readings, sound and video extracts, the artist explores the status of the document, but also the possibilities of oral transmission.

English conference and happening. Free entry (within the limit of available seats)

Solo show

FIAC has retained this radical project consisting only of flowers that Kapwani Kiwanga proposed for the Lafayette sector in the Grand Palais. Flowers for Africa is a conceptual project that questions the material from which history is wrought, its fragility, its infallibility, its visibility and its hierarchy. Starting from a long and patient work on visual archives relating to decolonization, Kapwani Kiwanga defined a protocol calling for a recovery from iconographic documents of the time ; bouquets of flowers have been used for obviously symbolic purposes in ceremonies or events related to the independence of African countries.
On this occasion, the gallery will publish an interview between Nata?a Petre?in-Bachelez and Kapwani Kiwanga about the Flowers for Africa project.
Kapwani Kiwanga will perform in the auditorium of the Grand Palais for the FIAC opening on Thursday, October 22nd, 2015, thanks to the "Association des directeurs de centres d?art".
 
More information

Opening : 22 Oct, 2015

Jérôme Poggi is pleased to present the first solo show of Kapwani Kiwanga at the gallery. Entitled Continental Shift, the show is part of the "Afrotunnel" project, currently developed by the artist. It refers to a hypothetic tunnel linking Europe to Africa via the strait of Gibraltar, that has been studied for a number of years but has yet to be realised. Parallel to this exhibition, the gallery presents at FIAC (Secteur Lafayette) a solo show untitled Flowers for Africa by Kapwani Kiwanga and publishes an interview with Nataša Petrešin-Bachelez.
The Afrotunnel project is developped with support of Centre National des Arts Plastiques (soutien pour une recherche artistique).

Dust - unwanted, inevitable, destructive ? is the great suppressed substance of the modern age. The world of order and hygiene attempts to banish dust yet it will always return.

The exhibition takes as its starting point two significant events that happened in Europe in October 1922. In the Parisian journal Littérature, Man Ray published his photograph of dust gathering on the surface of Marcel Duchamp's Large Glass (where it was title ?Vue Prise en Aeroplane?); and in the London journal The Cirterion TS Eliot published his modernist masterwork The Waste Land containing the immortal lines:

From this beginning the exhibition takes in aerial photography, forensic photography, abstractions of landscapes, ruins, postcards and press photos of the American dust storms, artists videos, film clips, documentary photography and site specific works, featuring artists like Man Ray, John Divola, Sophie Ristelhueber, Walker Evans, Mona Kuhn, Aaron Siskind, Gerhard Richter, Xavier Ribas, Nick Waplington, Eva Stenram, Georges Bataille, Jeff Wall, among others.

Curator : David Campany

Group show

With Man Ray, Marcel Duchamp, John Divola, Sophie Ristelhueber, Walker Evans, Mona Kuhn, Aaron Siskind, Gerhard Richter, Xavier Ribas, ...

Screening, Invited by Luc Joulé
Videodrome 2
49 Cours Julien
13006 Marseille - France

Group show

With Vito Acconci - Renaud Auguste-Dormeuil - Daniel Arsham - Thomas Bayrle - Christophe Berdaguer & Marie Péjus - Pierre Besson - Mel Bochner - Marie Bovo - Brevet & Rochette - stanley brouwn - Alain Bublex - Heidi Bucher - Daniel Buren - Pedro Cabrita Reis - James Casebere - Jordi Colomer - Stéphane Couturier - François Dallegret - Denicolai & Provoost - Larissa Fassler - Martine Feipel & Jean Bechameil  - Jean-Pascal Flavien - Zachary Formalt - Peter Friedl - Carlos Garaicoa - Anne-Valérie Gasc - Liam Gillick - Pierre-Jean Giloux - Geert Goiris - Dan Graham - Carsten Höller with Philippe Parreno - Anish Kapoor - Sabina Lang & Daniel Baumann - Mark Lewis - Jonnier Marin - Matthieu Martin - Gordon Matta-Clark - Rita McBride - Dean Monogenis - Matt Mullican - Bruce Nauman - Olaf Nicolaï - Julian Opie - Giulio Paolini - Enoc Perez - Alexandre Perigot - Charlotte Posenenske - Tabor Robak - Yvan Salomone - Peter Scott - Richard Serra - Timothée Talard - Bert Theis - Lawrence Weiner

Curators: Didier Gourvennec Ogor and Grégory Lang

Opening : 15th, October, 2015

Since her performance at Tate Modern in April 2014, Kapwani Kiwanga is particularly visible on the
London art scene. The South London Gallery just devoted a significant solo show to her (Kinjiketile
suite, 15 April to 7 June 2015). This fall, Kiwanga will have simultaneously three solo shows at 1:54,
at FIAC where she will present her «Flowers for Africa» project that will be one the highlight of the
Lafayette section, and at the Paris based galerie with her new project «Continental Shift».
In 2016, Kapwani Kiwanga will also have an important solo show at Armory Show, being named as a
«Commissionned artist» of the 2016 New York art fair.

More information

Group show

Curated by  Julie Miguirditchian

With Elias Crespin, Laurent Bolognini, Jeanne Suspuglas, Félicie d'Estienne d'Orves, Pierre-Laurent Cassiere, Bertrand Lamarche, Olivier Ratsi, Jeongmoon Choi, Ivana Franke

Group show
Curator: Eva Cardon
University library, Leuven, Belgium

with works by Avec les oeuvres de : Sven Augustijnen, Charif Benhelima, Michaël Borremans, David Claerbout, Ronny Delrue, Nicolas Karakatsanis, Wesley Meuris, Sarah & Charles, Ante Timmermans, Fik Van Gestel, Karen Vermeren & Francis Vranckx

Sound installation with James Taylor)
Curator: Judicael Lavrador

Nel Mezzo del Mezzo, arte contemporanea nel Mediterraneo

Curators: Christine Macel, Marco Bazzini, Bartomeli Mari

Group show

With Pilar Albarracin, Jeff Koons, Carsten Höller, Regina Möller, Alain Séchas, Georges Tony Stoll, Patrick Tosani, Carl Emanuel Wolff.

Opening October 8th, 2015, 6 pm

Performance

Jarrestraße 20, 22303 Hamburg, Allemagne

Vide - Poursuite
08.00 - 07.00
On a proposal from the city hall of Paris 18th district

With Jérôme Poggi Gallery

Dedicated to emerging artists to publish their first monographs.

Every two years, aparté organises a competition in order to help an artist in the early phases of his/her career by publishing a monograph. This publication allows the artist, who is selected by a leading figure in the art world, to introduce himself and join artistic circles, and thereby promote his work in Switzerland and abroad. The publication of the monograph is marked by an exhibit that brings the laureate?s work to the public's attention and introduces him/her to the art market.
The competition is open to all visual artists, regardless of the technique(s) they practise.

Exhibition curated by Jonathan Chauveau

With Florian Viel, Cats Hats Gowns & Coriolis Sound System

Chapelle du Haut-Quartier, Sete (F)

with works by Iñaki Bonillas, Bertrand Lamarche

19, rue Francis de Préssensé, 13001 Marseille, France

Téléphone : (+33) 04.91.90.04.26

Artforum international, October 2015, Vol. 54 p.333-334

By Riccardo Venturi

A lecture by Vittorio Santoro

6 pm

With Aubry Broquard, Jürgen Beck, Heiko Blankenstein, Maya Bringolf, Christoph Brünggel, Françoise Caraco, CKÖ, Andreas Dobler, Jonas Ett, Marcel Gähler, Federica Gärtner, Selina Grüter & Michèle Graf, Michael Günzburger, Susanne Hofer, huber.huber, Monica Ursina Jäger, Markus Kummer, Konstantinos Manolakis, Andreas Marti, Minimetal Sophie Nys, Martin Reukauf, Vittorio Santoro, Jonas Schnyder, Christoph Schreiber, Filib Schürmann, Pascal Schwaighofer, Veli & Amos, Jan Vorisek, Wink Witholt

Pavilion No.1 of VDNKh
Prospect Mira 121
Moscow
Russia

Babi Badalov is an Azeri artist and poet. After finishing art college in his native country, he left to St. Petersburg in 1980, where he soon became an influential underground artist and a member of the unofficial Association of Experimental Visual Art (TEII). As a visual artist, he expresses his ideas through art objects, paintings, installations and live performances. He also experiments with words and writes improvisational poetry, mixing languages and images of different cultures. Recently, Badalov’s work has been dedicated to linguistic explorations, researching the limits of language and the borders it imposes upon its users.

Official Website of 6th Moscow biennale

With Cinemigrante Festival 

Opening : September, 119th, 2015

Group show - with Border Art Workshop/Taller de Arte Fronterizo (BAW/TAF) / Ariella Azoulay / Yael Bartana / Chen Chieh-jen / Ursula Biemann /Laura Waddington / Jean-Charles Hue / Simona Koch / Christoph Doering / Yana Yo / Notorische Reflexe

Curated by Aliocha Imhoff & Kantuta Quirós

Group show

With Boris Achour, Alice Anderson, Virginie Barré, Claude Closky, Vincent Ganivet, Julien Crépieux etc.

With Frac Ile-de-France

Curated by Fabienne Bideaud

With Ivan Argote , John Armleder, Madeleine Berkhemer, Pauline Boudry et Renate Lorenz, Robert Filliou, Kapwani Kiwanga, Vaclav Magid, Emmanuel Van der Meulen.

Curated by Christine Macel

What We Call Love explores how the notion of love has evolved within the 20th century. How have seismic sociological changes concerning sexuality, marriage and intimacy, alongside developments in gender issues, affected the way we conceive love today? How does visual art, from Surrealism to the present day, deal with love and what can these artistic representations tell us about what love means in our contemporary culture?

With Marina Abramovi? and ULAY, Sadie Benning, Louise Bourgeois, Constantin Brancusi, Brassaï, Victor Brauner, André Breton, Luis Buñuel, Cecily Brown, Miriam Cahn, Sophie Calle, Michele Ciacciofera, Dorothy Cross, Attila Csörgö, Salvador Dalí, Annabel Daou, Vlasta Delimar and Jerman, Zackary Drucker and Rhys Ernst, Marcel Duchamp, Jean Dupuy, Elmgreen and Dragset, Max Ernst, VALIE EXPORT, Jean Genet, Jochen Gerz, Alberto Giacometti, Nan Goldin, Felix Gonzalez-Torres, Douglas Gordon, Mona Hatoum, Damien Hirst, Jim Hodges, Rebecca Horn, Jesper Just, Kapwani Kiwanga, Ange Leccia, Ghérasim Luca, Vlado Martek, André Masson, Annette Messager, Tracey Moffatt, Séamus Nolan, Nadja, Henrik Olesen, Yoko Ono, Meret Oppenheim, Ferhat Ozgür, Christodoulos Panayiotou, Nesa Paripovic, Garrett Phelan, Pablo Picasso, Man Ray, Carolee Schneemann, Rudolf Schwarzkogler, Paul Sharits, Jeremy Shaw, Wolfgang Tillmans, Andy Warhol, Cerith Wyn Evans, Jun Yang, Akram Zaatari.

Curated by Elena Agudio & Michael Arzt

With Ricardo Basbaum (BR), Paolo Bottarelli (IT), Rod Dickinson (GB), Ivana Franke (HR), Satch Hoyt (GB/JM), Kapwani Kiwanga (CA/FR), Daniel Pinheiro (PT), Fabian Reimann (DE), Alberto Tadiello (IT), Suzanne Treister (GB)

The show brings together artistic positions which represent and explore various approaches and layers of the interrelations between art and economy, artistic creativity and its exploitation, the speculative characteristics of the global art market, the virtualization of objects and the economy as a whole including artefacts, the critical questioning of the evaluation-system and the function of art as an asset in the neoliberal market economy.

With works by: Ryan Gander, Ferenc Gróf, Nicolas Jasmin, Antal Lakner, Little Warsaw/András Gálik & Bálint Havas, Thomas Locher, Falke Pisano, Julien Prévieux, Société Réaliste/Ferenc Gróf & Jean-Baptiste Naudy, Vermeir & Heiremans/Katleen Vermeir & Ronny Heiremans, Stephen Willats

Le Cube - independent art room gathers for the third edition of its “Curator’s Zone” the artist Soufiane Ababri and the curator Karima Boudou. The project What’s The Name Of This Nation (WTNOTN) proposes through the format of the magazine an exploration of various processes through which African identitycan be re-assessed, through the prism of Ancient Egypt. In dialogue with the magazine and its contributors (artists, poets, choreographers, activist, art critics), Le Cube hosts fragments of narration and proposals by Soufiane Ababri in direct echo with the magazine, questioning the way the past can be contained in a wider dimension than culture. A series of gatherings and presentations is organised at Le Cube during the residency.

Artist: Soufiane Ababri | Curator: Karima Boudou

Contributors magazine: Kool Moe Dee, Lili Reynaud Dewar & Alexis Vaillant, Mohamed Hmoudane, Kapwani Kiwanga, Mohamed Leftah, Maha Maamoun, Stéphane Léger, Lorraine O'Grady, Alexandre Paulikevitch,  Montassir Sakhi, Fred Wilson

In partnership with the French Institute Rabat

Group show

With Geneviève Asse, Didier Ben Loulou, Philippe Borderieux, François Curlet, Olivier Debré, Noël Dolla, Leo Fabrizio, Dominique Figarella, Gloria Friedmann, Monique Frydman, Denis Laget, Micha Laury, Yveline Lecuyer, Joan Mitchell, Zoran Music, Bernard Quesniaux, Judith Reigl, Paul Rebeyrolle, Sophie Ristelhueber, Bruno Serralongue, Pierre Soulages.

Private view on Saturday, 5th of September at the Riga City exhibition Hall, the Riga Art Space.
Exhibition from the 5th of September to 20th of November 2015.

This exhibition entitled The Housebreaker proposes a discovery of the plurality of artistic practices taking place on the French scene since the year 2000.

The curator, Gaël Charbau, has imagined an original scenario where we step into the shoes of a burglar breaking into the homes of a few collectors in order to steal their latest discoveries and create his own fictive collection.
56 artists from the French scene will be taking part.

Curator: Fabienne Bideaud

Avec Anna Adahl, Donatella Bernardi, Jagna Ciuchta, Lukas Hoffmann, Kapwani Kiwanga, Václav Magid, François Mazabraud

with works by Avec Basma Alsharif, Ziad Antar, Leonor Antunes, Marwa Arsanios, Kader Attia, Bertille Bak, François Bellenge, Filip Berte, Marcel Dinahet, Yasmine Eid-Sabbagh, Maïder Fortuné, Lamia Joreige, Valérie Jouve, Jan Kopp, Yannis Kyriakides, Bertrand Lamarche, Lia Lapithi, Daniel Lê, Armin Linke, André Parente, Françoise Parfait, Sophie Ristelhueber, Tania Ruiz, Mira Sanders, Stéphane Thidet, Eric Valette, Christophe Viart et Mehmet Yashin

Portrait of the artist Georges Tony Stoll
L'Oeil
N°682, September 2015
Text by Fabien Simode

Download.PDF

Vittorio Santoro at Oonagh Young Gallery, Dublin (IR)
Artforum International
September 2015, Vol. 54, N°1, p. 397
Text by Declan Long

Download.PDF

Art directors: Caroline Bissière et Jean-Paul Blanchet
With Mathieu Cherkit, Julia Cottin, Eric Hurtado, Niek van de Steeg, Mathias Tujague 

Solo show

81, rue de la loubière 13005 Marseille

T +41 (0)43 222 4 888
F +41 (0)43 222 4 889
mail@finebooks.ch
Geschäftslokal:
Gerechtigkeitsgasse 2
8001 Zürich
Postadresse:
Postfach
CH?8027 Zürich

Kapwani Kiwanga’s practice revolves around research in anthropology and literature, as well as archive work. Her films, installations and performances focus, notably, on Afrofuturism, a literary, musical and more broadly cultural aesthetic born in North America that weds Afrocentric gazes, science fiction, historical fiction, fantasy, magical realism and non-European systems of thought in order to (re)think the experiences, past and present, of peoples hailing from the African diaspora. For AFRICA ACTS, the artist presents Afrogalactica: A Short History of the Future.

from may 9th to September 4th, 2016

The product of an ambitious partnership with the Musée des Arts et Métiers, the exhibition Eppur si muove (And yet it turns) focuses on the many links that exist between the fields of the visual arts and technology, as well as the decisive influence that the history of the sciences and technology has exercised on contemporary artists.

Group show

Group show

With Saâdane Afif & Guillaume Janot (ill.) | Karen Andreassian | Fayçal Baghriche | Marcel Broodthaers | Nicolas Cilins | Steven Cohen | Morgane Denzler | Pierre Joseph | Marin Kasimir | Bouchra Khalili | Peter Klasen | Regine Kolle | Joachim Mogarra | Kirsten Mosher | Thierry Mouillé | Bruno Peinado | Sarkis | Alain Séchas | Bruno Serralongue | Kristina Solomoukha

From june 26 to october 31, 2015

With works by : Thomas Bayrle, Grégoire Bergeret, Madeleine Berkhemer, Benoît Broisat, Laurent Chambert, Valère Costes, Fabrice Cotinat, Julien Crépieux, François Curlet, Gabriele Di Matteo, Vincent Fortemps, Michel François, Rolf Julius, Konrad Klapheck, Bertrand Lamarche, Rainier Lericolais, Didier Marcel, Christian Marclay, Richard Monnier, Miguel Palma, Pierre Paulin, Chloé Piot, Steven Pippin, Laurent Proux, Joan Rabascall, Delphine Reist, David Renaud, Véronique Rizzo, Jean Sabrier, Roman Signer, Laurent Terras, Blair Thurman, Guillaume Viaud, Kelley Walker.

FRAC Limousin
Les Coopérateurs
impasse des Charentes
F-87100 Limoges

Jeudi 25 juin / 19-20h
STORY of a CONSERVATOR
Performance by Kapwani Kiwanga

In Story of a Conservator, Kiwanga assumes the role of a conservator in charge of very specific and subjective archives. She makes silent objects speak, embodies forgotten accounts and tells fantastical stories. Unusual anecdotes, unspoken facts and mythical beasts all have their place in the stories told by Kiwanga. By combining readings, sound and video extracts, the artist explores the status of the document, but also the possibilities of oral transmission.

This event concludes the seminar The Place from Where We Look organized by Kadist Art Foundation from June 22 to 25, 2015 in Paris, in the frame of Collecting Matters, a program initiated in 2012 by Kadist Art Foundation (Paris), Nomas Foundation (Rome) and David Roberts Arts Foundation (London), to encourage new ways of thinking, sharing and thinking the notion of collection. The Place from Where We Look is supported by Contemporary Art Heritage Flanders (CAHF).

Bétonsalon - Centre for Art and Research contributed to select the group of international participants for the seminar - Marianna Hovhannisyan, Yu Ji, Moses Serubiri, Simon Soon, Yesomi Umolu and Natalia Zuluaga – and hosts the last day of professional encounters.

More information about the public program of events is available on
www.kadist.org / http://collecting-matters.tumblr.com

Kapwani Kiwanga wishes to thank Jeu de Paume, Marta Ponsa and Nataša Petrešin-Bachelez.

Mediated measures
Curator : Simone Frangi

The core of Kapwani Kiwanga?s Milanese project is the assumption of the haptic ? touching, brushing against, squeezing ? as minim procedure of relation with the urban contest: the fabric of the city of Milan ? taken as the extreme edge of that economical hogback called Blue Banana and equally as the prototype of that European hallway from Manchester to Genoa - is measured using the body as a structure of mediation.

This strategy, employed for reading the anonymity of the urbanity through the intimate subjectivity of the body, proceeds from a performative and ethnographic work on the environment assuming art handler white gloves as a device for recording and collecting the context. Hailing from a previous research on the manipulation of pesticide-treated ?ethnical objects? in ethnographic European museum, the figure of the glove ? surface and barrier between the body and the object ? circulates in Kiwanga?s production as an analogy of the oscillation between fascination and cultural rejection. In the mist of the project at Viafarini, the glove recurs in its inverted signification, namely as an occasion of blemishing, spoiling and contaminate ?purity?. Opening up to the intrinsic narrativity of materiality, Kiwanga amends the implicit authority of historical and urbanistic narratives with the aim of focusing through a set of installation works and a wall drawing on these ?fugitive? layers of every day objects: fluxes, transient states and transitions where one can eventually detect evidences of the social and political belonging of the users.

Viafarin via Procaccini 4, Milano

June 13th at 6:00

Projection of a documentary about Ray Kurzweil

Transcendent Man : http://transcendentman.com

At Cité internationale des arts
16 rue Girardon 75018 Paris
M° Lamarck Caulaincourt
Free entrance

Maxime Bondu

Friday June 12th at 4:00 in the Centre Pompidou

Opening on June 11th 2015

Exhibition from June 12th to July 10th 2015

With Cathérine Hug, Robert Menasse, Christoph Becker.

Not since Antiquity has a single image stood for Europe ? none could ever be more than a fragment. But perhaps this exhibition can act as a kaleidoscope, depicting ? or constituting ? the whole reality? That?s where your imagination comes in. Welcome to the Europe of ideas!

The Breaths, a video project by Bertrand Lamarche, presented by Galerie Jérôme Poggi

Curator: Stef Van Bellingen & Alessandra Laitempergher

This summer Museum Beelden aan Zee focuses on contemporary Flemish sculpture. The exhibition will be a visual spectacle, with work by both established and young, up-and-coming Flemish artists. The impulse for this theme is the celebration of 20 years of cultural cooperation between the Netherlands and Flanders in 2015. With this, the exhibition is a component of the BesteBuren (?Dear Neighbours?) manifestation, a project with numerous cultural initiatives between the Netherlands and Flanders. The new summer exhibition of Museum Beelden aan Zee has been compiled by the renowned Flemish curator Stef van Bellingen, artistic director of WARP, the art platform for contemporary art in Flanders, in conjunction with Museum Beelden aan Zee.

The thirty-five participating artists employ various themes. Whereas some explore the limits of sculpture by making use of elements borrowed from theatre and performance art, others are primarily engaged with the human condition. In this, probably more traditional, side of Flemish sculpture, the human image recurrently returns, visualizing feelings of angst, doubt and uncertainty.

Other artists seek a more sensory perception of sculpture. A one-person prison that locks for a minute brings a physical experience. As does a transparent plastic in which the visitor assumes a sculptural pose that endures due to a vacuum: the person is ?suspended? in the sculpture and breathes through a plastic tube.

Analogous to Belgian surrealism, artists and curators play with the notion of scale in this exhibition. Sculpture of monumental size is on display along the Lange Voorhout in The Hague, while the human scale is presented in Museum Beelden aan Zee ? and, in the last exhibition room, dozens of scale models and miniatures are on show.

The Vormidable exhibition is on display in Museum Beelden aan Zee and along the Lange Voorhout in The Hague. Besides these two main locations, there are also various satellite locations, including the Brakke Grond (Flemish Culture House) in Amsterdam and Raadhuis De Pauw in Wassenaar.

Philip Aguirre Y Otegui, Ruben Bellinkx, Peter Buggenhout, Jan De Cock, Caroline Coolen, Leo Copers, Anton Cotteleer, Johan Creten, Berlinde De Bruyckere, Thierry De Cordier, Peter De Cupere, Eva De Leener, Wim Delvoye, Fred Eerdekens, Nick Ervinck, Jan Fabre, Honoré d?O, Lawrence Malstaf, Philip Metten, Wesley Meuris, Sofie Muller, Nadia Naveau, Renato Nicolodi, Hans Op de Beeck, Panamarenko, Tinka Pittoors, Peter Rogiers, Kelly Schacht, Johan Tahon, Patrick Van Caeckenbergh, Luk Van Soom, Leon Vranken, Dirk Zoete

www.beeldenaanzee.nl

2 Place de la Manufacture, 92310 Sèvres

Oonagh Young Gallery is pleased to present a solo exhibition by Vittorio Santoro with recent works that draw on Kafka?s The Trial as a starting point. They include In/Voluntary Movement Diagram (Josef K) (2014), a 5-day performance piece titled In/Voluntary Movement Diagram (Josef K.), II (2014), Window, I (Josef K.?s Relation Diagram to 17 of the Characters in F. Kafka?s The Trial) (2014), Reasoning Is Fautless (But Wrong Nevertheless), I (2015)  and other works especially created for this exhibition.

The sculptural installations, some of which were conceived during a residency in IMMA in 2014, present an opportunity to engage with the physical materialisation of elements and spaces from Kafka?s short novel. The works present themselves as puzzles which are unnerving in their irresolvable absurdity, filling the resulting vacuum with a sense of confusion and frustration. 

Tension arises from the imposed formal limitations of the work with imagined solutions. A clearly suggested ?process? exists in the form of lines mapped on the floor indicating the movement of the protagonist in Kafka?s book. The corner positioning evokes a feeling of protection and at the same time subjection. Santoro?s work can be compared to, what some commentators have noted about Kafka?s ?The Trial?  ?  it consists of a maze of descriptive passages that has, in parts, the quality of revealed truth; as such it is ultimately unresolvable ? a mirror for any singular reading.

Le French May presents its first sound art exhibition, « Beyond The Sound », curated by Anne-Laure Chamboissier and featuring the works of 14 French and Hong Kong artists.?
Living in a metropolis, we are constantly bombarded by sound. While most of which is washed off beyond our attention, it leaves lamentably rare aural space to share. The attention to hearing a space, in a reticent
moment, is the focus of this exhibition. “Soundscape” is a concept shared by Pascal Broccolichi, Joe Chan, Jasper Fung, Pierre-Jean Giloux, Eddie Ladoire, the Talec Cécile, Cédric Maridet, Edwin Lo and Samson
Young, which offers an immersive experience that is almost unreal. Pierre Bastien, Pierre Laurent Cassière, Bertrand Lamarche and Phoebe Hui work on the notion of “the object of the sound/ sound of an object”,
with Rainier Lericolais. Using silence, they together explore the element and materiality of sound. Expect to encounter a new sensory space through this journey.

Screening of Platform #12 by Cédrick Eymenier, May 11th at Hong Kong Art Center

Curator: Niekolaas Johannes Lekkerkerk

The Museum of Unconditional Surrender (The MoUS) is a temporary fictional museum at TENT that redistributes hierarchies between artwork and the objects that make their presentation possible.

The group exhibition lends its framework from the prologue to the eponymous novel by van Dubravka Ugre?i? from 1998. It paints an image of a situation in which a number of objects come together coincidentally due to the healthy appetite of a walrus in a zoo. In the book the objects function as both actors and props: they make the story possible, but simultaneously remain silently present in the background. With this prologue as a point of departure, The MoUS exhibits a diverse collection of artistic practice concerning the language of an exhibition within an institutional context.

Temporary walls, press releases, plants, work descriptions, plinths, projectors and sockets move to the forefront; objects that define the power of expression and the vocabulary of an exhibition yet tend to be invisible to the audience as ?carriers? of a work. The Museum of Unconditional Surrender consists of a group exhibition, lectures, a museum night and publication, in which the experience of the exhibited objects to the audience is put to the test. Niekolaas Johannes Lekkerkerk is the 2015 TENT Curatorial Fellow.

www.tentrotterdam.nl

Curator Rachel Dedman

Space Between Our Fingers explores outer space and science fiction as imagined and challenged by artists from the Middle East. The exhibition will bring together artists working with spaceflight and stars, aliens, and apocalypse – material associated with fantasy, dreaming, discovery, and the unknown. At the same time, the exhibition considers the use of such motifs in the articulation of issues particular to the local histories and legacies of the region. Outer space, in the work of these artists, is a catalyst and vehicle for reflection upon legacies of colonialism, formulations of history, the militarization of space, and the intersection of landscape and politics. Outer space becomes a channel for criticism, while its tropes open up spaces for speculation and future-making.

Featuring artists from Palestine, Lebanon, Algeria, Iran, Iraq, and Pakistan, Space Between Our Fingers will take the form of a constellation exhibition – placing works in conversation across multiple venues in Beirut, Lebanon. The exhibition invites visitors to walk the city, engaging with the urban space between the works, and will be accompanied by a dynamic public program. This will include conversations with artists, screenings of little-known Arab science fiction films, and a collaboration with Yasmin Khan’s ongoing research project, Sindbad Sci-Fi.

Curators : Caroline Bissière and Jean-Paul Blanchet

Artists : Mathieu Cherkit, Julia Cottin, Julien Crépieux, Eric Hurtado, Niek van de Steeg and Mathias Tujague.

Curators: Michel Dewilde and Lutz Becker

The Written City is an exhibition about the influence of politics on a country and its inhabitants.

The Written City displays works by more than twenty (mainly) international artists. The exhibition consists of 3 parts. The first part is dedicated to the political speech. The second part deals with the realization of political decisions and party programmes and the effects on the city or country and its inhabitants. The third part focuses on the reaction of the citizen and of the artist to certain political decisions.

The Written City takes you on a journey through time, displaying works by Greek tragedy writers, propaganda posters for various regimes, video installations and other modern works of art and literature. In doing so, this exhibition clearly illustrates that there are similarities between differing political convictions. 

>>> Website

What we identify as history is shaped by a mixture of elements, frequently less bound to sanctioned facts than to other more intangible belief systems. This inquiry stands at the core of the work of Canadian artist Kapwani Kiwanga whose practice interweaves a research-based investigation influenced by her earlier training in social sciences, with a more subjective and fictional observation of culture.

For her first UK solo exhibition, Kiwanga continues her research into the legacy of the 1905-1907 Maji Maji uprising against German colonial rule in what was then Tanganyika, German East Africa. According to oral history, the rebellion was fuelled by the prophecies of the spiritual medium Kinjiketile, who galvanised the Maji Maji fighters against the colonial rulers with his belief in a sacred water, which would make anyone who consumed it invincible to the German bullets. Kiwanga uses this event, and its adaptation in folklore and popular culture, as a starting point from which to trace how historical accounts linger in consciousness and weigh on a nation?s identity long after their occurrence. 

Kapwani Kiwanga?s versatile practice takes shape through video, sound and lecture performances. For Kinjiketile Suite, she translates her research-based practice into the exhibition space, weaving together material from various sources. These source texts are represented as recordings and performances by actors, who interpret the transcripts both in English and Swahili.

Additional ephemera and archival matter compiled in the course of Kiwanga?s research, is housed within a custom-made exhibition architecture. The exhibition also features a large collection of castor oil plants (Ricinus Communis Zanzibarensis) which is cultivated across the gallery space and will continue to grow throughout the duration of the exhibition. According to accounts, this fast-growing species, native to Tanzania was one of the secret ingredients that made up the sacred water that Kinjiketile distributed to his followers. 

Interspersed throughout the exhibition space is an erratic sequence of short audio vignettes delivered by Kiwanga herself. The narration offers a subjective and personal entry point to the story of the Maji Maji uprising, and functions as a fragmented guide through the show.

Curators : Dominique Païni, Maria Luisa and Barbara Guidi Gallerie d'Arte Moderna e Conteporanea di Ferrara), and Matthieu Orléan (La Cinémathèque française).

Larissa Fassler EPICENTRE
Kurfürstenstraße / Potsdamer Straße 120, 124, 109, 111 

 Jeudi chez Alternative
25, rue des Rois
1205 Genève

www.jeudijeudi.ch

http://www.feak-projects.com

With Philippe BAUDOUIN, Dominique BLAIS, Étienne BONHOMME, Pascal BROCCOLICHI, Laurent BRUTTIN, Charlotte CHARBONNEL, eRikm, Bertrand LAMARCHE, Rainier LERICOLAIS, Arnaud MAGUET, Jérôme PORET, Georgina STARR, Konstantin RAUDIVE, Julien SIRJACQ & THE BELLS ANGELS

>>>website

12.03.2015 - 12.04.2015

The concept for The Rolling Club emerged from a dialogue between curator Florence Ostende and artist Jean-Luc Moulène about exhibitions that have influenced their work. Their conversations meandered back over time as far as 1965, the year of The Objectors exhibition curated by writer Alain Jouffroy. At the same time that conscientious objectors were given tentative recognition, these 'vision objectors' were artists who promoted the notion of 'thought trapped in things' through objects 'defined as the meeting of two projections: one that calls us and another that strikes us', writes Jouffroy. The Rolling Club therefore retraces the history of the object 'thrown into us'. As such, it is not an exhibition about objects in art and design, but rather an exhibition about their relationship with the thought that brought them into being, regardless of their status and their authorship.