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Exhibition view: David Claerbout, Hemispheres, Esther Schipper, Berlin, 2022
© VG Bild-Kunst, Bonn, 2022. Photo © Andrea Rossetti

Find here your Gallery Weekend Berlin guide, featuring concurrent exhibitions in Berlin and Germany, and a bespoke Google Map of exhibitions around the city.

Still: Hito Steyerl, Animal Spirits, 2022, single channel HD video and live computer simulation, duration: 24 min, simulation duration variable. © the artist
히토 슈타이얼, 야성적충동, 2022, 싱글 채널 HD 비디오 및 라이브 컴퓨터 시물레이션, 재생 시간: 24 분, 재생 시간 가변. © the artist

Hito Steyerl
A Sea of ​​Data
MMCA | National Museum of Modern and Contemporary Art
30 Samcheong-ro 5-gil
Jongno-gu, Seoul
April 29 – September 18, 2022
www.mmca.go.kr


Hito Steyerl, A Sea of Data at the National Museum of Modern and Contemporary Art, Korea (MMCA) is the artist’s first solo exhibition in Asia, sharing 23 of her most representative works from her early film essays with a documentary quality such as Germany and Identity (1994) and The Empty Centre (1998), to her most recent video installations reflecting on digital technology. The exhibition will premier Animal Spirits (2022), a new work commissioned by MMCA.

The exhibition title A Sea of Data comes from Steyerl’s essay “A Sea of Data: Apophenia and Pattern (Mis‒)Recognition”, 2016 (read here), alluding to the ever-growing abundance of digital images and data that the current society and industries produce. The exhibited works critically assess the production of information and images, big-data and algorithms that run through social media, internet, surveillance and cyber-politics. 

Exhibition view: Ugo Rondinone, burn shine fly, Scuola Grande di San Giovanni Evangelista, Venice, 2022. Photo © Andrea Rossetti

“The sculptures in ‘burn shine fly’ aims to engender an altogether contemporary version of the sublime, one in which the smallest candle sculpture is of no less consequence than the overarching totality of the sun sculpture or the stellar marriage of the earthbound body with the waterfilled sky. The work should dazzle us and send us into a deep reflection about the marvels and mysteries of life.” – Ugo Rondinone

Curated by Javier Molins, burn shine fly is installed within the historic walls of one of the oldest and most important Scuole in Venice, with both iconic works by Rondinone as well as a new body of work created specifically for this exhibition.

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Tino Sehgal
Museum of Fine Arts, Leipzig
Katharinenstraße 10
04109 Leipzig
April 7 – July 27, 2022
www.mdbk.de
Opening: Wednesday April 6, 6–9pm


A presentation by Tino Sehgal opens April 6, 2022 at the Museum of Fine Arts in Leipzig. A changing program of several works, among them This Success/This Failure, will run from April 7 through July 24, 2022.

Exhibition view: Jac Leirner, Us Horizon, Esther Schipper, Berlin, 2022. Photo © Andrea Rossetti

Welcome to this month's Letter from Berlin!

We begin with Jac Leirner's exhibition in Berlin and invite you to explore our exhibition video. This weekend, Roman Ondak's performative work Swap will be activated at Frac Franche-Comté in Besançon. We reprint an excerpt from the artist's conversation on the work from 2011 with Udo Kittelmann. Ann Veronica Janssens is once again collaborating with Belgian choreographer Anne Teresa De Keersmaeker and the dance company Rosas, with performances taking place at Berlin's Neue Nationalgalerie, March 24-27. We introduce Ari Benjamin Meyers' large-scale public project, Rehearsing Philadelphia, which will begin the week of March 25, 2022, and culminate on Saturday, April 9, 2022 and reprint the artist's manifesto. On March 25, a film by Liam Gillick and Gelitin will premiere at the Copenhagen International Documentary Film Festival. In Reutlingen, Tommi Grönlund and Petteri Nisunen are participating in a group exhibition on time. We take Ryan Gander's new commission at Scarborough as occasion to look at the artist's recent public projects. Isa Melsheimer will open a solo presentation on Vassière Island, near Limoges. 

We hope you enjoy our Letter from Berlin!

Jac Leirner, Us Horizon, 1985 – 2022 (detail). Photo: Edouard Fraipont

Jac Leirner
Us Horizon
March 12 – April 14, 2022
Opening Saturday March 12, 2–8 pm

Esther Schipper is pleased to present Us Horizon, Jac Leirner’s first solo exhibition with the gallery. Us Horizon will include a new work from Leirner’s acclaimed series constructed from ensembles of plastic shopping bags, and a new installation made of found numbered markers. Her conceptually rigorous and formally beautiful works draw on a wide array of art historical and formal influences, as well as embracing the transgressive legacies of Dada, Constructivism, Pop and Conceptual Art, Arte Povera, and Punk, among others.

Image courtesy Ugo Rondinone

On the occasion of the 59th La Biennale di Venezia, the Scuola Grande di San Giovanni Evangelista will host a major solo exhibition of work by Swiss artist Ugo Rondinone, entitled burn shine fly.

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Jac Leirner, Us Horizon, 1985 – 2022 (detail). Photo: Edouard Fraipont

Welcome to our Letter from Berlin!

In anticipation of our upcoming exhibition with Jac Leirner, we look at her body of work made from vintage plastic bags begun in 1985. ARCOmadrid is in full swing and remains open through Sunday. We highlight Daniel Steegmann Mangrané's new series of holograms, as well as works by General Idea and AA Bronson in the fair's Anniversary section. Different notions of history are addressed in Christoph Keller's video work Anarcheology from 2014. And don't miss Thomas Demand's exhibition at the Centro Botín. We reprint a short interview in which Demand speaks about the exhibition architecture and introduce the accompanying pop-up book and Centro Botín's virtual site. Hito Steyerl was profiled in the New Yorker. Andrew Grassie and Rodney Graham participate in an exhibition on the artist studio at London's Whitechapel Gallery, to rave reviews. Simon Fujiwara's exhibition Once Upon a Who? is closing this Saturday while the artist's 2011 work entitled Letters from Mexico is now on view at the Hamburger Kunsthalle. And finally, the Reading Corner returns with a selection of books.

We hope you enjoy our Letter from Berlin!

The New Yorker
Hito Steyerl’s Digital Visions
By Merve Erme
Read the full article here

'It would be wrong to claim that I first met the German artist Hito Steyerl on such-and-such day, insuch-and-such city, where the weather was bright or blustery, and that she arrived suitably dressed for this season or the next. It is more accurate to say that she simply appeared while I was waiting in the atrium of the Communist Party court, under a spectacular red banner from which the faces of Marx, Engels, Lenin, and Stalin bore down on me. One minute I was alone, and the next she was there—all yellow and smooth, except for the thick black cubes of her hands and her large, impassive face. Four black cats trailed her, in place of her shadow. “I spawned a lot of them, so they have multiplied,” she murmured. Suddenly, a kitten wobbled out from between her legs. “I made a baby!” she cried. When I tried to balance a puffer fish on my own blocky hand to feed thekitten, I pressed the wrong button, and kicked it instead.

Kicking kittens is, I believe, usually discouraged, but in Minecraft, the sandbox video game in which players extract raw materials—water, wood, sugarcane, coal ore, gold, lapis lazuli—and use them to craft three-dimensional Legolands, the stakes of violence seem lower. The game is “a very good metaphor for how platforms really work,” Steyerl told me. Platforms seduce their users into performing the unpaid work of content creation—uploading the texts, photographs, videos, and music that are the raw material of the digital world—while mining their metadata to create newmarkets for corporate and military surveillance. “Many of the other platforms are quite devious,” she said. “We don’t really know whether your face is being used to train facial-recognition algorithms or something like that.” In the digital economy, free labor tenders a self-replenishing vein of gold for capital’s pickaxe.'

– Merve Erme for The New Yorker, February 2022

Booth view: Esther Schipper, ARCOmadrid 2022. Photo © Andrea Rossetti

Esther Schipper is pleased to participate in ARCOmadrid 2022, taking place through February 27. We hope you will join us at the fair, Booth 9B09.

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Exhibition view: Simon Fujiwara, Once Upon a Who?, Esther Schipper, Berlin, 2022. Photo © Andrea Rossetti

Last chance to visit the Whoniverse! Simon Fujiwara's solo exhibition Once Upon a Who? takes a deep dive into the world of Who the Bær, the artist's original, jeans-clad cartoon figure with the giant lolling pink tongue and a voracious appetite for images.

In our exhibition film, see Simon talk about the origins of Who the Bær and how Who interacts with the world around them.

Discover more about individual works in the exhibition through a dedicated Online Viewing Room.

Watch the titular animation, Once Upon a Who?, 2021, screening online via www.dis.art.

Read the extensive press on the exhibition with Flash Art, Der Tagesspiegel, Berliner Zeitung and an interview with artnet.

The exhibition Once Upon a Who? and the accompanying Whotique, a presentation of Fujiwara’s merchandise collaboration with Highsnobiety at Esther Schipper Bookstore close on Saturday, February 26.

The Close, a new video work by David Claerbout has been added to the Concertgebouw Brugge collection. Intended as a short, emotional history of the camera, The Close reflects on what Claerbout calls ‘dark optics’: a profound if chaotic recalibration happening in our time, of the beliefs we share in regards to image, information and language. For the premiere of The Close, Arvo Pärt’s Da pacem Domine will be performed live by the Flemish Radio Choir.

Sunday February 20, 2022
11am – tickets
2pm – tickets
4pm – tickets

Thomas Demand, Markise / Canopy, 2020, C-Print / Diasec, 180 x 144 cm. © Thomas Demand & VG Bild-Kunst, Bonn, 2022

ARCOmadrid 2022
Booth 9B09
IFEMA MADRID
Recinto Ferial, Av. Partenón 5
28042 Madrid
February 23 – 27, 2022
www.ifema.es

Esther Schipper is pleased to participate in ARCOmadrid 2022, taking place from February 23 – 27. We hope you will join us at the fair, Booth 9B09.

With works by:
Rosa Barba
Matti Braun
Sarah Buckner
Angela Bulloch
Etienne Chambaud
Thomas Demand
Simon Fujiwara
Ann Veronica Janssens
Ugo Rondinone
Anri Sala
Karin Sander
Daniel Steegmann Mangrané

40 (+1) Anniversary | Booth 17
With AA Bronson and General Idea

Esther Schipper is pleased to participate in this year’s special section ARCOmadrid's 40 (+1) Anniversary, from February 23 – 27. The unique project brings past and present together through the galleries and their essential relationship with artists and collectors that have always been present at ARCOmadrid throughout its history. The programme participants have been invited by María Inés Rodríguez, Francesco Stocchi and Sergio Rubira.

Esther Schipper presents two historical works: General Idea's El Dorado Series,1992, and AA Bronson‘s Untitled (For General Idea), 1997.

Julia Scher, Info screen at bus station somewhere near Planet Greyhound, 2022 (still). © the artist

Entitled Planet Greyhound, Julia Scher's solo exhibition of all new sculptural, video and installation works transforms the space of the Kunsthalle Gießen into a temporary bus station for humanoid and extraterrestrial life forms.

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Exhibition view: Rosa Barba, From Source to Poem, CAPC musée d’art contemporain de Bordeaux, 2016–2017. © VG Bild-Kunst, Bonn, 2022. Photo: Arthur Pequin © Rosa Barba

Rosa Barba's solo presentation Exhibition Notes at Cukrarna is the first to be held in the basement gallery, marking the start of a series of projects exploring the dimensions and possible applications of sound, light, moving images, and music. 

With Exhibition Notes, Rosa Barba presents an installation that fills the gallery space, turning it into a coherent visual ensemble. It includes Blind Volumes (2016/2022), a work that uses steel frames as a support, a kind of stage on which films and kinetic sculptures are displayed.

Eight further artworks are choreographed around the gallery, transforming it into a place for experimentation. The gallery thus becomes a space where the constitutive elements of film, celluloid, projector and sound are presented: elements that often remain invisible, overlooked, and unexplored precisely because they are so obvious. By placing the various components of film in new experimental constellations, the artist liberates them from their original uses. “In my work”, says Barba, “I interrogate the industry of cinema with respect to various forms of staging, such as gesture, genre, information, and documentation, taking them out of their conventional contexts and reshaping and representing them anew. In this way, I experiment with and expand time-based forms into sculptural objects or speculations, that is, into spaces that are self-organized; it is an ever-changing, ever-evolving shifting process.”

Through her use of a steel construction which is both drawing and supporting space, the artist brings a dynamic interpretation of its constituent parts to the gallery space. In so doing, she invites the viewer to adopt different perspectives, focus on the artworks individually or as a whole. Both the basic physical elements and the metaphysical concepts thus become key vehicles for thinking about film as a process, a medium and, ultimately, a message.

The exhibition is curated by Alenka Gregorič.

Hito Steyerl, Die leere Mitte (The Empty Centre), 1998, 16 mm film transferred to digital video (color, sound), duration: 62 min. © VG Bild-Kunst, Bonn, 2022. Film still © Hito Steyerl

Two films by Hito Steyerl,Die leere Mitte (The Empty Center), 1998 and Normalität 1-10(Normality 1-X), 2001, are included in the Berlinale's Forum Special, the 'Fiktionsbescheinigung' series, a section for experimental cinema put together by curators Enoka Ayemba and Biene Pilavci, supported by Karina Griffith, Jacqueline Nsiah, Can Sungu and the Forum selection committee.

Screenings:
Die leere Mitte (The Empty Center)
February 11, 11am
February 20, 5pm

Normalität 1-10 (Normality 1-X)
February 14, 8.30pm
February 17, 5pm 

Follow @berlinaleforum on Instagram for information on ticket releases.

Matti Braun, Untitled, 2021, silk, dye, powder-coated aluminum, 130 x 100 cm. Photo © Lothar Schnepf

Happy Lunar New Year! 
Thank you for your support and we wish you a happy and prosperous Year of the Tiger.

恭賀新禧
感謝您的支持與鼓勵，虎躍新程，願您與家人虎年福瑞豐年。

恭贺新禧
感谢您的支持与鼓励，虎跃新程，愿您与家人虎年福瑞丰年。 

새해 복 많이 받으세요!
그동안 보내주신 성원에 감사드리며, 행복하고 번창하는 임인년 맞으시길 바랍니다.

Exhibition views: Hito Steyerl. I Will Survive, 2022, Stedelijk Museum Amsterdam, 2022. Photo © Peter Tijhuis

The major solo exhibition Hito Steyerl. I Will Survive opens at the Stedelijk Museum Amsterdam on January 29, 2022. An artist, cultural critic, filmmaker, writer and professor, Hito Steyerl (1966) is one of the most significant and influential figures in contemporary art. She operates on the boundary between film and visual art, working in genres ranging from documentary cinema to innovative multimedia installations. Her rigorously researched and visually stunning installations illuminate some of the most pressing issues of our time. 

Hito Steyerl is a master storyteller, utilizing image, sound, essays, performance and architectural environments to shape her narratives. Her recent works develop an entire, completely immersive installation for each video. Steyerl’s Factory of the Sun (2015), which debuted at the 2015 Venice Biennale, takes place in a sci-fi matrix dotted with beach chairs. The video Liquidity Inc. (2014) which addresses global migration and financial inequality, is viewed from a blue wave-like seating area. The exhibition poses untold narratives, connecting disparate threads that Steyerl masterfully unravels, shifting between reality and dream worlds that are unfortunately all too real.

Internationally, Steyerl is considered one of today’s most influential and politically engaged artists. She uses her position as an artist to expose patterns of control. As well as critiquing strains of capitalism, nationalism, ethnic profiling, digital control, power structures, media and politics in an era of globalization, she also addresses the status of art production, museums and biennials. Steyerl relentlessly asks: Who holds power? Who is abused by that power? Her work is jarring, always deeply affecting, and compels us to think about our own role in the stories she tells. 

I Will Survive offers an expansive overview of Hito Steyerl's oeuvre, from the early documentary works of the 1990s to architectural video installations of the past 10 years. The exhibition presents 20 loaned works and two installations that the Stedelijk acquired in 2014 in collaboration with the Van Abbemuseum.

Pierre Huyghe, Cerro Indio Muerto, 2016, archival pigment print on cotton rag paper, 64 x 96 cm (unframed), 70,8 x 102,8 x 3 cm (framed), edition of 8. © the artist, VG Bild-Kunst, Bonn, 2022

What is time and how can it be represented and measured artistically? And how can the future be thought? FUTURA. Measuring Time at Hamburger Kunsthalle invites 30 international artists, including Ceal Floyer and Pierre Huyghe, to address fundamental questions about temporality, sustainability and visions. The exhibition architecture transforms the entire first floor of the Galerie der Gegenwart, freeing it from modular walls and partitions. In this open design, artworks and artifacts are presented together in surprising dialogues that span across different historical periods and disciplines.

Hito Steyerl, This is the Future, 2019, video installation, environment.
Exhibition view, MISSION ACCOMPLISHED: BELANCIEGE, Giorgi Gago Gagoshidze, Hito Steyerl, and Miloš Trakilović, n.b.k., Berlin, 2019. Photo © n.b.k. / Jens Ziehe

Post Nature: Dear Nature, the inaugural exhibition of the Ulsan Art Museum, evokes a complex sense of history and cultural politics, rather than an ecology that mankind can change. The exhibition will not only raise the awareness of nature in danger but reset our ecological sensitivity beyond the previous dichotomous perspective of human and non-human, providing a multilayered opportunity to reset ecological sensibility, and think about “what it is to live in solidarity."

Ulsan Art Museum opens as the first major art museum in the eighth-largest city in South Korea. The museum will specialize in digital media art, encompassing the fast-evolving digital art genre.

개관특별전 <포스트 네이처: 친애하는 자연에게>는 인류가 바꾸어 놓을 수 있는 생태가 아닌 역사와 문화 정치가 얽힌 복잡한 감각을 떠올린다. 이를 통해 경각심을 일깨우기보다 인간과 인간이 아닌 것을 나누던 이분법적 사고에서 벗어나 생태적 감수성을 다시 설정하고 “함께 연대하며 살아가는 것이 무엇인지” 생각할 수 있는 다층적 계기를 제공한다.

울산 시립 미술관은 대한민국에서 8번째로 큰 도시에 처음 세워진 대형 미술관이다. 빠르게 발전하는 디지털 아트 장르에 부합하며 디지털 미디어아트 중심 미술관으로서의 정체성을 정립한다.

AA Bronson and General Idea, VideoVirus, 2021, London, Piccadilly Lights rendering. Rendering © CIRCA

Watch now: an exclusive documentary on AA Bronson, General Idea, and VideoVirus from CIRCA

Launching World AIDS Day, 1 Dec 2021, CIRCA presents VideoVirus, a powerful new film by AA Bronson and General Idea. Reimagining their historic Imagevirus for a global audience, the artwork comes to life in a hypnotic video animation that virally transmits their activist message across billboards in London, Milan, New York, Seoul & Tokyo. 

Throughout December, CIRCA is proud to partner with UNAIDS and Terrence Higgins Trust to mark 40 years since the disease was first recorded in 1981. A new work by AA Bronson, the sole surviving member of the General Idea art group, draws inspiration from the viral intentions of Imagevirus, which in the mid-1980s spread consciousness of the epidemic by reappropriating Robert Indiana's famous LOVE logo, virally transmitting the AIDS symbol through cities in the form of paintings, sculptures, videos, posters, and exhibitions.

Exhibition View: Ugo Rondinone, nude in the landscape, Belvedere 21, Vienna, 2021. 
Photo © Johannes Stoll / Belvedere, Vienna

Belvedere 21 has reopened - visitor information can be found here.

nude in the landscape at the Belvedere 21 is Ugo Rondinone’s first solo show in an Austrian museum. In the sunlit glass pavilion of the Belvedere 21, the artist brings together new groups of works from the classic genres of the nude and the landscape. 

Alongside landscapes, sculptures shaped from soil designed specifically for Vienna, the exhibition also presents hyperrealistically designed nudes—seemingly introverted nude figures made of clear wax and soil.

For over thirty years Ugo Rondinone has been crossing the boundaries between media and disciplines. His work is often based on everyday issues and subjects that take on a poetic dimension as a result of their isolation, amplification, or specific material treatment. His landscapes, suns, human figures, and still lifes probe the emotional and psychological depths of human experience in relation to nature.

Exhibition view: Ann Veronica Janssens, Green, Yellow and Pink, Winsing Art Place, Taipei, 2021. Photo © OS Studio / Rex Chu

"I am interested in what escapes me, not in order to arrest it, but on the contrary, in order to experiment with the 'ungraspable.'" — Ann Veronica Janssens

On December 18, Winsing Art Place will open a solo exhibition dedicated to the work of Ann Veronica Janssens. This exhibition will feature some of the artist's renowned works in the colored mist, glass and gilded blinds series. 

「我對於會消失的東西很感興趣，但不是為了捕捉它，相反地，是為了試驗那些無法被抓住的東西。」—— 安．維羅尼卡．詹森斯

12 月 18 日，文心藝所舉辦的安．維羅尼卡．詹森斯 （Ann Veronica Janssens）個展將正式開幕。 本次展覽展出藝術家著名的色彩霧氣、玻璃以及敷金窗簾系列作品。

© Simon Fujiwara

Esther Schipper is pleased to announce Once Upon a Who?, Simon Fujiwara's second solo exhibition with the gallery. Once Upon a Who? presents new works from Fujiwara's latest ongoing project – a body of work centered on the fictional character Who the Bær.

Who the Bær is a unique cartoon character in the form of a denim wearing bear with a golden heart and an uncontrollably long tongue, that seemingly has no gender, race, sexuality or even a clear design. Without an identity, Who exists only as an image, a status that allows them the freedom to roam a world of online images, appropriating characters, identities, aesthetics and guises in a greedy search for a ‘self’.

Further information

Follow Who the Bær on Instagram.

Thomas Demand, Refuge IV, 2021, C-Print / Diasec, 200 x 240 cm. © Thomas Demand, VG Bild-Kunst, Bonn / VISARTA, Bucuresti

The exhibition Refuge by Thomas Demand is organized within the framework of the long-standing cultural partnership between MARe/Museum of Recent Art, Bucharest, and the Goethe-Institut Bucharest.

Acclaimed Berlin-based artist Thomas Demand has created a carefully crafted body of work using the tools of photography to create a stark and eerie world of almost real-looking, but thoroughly imagined and constructed environments and situations. His seemingly clean and unassuming, un-rhetorical images are the result of a sophisticated process of mimicking ordinary normality and sheer banality. Thomas Demand's seemingly unproblematic, light-footed and unobtrusive photographs deal with a deep problem of perception and understanding. His work draws out archetypal settings and places of today, including critical figures and models of the standard and iconic routines of contemporary life, of ordinary urban living and daily office work, of factory work and hotel or apartment life, of travel and science, and of politics and lifestyle.

On view will be Refuge (I to V), a recent series of works from 2021 that deals with the description of potential places of refuge, places of apparent safety and protection that at the same time show loneliness, alienation and fear. The exhibition will also feature the complementary video Camera from 2007 (duration, 140 min).

Prior to the opening on December 15, an artist talk with Thomas Demand will be moderated by Erwin Kessler, from 6 pm, at MARe/Museum of Recent Art, Bucharest, presenting to the public the artistic, technical and conceptual stakes of Thomas Demand and an overview of the evolution of his artistic practice.

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Booth view: Esther Schipper, SOLO SHOW 2021. Photo © Sang Tae Kim

Continuing through December 5, 2021, Esther Schipper is pleased to present a solo presentation of works by Florin Mitroi as part of SOLO SHOW, a program by COOP (Check Out Our Project) a flexible community formed in 2018 to experiment with new forms of art activities, initiated by Jung Jaeho (Gallery2), Yeo Joonsoo (Gallery Chosun), and Kim Inseon (Space Willing N Dealing). On view will be a selection of portraits painted with tempera, as well as ink drawings, and zinc cut-outs.

Read more (EN/KO)

Liu Ye, Book Painting No. 22 (Karl Blossfeldt, Wunder in der Natur, H. Schmidt & C. Günther, Leipzig, 1942, Page 49), 2019, acrylic on canvas, 32,5 x 24 cm (unframed), 34,5 x 25,5 x 4 cm (framed). Courtesy the artist and New Century Art Foundation. Photo © the artist

Esther Schipper is pleased to announce Liu Ye's solo exhibition, Pierre Menard at the New Century Art Foundation, Beijing. 

The exhibition brings together works from Liu Ye's Book Painting series related to the publications of Karl Blossfeldt from collections around the world and will introduce these paintings to audiences in China for the first time.

The title of the exhibition, Pierre Menard, refers to a fictional character in a short story by Luis Borges. Entitled Pierre Menard, Author of the Quixote, Borges’ 1939 story tells of a character, Menard, whose most ambitious and unparalleled work is Quixote, which coincides, in some cases verbatim, with specific chapters of Cervantes' famous book Don Quixote. Menard's intention is not to imitate or mechanically copy but to create an authentic "Quixote." Liu Ye read Borges' Pierre Menard, Author of the Quixote after completing his series of book painting works related to Karl Blossfeldt, and recognized a similar ambition or delusion in this fictional character.

Artwork © Simon Fujiwara

Highsnobiety's HIGHArt is a platform that blends content, commerce, and experience. It will come to life with a blitz of Miami programming including a month-long pop-up HIGHArt Museum Store in the Design District, nightly launch celebrations, and an eponymous print magazine.

The HIGHArt Museum Store is “a museum store without the museum,” connecting the best of the best from within the Highsnobiety zeitgeist to create over 100 unexpected new artist-made products curated by Highsnobiety Founder David Fischer alongside cultural mastermind Sarah Andelman of JUST AN IDEA and creative director Jeanne-Salomé Rochat of Novembre Magazine.

Available exclusively at Miami’s Design District HIGHArt Museum Store starting November 29, HIGHArt’s selection of collaborations, editions, and merchandise will be available on Highsnobiety’s online shop starting December 6. The product range showcases an impressively expansive array of 100+ exclusive products and editions, including a Simon Fujiwara’s WHO THE BEAR: WHO-SNOBIETY capsule of sweatshirts, tees and a towel. 

Opening on January 15, 2022, Simon Fujiwara will present the first Whotique on occasion of his solo exhibition Once Upon a Who? at Esther Schipper in Berlin. Continuing the collaboration with HighSnobiety initiated for Art Basel Miami Beach, the Whotique - a boutique devoted to merchandise from the world of Who - will present a series of Who the Baer related apparel, home wares and posters that offer gallery visitors the chance to own a piece of the ‘Whoniverse.’ 

Booth view: Esther Schipper, Art Basel Miami Beach, 2021. Photo © Sebastiano Pellion di Persano

Art Basel Miami Beach
Booth H9
Miami Beach Convention Center 
1901 Convention Center Drive
Miami Beach, FL 33139
November 30 – December 4, 2021
www.artbasel.com


Esther Schipper is pleased to participate in Art Basel Miami Beach 2021, taking place from November 30 – December 4. We hope you will join us at the fair, Booth H9.

With works by:
Rosa Barba
Matti Braun
Angela Bulloch
Nathan Carter
David Claerbout
Ceal Floyer
Simon Fujiwara
Ryan Gander
General Idea
Francesco Gennari
Liam Gillick
Ann Veronica Janssens
Jac Leirner
Philippe Parreno
Ugo Rondinone
Anri Sala
Julia Scher
Daniel Steegmann Mangrané

Esther Schipper is pleased to announce 30 Years KW: Auction with works by Thomas Demand and Anri Sala.

This year, KUNST-WERKE BERLIN e. V., the support association operating the KW Institute for Contemporary Art and the Berlin Biennale for Contemporary Art, celebrates its 30th anniversary. As part of the anniversary program the supporting association of KW and the Berlin Biennale is organizing a two-part auction in cooperation with the auction house Grisebach.

Over 60 selected works by artists who have significantly influenced the history of KW and of the Berlin Biennale over the past three decades will be featured. These works of art reflect the unique exhibitions these institutions mounted over the same period. The proceeds will be used to support the artists as well as future projects of KW and the Berlin Biennale.

The auction catalog is available here.

Film Still: Tao Hui, Pulsating Atom, 2019. Single channel HD video, color, sound, duration: 14:12 min, edition of 5. © the artist

Esther Schipper congratulates Tao Hui, nominated for the 2021 Jimei X Arles Discovery Award. Established by the Jimei x Arles International Photo Festival, the prize recognizes outstanding photographic work from a Chinese artist.

All ten nominees will present their work during the Seventh Jimei x Arles International Photo Festival, opening in Xiamen on November 26, 2021, and runs until January 3, 2022. The winner will be announced during the opening week and will receive an invitation to present a solo exhibition at Les Rencontres d’Arles in 2022.

Tao Hui creates photographs and immersive video-installations that bend the boundaries of fiction and reality to address cultural and identity related issues. His works are visceral and provocative, yet enlightening and always imbued with a strong emotional power and a sense of displacement, inviting the viewers to confront themselves with their own cultural history, ways of living and social identities.

Isa Melsheimer⁠, Provence-Alpes-Côte d'Azur, 2021⁠, ceramic, glaze⁠, 39 x 48 x 48 cm (15 3/8 x 18 7/8 x 18 7/8 in)⁠. Photo © Jean-Christophe Lett

Isa Melsheimer's practice spans across painting, embroidery, and sculpture, as well as the plant world. Her work questions the complex and evolving relationship between humans and their environment, addressing topical issues such as ecological transformations and sustainability. 

For her solo exhibition at the MAMAC, the artist delved into the rich history of the Côte d'Azur, a territory of experimentation of modern architecture that has left a varied, sometimes surprising, legacy of villas, nestled in the midst of hills and palm trees. This intertwined destiny of adventurous patrons, open to the innovations of their time, and innovative architects, intersects with the imaginary of an eternal Riviera and its much desired landscapes. The palm tree—even though introduced during the 19th century at a time when international winter tourism was developing—appears today as an indigenous plant and a symbol of the French Riviera.

With COMPOST, Isa Melsheimer proposes a hybridization of this dreamed and fantasized Riviera and its transformation of the shoreline due to the infestation of palm trees by the red palm weevil. The exhibition space is transformed into a dreamlike and metamorphic landscape in which ceramics of insect's larva and evocations of modernist architectures intertwine, creating the soil, perhaps fertile, of a story to come.

See @mamacnice_officiel on Instagram for further information on the exhibition.

Ugo Rondinone, yellow green pink mountain, 2021, painted stone, stainless steel, pedestal, 160 x 35.6 x 30.5 cm. Photo © Studio Rondinone

UNQUESTIONING LOVE: An Auction to Benefit the New York City AIDS Memorial
With works by Ugo Rondinone
November 9 & 12, 2021
Christie's New York
20 Rockefeller Plaza
New York
www.nycaidsmemorial.org


The New York City AIDS Memorial has partnered with Christie’s for Unquestioning Love, a selection of contemporary artworks across two auctions — the 21st Century Evening Sale on November 9, and the Post-War and Contemporary Art Day Sale on November 12 to which Ugo Rondinone has donated yellow green pink mountain, 2021.

This charitable auction is dedicated to creating a vital and strategic fund that will help to ensure the preservation of the New York City AIDS Memorial’s physical space in perpetuity and support and strengthen many future years of ambitious arts, cultural, and educational programs.

The proceeds of the sale, occurring as the New York City AIDS Memorial celebrates the 10th anniversary of its founding and the 5th anniversary of its public dedication, will help create a vital and strategic fund that will ensure the preservation of the Memorial’s physical space in perpetuity and support and strengthen many future years of ambitious arts, cultural, and educational programs.

Thomas Demand, Pond, 2020, C-Print / Diasec, 200 x 399 cm, edition of 6. Image © the artist

Thomas Demand presents Mundo de Papel at Centro Botín, Santander. The exhibition is conceived as an installation combining photographs not previously shown and others selected by the artist and Udo Kittelmann, curator of the exhibition.

For Mundo de Papel, Demand has designed an entire simulated urban landscape, composed of eight pavilions surrounded by wallpaper installations. Each pavilion hangs from the ceiling and serves as a display for his photographs and video works dating from 1996 to the most recent from 2021.

Subjects include Whitney Houston’s last meal at the Beverly Hilton Hotel; the control room at Fukushima’s nuclear power plant; the recent Diamond Princess cruise ship stuck in quarantine; a pond with waterlilies like an impressionist painting; a red bow glowing in the sun or discarded plastic cups stuck on a mesh fence. Each scene is reconstructed with paper and cardboard using intricate folding and cutting techniques. After the model is built, he photographs them and discards the objects he created leaving only a visual narrative.

Accompanying the exhibition will be a unique pop-up book including an essay by Nobel Prize-winning author Mario Vargas Llosa and with three-dimensional representations of the pavilions, produced by Thomas Demand and co-edited in collaboration with Fundación Botín and London-based publishers Mack Books. Demand will lead a special workshop in Santander during the exhibition.

Julia Scher, Hidden Camera (Architectural Vagina), 1991/2018, JVC camcorder, bracket, organic fronds, (optional: monitor output, archival video footage), dimensions variable, unique in a series of three variations. MAMCO Collection, Geneva. Photo © Julien Gremaud

The work of Julia Scher, which first appeared in the 1980s, is noteworthy for its systematic use of surveillance techniques, particularly CCTV. Scher’s technical background provided her with in-depth knowledge of a range of surveillance systems. She worked at a well-known security firm for a period of time before setting up her own company, Safe and Secure Productions. 

Further information

Rosa Barba, Inside the Outset: Evoking a Space of Passage, 2021. United Nations Buffer Zone, Deryneia, Cyprus. Open-air cinema Sculpture. Photo: Marios Stylianou © Rosa Barba

Esther Schipper is is pleased to announce the inaugural ceremony of Rosa Barba’s Open-Air Cinema and premiere of her film Inside the Outset: Evoking a Space of Passage, 2021.

Inside the Outset is a project that consists of two parts: a film and a long-term open-air cinema installation within the 180-kilometer UN-controlled "Green Line Buffer Zone" in Cyprus. This area divides the island between North and South, and forms the starting point of Rosa Barba’s artistic intervention.

The project started seven years ago when Barba was invited by Point Centre for Contemporary Art in Nicosia and by the curator Mirjam Varadinis to Cyprus and proposed a cinema sculpture for the Buffer Zone. The inaugural ceremony of the Open-Air Cinema will take place in the presence of His Excellency the Ambassador of Italy to Cyprus on September 10, 2021, with the projection of Barba's film Inside the Outset: Evoking a Space of Passage along with films selected by the project’s Advisory Board of artists from each side of the Green Line and beyond. Visitors from both sides of the island will be able to enter the Buffer Zone, which is usually closed to civilians.

In a recent article for The Brooklyn Rail, Rosa Barba discusses this project as well as her other current projects – Read it here

Rosa Barba, Inside the Outset: Evoking a Space of Passage (2021)
Open-Air Cinema and 16mm film transferred to digital and 8k film, sound, 31:15 min
Produced by Point Centre for Contemporary Art, funded by the Italian Council.
A collaboration with Famagusta Avenue Garage.
Image: Marios Stylianou © Rosa Barba

Photo © Michael Trier

Sarah Buckner was born in 1984 in Frankfurt, Germany. She studied at the Accademia di Belle Arti in Palermo and at the Kunstakademie Düsseldorf. Buckner lives and works in Cologne.

Sarah Buckner's image world is inspired by multiple sources: real-life encounters, books, films and imagination. She has developed an intuitive and fluid approach that transforms these impressions through her material practice. Her works distil narratives into images full of mystery, their atmospheric scenes resonating with emotional potency—the exact nature of which remains elusive, even to the artist, she says.

As Meret Held has written: “Between the concrete and the non-concrete, between the said and unsaid, she forms pictorial worlds that come very close to that of the dream. Like the dream, Sarah Buckner's paintings are determined by a mixture of (past) experienced, (present) acting and (forward-looking) premonition. We are taken from the real space into the dream world by certain, peculiarly present picture elements, but especially by the materiality of the paintings themselves, the oil paint, which carries the trace of painting in itself and with it the liveliness of the painter herself.”

In 2020, Sarah Buckner was awarded the Residence NRW+ grant, and at the conclusion of the residency period presented her work in the solo exhibition Head over Heels at the Westfälischer Kunstverein in Münster in 2021.

In 2021, Buckner's work was included in Esther Schipper's group exhibition L'Invitation au voyage. Buckner’s work has been exhibited in solo and group exhibitions across Europe and the US. Among her participations in institutional exhibitions are: Salon des Amateurs, Tramps, London (2018), Lia Pasqualino Noto / Casa Studio, Manifesta 12, Palermo (2018); 1001 Bild, Villa de Bank, Enschede (2018), Eggy and Seedy, Munchies, London (2017), Petto, L’Ascensore, Palermo (2015), Beyond the Stage, Canongate Venture Edinburgh (2013).

Click here for German text

Portrait, left © Trevor Paglen
Portrait, right © Joachim Gern

Esther Schipper is pleased to announce the participation of Tino Sehgal and Hito Steyerl in the festival steirischer herbst ’21 – The Way Out.

Read about each project here

Ann Veronica Janssens, Venetian Blind, 2007-2021, aluminum Venetian blinds, gold leaf, 400 x 190 x 2 cm
Exhibition view: Ann Veronica Janssens, gam gam gam, Galleria d'Arte Moderna – GAM, Milan, 2021. 
Photo © Ann Veronica Janssens

On the occasion of Milan Design Week, Italian luxury house Bulgari presents Metamorphosis, an immersive journey inside the iconic Serpenti jewelry collection in dialogue with the work of four renowned contemporary artists, including Ann Veronica Janssens. 

Playfully titled gam gam gam, Janssens‘ site-specific installation conceived for the Galleria d’Arte Moderna, Milan, uses natural light and a composition of new works characterized by a minimalist aesthetic in contrast with the maximalism and the sumptuous decor of the museum's architecture. The exhibition includes a golden Venetian blind which was specially produced for the windows of the room, and six of her iconic aquariums, where optical physical phenomena are used to expand the observers' perception.

A bilingual catalogue titled Serpenti. Il Potere delle Metamorfosi – The Power of Metamorphosis, published by Silvana Editoriale, is forthcoming.

Thomas Demand, Ballot, 2018, C-Print/Diasec, 180 x 280 cm
Image © Thomas Demand, VG Bild-Kunst, Bonn/UPRAVIS, Moscow

Mirror Without Memory is the first solo exhibition of Thomas Demand in Russia. Borrowing images of events from the press other sources (or organizing technical shoots), Demand reproduces these scenes in life size from cardboard and paper—basically making sculptures—after which he photographs them and subsequently destroys the models.

Rosa Barba, Plastic Limits, For the Projections of Other Architectures, 2021, 35mm film, color, optical sound, duration: 14:30 min. Film still © Rosa Barba

The Neue Nationalgalerie celebrates its reopening after six years of renovation with a solo exhibition by Rosa Barba, opening to the public from August 22, 2021.

Under the title In a Perpetual Now, Barba will present key works of her oeuvre from the years 2009–2021, as well as a new film created on the occasion of the exhibition. An expansive steel structure referring in its architectural structure to Mies van der Rohe's early project Brick Country House will host 15 of Barba's cinematic and sculptural works. Specially produced for the architecture of the Neue Nationalgalerie, this major solo exhibition follows the principle of cinematic montage, which plays a pivotal role in the artist’s work as well as her conceptual approach to cinema itself.

Who’s Online! is an online experience conceived in close collaboration with artist Simon Fujiwara as part of his major exhibition Who the Bær currently on view at Fondazione Prada, Milan through September 27, 2021.

In this unique digital experience, Fujiwara has conceived an interactive tour of the exhibition that brings viewers into the world of Who the Bær - an original cartoon character he created in 2020. Using a specially developed technique that presents the exhibition tour as a user driven stop-frame animation, audiences dive into the coming-of-age story of a cartoon bear in search for an authentic self in a world of images.

While the physical exhibition Who the Bær brings viewers into a giant labyrinthine cardboard structure in the shape of a bear, the interactive digital experience broadens the scope of the exhibition with detailed images, animations and artist interviews.

Whether you have already visited the exhibition or are experiencing it remotely for the first time, Who’s Online! is a digital experience that offers unprecedented perspectives into the original universe of Who the Baer.

Discover the “Who the Bær” digital experience on your mobile phone via who.fondazioneprada.org

Andrew Grassie, Car Door 1, 2020, tempera on paper on board, 14,8 x 18,8 cm (image), 31,1 x 35,2 x 3 cm (framed). Image © the artist

Esther Schipper is pleased to announce the opening of a seasonal pop-up exhibition in Taipei.

Visit us from August 19 through September 10 at PPP / PPAPER Space, in Zhongshan District, for a special exhibition of new and major works by twelve artists of the gallery. The exhibition will span various media, from installation, sculpture, video, to painting, photography, and works on paper.

With this project, the gallery aims at developing and anchoring the solid relationship it has built with Taiwan’s vibrant cultural art scene over the past decade.

"In the past decade we've built up a very solid relationship with collectors in Asia," says Muchi Shaw, Director, Asia and based in Taiwan. "We are always looking for different projects in the region from museum exhibitions to art fairs, and have strong connections with collectors in Taiwan," Shaw says.

With works by: Martin Boyce, Thomas Demand, Simon Fujiwara, Ryan Gander, General Idea, Andrew Grassie, Pierre Huyghe, Ann Veronica Janssens, Gabriel Kuri, Roman Ondak, Philippe Parreno, and Ugo Rondinone.

Should you have any questions about this special exhibition, please contact Muchi Shaw: shaw@estherschipper.com


施博爾・台北

PPP / PPAPER 空間
台北市中山區中山北路二段26巷2号

2021年8月19日—9月10日

施博爾藝廊欣喜地宣佈我們在台北舉辦的夏季 pop-up 展覽即將開幕。

8月19日至9月10日期間，我們將在位於台北市中山區的 PPP / PPAPER 空間舉辦一場特別策劃的展覽，屆時將呈現12位藝廊代理藝術家的重要作品以及新作。展覽作品將跨越多種媒介，從裝置、雕塑、影像，到繪畫、攝影和紙上作品。

施博爾藝廊旨在通過該展覽項目來拓展和鞏固我們在過去十年中與充滿活力的台灣文化藝術界所建立的緊密聯繫。

「我們在過去十年裡與亞洲不同地區的藏家建立了緊密的關係。」施博爾藝廊亞洲總監蕭牧齊說。「我們在亞洲地區一直以來不斷尋找各種展覽項目的可能性，從美術館展覽到藝博會，並且與台灣藏家有著密切聯繫。」

本次展覽參展藝術家包括：馬丁・博伊斯、托馬斯・德曼、藤原西芒、瑞安・甘德、普遍概念、安德魯・格拉西、皮耶・雨格、安・維羅尼卡・詹森斯、加布里埃爾・庫里、羅曼・昂達克、菲利普・帕雷諾 ，以及烏戈・羅迪納。

如需瞭解更多展覽詳情，請聯絡
蕭牧齊：shaw@estherschipper.com

Exhibition view: Etienne Chambaud, Inexistence, Esther Schipper, Berlin, 2021. Photo © Andrea Rossetti

Esther Schipper is pleased to present an Online Viewing Room dedicated to Etienne Chambaud’s exhibition Inexistence, the artist’s first with the gallery. The works included in the exhibitions are a scent and a sound installation, a sculptural work generating a pattern of temperatures, three light installations, glass works, bronze sculptures and modified panel paintings.

Visit our OVR here

The Online Viewing Room features an exhibition film in which Chambaud takes you through the exhibition. 

Anri Sala, AS YOU GO, 2019, 13-channel HD video and 22-channel discrete sound installation, color, 39:24 min. Exhibition view: Anri Sala, AS YOU GO, Castello di Rivoli, Turin, 2019. Photo © Antonio Maniscalco

From July 17 through October 10, Kunsthaus Bregenz dedicates a major solo exhibition to Anri Sala.

Musical phenomena play a major role in Sala’s work, his transformative, time-based works develop from a dense network of relations between sound, image, and architecture. A recurring medium in Sala's exhibition is film. In contrast to conventional cinema, Sala does not employ a strict narrative or even actors, it is rather musical pieces that become the real protagonists in the works. The cinematic results from the musical and not, as is customary, vice versa, enabling visitors to immerse themselves in a both visual and acoustic experience of the space.

Recent and entirely new works will be on view in the exhibition at Kunsthaus Bregenz. A record player, floating freely in an abandoned space capsule, a subtle alternating between the architecture's contours being sharp or blurred, a garden snail slowly moving along a viola bow, a vintage wallpaper-printing roller whose metal pattern is translated into spectral sounds. All of these are elements and imagery that Anri Sala will be employing in engendering creative shifts and to probe existing interpretive relations.

Blenheim Park and Gardens. Landscaping by Capability Brown. Courtesy of Blenheim Art Foundation

Esther Schipper is is pleased to announce a major solo exhibition by Tino Sehgal at Blenheim Park and Gardens, Oxfordshire. Organised by Blenheim Art Foundation, this will be the first exhibition at Blenheim designed specifically for the Park and Gardens.

Tino Sehgal is known for artworks composed exclusively using the human body, voice, and social interaction. His artistic practice focuses on the fleeting gestures and subtleties of social encounters, with participation and open exchange as the subjects of value, rather than material objects. For this project, Sehgal will present a complex, roaming choreography imagined for Blenheim, involving more than 30 participants.

Conceived as a series of scenes rather than works with fixed locations, the exhibition will move fluidly throughout the Park and Gardens like a game of encounters, responding to specific conditions such as the number of visitors, the location or the weather. Akin to a swarm or flock, the group of participants – the majority of whom are local residents cast specially for this project – will gather and disperse in a fluid and porous choreography, enacting moments of connection with visitors and their surroundings.

Video still: Simon Fujiwara, Who for President, 2021, sculptural video installation, duration: 1:33 min. Video © Simon Fujiwara

Esther Schipper and Dvir Gallery are pleased to present parallel Online Viewing Rooms on the occasion of Simon Fujiwara's solo exhibition at Kunstinstituut Melly, Rotterdam (on view through September 12, 2021).

Visit our OVR here.

For his first solo exhibition in the Netherlands, Simon Fujiwara presents works from his most recent project Who the Bær. Developed during the lockdown in the spring of 2020, Fujiwara created a unique cartoon character in the form of a denim wearing bear with a golden heart and an uncontrollably long tongue, that seemingly has no gender, race, sexuality or even a clear design. Without an identity, Who exists only as an image, a status that allows them the freedom to roam a world of online images, appropriating characters, identities, aesthetics and guises in a greedy search for a "self".

Who the Bær is also at the centre of a major solo exhibition currently presented at Fondazione Prada in Milan, through September 27.

Who the Bær can also be followed via their official Instagram account, @whothebaer.

Ari Benjamin Meyers, The Long Parade (Day 1, De Panne to Koksijde), 2021. Performed at Beaufort 21: 7th Beaufort Triennial, Flanders, 2021. Photo © Kristien Daem

For the seventh edition of the Beaufort Triennial, Beaufort 21, Ari Benjamin Meyers, in collaboration with the walking orchestra "Die Verdammte Spielerei", presents The Long Parade.

The Long Parade is a music-based durational performance that is inspired by the brutal history of the Belgian coast, memory and forgetting, and the children’s game "Telephone". Over the course of the summer, the Flemish fanfare band "Die Verdammte Spielerei" will be marching from the French-Belgian border in De Panne to the Belgian-Dutch border of Knokke, performing a new composition by Ari Benjamin Meyers over ten musical parades. For each performance, they are joined by a different local group of musicians that have made their own adaptations of the piece and, in a ritualized manner, will pass the music — and a specially commissioned flag — from one municipality to the next. This performance, in essence an evolving, moving rehearsal, continues over the coming months, undergoing further mutations until the work reaches its finale in Knokke-Heist in October.

With The Long Parade Meyers unites the identities and histories of the Belgian coastal municipalities in one new composition that gets adapted by all, celebrating collaboration and recognizing the individuality of each place, while at the same time highlighting the fog of memory as it pertains to the past – both recent and more distant.

Participation is free and open to the public.

Upcoming performance dates and locations:
July 4: Koksijde - Showkorps El Fuerte, Imperior De Percussion and Koninklijke Gemeentelijke Harmonie Koksijde
August 1: Nieuwpoort - Koninklijke Katholieke Harmonie Nieuwpoort
August 8: Middelkerke - Drawing Pins
August 15: Ostend - Melody Makers Ostend
August 29: Bredene - accordion group with Alain Billiouw
September 12: De Haan - Saxophone Quartet Beaufort
September 19: Blankenberge - Shanty Choir Blankenberge
September 25: Zeebrugge - Koninklijke Harmonie Vermaak na Arbeid Koolkerke
October 17: Knokke - Koninklijke Harmonie Sint-Cecilia Heist

Dominique Gonzalez-Foerster & Camille Vivier, Gorgone 1 (apparition), 2021, snakes, hair and make-up by Melanie Gerbeaux. © Dominique Gonzalez-Foerster & Camille Vivier

For her exhibition VOLCANIC EXCURSION (A VISION) at the Vienna Secession, Dominique Gonzalez-Foerster has conceived an environment that addresses the specific site while also reflecting on the extraordinary time of a global pandemic. Invoking role models from the past and the present, friends and colleagues who share her ideas, Gonzalez-Foerster counters the fissures that have come to mar the social fabric with a tableau exuding strength and confidence, optimism and courage.

Her exhibitions are often site-specific productions in which she engages with distinctive features of the venue and its history, weaving in literary references. Objects feature in subsidiary roles, as props that let her establish a particular atmosphere, rather than as ends in themselves and definitive creative output. Evolving narratives await discovery by the beholder who takes the time to pick up on the clues hidden in the fragmentary set pieces, photographs, peculiar interior arrangements, and personal details. Transporting the visitors to fictional scenarios from the past and future, her environments are the scenes of distinctive experiences in which yearnings, utopian wishes, fears, and dreams come to life.

Photo © Adrian Deweerdt

With Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Philippe Parreno, Anri Sala, and Tino Sehgal.

LUMA Arles, a 27-acre creative campus at the Parc des Ateliers in the city of Arles, opened to the public on June 26. Work by over 45 artists and designers is featured in the opening programme, with special new commissions for LUMA by major international artists.

At the heart of the site is Frank Gehry’s 15,000-square-metre tower, a twisting geometric structure finished with 11,000 stainless steel panels. The Tower houses exhibition galleries, project spaces and the LUMA’s research and archive facilities, alongside workshop and seminar rooms.

The Tower houses Philippe Parreno’s permanent commission Danny and Liam Gillick’s design for communal areas, entitled Laguna Gloria. In addition, on view in the Tower are a commissioned work by Tino Sehgal, This Element, and works from the collection, among them, Anri Sala’s 2018 film If and Only If, and Dominique Gonzalez-Foerster’s Virtual Reality Environment, Endodrome, presented at the 2019 Venice Biennale. The Library is on Fire, a new commissioned work by Dominique Gonzalez-Foerster and Charles Arsène-Henry, will be inaugurated in September 2021. In the industrial Grande Halle in the Parc des Ateliers, Pierre Huyghe’s exhibition After UUmwelt will be on view through October 2021.

The campus is also home to seven former railway factories, four of which have been renovated by Selldorf Architects as exhibition and performance spaces. The surrounding gardens and public park are designed by landscape architect Bas Smets.

Photo © Domingo Llull, Courtesy of Casa Museo Can Marqués⁠

Esther Schipper opens its first summer off-site exhibition in Palma de Mallorca.

Visit us from July 12–31 for a special exhibition entitled En la casa de Marqués [Inside Marqués House], held at the former residence of Martín Marqués Marqués, a 19th century bourgeois who built a fortune in Puerto Rico before returning to Mallorca in 1910. Located on Carrer de Can Anglada, between the cathedral and the city hall, the house dates back to the 14th century.

The exhibition will take place on the main floor of the house and will feature an exceptional selection of new and major works by 23 artists of the gallery, including installations, sculptures, paintings, photographs, and works on paper.

With works by: Stefan Bertalan, Martin Boyce, Sarah Buckner, Angela Bulloch, Etienne Chambaud, Jean-Pascal Flavien, Ceal Floyer, Simon Fujiwara, Ryan Gander, Francesco Gennari, Liam Gillick, Dominique Gonzalez-Foerster, Rodney Graham, Ann Veronica Janssens, Gabriel Kuri, Isa Melsheimer, Florin Mitroi, Roman Ondak, Ugo Rondinone, Anri Sala, Karin Sander, Julia Scher, and Daniel Steegmann Mangrané.

Should you have any questions about this special exhibition, please contact Marek Obara: obara@estherschipper.com

Ugo Rondinone, long last happy, 2020, neon, acrylic glass, translucent foil, aluminum, 313 x 768 x 15 cm. Image © Studio Rondinone

From June 26 to October 24, 2021 the second Kortrijk Triennial will take place. Titled Paradise Kortrijk 2021, it includes works by Ryan Gander and Ugo Rondinone.

Paradise Kortrijk 2021 invites contemporary artists to participate and reflect on modern questions. What are meaningful values today and how can we construct a better society? By installing artworks in the heart of the dynamic city, the significance of the artists’ vision becomes present in public. The participative element is crucial in the project: through an active experience, interaction is activated by the visitor. Through this experience, the visitor is offered the opportunity to modify their way of thinking, both about themselves and about our current society.

During Paradise Kortrijk 2021, two immense, brightly colored, rainbow-shaped neons by Ugo Rondinone will appear on the roof of the Budatoren and the Heilig Hart Woon- en Zorghotel. While cry me a river (1997) is the first rainbow neon ever produced by the artist, long last happy is a new commission conceived specifically for the occasion.

Daniel Steegmann Mangrané, A Dream Dreaming a Dream, 2020, video projection (real-time procedural computer-generated animation), infinite duration, 4-channel sound, black and white, edition of 3. Commissioned and produced by Thyssen-Bornemisza Art Contemporary (TBA21). Exhibition view: How to Tread Lightly. st_age expanded, an exhibition, Museo Nacional Thyssen-Bornemisza, Madrid, Spain, 2020. Photo © Roberto Ruiz | TBA21

October Salon is a representative manifestation of accomplishments in the field of visual art in Serbia, found and funded by the City of Belgrade.

This year, the exhibition titled The Dreamers intends to question not only the misleading and ambiguous nature of the real but the space occupied by dreams—intended as the metaphorical embodiment of a space of freedom—which is able to challenge the certainty of the real world, of acquired knowledge and of our own beliefs.

The largest part of the exhibition of the 58th October Salon | Belgrade Biennale 2021 which includes works by 63 artists, among them Pierre Huyghe, Anri Sala and Daniel Steegmann Mangrané, will be presented at the Belgrade City Museum, galleries of the Belgrade Cultural Centre, the Movie Theatre of the Belgrade Cultural Centre, the park of the Museum of Yugoslavia and a number of public spaces all over the city. It is planned for this year’s edition of the Salon to involve television and radio platforms as exhibition venues.

Etienne Chambaud, Nameless, 2019, coyote, squirrel and rabbit urine, various chemicals, copper powder, acrylic and acrylic varnish on LW. Photo © Jan Brockhaus / Friends of Rohkunstbau e.V.

Photo © Jan Brockhaus / Friends of Rohkunstbau e.V.

This year's edition of ROHKUNSTBAU 26 presents the works of 22 artists including Etienne Chambaud, David Claerbout, Philippe Parreno and Daniel Steegmann Mangrané.

The exhibition title I am Nature – Of Vulnerability. Survival in the risk society defines a common thread running through the exhibited works. How are deep, existential insecurities after and during the Corona pandemic connected with the human understanding of nature, which is shaped by ideas of omnipotence? What are the consequences of this attitude?

Exhibition view: Ugo Rondinone, your age, my age, and the age of the rainbow, Belvedere Palace Garden, Vienna, 2021. Photo © Johannes Stoll / Belvedere, Vienna

In Ugo Rondinone's work, the rainbow features prominently as a recurring motif with multiple meanings. It is not only an impressive spectacle of nature but also a symbol of peace, equality, tolerance, and the connection between heaven and earth. 

Together with the Belvedere, Rondinone invited children aged 6 to 12 years to paint rainbow pictures. This hope-filled project was launched in the spring of 2021 by the Belvedere's art education team in collaboration with elementary schools throughout Austria.

The result is the participatory work your age and my age and the age of the rainbow, which consists of 1,085 rainbow panels. The 70-meter-long installation is on view through November 1, 2021 in the Belvedere Palace Garden between the Belvedere and Belvedere 21.

Simon Fujiwara, Who’s Childhood?, 2021, sculptural video installation (cardboard, electrical tape, Plexiglas, antique tripod, projector, projection screen), 164 x 73 x 73 cm (64 5/8 x 28 3/4 x 28 3/4 in) (projector on tripod). 
Image © Jörg von Bruchhausen

Esther Schipper is pleased to announce our participation in the inaugural edition of AMTSALON Berlin, with a solo presentation of works by Simon Fujiwara from the artist's most recent project Who the Bær. 

The presentation will include the sculptural video installation, Who’s Childhood, with an animation depicting a revisionist history of Who's childhood as well as a series of new collages and drawings centring around the early identity development of Who the Bær. Housed in the premises of the former district court of Charlottenburg, AMTSALON will open its doors to the public as a pop-up of twenty-four Berlin galleries from June 17 – 24 only.

Who the Bær can also be followed via their official Instagram account @whothebaer.

Roman Ondak, Perfect Society, 2018, exhibition view: Diversity United, Flughafen Tempelhof, Berlin, 2021. Photos: Silke Briel © Stiftung für Kunst and Kultur, Bonn⁠
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Diversity United presents an artistic tour d'horizon of Europe currently. The trans-national exhibition shows paintings, sculptures, videos, new media, photographies, installations, drawings and object of art by about 90 artists from 34 countries, including Roman Ondak, Ugo Rondinone, and Anri Sala. They represent different generations, genders and regions and their work reflects the phenomenal diversity and vitality of Europe's contemporary art scene – from Portugal to Russia, from Norway to Turkey. 

The works on display shed light on themes such as freedom and democracy, migration and territory, political and personal identity, utopias and fears, which also revolve around the current pandemic. Diversity United reflects the complexity of the European idea and its social realities in a globalized world.
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David Claerbout, Aircraft (FAL), 2015-2021, single channel video projection, black & white, stereo audio. Still © David Claerbout © c/o Pictoright Amsterdam 2021

In disquieting video installations David Claerbout tries to come to grips with the passage of time. He lengthens time, allows the present and past to fuse, and sometimes even seems to bring time to a halt. His latest video, Aircraft (FAL), will have its world première at De Pont. The presentation will be accompanied by other video works, drawings and storyboards of his that the museum has been collecting since 2005.

Photo © Andrea Rossetti

Esther Schipper is pleased to present the exhibition catalogue for L’Invitation au voyage. Richly illustrated, the publication includes especially commissioned and existing texts on each of the the artists, biographical information, and an introductory essay. 

L’Invitation au voyage spans multiple generations and artistic approaches, inspired, influenced, and expanding on representations of dream and fantasy. Beginning with pioneering avant-gardist Hannah Höch, and established figures such as Paula Rego, Almut Heise, Leiko Ikemura, and Yeesookyung, the exhibition continues into the practices of younger generations with works by Sarah Buckner, Cui Jie, Cordula Ditz, Tala Madani, Isa Melsheimer, Sojourner Truth Parsons, Shahzia Sikander, and Tsai Yi-Ting.

Gabriel Kuri, Offering, 2021, mixed media in customised crate 125 x 170 x 50 cm, variable combinations, variable dimensions. Photo © Gabriel Kuri

Gabriel Kuri's Offering is a multi part sculpture commissioned by Saint-Martin Bookshop. This will stem from an array of sculptural props (some found, some purchased, some fabricated by the artist) snugly nestled in a crate lined with customized foam.

On the occasion of Kuri's exhibition at Saint-Martin Bookshop, curator and writer Dieter Roelstraete has written a short text entitled A Neighborhood of Things – Read it here.

Simon Fujiwara, Who Loves Who?, 2021, sculptural video installation, foam core, cardboard, monitor, video duration: 1:02 min, dimensions: 97,5 x 115 x 12,5 cm, hanging key and chain: variable, depicted: 90 cm high. 
Exhibition view: Simon Fujiwara, Who the Baer, Kunstinstituut Melly, Rotterdam, 2021. Photo © Simon Fujiwara

For his first solo exhibition in the Netherlands, Simon Fujiwara presents works from his most recent project Who the Bær. Developed during the lockdown in the spring of 2020, Fujiwara created a unique cartoon character in the form of a denim wearing bear with a golden heart and an uncontrollably long tongue, that seemingly has no gender, race, sexuality or even a clear design. Without an identity, Who exists only as an image, a status that allows them the freedom to roam a world of online images, appropriating characters, identities, aesthetics and guises in a greedy search for a ‘self’.

Who the Bær can also be followed via their official Instagram account, @whothebaer.

Hito Steyerl, SocialSim, 2020. Exhibition view: Hito Steyerl: I Will Survive, Centre Pompidou, Paris, 2021. Photo © Centre Pompidou, Bertrand Prévost, © VG Bild-Kunst, Bonn, 2021

The Centre Pompidou presents, in collaboration with K21 in Düsseldorf, I Will Survive: the first large-scale exhibition dedicated to the work of Hito Steyerl in France.

Spreading out over the entire space of the Galerie 2 of the Centre Pompidou, the survey exhibition brings together a group of major works, articulated around SocialSim (2020), a new production that imagines the future of the world in the era of social simulation technologies. The retrospective retraces a path that began in the 1990s in the field of documentary cinema and that has been developing, for the past ten years, particularly inventive multimedia installations, dedicated to joyfully transforming the immersive character of our visual culture into a space for reflection. Pointing out the failures and paradoxes of the image, Hito Steyerl experiments with new ways of talking about reality and critically addresses nationalism, capitalism and artificial intelligence.

The exhibition is accompanied by a catalogue.

Rodney Graham, Phonokinetoscope, 2001, 16mm looped film
Film still © Rodney Graham

For Rodney Graham’s first showcase in Russia, Garage will present one of his key works, Phonokinetoscope (2001), which highlights the Canadian artist and musician’s idiosyncratic understanding of the relationship between moving images, sound, and narrative building.

Phonokinetoscope is a complex symbiotic experiment where the traditional synchronization of sound with image and narrative is disrupted not only by the limitations imposed by the specially-built equipment but also by the random intervention of the audience. In the 16mm looped film we see a solitary Graham on a bicycle ride through Tiergarten in Berlin, evoking Albert Hofmann’s historic bike ride home from his laboratory in 1943 after making an interesting scientific discovery.

Loop after loop, the artist takes us on a ride of our own through the carefully choreographed constellation of sonic correlations, poetic congruences, and cinematic and literary associations.

Simon Fujiwara, Skölstrejk för Whö?, 2021. Mixed media sculpture, paper, plastic, wood, plush, metal, printer
Photo © Jörg von Bruchhausen

Fondazione Prada reopens from April 29

Visitor information can be found here.

For this new site-specific project conceived for the ground floor of the Podium in the Milan premises of Fondazione Prada, Simon Fujiwara introduces audiences to the fairytale world of Who the Bær, an original cartoon character created by the artist. Who the Bær is a cartoon bear without a clear character – “Who” as they are known, seems to have not yet developed a strong personality or instincts, they have no history, defined gender or even sexuality. Who the Bær only knows that they are an image, and they seek to define themselves in a world of other images.

Who the Bær’s adventures are presented at Fondazione Prada in a giant labyrinth made almost entirely from cardboard and recyclable materials and forming the shape of a giant bear. As visitors travel through the bear-like installation, they are introduced to the basic design and formation of the cartoon character of Who the Bær before embarking on a series of adventures that follow Who the Bær around their fairytale world. Told through drawings, collages, sculptures and animations, we witness Who the Bær in their perennial quest for an identity.

Inspired by the tradition of fairytales as well as modern animation movies, Fujiwara uses the mechanisms of fantasy to explore some of the joys and traumas we face as a society possessed with images and spectacle.

Exhibition view: Martin Boyce, Recurring Dreams, FAHRBEREITSCHAFT, haubrok foundation, Berlin, 2021

In the “kantine” of FAHRBEREITSCHAFT the haubrok foundation show works by Scottish artist Martin Boyce. The lyrical objects and installations from the haubrok collection are largely based on the formal language of the brothers Jan and Joël Martel, who worked together with the architect Robert Mallet-Stevens in Paris on the intersection of Art Deco, Cubism, and Bauhaus. The concrete trees, to which Martin refers in various works, are particularly well known. The exhibition entitled Recurring Dreams consists exclusively of works from the haubrok collection.

Please note due to Covid-19 restrictions, a visit of the upcoming exhibitions at the hauberk foundation will probably only be possible from May on and by prior registration and the allocation of time slots. If you have any questions, do not hesitate to contact visit@haubrok.org.

David Claerbout, Wildfire (meditation on fire), 2019-2020, single channel video projection, 3D animation (stereo audio, color), duration: 24 min
© David Claerbout & VG Bild-Kunst, Bonn, 2021

David Claerbout presents two major film installations: Wildfire (meditation on fire), 2019-2020 and Die reine Notwendigkeit/The Pure Necessity, 2016 as part of the exhibition The Nature of Art at the Busan Museum of Art, Busan, South Korea. 

This exhibition was conceived to convey the message of comfort and healing that art gives to us living in the Corona era, and to awaken the courage to face a new era. The Nature of Art consists of three sections: "Imagine from Today", "Contemplate from Emptiness", and "Empowered by Mother Nature".

David Claerbout, the “confetti” piece, 2015-2018, video still, double channel video projection, 3D animation, silent, color, 18’ 25”
Film still © David Claerbout & VG Bild-Kunst, Bonn, 2021

Unseen Sound is the first solo exhibition of Belgian artist David Claerbout in Russia. His work is best defined as a hybrid, where media dissolve into one another using video, photography, film, and 3D to create images that question our perceptions and expectations.

The exhibition brings together four works that span a period of more than ten years, and show the artist’s increasing occupation with what he describes as “dark optics,” a term he uses to describe the contemporary state of the image. All of the works presented in Unseen Sound capture single moments stretched in time and space. This expansion reveals new layers of reality behind seemingly trivial images, and new characters emerge.

As the title of the exhibition—Unseen Sound—indicates, these works visualize sound as a central event that, nevertheless, remains beyond aural perception. Sections of a Happy Moment (2007) and The Algiers' Sections of a Happy Moment (2008) capture moments of a street ball game. The Quiet Shore (2011) is a series of beach scenes shot during a loud splash. Set at a grand reception, the “confetti” piece (2015–2018 ) shows the second when the fireworks of confetti rain down. For Claerbout, digital materiality will not remain as virtual reality but will attempt to penetrate as many aspects of life as possible, altering optical and material habits. Lens-based images are already part of the past, and will be replaced by dark optics.

More information

Photo © Lawrence Elisabeth⁠

Buffalo Bayou Park Cistern, Houston, presents a newly commissioned artwork for the by Anri Sala. This immersive new film and sound installation, titled Time No Longer, will occupy the Cistern for a period of nine months, transporting visitors into an other-worldly environment within this vast, subterranean reservoir.⁠⁠

Time No Longer will incorporate film projected onto a translucent, 22 by 150-foot (7 by 45-meter) screen with a soundtrack emanating throughout the space, its reverberations creating ripples on the surface of the water. Visitors will encounter the work in 360 degrees by making their way around the full perimeter of the 87,500-square-foot Cistern.⁠⁠

The film depicts a weathered turntable floating in a space station. It is tethered only by its electric cord, which allows it to keep playing a vinyl record. There appears to be no human presence to listen to it, and an uneasy quiescence around it suggests it may be spinning in the aftermath of a catastrophe – a custodian of that absent humanity.⁠

Read more

The Work Life Effect is Liam Gillick’s first major solo museum exhibition in Asia. The exhibition continues the artist’s interest in questions of production, various modes of work and an endless search for a contemporary abstraction. The title directly refers to this – alluding to the complex tensions between work and life. The Work Life Effect proposes a zone where we sense the effects of the merging of work and life that has accelerated in the digital period and under the conditions of the Covid-19 pandemic. The exhibition does not directly illustrate such processes, rather it evokes a twilight mood of lights, forms and affects that bring forward how emotional and formal aspects of perception and experience are altered when we are subjected to new modes of mediated existence.

Animated lamps lure us into a liminal space where work and life have merged. The outside has been brought inside. Large neon mathematical formulas flood the museum with colored light and show ways to calculate human happiness. Two large “storefronts” are sited in the centre of the space. Each appears to have large glazed illuminated panels. In fact the windows are empty and lead us into a space of abstraction and a space where a piano sits while black snow softly falls.

An important aspect of the exhibition extends to the lobby of the museum and the book lounge. These spaces will be furnished with low tables and stools that provide spaces for informal gathering, study and research. A program of education, performance and video streaming will be produced in these spaces and in the exhibition itself.

An exhibition catalogue is forthcoming.

Martin Boyce, After Light, 2021, acrylic paint on perforated steel, aluminium, cellulose paint on cast bronze and bronze wire, 166,5 x 110 x 18 cm. Photo © Martin Boyce

We are pleased to announce our participation in the first iteration of FIAC Online Viewing Room where we will present major works by Rosa Barba, Martin Boyce, Angela Bulloch, Etienne Chambaud, General Idea, Ann Veronica Janssens, Isa Melsheimer, Roman Ondak, Philippe Parreno, and Ugo Rondinone.

More information

Simon Fujiwara, Sculpture for Who the Bær, 2020
Photo © Jörg von Bruchhausen

For this new site-specific project conceived for the ground floor of the Podium in the Milan premises of Fondazione Prada, Simon Fujiwara introduces audiences to the fairytale world of Who the Bær, an original cartoon character that inhabits a fantasy universe created by the artist. Who the Bær is a cartoon bear without a clear character – “Who” as they are known, seems to have not yet developed a strong personality or instincts, they have no history, defined gender or even sexuality. Who the Bær only knows that they are an image, and they seek to define themselves in a world of other images.

The world of Who the Bær is a flat, online world of pictures, yet one full of endless possibilities. Who the Bær can transform or adapt into any image they encounter, taking on the attributes and identities of those depicted within the image – human, animal or even object. In this sense the fantastical world of Who the Bær is a world of freedom: Who can be whoever they wish to be, Who can transcend time and place, Who can be both subject and object. Yet Who the Bær may never be able to overcome their one true challenge – to become anything more than just an image.

Who the Bær’s fantasy adventures are presented at Fondazione Prada in a giant labyrinth made almost entirely from cardboard and recyclable materials and forming the shape of a giant bear. As visitors travel through the bear-like installation, they are introduced to the basic design and formation of the cartoon character of Who the Bær before embarking on a series of adventures that follow Who the Bær around their fairytale world. Told through drawings, collages, sculptures and animations, we witness Who the Bær in their perennial quest for an authentic self.

Inspired by the tradition of fairytales as well as modern animation movies, Fujiwara uses the mechanisms of fantasy to explore some of the joys and traumas we face as a society possessed with images and spectacle.

The exhibition is completed by a publication, which is part of Fondazione Prada’s Quaderni series. Conceived as an illustrated story book, it includes a conversation with the artist.

The adventures of Who the Bær can be experienced on Instagram following their official account @whothebaer.

Read more

Ryan Gander, The Silent Majority / The Vocal Minority, 2021, brown paper, plastic envelope, A4 printer paper, inkjet ink
Photo © Studio Ryan Gander

Natural and Conventional Signs is an exhibition in which Ryan Gander presents a selection of new works directly guided by his research at Princeton undertaken during his time as a Hodder Fellow (2019-2020) and made during a period of reflection while the world paused amid a global pandemic.

Gander invites an audience into his studio-cum-gallery, Solid Haus in rural Suffolk, a two-hour drive east of London, digitally for the first time. There he has assembled a show in which the works have duality in meaning and utility; subverting the signs, tropes, and markers seen in the everyday world to shine new light on how we position ourselves in relation to the values of time, money, opportunity, attention and privilege.

See inside the exhibition

Photo © Paul Niedermayer

Cemile Sahin was born in Wiesbaden, Germany, in 1990. She studied Fine Arts at Central Saint Martins College of Art and Design in London and at the Universität der Künste in Berlin. She lives and works in Berlin.⁠

Sahin's artistic practice operates between film, photography, sculpture and text. Points of departure include both images and stories, which she stages in multimedia video installations. Her work questions the instrumentalization of media and the significance of diverse perspectives for the writing of history. Working with a variety of media, she explores how history and its narration changes when it is constructed through diverse—or even contradictory—points of view.⁠ ⁠

Her debut novel TAXI was published in 2019, followed by her book Alle Hunde Sterben in 2020, both of which are important components of her artistic practice. In 2019 she was awarded the ars viva 2020 prize for Visual Arts. The same year she was a fellow of the JUNGE AKADEMIE at the Akademie der Künste Berlin.⁠ ⁠

Click here for German text

Photo © Sara Masüger

Rosa Barba was born in 1972 in Agrigento, Italy. She currently lives and works in Berlin.

She studied at the Academy of Media Arts Cologne and has completed her PhD at the Malmö Faculty of Fine and Performing Arts, Lund University in 2018.

She has been a visiting professor at MIT, ACT (Program in Art, Culture and Technology), in Cambridge, Massachusetts. Barba holds a professorship in Fine Arts at the University of the Arts, Bremen.

Rosa Barba engages within the medium of film through a sculptural approach. In her works, Barba creates installations and site-specific interventions to analyze the ways film articulates space, placing the work and the viewer in a new relationship. Questions of composition, physicality of form and plasticity play an important role for the artist as Barba examines the industry of cinema and its staging vis-à-vis gesture, genre, information and documents. Her film works are situated between experimental documentary and fictional narrative. They often focus on natural landscapes and human-made interventions into the environment and explore the relationship of historical records, personal anecdotes, and filmic representation, creating spaces of memory and uncertainty.

Rodney Graham, Vacuuming the Gallery 1949, 2018, painted aluminium lightbox with transmounted chromogenic transparency. 
Courtesy Museum Voorlinden, Wassenaar
Photo © Ken Adlard

In his exhibition, Artists and Models, Rodney Graham brings to the Serlachius Museums his disguise self-portraits for which he is best known. Graham’s exhibition at Serlachius Museum Gösta is his first in Finland.

In his works, Graham explores the layers of Western culture, both everyday life and collective memory. He draws on wide-ranging references to philosophy, psychoanalysis, and the art and popular culture of different eras.

He is best known for his disguise self-portraits, monumental photographic works in which he smoothly assumes various fictional roles. His art is characterised not only by subtle nostalgia and melancholy, but also gentle humour, poetic irony and meticulous finishing of the works.

Purchase the supporting exhibition catalogue HERE

Photo © Andrea Rossetti

Esther Schipper congratulates Christoph Keller on being awarded the Berlin Artistic Research Grant for 2020/2021.

The Berlin Artistic Research Grant Programme supports and encourages artistic research across disciplines and dialogue between the artists and their projects. The programme was created in 2020 by the Society for Artistic Research in Germany (Gesellschaft für künstlerische Forschung in Deutschland, gkfd) with funds provided by Berlin’s Senate Office for Culture and Europe.

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Thomas Demand, Bluethroat, 2020, pigment print, 172 x 135 cm
© VG Bild-Kunst, Bonn, 2020
Photo © Thomas Demand

House of Card offers an overview of various approaches to construction in Thomas Demand’s oeuvre from the past fifteen years. His work related to models, scenography and even buildings are closely related to architecture. At the same time House of Card shows the connection between Demand’s projects and those of other influential artists, architects and designers like Martin Boyce, Arno Brandlhuber, Caruso St John en Rirkrit Tiravanija.

The title House of Card refers to the precariousness of Demand's practice as a builder. Whereas architecture generally equates with permanence, Demand prefers to explore the limits of the ephemeral, as is evidenced in his use of paper and cardboard.

More inforiaton can be found HERE

Matti Braun, Bunta Garbo, 2002, wooden screen and digital prints mounted on forex
Exhibition view: MONOCULTURE – A Recent History, M HKA, Museum of Contemporary Art Antwerp, 2020
Photo © MHKA

The group exhibition MONOCULTURE – A Recent History begins from the principle that any understanding of ‘multiculture’, should necessitate an investigation of ‘monoculture’. The societal understanding of monoculture can be defined as the homogeneous expression of the culture of a single social or ethnic group. The project seeks to approach the notion of monoculture with an open mind. It will thus aim for an analysis of, rather than an antithesis to, monoculture, approaching it not only from historical, social, cultural and ideological perspectives, but also philosophical, linguistic and agricultural ones.

Through the works of more than 40 artists, including Matti Braun, the exhibition will provide a tentative mapping, allowing for a comparative analysis of different manifestations of monoculture, as well as their reflections in art and propaganda, seeking to draw some conclusions that might be relevant for society and culture at large.

The exhibition includes Matti Braun’s Pierre, 2009 and Pierre Pierre, 2010, several silk paintings, as well as Bunta Garbo, 2002, a project on the Belgian writer Andrea Juste.

Two publications accompany the exhibition: MONOCULTURE – A Recent History, exhibition catalogue published by M HKA, and The Aesthetics of Ambiguity – Understanding and Addressing Monoculture, co-edited by Pascal Gielen and Nav Haq, published by Valiz as part of the Antennae – Arts in Society series.

More information can be found HERE

Ann Veronica Janssens, Untitled (Blue Glitter), 2015 – ongoing
© VG Bild-Kunst, Bonn, 2020
Photo © Dirk Pauwels

Ann Veronica Janssens has created an extensive body of work over four decades spanning installations, projections, immersive environments and sculptures. At the core of her practice is an interest in light and its impact on our perception and experience.

This exhibition will be the first major presentation of Janssens’ work in London. Across three floors of the Fire Station, sculptures, projections, light works and installations continue Janssens’ exploration of perception and ephemerality.

Janssens’ Untitled (Blue Glitter), an expanse of reflective, blue glitter scattered across the floor of the gallery, will occupy the Main Space for the first half of the show, after which it will be replaced by Janssens’ reflective wheeled Bikes, 2001. Visitors are invited to cycle round the Main Gallery on one of five custom-made bicycles with mirrored wheels, which will reflect light on the surrounding gallery walls and floor as the wheels turn.

Hot Pink Turquoise is presented in collaboration with Louisiana Museum, Copenhagen

Daniel Steegmann Mangrané, Fog Dog (Eye), 2019-2020 (detail), giclée print. Image © Daniel Steegmann Mangrané

With Dog Eye, on view from September 13 through November 22, the Kunsthalle Münster is presenting the first solo exhibition in a German institution of Daniel Steegmann Mangrané. His works—comprising installations, films, sound-based works, photographs, drawings, holograms and sculptures—are marked by a poetic approach of overlapping geometric and abstract forms with organic elements: branches, leaves, insects and recently also dogs serve as integral components of the artist's works. He combines and intertwines these to create an overall structure that subtly brings us to question our own position in the world, and thus also our attitude toward our environment. We are called upon to re-think the prevailing western perception based on binary thinking, in terms of subject and object, nature and culture.

More information can be found HERE

On Wednesday September 9, at 18.30, the Museo Madre will present the new publication by Liam Gillick: Standing On Top of a Building: Films 2008-2019 published in June 2020 by Edizioni Madre and arte’m.⁠
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After an introduction by the president of the Fondazione Donnaregina per le arti contemporanee, Laura Valente, Liam Gillick will be joined in conversation with the curators, Alberto Salvadori and Andrea Viliani.⁠
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The publication is the first retrospective dedicated exclusively to Liam Gillick’s film production.⁠

RSVP HERE

Ari Benjamin Meyers, Solo, originally produced in 2009 by Soundfair at Loge, Berlin with Ruth Rosenfeld, soprano
Photo © Douglas Gordon

Solo by Ari Benjamin Meyers was first presented in Berlin in 2009 by Soundfair at Loge. In line with the basic concept of the work, only one person at a time was allowed to enter the space, to experience a live vocal performance of ca. seven minutes, delivered by a solo singer. In the first version of the performance the soloist and the solo audience were in one space, a small room which created, in fact provoked, an inevitably intimate connection between the two.

In Solo (Social Distance Version)—presented first at CHB-Collegium Hungaricum Berlin and later at Yellow Solo—the soloist and the solo audience are separated by a wall, and thus the show, experienced in complete solitude, is comprised not of hearing, but overhearing.

VENUE 1:
CHB – Collegium Hungaricum Berlin
Dorotheenstraße 12, 10117 Berlin
September 11, 12, both days 4 pm - 10 pm
Duration of the performance: 10 min
The performance takes place in continuous repetition from 4 pm till 10 pm on the 11th and 12th of September. A solo visitor is allowed to enter the space following a short break after each performance.
From 4 pm to 7 pm, the performance can only be visited at a pre-booked time slot. It is not necessary to register between 7 pm and 10 pm, entry is in the order of arrival.
Registration: contact@yellowsolo.de

VENUE 2:
Yellow Solo
Danziger Straße 162a, 10407 Berlin
September 19, 26, October 4, 11, on all four days 4 pm – 8 pm
Duration of the performance: 10 min
The performance can only be visited here at a pre-booked time slot.
Registration: contact@yellowsolo.de

David Claerbout, Wildfire (Meditation on Fire), 2020
© VG Bild-Kunst, Bonn, 2020. Courtesy Musea Brugge
Film still © David Claerbout

David Claerbout has distinguished himself in recent years with video works that are as spectacular as they are multi-layered. The artist's multimedia oeuvre – located, so to speak, between the media – aims at a fundamental reflection on visual genres. In his concentrated output, time becomes the decisive dimension of perception. The artist plays ingeniously with the forms of temporality in images, their possible elongations and condensations between moment and duration.

Claerbout's new film, Wildfire (Meditation on Fire), will premier at Kunst Museum Winterthur on September 11 and Musea Brugge on September 30, 2020.

Click here for more information

Photo © Andrea Rossetti

Artist Talk

Gabriel Kuri in conversation with Georgina Jackson⁠

Thursday 3 September 2020, 7.30 pm⁠ ⁠(CET)

Join Gabriel Kuri and The Douglas Hyde Gallery Director Georgina Jackson as they discuss Kuri's practice, in particular his current exhibition The Douglas Hyde Gallery "spending static to save gas".⁠ ⁠ The conversation will be live cast on The Douglas Hyde Gallery YouTube channel. 

More information can be found here

AA Bronson and Adrian Stimson looking at the Old Sun Residential School, now the Old Sun Community College, on the Siksika Reserve, 2018.
Photo © Mark Jan Krayenhoff van de Leur

(At Home) On Art And Healing: Online Artist Talk

With AA Bronson And Adrian Stimson
Hirshhorn Museum (online)

August 19 2020, 2–3 pm

Artists AA Bronson and Adrian Stimson join Hirshhorn assistant curator Betsy Johnson for a discussion on their work and recent collaboration to address the fundamental role that art can play in helping us to face unspeakable atrocities, rebuild relationships and trust, and find healthy ways to heal and move forward together. Through this conversation, the artists approach the unanswerable question—one posed by Bronson in his work A Public Apology to Siksika Nation—of how one can apologize for genocide, if at all.⁠
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Register here! 

Down to Earth will focus on the boundary between nature and culture and how it can become porous. An important element will be its audit of our own “operating system”: 20 degrees Celsius, 50 % humidity in the exhibition hall – how did that come about? How did our predecessors come to prescribe this standard of modernity for museums? How did they work in this building before air conditioning? How does our air conditioning work and where is it exactly? Which hotels are ecologically viable, which energy companies, how will our programme change if the people working with us have to come here by train?

More information can be found HERE

Grönlund-Nisunen, Pneumatic Landscape, 2004/2020, polyester fabric, chipboard, timber, fans, digital dimmer, computer, 24,4 x 11 x 3,5 m
Exhibition view: Grönlund-Nisunen, Flow With Matter, Minsheng Art Museum, Shanghai, 2020
Photo © Shanghai Minsheng Art Museum

On July 17, 2020 Tommi Grönlund and Petteri Nisunen's major solo presentation opened at the Minsheng Art Museum in Shanghai and will continue through the end of November. Delayed by the recent closures, the exhibition occupies the entire museum's 2,500-square-meter exhibition space on two floors and features more than twenty works, mainly large-scale installations using kinetics, light and sound. The selection of works spans the artists' entire career, including new site-specific works created specifically for the museum space.

Wir freuen uns, an der dritten Ausgabe von SUNDAY OPEN teilzunehmen, einer Initiative von INDEX Berlin. Unsere Ausstellung ist noch bis 26. Juli zu sehen wird am kommenden Sonntag von 12 bis 18 Uhr geöffnet sein.⁠
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We are pleased to participate in the third iteration of SUNDAY OPEN, initiated by INDEX Berlin. For its final day, our exhibition PS81E will be open this Sunday, July 26, from 12 through 6 pm.

Simon Fujiwara, Empathy I, 2018, 5D simulator installation (with video, sound, motion, water, and wind), duration 3:49 min, outer dimensions of box: 3,71 x 7,6 x 5,35 meters
Exhibition view: Simon Fujiwara, Empathy I, Esther Schipper, Berlin, 2018
Photo © Andrea Rossetti

The exhibition presents one of the most intriguing artistic phenomena of our time: the fusion of the visual and the performing arts. Today, more often than not, a visit to an exhibition does not merely offer new visual impressions. Instead, it is a more comprehensive experience that involves all the senses. Artists combine video, performance, dance, language and music, creating intermedial works. In some cases, this results in giving the visitors the opportunity to give up the distanced position of the viewer and become part of the work.

State of the Arts brings together the work of 16 artists, among them Simon Fujiwara and his multi-sensory Empathy I. Developed in close collaboration with a company that produces theme park rides, Empathy I is a 5d simulator that takes audiences on a journey back into the ‘real world’ on a physically immersive ride through the world of Youtube.

More information HERE.

Exhibition view: Karin Sander, Skulptur / Sculpture / Scultura, Museion, Bolzano, 2020
© VG Bild-Kunst, Bonn, 2020
Photo © Luca Meneghel

In her exhibitions Karin Sander humorously refers to existing situations and addresses their institutional and historical context. She intervenes in the structures of the institutions, changes them, highlights facts and invites the public to participate. The apparently familiar is rethought, it becomes the starting point of an exploratory process. Sander’s solo exhibition at Museion is designed specifically for the space allotted in the museum and will feature both existing as well as new works created exclusively for the exhibition.

An artist talk with Karin Sander will mark the launch of a new publication featuring a comprehensive overview of the artist’s sculptural oeuvre, published on the occasion of the exhibition, will take place on September 18, 2020, from 7 pm.

A 3D virtual tour of the exhibition can be viewed here

Photo © Valentina Suma

Etienne Chambaud was born 1980 in Mulhouse, France. The artist lives and works in Paris.

Etienne Chambaud works across a wide spectrum of media, exploring the categories we impose on experiences, objects and disciplines. Individual works, installations and exhibitions destabilize notions of what art is and can be, how an artist conceptualizes and produces a work, and the form, function, and history of the exhibition. Beautiful and complex, Chambaud’s works can change the way we see and know.

Etienne Chambaud graduated from ECAL, Lausanne (2003) and Villa Arson, Nice (2005). He was part of the postgraduate program of Ecole Nationale Supérieure des Beaux-Arts de Lyon in 2005. Since 2018 he has been conducting a doctoral research in the SACRe program of PSL University, Ecole Normale Supérieure and Ecole Nationale Supérieure des Beaux-Arts, Paris.

Tao Hui featured in Mousse 71 in an article written by Alvin Li.

Read the full article here

In conversation with Gabriel Kuri, Chris Sharp underscores the enthralling application of Minimalism in the artist’s practice and its particular Latin Americanness. Convinced that the more precise forms are, the more effortless they should appear, Kuri’s sculptural practice testifies to an insistence on procedure, eschewing the hand or facture.

Read the full interview here

Tomás Saraceno. Aria, on view at Fondazione Palazzo Strozzi in Florence, Italy, through Feb 22 – July 19 2020, curated by Arturo Galasino
Image © Studio Tomás Saraceno

Tomás Saraceno
Aria
Palazzo Strozzi, Florence
February 22 – July 19, 2020

Artist Talk
February 22, 2020, 3:30 pm
Cinema Odeon, Florence

The starting point of the exhibition Tomás Saraceno. Aria is Thermodynamic Constellation, a monumental site-specific installation created by Tomás Saraceno for the courtyard of Palazzo Strozzi as a metaphor of the new age of solidarity between human and the environment expressed by the Aerocene epoch.

Photo © Simon Fujiwara

Esther Schipper congratulates Simon Fujiwara who has won the Audience Award for the Preis der Nationalgalerie shortlist exhibition at the Hamburger Bahnhof,

For the Preis der Nationalgalerie 2019, Simon Fujiwara presented a compilation of five works that stem from his investigation of contemporary mass phenomena and their economic, socio-political, and media aspects. The very different works illustrate the extent to which these phenomena have an emotional component of their own. For instance, the video installation Likeness (2018) focuses on the figure of Anne Frank and her media-effective staging and instrumentalization.

Photo © Frank Schoepgens

Jac Leirner was born in 1961 in Sao Paulo, Brazil, where she lives and works.

The works of Jac Leirner are often created from mundane or formally unremarkable materials such as bank notes, blankets, cigarette paper, or water levels. Her large-scale installations recall the formal restraint of minimalist seriality and the evocative use of found materials characteristic of Arte Povera, while at the same time offering commentary on social codes.

In 2019, the artist won the prestigious Wolfgang Hahn Prize awarded by Museum Ludwig, Cologne.

On occasion of the publication of Matti Braun’s new monograph, edited in cooperation with Bodhisattva Chattopadhyay and Beth Citron, the artist will read from the Bengali science fiction story “Mangalik” by Parashuram, translated by co-editor Bodhisattva Chattopadhyay. This pioneering 1955 text is published for the first time in English.

The book brings together texts by Parashuram, Beth Citron, Bodhisattva Chattopadhyay, Dip Ghosh, Ranen Ghosh, Soham Guha, Sudhir Kakar, Sami Ahmad Khan, Matthia Löbke, Amrita Shah, highlighting the myriad interconnections of the work of Rabindranath Tagore, Vikram Sarabhai, Satyajit Ray, and Indian and Bengali science fiction. Richly illustrated, the publication focuses on Matti Braun’s artistic production of the last ten years.

Following the reading, Matti Braun and Isabelle Moffat will discuss related topics.

The reading will be in English, the discussion in German and English.

The event is free and open to the public. As seating is limited, please register HERE

Karin Sander, Brushstroke, Fluorescent Red, 2019, mobile acrylic paint
© VG Bild-Kunst, Bonn, 2020
Photo © Studio Karin Sander

Base / Progetti per arte presents the solo exhibition from Karin Sander entitled 43°45'51.8"N 11°15'46.8"E, opening on Saturday February 8 2020 from 6.30 pm.

Daniel Steegmann Mangrané, Fog Dog, 2020, 2k video, 5.1 digital sound
Photo © Daniel Steegmann Mangrané

Convening a critical mass of artists, thinkers, and participants, Dhaka Art Summit 2020: Seismic Movements will provoke us to reconsider (art)histories, movement, borders and fault lines. From February 7–15, Dhaka, Bangladesh will be the epicenter of a radical upheaval of how we think about art, activated by intellectual and curatorial contributions, spanning four floors of the Shilpakala Academy in the city’s vibrant University belt.

Observing the interplay and occasional confrontation inherent among architectural spaces within an emergent nation-state, seventeen artists/collaboratives respond to the built and unbuilt legacy of the ground-breaking Bangladeshi architect Muzharul Islam (1923–2012). While Prabhavathi Meppayil’s newly commissioned works observe how Muzharul Islam’s reliance on both social and empirical structures informed the making and occupation of space, Daniel Steegmann Mangrané’s narrative film, Fog Dog, brings us into a community of human and inhuman inhabitants of Charukala, the Faculty of Fine Art, University of Dhaka (designed by Muzharul Islam from 1953–55).

Photo © Huis Sonnenveld

Artist Talk
4th Verbier Art Summit, Bagnes
January 31, 2020, 4:50 pm

The 2020 Verbier Art Summit will ask how to envision a way forward in finding harmony between art, ecology and resources.

View the full program HERE.

Liu Ye, Bauhaus No. 5, 2018, acrylic on canvas, 15 x 20 cm
Photo © Andrea Rossetti

A solo show by Chinese painter Liu Ye curated by Udo Kittelmann. Following the first iteration held in 2018 at Prada Rong Zhai in Shanghai, the exhibition travels to Milan for a new presentation, featuring a selection of 35 paintings realized from 1992 onwards.

More information HERE.

David Claerbout, Olympia (The Real Time Disintegration Into Ruins Of The Berlin Olympic Stadium Over The Course Of A Thousand Years) (Horizontal), 2016, single channel video installation (color, silent, HD animation), duration: 1000 years
Exhibition view: David Claerbout, Olympia, KINDL – Centre for Contemporary Art, Berlin, 2016–2017
© VG Bild-Kunst, Bonn, 2020
Photo © Andrea Rossetti

David Claerbout
Olympia
Galerie Rudolfinum, Prague
January 29 – April 12, 2020

Artist Talk
The Laziness of Action
Galerie Rudolfinum, Prague
January 29, 2020, 5 – 6 pm

More information on the exhibition can be found HERE

Ann Veronica Janssens, Rose, 2007, 7 light projectors, artificial haze, pink filters, ø 360-400 cm approx. Depth 250 cm
Exhibition view: mars, IAC Villeurbanne/Rhône-Alpes, 2017
© VG Bild-Kunst, Bonn, 2020
Photo © Blaise Adilon

CONNECT, BTS is a global initiative developed in collaboration with curators from five major cities—London, Berlin, Buenos Aires, Seoul and New York. The ultimate goal of the project is to connect individuals across the world as they reevaluate their present circumstances, attitudes, and potentialities. CONNECT, BTS draws motifs from parts of BTS' philosophy that center around diversity, love and care for the periphery. By connecting with 22 contemporary artists, BTS is creating the opportunity for a fruitful and democratic cross-pollination between the worlds of rarefied visual art and pop music. This project adds support for contemporary art to their practice, setting ground for great new synergies.

At Dongdaemun Design Plaza (DDP), a cultural hub conceived by Zaha Hadid in a historic district of Seoul, Ann Veronica Janssens will present two major installations. Green, Yellow and Pink is a mysterious disorienting sensory environment filled with a haze of colored artificial mist. It appears to abolish all spatial and temporal markers and the forces specific to a given context. At the same time, however, the installation seems to impart a sense of materiality and tactility to light itself. Beams of light form a seven-pointed star in Rose, which morphs between palpable geometry and amorphous atmospheric effects as visitors move about the space. Rose is part of Janssens’ Fog Star series, which explores the capacity of haze to give sculptural form to light.

More information HERE.

Photo © Koos Breukel

E.A.T./Engadin Art Talks with David Claerbout
"SILENT - LISTEN" - 10 YEARS
Zuoz, Plazzet, Switzerland
January 25, 2020, 12:30 – 12:45 pm

Find the full program HERE.

Ann Veronica Janssens, Blue, Red and Yellow, 2001 - open date, steel, wood, polycarbonate, blue, red, and yellow films, artificial fog, dimensions variable
Exhibition view: Ann Veronica Janssens, Are You Experienced?, Espai d’Art Contemporani de Castelló, 2009
© VG Bild-Kunst, Bonn, 2020

Photo © Pascual Mercé

Opening on January 23, 2020, Hot Pink Turquoise is Ann Veronica Janssens' first survey exhibition in Denmark.

As an artist, Janssens works almost scientifically to push the boundaries of the known. Although her art is not easy to classify, its effect on us as viewers is not to be mistaken. For her, it's not about confirming what we already know. In fact, it aims to locate us precisely at the spot where we open ourselves up again.

While the artist openly acknowledges her inspiration from the Californian Light and Space artists of the 1960s, for her it has always been about conveying an experience of art by simultaneously stimulating the eyes, body and consciousness, and not about observing art from a distance.

More information HERE.

Exhibition view: Ari Benjamin Meyers, Solo for Ayumi, Esther Schipper, Berlin, 2017
Violin: Ayumi Paul
Photo © Andrea Rossetti

Ari Benjamin Meyers⁠
Performance: Solo for Ayumi⁠
January 18 – 19, 2020, 12 – 6 pm⁠
⁠
Book Launch: Tacet in Concert⁠
January 18, 2020, 6:15 pm⁠
at Schering Stiftung, Berlin⁠

More information on the performance and book launch can be found HERE.
⁠

Ari Benjamin Meyers, The Lightning and its Flash, 2011, digital print on natural paper, thread bound, music stand, 22 pages, 32 x 45 cm
Photo © Sebastiano Pellion di Persano

Opening Performance
Ari Benjamin Meyers
The Lightning and its Flash (Solo for Conductor)
Thursday, January 16, 2020, 6 pm

Barbara and Axel Haubrok began collecting professionally at the end of the 1980s, and their collection now contains over 1000 works. Their focus is on international conceptual art at the turn of the millennium, covering the contemporary art of the last three decades. With their keen eye for thoughtful artists, they have made a name for themselves.

Neues Museum has invited the Haubroks to develop a highly personal presentation for the main exhibition hall. The title Out of Order reflects the humor and non-conformity of these collectors who have a special appreciation for “untidy”, ambiguous and enigmatic work.

In two parts following on from one another, the exhibition showcases the main focuses of the collection: sculpture, painting, drawings and photography. As Axel Haubrok explains, "Part 1 features only free-standing readymades and sculptures, Part 2 only hanging pictures, both underlining the conceptual approach of the collection and creating many new links between the works, especially since several artists are represented in both parts of the exhibition".

More information can be found HERE.

General Idea, Playing Doctor, 1992, chromogenic print, 76,2 x 53,3 cm (unframed), 89 x 66,5 x 3,5 cm (framed)
Photo © The Estate of General Idea

Affordable and ubiquitous, General Idea multiples were an activist means of disseminating activism. The Canadian collective, comprising AA Bronson, Felix Partz and Jorge Zontal, was an international artistic force. From the 1970s through early 1990s, they sent into the world art editions in various media that played upon consumerism, collaboration, media culture, queer counterculture and AIDS. Playing Doctor samples three decades of multiples-making from the Agnes collection, revealing the interconnectedness of General Idea’s ironic, often humorous, and self-referential practice.

More information on the exhibition HERE.

Anri Sala, Take Over, 2017, back-to-back HD video projections, colour, 8-channel sound, glass elements, duration 7:56 min, 258 x 873 x 873 cm.
Exhibition view: Anri Sala, Take Over, Esther Schipper, Berlin, 2017
© VG Bild-Kunst, Bonn, 2019
Photo © Andrea Rossetti

Opening on December 14, Centro Botín in Santander presents AS YOU GO (Châteaux en Espagne), by Anri Sala.

The title of the exhibition, AS YOU GO, implies the idea of movement: that of a time-based work, informed by music and moving images; and that of the visitors, who Sala implicitly encourages to keep moving and hence partake in the making of their own individual experience of an exhibition that bears a certain resemblance to a performative stage.

More information HERE.

Hito Steyerl, Robots Today, 2016, single channel HD video file, duration: 8:02 min
© VG Bild-Kunst, Bonn, 2019
Film still © Hito Steyerl

Helin Celik, Nathalie Borgers, Tina Leisch and Hito Steyerl, four unlike filmmakers, initiated the film series Women Rise up For Rojava and want raise awareness for solidarity with mult-ethnical, multi-ideological and feminist self-government structures in kurdish regions in Syria (Rojava) in order to strengthen the international collaboration of women for the peace building process in the Middle East.

More information can be found HERE

Photo © Andrea Rossetti

Stonewall at 50: Has LGBTQIA+ culture been normalized?

Art Basel Conversations Program with AA Bronson, Lotic, Carlos Motta, and Sharmistha Ray

Moderator: Stuart Comer, Chief Curator of the Department of Media and Performance at MoMA The Museum of Modern Art.

December 5, 2019, 5 pm – 6 pm

More information on the event can be found HERE.

Photo © Fred Ernst

Artist talk with Dominique Gonzalez-Foerster

Introduction by Julia Scher

For more information click HERE.

Hito Steyerl, In Free Fall, 2010 

© VG Bild-Kunst, Bonn, 2019

Film still © Hito Steyerl

In Free Fall incorporates a trio of works: Before the Crash, After the Crash and Crash, which tell the story of the current global economic crisis through the example of an aeroplane junkyard in the Californian desert. The aeroplane junkyard reveals the anatomy of all sorts of crashes: both fictional and real. This is an investigation of planes as they are parked during the economic downturn, stored and recycled, revealing unexpected connections between economy, violence and spectacle.

For more information click HERE.

Photo © Michael Chiu

Ari Benjamin Meyers

Symposium: Show and Try Again – Curatorial Program

More information HERE. 

Photo © Mark Poucher

Tao Hui in conversation with Marko Daniel
Director, Fundació Joan Miró
Almanac Barcelona Hotel

Hito Steyerl, This is the Future, 2019, video installation, environment, single-channel HD video, color, sound, duration: 16 min, dimensions variable
Exhibition view: May You Live In Interesting Times, 58th International Art Exhibition – La Biennale di Venezia, 2019
© VG Bild-Kunst, Bonn, 2019
Photo © Andrea Rossetti

Online Presentation
MISSION ACCOMPLISHED: BELANCIEGE
Stream of the lecture by Giorgi Gago Gagoshidze, Hito Steyerl, and Miloš Trakilović
November 21, 2019, 7 pm
Stream at www.nbk.org

Panel Discussion
Image and Representation in the Work of Hito Steyerl
With Nora M. Alter (Professor of Film and Media Art, Temple University, Philadelphia) and Klaus Theweleit (Cultural theorist, Freiburg), moderated by Doreen Mende (Curator and theorist, Harun Farocki Institute, Berlin / University of Art and Design, Geneva)
In German and English
November 28, 2019, 7 pm

Hito Steyerl, who artistically and socially reflects our world in times of hypercapitalism, digital lifestyles, globalization, and growing political crises, is one of the most influential artists of our time. In 2009, she presented her first solo exhibition in a German institution at Neuer Berliner Kunstverein (n.b.k.).

In 2019, which marks the 50th anniversary of the founding of the institution, n.b.k. is again dedicating a solo exhibition to her work, presenting the video installation This is the Future (2019) together with the large-scale site-specific installation MISSION ACCOMPLISHED: BELANCIEGE. In cooperation with the artists Giorgi Gago Gagoshidze and Miloš Trakilović, Steyerl has developed a new lecture, in which her preoccupation with the conditions of capitalist production, consumer culture, and the mechanisms of commodification is continued.

Image: Ari Benjamin Meyers, Four Liverpool Musicians (Bette, Budgie, Ken, Louisa), 2018

Film still © Ari Benjamin Meyers⁠

Screening: Four Liverpool Musicians (Bette, Budgie, Ken, Louisa), 2018⁠

For the 2018 Liverpool Biennial, Ari Benjamin Meyers created a series of musical compositions that form the basis for film portraits of four musicians from Liverpool, or with musical ties to the city: Bette Bright (Deaf School), Budgie (Siouxsie and the Banshees/Big in Japan), Ken Owen (Carcass) and Louisa Roach (She Drew The Gun). ⁠

More information can be found HERE.

Photo © Alfred Weidinger

Artist talk

with Tomás Saraceno and Antonia Alampi
Saturday November 9, 2019, 6:20 pm

Kulturquartier (Kuppelhalle), Gerichtstraße 35, 13347 Berlin

For more information click HERE.

Dominique Gonzalez-Foerster, Plages, 2001, 35 mm film (color, stereo sound, Portuguese with French subtitles, 4:3 format), duration: 15:00 min
© VG Bild-Kunst, Bonn, 2019
Film still © Dominique Gonzalez-Foerster

e-flux video rental at Bar Laika by e-flux presents: Dominique Gonzales-Foerster and Philippe Parreno
Thursday, November 7, 2019, 9pm

Film Screenings:

Philippe Parreno, The Boy From Mars, 2003
Dominique González-Foerster, Plages, 2001

For more information click HERE

Martin Boyce, An Interior, With a Window; Afterwards a Lake, 2014, blackened steel, painted steel, powder coated steel, chain, rusted chain, light components. Mobile: 221.5 x 108 x 33 cm, daybed: 109 x 107 x 24.3
Photo © Stefan Altenburger Photography, Zurich

The invention of the light bulb is an achievement of the 19th century which, particularly in the pulsating metropolises of the world, put an end to the natural alternation of day and night. Glaringly illuminated filling stations, shopping centers, shift work and night clubs are just some aspects of this development.

The night without boundaries is the focus of this major exhibition, presenting works from early modernism to the present in pursuit of the question of how the natural order of bright and dark, of activity and sleep has been turned on its head, how perception and everyday routine change fundamentally and intermediate worlds are created. In pictures, sculptures and installations, visitors can experience how the twilight can inspire the imagination and how the masquerade of nocturnal actors is brightly exposed in the glare of artificial light.

For more information click HERE.

Francesco Gennari, Autoritratto su menta (con camicia bianca), 2019, inkjet print on 100% cotton paper on Dibond, walnut wood frame, 45 x 30,5 cm (framed)
Photo © Francesco Gennari

From October 26, 2019 to January 6, 2020, the GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo presents Sta arrivando il temporale / The Storm is Coming, a solo exhibition by Francesco Gennari curated by Lorenzo Giusti.

Sta arrivando il temporale / The Storm is Coming includes a number of photographic self-portraits from the series “on mint” as well as new sculptural works, produced using various materials—glass, marble, bronze—and never previously exhibited before. Along with the traditional references of his work, such as minimalism and metaphysics, these elements show a previously unseen fascination with the architectural forms of the baroque period, evoked through the presence of sinuous lines and draperies.

Click HERE for more information.

Hito Steyerl, Hell Yeah We Fuck Die, 2016, video installation, environment. Hell Yeah We Fuck Die: Three-channel HD video file: 4:35 min. Robots Today: Single channel HD video file: 8:02 min.
Exhibition view: This is the Future, Art Gallery of Ontario, Toronto, 2019
© Art Gallery of Ontario & VG Bild-Kunst, Bonn, 2019
Photo © Dean Tomlinson

Artist Talk
with Hito Steyerl
Wednesday October 23, 2019, 6:30 pm
Tickets

Hito Steyerl is an artist, theorist and acute observer of our contemporary world. This survey exhibition, the largest of its kind in Canada, brings together a significant number of her works from the last 15 years.

Steyerl's playful explorations of technology and power structures result in darkly ironic cultural critiques that feel particularly relevant today. She blends the personal with the political, the satirical with the serious, while addressing a range of topics from economic collapse to globalization. Steyerl draws us into her world, asking us to reflect on our own roles in shaping the not-so-distant future.

Photo © Jutta Benzenberg⁠

On the occasion of his exhibition Le Temps coudé, and the launch of the catalogue Coudées : Quatre variations sur Anri Sala, Anri Sala will be discussing his work with Suzanne Cotter, director of Mudam⁠ and curator of the exhibition. The talk will be held in French.⁠

To book tickets for the talk please click HERE.

Ryan Gander, Embrace Your Mistakes... Your Mistakes Are the Markers of Your Time, 2019, calligraphy ink on 130 gsm cartridge paper, 59,4 x 42 cm
© VG Bild-Kunst, Bonn, 2019. Photo © Studio Ryan Gander

The title Ryan Gander has chosen for his exhibition asserts an inconceivable temporal dimension. A collaboration over 500 million years? Between man and earth? Is it a look into the past or to the future? “Stone upon Stone upon Fallen Stone”, Lawrence Weiner wrote on the building of the Kunsthalle in 1983. In view of such dimensions, the rich hundred-year history of the Kunsthalle Bern is infinitesimally nothing.

Read more about the exhibition HERE.

Anri Sala, Dammi i Colori, 2003, single-channel video and stereo sound, duration: 15 min 25 sec
© VG Bild-Kunst, Bonn, 2019
Film still © Anri Sala

Bar Laika presents: one year old and a screening of Anri Sala, Dammi i Colori

Anri Sala, Dammi I Colori, 2003, chronicles the work of Sala’s friend and former artist Edi Rama as Mayor of Tirana, Albania. Dammi i Colori evokes the city as canvas and champions art as a means for social transformation. Edi Rama became mayor of Tirana in 2000, and quickly went about re-painting the capital’s decaying buildings in brilliant, provocative colors and patterns. His aesthetic and political act was a powerful visualization of change—a source of both public debate and renewed civic pride.  

Angela Bulloch, Elliptical Song Drawing Machine, 2014, drawing machine with Red Lipstick pen and MP3 player, 213 x 259 x 13 cm
Photo © Eberle & Eisfeld

Complementing the Donaueschingen Music Festival, Museum Art.Plus is showing works by Angela Bulloch in the 2-Raum. Bulloch will present a number of sound-activated drawing machines that respond to the sound of music. 

More information can be found HERE.

Anri Sala, The Last Resort, 2017, 42-channel sound installation including 38 altered snare drums, loudspeaker parts, snare stands, drumsticks, soundtrack and 4 speakers, duration 58:28 min., looped, ø 850 cm. Exhibition view: The Last Resort, Garage Museum of Contemporary Art, Moscow, 2018. The Last Resort originally premiered at Kaldor Public Art Projects, Sydney
© VG Bild-Kunst, Bonn, 2019. Photo © Ivan Erofeev

Over the past two decades Anri Sala has created an exceptional body of films and installations in which sound, music and the projected image come together to express themes of lived and historic time. This exhibition presents major installations, film works and drawings by Sala from the past five years. The title Le Temps coudé, borrows from the French phrase ‘faire un coude’ and refers to warps or bends in our experience of what we see, hear and know.

More information HERE

Photo © Andrea Rossetti

Esther Schipper congratulates Philippe Parreno for his MoMA commission.

Re-opening to the public on October 21st, after undergoing substantial renovation and a major expansion, The Museum of Modern Art in New York will present six site-specific commissions including Echo (Danny the Street), a large-scale installation by Parreno for the museum’s main lobby.

Read more about the re-opening HERE.

Photo © Ola Rindal

IF THE SNAKE

Artistic Director: Pierre Huyghe
Okayama Art Summit, Okayama
September 27 – November 24, 2019
with Tino Sehgal among other artist

For more information click HERE.

Dominique Gonzalez-Foerster, OPERA (QM.15), 2016, HD video, projector, screens, media player, amplifier, speakers, lights, curtains, duration 8:30 min
Exhibition view: QM.15, Esther Schipper, Berlin, 2016
Photo © Andrea Rossetti

Ari Benjamin Meyers, Anthem, 2017
Exhibition view: Tacet, Kasseler Kunstverein, Kassel, 2019
Photo © Andrea Rossetti

Museum of Contemporary Art Santa Barbara (MCASB) is pleased to announce the United States solo institutional debut of Ari Benjamin Meyers. Kunsthalle for Music, co-founded with the Witte de With Center of Contemporary Art, Rotterdam and Spring Workshop, Hong Kong, is an itinerant institution dedicated to the presentation of music and music performance within the histories and environments of the visual arts.

For Kunsthalle for Music, an especially selected ensemble performs an on-site exhibition of musical works, which are drawn from a repertoire or “collection” that includes existing and newly commissioned solos, duets, and group pieces composed by Meyers as well as other artists. Ari Benjamin Meyers: Kunsthalle for Music at MCASB will transform the museum into a contemporary space for live performance of musical work, eluding the barriers between rehearsal and performance, performers and audience.

Archdeacon John W. Tims, ca. 1896-1899
Courtesy the Glenbow Archives, Calgary, Alberta

A Public Apology to Siksika Nation, AA Bronson's project for the first Toronto Biennial of Art, originates in family stories about his great-grandfather, the first missionary to the Siksika (Blackfoot) Nation, stories that do not agree with recorded (white) history. Many years of research have resulted in a book, a performance and an installation that together explore the generational trauma that has resulted from the colonization of the Canadian Prairies. Adrian Stimson is the great-grandson of Old Sun, the famous chief of the same period; he responds to AA Bronson's Apology with an installation and sculptures, generated in close dialogue with residential school survivors and leaders, to reveal the layers of colonization and Indigenous resistance in his community.

More information can be found HERE.

Photo © Alfred Weidinger

An Artist Talk with Tomás Saraceno and Rebecca Lamarche-Vadel.

Simon Fujiwara, It's a Small World, 2019 (detail)
Photo © Sahir Uğur Eren

It’s a Small World, Simon Fujiwara's project for the 16th Istanbul Biennial, began after he discovered a large quantity of semi-ruined figures of pop icons in the trash of an attractions’ manufacturer near Istanbul. He salvaged these figures and combined them with thirteen architectural miniatures. A prison revolving around Batman’s the Joker’s face, a museum built among the ruins of Disney characters or a hospital buried in the legs of Iron Man. In these sculptural works, the functions of everyday civic architecture are blended with symbols from the mass-entertainment world. Fujiwara’s miniature city draws attention to the ways in which fantasy and escapism have bled into the core structures of our everyday lives, often masking the brutal pragmatism of globalized capitalism.

More information on the 16th Istanbul Biennial can be found HERE.

Daniel Steegmann Mangrané, Mano con hojas, 2013, Yves Gentet Holographic plates, 25 ×18 cm
Photo © Andrea Rossetti

Opening at Pirelli HangarBicocca on September 11, Daniel Steegmann Mangrané's first exhibition in Italy will present more than twenty works made from 1998 to the present time, ranging from films, virtual reality devices, 3D holograms, sculptures, and installations. The artist will place the physical and sensory dimension of the viewer at the heart of the exhibition project, offering new visions of his entire corpus of works as they dialogue with one another.

The exhibition will be characterized by a shift between material and immaterial experiences, expanded further through a site-specific intervention that will redefine the industrial quality of Pirelli HangarBicocca, while both concealing and revealing the exhibited works.

More information about the exhibition can be found HERE.

Photo © Asad Raza

Gabriel Kuri, Untitled (scratch lotto oysters), 2019, stainless steel and Plexiglas lightbox, oyster shells, scratchcards

Photo © Andrea Rossetti

Gabriel Kuri creates sculptures that embody questions of value, arresting usually intangible flows of information in witty and engaging forms. His exhibition at WIELS — his first institutional solo show in Brussels, where he has lived for the past 16 years — highlights the hybrid nature of his playful work. sorted, resorted will comprise over 60 works, including new pieces produced for the occasion, revealing both the diversity of Kuri’s formal approach and the consistency of his underlying themes: notions of commercial and cultural value as well as material and its poetic (mis)use.

Photo © Gabriel Kuri

Gabriel Kuri in conversation with curator Zoë Gray at WIELS – Contemporary Art Centre, Brussels.

More information on the exhibition can be found HERE.

Simon Fujiwara, Joanne, 2016/2018 (detail), three free-standing aluminium-clad structures: one with in-built LED monitors screening video (duration 12:06 min) and digital print, two lightboxes with digital prints on foil. Dimensions variable. Commissioned by FVU, The Photographers’ Gallery and Ishikawa Foundation. Supported by Arts Council England. Exhibition view: Joanne, Galerie Wedding - Raum für zeitgenössische Kunst, Berlin, 2018
Photo © Andrea Rossetti

From August 31 Simon Fujiwara's Joanne is on view for the first time in Denmark at ARKEN Museum of Modern Art.

Presented as film and image environment, Joanne depicts the many faces of Joanne Salley, Simon Fujiwara’s former secondary school teacher. Winner of the 1998 Miss Northern Ireland beauty pageant, artist, teacher and champion boxer, Joanne Salley had a formative influence on Fujiwara as a scholarship student at the prestigious Harrow School for boys in Britain. Several years later, she became the victim of a tabloid newspaper scandal after students discovered and circulated topless photographs of her that had been taken privately. The ongoing media campaign that followed destroyed her career and public image. 

In 2016, Fujiwara and Salley embarked on the production of a short film that aimed, through the use of advertising and marketing techniques, to restore her image.

More information HERE.

Photo © Disappearing Berlin

The year-long DISAPPEARING BERLIN project will highlight some of Berlin’s most unique architecture and urban spaces that are currently at risk of disappearing or embody the rapid changes the city is going through. With a program of performances, installations and concerts Schinkel Pavillon will move into the city for the very first time and, together with the invited artists, creates a dialogue between performance, art and architecture to allow us to experience these places once more in a new way.⁠

For more information and to RSVP click HERE

Simon Fujiwara, Likeness, 2018, wax sculpture, vintage desk, chair, lamp and objects, handrail, two-channel video (4K, color,sound), dimensions variable, video duration: 19:34 min
Exhibition view: Simon Fujiwara: Revolution, Lafayette Anticipations, Paris 2018
Photo © Andrea Rossetti

Simon Fujiwara has been nominated for the Preis der Nationalgalerie 2019 by an international jury. The museum prize is awarded every two years and pays tribute to artists under 40 who live and work in Germany. The four artists will be presented in a joint exhibition at the Hamburger Bahnhof – Museum für Gegenwart – Berlin from August 16, 2019 to February 16, 2020. All four artists show spatial ensembles in which they combine existing and new works. The tonality and handwriting of the four spatial work presentations is very different; what they have in common is an explicit reference to aspects of our contemporary European society.

More information on the prize can be found HERE. 

Ugo Rondinone, the sun, 2017, gilded bronze, ø 500 cm
Photo © Domaine des Etangs & Studio Rondinone

Opening on August 10, Guild Hall presents sunny days, a solo exhibition by Ugo Rondinone featuring sun-themed sculpture and paintings, as well as a collaboration with area school children. The exhibition, which explores the sun as a motif and metaphor, is divided into three parts: paintings, sculptures, and a community art project.

More information can be found HERE.

Philippe Parreno, Mont Analogue, 2001, video projector without lens, computer program, color, silent, dimensions variable.

Exhibition view: Alien Seasons, ARC/Musée de la Ville de Paris, 2002
Photo © Philippe Parreno

We are pleased to announce Philippe Parreno’s participation in the Reborn Art Festival, curated by Etsuko Watari and Koichi Watari. For this occasion, Parreno will present a new configuration of Mont Analogue. 

More information can be found HERE.

Photo © Liam Gillick⁠

In this presentation, Liam Gillick will discuss topics that correspond to his recent text for the e_flux journal, We Lived and Thought Like Pigs: Gilles Châtelet’s Devastating Prescience.

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A discussion between Ryan Gander and Will Self about Ryan's 1:12 scale commission for Merrivale Model Village

one-twelfth is a series of 12 annual 1:12 scale public art commissions organised by originalprojects;. Each one will be sited at Merrivale Model Village for one season then sited at a public location within the Borough of Great Yarmouth, creating a trail of miniature artworks exploring ideas of scale, transformation and relationship to place.⁠

For tickets and more information click HERE.

Photo © Hugo Glendinning⁠

An artist talk with Ceal Floyer to mark the opening of the third chapter of 44møen's summer trilogy Exercises in Harmony.⁠

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Photo © Liam Gillick

Stinking Dawn is a movie by Gelitin and Liam Gillick that will be filmed at the Kunsthalle Wien. Monumental modular architecture sets the location. Directed by Gillick and based on his script, Gelitin will play the leading roles in this experimental film that explores the limits of human tolerance in the face of oppression, political crises and excessive self-deception.

More information can be found HERE.

Pierre Huyghe, Zoodrum 4, 2011, live marine ecosystem, resin shell after Constantin Brancusi’s Sleeping Muse (1910) Ishikawa Foundation, Okayama, Japan. © Pierre Huyghe
Photo © Guillaume Ziccarelli

Coinciding with the inauguration of the Hôtel des Collections on June 29, the MO.CO. unveils the first public presentation of masterpieces from the Ishikawa Collection. This outstanding and relatively recent private collection begun in 2011 by Yasuharu Ishikawa, a Japanese entrepreneur born in 1970 at Okayama, is characterized by exceptional coherence and a Japanese feel that derives primarily from its emphasis on minimal, understated, subtle forms.

The exhibition Intimate Distance, curated by Yuko Hasegawa, Artistic Director of the Museum of Contemporary Art, Tokyo (MOT) features nearly 30 works by artists such as Simon Fujiwara, Ryan Gander, Liam Gillick, Pierre Huyghe, and Anri Sala.

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Image: Dominique Gonzalez-Foerster, Marienbad Electrique (Tournage), 2019

As part of a joint commission from the Centre Pompidou Metz and the Opera de Paris, Dominique Gonzalez-Foerster imagines a new "apparition", entitled Marienbad électrique at the Metz Metropole Opera-Theater, taking place on the following dates: 

June 27 – 28, from 10.15 pm – 12 am

More information can be found HERE.

Hito Steyerl, Drill, 2019, 3 channel digital video (color, sound)
Film still © Hito Steyerl

Artist Talk: Drill

Hito Steyerl
Park Avenue Armory, New York 
June 20, 2019, 6 pm

This summer, Hito Steyerl reveals her most recent installation in the U.S. to date, commissioned by the Armory and curated by Park Avenue Armory’s visual arts curator Tom Eccles. ⠀

Steyerl utilizes both the Wade Thompson Drill Hall and historic interiors of the building in mounting both pre-existing works as well as new projects commissioned by the Armory in her ongoing illumination of the world’s power structures, inequalities, obscurities, and delights. When viewed collectively, this material allows the viewer to zoom in on and out from some of the most complex and pressing issues of our time.⠀

For more information and tickets click HERE. 

Dominique Gonzalez-Foerster, Helen & Gordon, Safety Curtain, Vienna State Opera, 2015/2016
© museum in progress (www.mip.at) © Adagp, Paris 2019
Photo © Andreas Scheiblecker

Opera as the World is a journey through the history of opera in the 20th and 21st centuries, and specifically its relations with the visual arts. Anything but a conventional reading of its subject and much more than a presentation of set designs by artists, it seeks to relate – either echoing or in opposition to the legacy of Wagner’s Gesamtkunstwerk – how the visual arts and opera have nurtured and, on occasion, radically influenced each other. From the experimental staging of the first avant-garde production to the works of contemporary artists such as Dominique Gonzalez-Foerster and Anri Sala, the exhibition maps interdisciplinarity from a different perspective.

Photo © Michael Chiu⠀

Ari Benjamin Meyers

Lecture: On the Kunsthalle for Music

More information HERE. 

Ceal Floyer, Things, 2009, 25 Audio-CDs, 25 CD-Players, amplifiers, cables, 50 speakers, wood, dimensions variable
Exhibition view: Show, KW Institute for Contemporary Art, Berlin, 2009
Photo © Uwe Walter

Upon entering the large-scale installation, visitors encounter a collection of identical plinths that would ordinarily be used to display art objects in a museum. In place of visible objects, each plinth is equipped with a speaker from which visitors can hear the word “thing” sung—edited out of and isolated from a range of pop songs. The result is a playful and thoughtful exploration of language, meaning, and the conventions of museum presentation and spectatorship.

More information

Liam Gillick, Hamilton, 2014, HD video, duration 27:43 min, screen 69 x 122,5 cm, mirrored room 300 x 238,5 x 480 cm
Exhibition view: Revenons à nos moutons, Esther Schipper, Berlin, 2014
Photo © Andrea Rossetti

Standing on Top of a Building: Films 2008-2019 is the first retrospective dedicated exclusively to Liam Gillick’s film production. The exhibition, curated by Alberto Salvadori and Andrea Viliani, presents for the first time a selection of the most important videos and films made by the artist, in a setting specifically designed to integrate the vision of his works in the architecture of the museum. Each room will be marked by different but mutually connected works (posters, wall paintings and the soundtracks of the films that randomly switch among the galleries), outlining a real cognitive journey. A fully illustrated book documenting the films and the installation will be published on the occasion of the exhibition.

More information on the exhibition HERE. 

Left: © Liam Gillick; Right: © Trevor Paglen

e-flux journal presents: Art After Culture? cumulative conference in New York featuring Liam Gillick and Hito Steyerl.

For more information and tickets click HERE.

Hito Steyerl, Lovely Andrea, 2007, single channel video; sound in English, Japanese and German with English subtitles; color, duration: 30 mins
Film still © Hito Steyerl

Film Screening: Lovely Andrea (2007)
Bar Laika by e-flux, New York
Thursday June 13, 2019, 9 pm

Lovely Andrea follows the artist’s quest to find a bondage photograph she posed for while in Tokyo as a film student. The film explores ideas of bondage and domination as they extend to self-identification, popular culture, and politics.

Photo © Mark Poucher

The migration phenomenon is reflected in two aspects in China: urban and rural population movement; convection between foreign population and Chinese population. In Assemblage, Xia Yanguo invites five artists including Tao Hui, to think about these two aspects separately.

More information

Ugo Rondinone, moonrise. east. april, 2005, cast aluminium, brown enamel, wood plinth, 187 x 105 x 110 cm (sculpture), 58 x 121,5 x 119,5 cm (plinth)
Photo © Studio Rondinone

The 14th Small Sculpture Triennial will take place in Fellbach from June 1 through September 29, 2019. Titled 40,000 – A Museum of Curiosity this year's Triennial draws inspiration from the spectacular findings of the prehistoric figurines in the caves of the nearby Swabian Jura, which, dating back some 40,000 years, include the lion-man and the Venus of Hohle Fels. Curated by Dr Brigitte Franzen, the triennial includes works by more than 50 artists, including Matti Braun and Ugo Rondinone.

More information

Martin Boyce, An Inn For Phantoms Of The Outside And In, 2019

Inspired by the memory of a tennis court long since dismantled, Martin Boyce's ongoing interest in abandoned and disused spaces is awakened in An Inn For Phantoms of the Outside and In Mount Stuart.

Photo © Fogo Island Arts

New Order & Liam Gillick, ∑(No,12k,Lg,17Mif) So it goes..., Wiener Festwochen, Vienna, 2018. Photo © Warren Jackson

New Order announce live album together with Liam Gillick. The album, recorded in 2017, is a collaboration with Liam Gillick and a 12-piece synthesizer orchestra, and is titled ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes.. and is available from July 12, 2019.

Hear a track from the new album HERE.

Book Launch
Angela Bulloch
Euclid in Europe
Published by Hatje Cantz Verlag, 2019
Thursday May 16, 2019, 5 – 7 pm

Artist Talk
Angela Bulloch in conversation with Dr. Isabelle Moffat
Esther Schipper Bookstore
Thursday May 16, 2019, 5.30 pm

More information

Photo © Jutta Benzenberg

A public talk with Anri Sala about the exhibition AS YOU GO, which was specifically designed for the spaces on the third floor of the Castello di Rivoli, will be the starting point for the conversation.⠀

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Philippe Parreno, Bioreactor. Bioreactor and probes: peristaltic pump, scales, air compressor, air filter, silicon tubing and fitting, electric devices, servo controller, Plexiglas box Bioreactor: 50 × 50 × 62 cm, overall dimensions: 215 × 250 × 150 cm
Exhibition view: Philippe Parreno, Gropius Bau, Berlin, 2018
Photo © Andrea Rossetti

As part of the Collateral Events of the 58th International Art Exhibition – La Biennale di Venezia, Elsewhen has been produced in the framework of the Fondation Louis Vuitton “Hors-lesmurs” programme. This programme, inaugurated in 2014, showcases previously unseen holdings of the Collection in the Espaces Louis Vuitton in Tokyo, Munich, Beijing and Venice, thus realizing the Fondation’s commitment to mount international projects and make them accessible to a broader public.

In Elsewhen, Philippe Parreno creates an experience where memory of the past comes together in a disruptive temporality. The familiar markers of perception are annihilated in favour of a stimulating process of inventing new ways of understanding, defying rational categories and the established order.

Hito Steyerl, Leonardo’s Submarine, 2019, 3 channel HD video, color, sound, environment: 3 curved screens made of LED panels, dimensions variable, duration: 9:30 min
Exhibition view: May You Live In Interesting Times, 58th International Art Exhibition – La Biennale di Venezia, Venice, 2019
Photo © Andrea Rossetti

Dominique Gonzalez-Foerster, Tomás Saraceno and The Work of Hito Steyerl, are participating in the 58th International Art Exhibition - La Biennale di Venezia, May You Live in Interesting Times, curated by Ralph Rugoff.

Zukunftsbilder workshop, in preparation of the exhibition Karin Sander: Telling Art and Futures – Die Dialektik des Utopischen
Photo © Dana Giesecke

The utopian is at the centre of the exhibition project by concept artist Karin Sander. There is a lot of unfulfilled future in the past, and visions of the future grow on the layers of the past. Together with sociologist Harald Welzer, the results of two surveys pointing both to the past and to the future will be presented and staged. In the process, scientific and artistic classifications cross over, taking on new and unexpected roles.

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Angela Bulloch, Heavy Metal Herkules, performed at Herkulessaal, Munich, November 29, 2017
Photo © Angela Bulloch

Music for Future Images

Concert with Angela Bulloch and Karin Sander
Akademie der Künste, Hanseatenweg, Berlin
April 28, 2019, 7 pm
Free admission

Photo © Asad Raza

Exhibition view: Power Plants, Serpentine Galleries, London, 2019. Serpentine Galleries AR application design by Ayham Ghraowi, developed by Ivaylo Getov, Luxloop⁣⠀
Photo © 2019 readsreads.info⁣⠀

Hito Steyerl’s new project for the Serpentine Galleries considers power and inequality in society, mapping unequal wealth distribution in the communities surrounding the Serpentine which has been recorded as one of the most socially uneven areas in Europe. Power Plants will see an augmented reality app designed to expand our social vision of some local communities to reveal what Steyerl calls Actual Reality, a series of guided neighbourhood ‘power walks’, and a new video installation created using artificial intelligence trained to predict the future. 

Beginning with the premise that "power’" is the necessary condition for any digital technology’, Steyerl considers the multiple meanings of the word, including electrical currents, the ecological powers of plants or natural elements, and the complex networks of authority that shape our environments.

Hito Steyerl, How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013⁣, single channel high definition digital video and sound in architectural environment

Duration: 15:52 min

Film still © Hito Steyerl⁣

Hito Steyerl in conversation with Marius Babias⁣

Steyerl’s artistic discourse orbits sociopolitical processes in theory and practice: postcolonial criticism, abuse of power, violence and the influences of globalization and digital life visualized in five mixed media installations. ⁣
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This year’s Käthe Kollwitz Prize winner responds by assembling and disassembling computer generated and real images as well as self-written texts. An artist talk will be held together with Marius Babias on 9 Apr 2019.⁣
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The talk will be held in German and tickets can be purchased here.

Tomás Saraceno, Webs of At-tent(s)ion, 2018 (detail), 76 spider frames, spider silk, carbon fiber, lights, speakers
Exhibition view: ON AIR, carte blanche to Tomás Saraceno, Palais de Tokyo, Paris, 2018
Photo © Studio Tomás Saraceno, 2018

Weaving the Cosmos

Civic Planetarium Ulrico Hoepli, Milan

April 9 – 14, 2019

Arachno Concert with Silvia Bolognesi

April 9th, 7 pm

Fogo Island Arts Residency
Photo © Fogo Island Arts

Liam Gillick in conversation with Zita Cobb⁣

A selection of international book launches and discussions to mark the release of the Fogo Island Arts 2019 publication of the 65th Jahresring What do we know? What do we have? What do we miss? What do we love?

Read more about the publication here.