News

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.⁠

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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.

Read more

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.⁠

⁠

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.

Read more

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. ⁣
⁣
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.⁣
⁣
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.

Hito Steyerl, Liquidity Inc., 2014, HD video file, single channel in architectural environment, duration: 30 minutes, 15 seconds 

Exhibition view: Animal – Human – Robot, MO Museum, Vilnius, 2019

Photo © Kęstutis Stoškus

Animal – Human – Robot will explore explores the ever-changing relationship between humans and other beings: from animal species to organic and mechanical entities created by humans, such as genetically modified organisms or artificial intelligence. 

Read more about the exhibition here.

Tao Hui, Hello, finale!, 2017, 9 channel HD video installation (color, sound), duration: 38:13 min

Film still © Tao Hui

Esther Schipper congratulates Tao Hui, shortlisted for the inaugural Sigg Prize. Established by M+ in Hong Kong, the prize recognizes outstanding artistic practice in the Greater China region.

The six shortlisted artists will be invited to present works from the past two years in the Sigg Prize exhibition, which will be held at the M+ Pavilion, West Kowloon Cultural District, from December 6, 2019 – April 13, 2020. The winner will be announced in January 2020.

Tao Hui creates 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.

Tao Hui, Joint Images, 2016, single channel HD video (color, sound), duration: 14:27 min

Exhibition view: An Opera For Animals, Para Site, Hong Kong, 2019

Photo © Eddie Lam, Image Art Studio

An Opera for Animals, curated by Cosmin Costinas and Claire Shea, explores the way in which the future is now projected less as the rational thinking commonly remembered from the post-war era – advanced machinery, design, and social forms – but once more as a place of amorphous fear, of animals that might take over in artificial landscapes. The future it seems, will again be an opera for animals.

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Photo © Andrea Rossetti

The second edition of Temple Talks focuses on the role of television in broadcasting ideas about art and architecture. Inspired by collectives such as TVTV, the Videofreex and the The Raindance Foundation, as well as live television and the communicative power of YouTube, Berlin artist Christopher Roth will discuss the potential of TV for architecture and urban planning as opposed to maps and models to share future visions and ideas.

Christopher Roth & Brandlhuber+, Architecting after Politics, 2018

Duration: 86 min
Film still © Christopher Roth & Brandlhuber+

Read more about the exhibition here.

Photo © Mark Poucher

Tao Hui was born in 1987 in Yunyang, Chongqing, China. He lives and works in Beijing. 

Tao Hui creates 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.

Photo © Andrea Rossetti

BPA facilitates exchange between emerging and experienced Berlin-based artists, through coordinated studio visits and meetings.

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On Saturday March 9 at 1pm, Ryan Gander will join the panel discussion Biennials Then and Now during The Armory Show together with Liverpool Biennial director, Sally Tallant, to discuss the relevancy of biennials today.

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Simon Fujiwara
Photo © Miro Kuzmanovic, Kunsthaus Bregenz

Esther Schipper congratulates Simon Fujiwara, shortlisted for the 2019 Preis der Nationalgalerie.

Established in 2000 by the Freunde der Nationalgalerie, the Preis is awarded biennially and promotes young, important positions in contemporary art that reflect the internationality and vitality of the art scene in Germany. The four shortlisted artists will present their work in a joint exhibition in fall 2019 at Hamburger Bahnhof – Museum für Gegenwart, Berlin.

Simon Fujiwara’s work takes multiple forms including theme park style rides, wax figures, robotic cameras, ‘make-up’ paintings and short films that address the complexity and contradictions of identity in a post-internet, hyper-capitalist world. Fujiwara often investigates themes of popular interest such as tourist attractions, famous icons, historic narratives and mass media imagery and has collaborated with the advertising and entertainment industries to produce his work in a process he describes as ‘hyper-engagement’ with dominant forms of cultural production. His work can be seen as a complex response to the human effects of image fetish, technology and social media on his generation.

Photo © Thomas Demand

To mark the release of the new publication of the monograph "The Complete Papers", Thomas Demand will join filmmaker and author Alexander Kluge in a conversation about Demand's artistic career.

Image: Ari Benjamin Meyers, K Club (Logo), 2019
Graphic design: Mirjam Schlottner

Ari Benjamin Meyers’ first institutional solo exhibition in Italy, In Concert, curated by Valentina Lacinio and Judith Waldmann, fills the space of OGR - Officine Grandi Riparazioni from March 1 to April 14, 2019 with something that goes beyond music: a variety of social interactions and experiences.

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Anri Sala, Take Over (Marseillaise), 2017, HD video projection, color, stereo sound, duration 7:56 min
Film still © Anri Sala

Photo © Jens Ziehe

On February 25, 2019, 7:30 pm, Karin Sander will give an artist talk with Prof. Dr. Ursprung, ETH Zurich, at Haus am Waldsee, Berlin. 

Read more here.

Photo © Trevor Paglen

We are delighted to announce the exhibition opening and award ceremony of Hito Steyerl for the Käthe Kollwitz Prize 2019 at the Akademie der Künste, Berlin.

Read more about the exhibition here.

Christoph Keller, Ceppo sradicato (uprooted tree), 2018, dimensions variable
Photo © Christoph Keller

For one night only on February 21, 2019, at 7.30pm, Christoph Keller will present Ceppo sradicato in the group exhibition Villa Massimo zu Gast im Gropius Bau at Gropius Bau, Berlin.

Exhibition view: Ne voulais prendre ni forme, ni chair, ni matière, Institut d'Art Contemporain, Villeurbanne/Rhône-Alpes, 2019
Photo © Teresa Estrada

Daniel Steegmann Mangrané intends to totally and profoundly transform the space of the IAC. And so, the path of the exhibition, Ne voulais prendre ni forme, ni chair, ni matière, generates new vanishing lines. Defined by a sensitive geometry, driven only by rays of natural light that penetrate the gloom, it encourages exploration and groping and fumbling. 

This path through the exhibition also translates the artist’s fascination for the notion of dissolution of the self in its surroundings. By placing all of these relationships in space, the artist provides us with a sharp and critical tool: “if there are no more subjects nor objects, then there are no longer spectators or works of art, but rather processes of relationships of mutual transformation. Combinations of agents which influence one another”.

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On February 19 2019, Liam Gillick with host a lecture at the College of the Arts & University of Florida.

Read more about the event here.

Daniel Steegmann Mangrané, Spiral Forest (Kingdom Of All The Animals And All The Beasts Is My Name), 2014-2015, 16 mm film, duration 11:41 min, silent, 125 x 170 cm approx. (projector screen), 480 cm approx. (distance to projector), 138 x 30 x 47 cm (plinth)
Film still © Daniel Steegmann Mangrané

Through a new immersive installation, architectural interventions, a 16mm film and a virtual reality work, the Rio-based Catalan artist looks at how diverse mediums and technologies can represent aspects of the Mata Atlântica.

Mata Atlântica, a rainforest stretching along the Atlantic coast of Brazil, is one of the most important biodiverse areas on Earth, yet is highly endangered, with only 7% of its original surface left. Steegmann Mangrané looks at how this complex environment has been subjected to conflicting pressures: economic, ecological, geographic, scientific, historical and territorial.

More information on the exhibition here.

Simon Fujiwara, Salvator Mundi Experience, 2019 (detail), mixed media installation. Simon Fujiwara in collaboration with David Kohn architects Photo © Simon Fujiwara

Opening on February 14, Is This Tomorrow? takes as its model Whitechapel Gallery’s landmark exhibition This Is Tomorrow (1956), which featured 37 British architects, painters and sculptors working collaboratively in small groups.

Whitechapel Gallery has invited ten groups of artists, architects and other cultural practitioners, including Simon Fujiwara, to explore the potential of collaboration and offer their visions of the future. 

Read more about the exhibition here.

Opening on February 4, the Stedelijk Museum presents Tino Sehgal’s 2012 work This Variation. Originally conceived for Documenta 13 and recently acquired by the Stedelijk Museum, This Variation will be on view through March 3, 2019.

Image: Dominique Gonzalez-Foerster, Not my airline, Apparition at the Silencio, Paris, 2017

A live concert with Dominique Gonzalez-Foerster in collaboration with Julien Perez as part of Elevation1049: Frequencies in Gstaad.

Photo © Albrecht Fuchs

On Wednesday January 30, from 6–8pm, Julia Scher will give a talk titled “Databound Vaginal Architectures” at the Freie Universitat, in Hörsaal 1B (Habelschwerdter Allee 45) 

Photo © Andrea Rossetti

On Saturday, January 26 2019 at 13:30pm, Philippe Parreno will host a Master Talk at the International Film Festival Rotterdam.

Read more about the event here.

Karin Sander, Patina Painting, 2019, Haus am Waldsee, Berlin
Photo © Studio Karin Sander

On the occasion of Haus am Waldsee’s re-opening, the institution presents a comprehensive and site-specific solo exhibition by Karin Sander. Sander often works with the spatial and historical conditions of her exhibition venues. Not only does her upcoming exhibition at Haus am Waldsee document the evolution of her work since the early 1990s, but it also addresses its location, the building itself, which has been freshly renovated 73 years after its inauguration.

Artist Talk with Karin Sander and Prof. Dr. Philip Ursprung, ETH Zurich
Haus am Waldsee, Berlin
February 25, 2019, 7:30pm

Read more about the exhibition here.

Image: Ryan Gander, 2000 year collaboration (The Prophet), 2018. Exhibition view: Apologia della storia - The Historian's Craft, with Ryan Gander, ICA Milano, Milan, 2019
Photo © Ryan Gander

Works by Ryan Gander will be on view until March 15, 2019, in the group exhibition "Apologia della storia - The Historian's Craft" at the ICA Milano.

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Ann Veronica Janssens, Hot Pink Turquoise, 2006, two halogen spotlights with dichroic filter, variable dimensions
Exhibition view: mars, Institut d’art contemporain, Villeurbanne/Rhône-Alpes, 2017. Courtesy the artist, IAC - Institut d'Art Contemporain, Villeurbanne and kamel mennour, Paris/London. Photo © Blaise Adilon

Through various media (installations, projections, immersive environments, urban interventions, sculptures), Ann Veronica Janssens invites the viewer to cross into a new sensory space on the borderline of dizziness and dazzlement in the solo exhibition Contemporary Counterpoint. 

In a register inspired by cognitive processes (perception, sensation, memory, representation), her works tend towards minimalism, emphasising the fleeting, ephemeral and fragile nature of the environments she invites us to enter.

In her desire to create a dialogue with Monet’s work, the artist will create a specific luminous immersive environment for the exhibition Contemporary Counterpoint at the Musée de l’Orangerie, Paris. 

Ari Benjamin Meyers, Duet, 2014, 2 scores on paper, 2 music stands, pdf file, instructions

Photo © Paula Winkler

Tacet, from Latin tacere, is a playing instruction in music. If it appears in a score, the instrumentalist or singer is required to pause during the marked interval – to remain silent. 

Absence, silence and the idiosyncratic power of imagination and memory are performed in the first institutional solo survey exhibition of the American artist and composer – Ari Benjamin Meyers – in Germany. In Meyers’ enactment, the visitor enters a staged situation rather than an exhibition space. She or he inevitably becomes part of the scenario invoked in Tacet. Meyers – who in his work explores, transgresses and shifts the boundaries between the disciplines of music and art – combines in the Kasseler Kunstverein aspects of immersive theater with questions of contemporary art and music. 

The installation refers to a selection of performances by the artist, all of which are missing the corresponding characteristics of music, sound and movement. Two voices eventually break through the silence in Tacet: the voice of the peculiar archivist performed by art historian Jörn Schafaff, and that of the visitor her or himself. 

Enrique Vila-Matas and Dominique Gonzalez-Foerster. Photo © Giasco Bertoli

Join long-time friends – the renowned Spanish novelist Enrique Vila-Matasand artist Dominique Gonzalez-Foerster – for a conversation celebrating the first in a year of displays from la Caixa Collection of Contemporary Art.

Read more about the event here.

Image: Ugo Rondinone, the radiant, 2018⁣
Photo © Studio Rondinone⁣
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Skanderbeg Square, Tirana

Photo © Filip Dujardin

Esther Schipper congratulates Anri Sala and the architecture firm 51N4E, who have won the European Prize for Urban Public Space for their renovation of Skanderbeg Square in Sala's native Tirana, Albania. 

Like no other public space, Skanderbeg Square, Tirana’s nerve centre and symbolic site for the whole country, reflects Albania’s complex, convulsive history. Finalised in 2017, the rennovation has turned Skanderbeg Square into a public space of more than ten hectares exclusively for the pedestrian use. In the centre of the square there is a clear esplanade of almost 40,000 square metres. Rather than being flat, the esplanade is shaped like a four-sided Roman pyramid with a slope of 2.5% and a height of two metres at its tip. A fountain at the top lets water trickle down the sides, thus bringing out the colours of the mosaic paving which is made from stones from all over Albania.

Felix Utting is the inhabitant of the house with things behind. The public is invited to meet with him on March 14th at 18:00. He will prepare tea and introduce them to the house.

Kunsthalle for Music at Witte de With in Rotterdam was the subject of a recent feature by Nina Siegal in the New York Times. Led by Artistic Director Ari Benjamin Meyers, this exhibition includes a newly commissioned work by Dominique Gonzalez-Foerster, as well as a repetoire of existing pieces collected from Anri Sala and Tino Sehgal, among other artists and composers. The exhibition also includes three of Meyers’ works: Serious Immobilities, Duet, and Anthem.

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Find more about the exhibition here: www.kunsthalleformusic.org

Simon Fujiwara

Photo © Miro Kuzmanov, Kunsthaus Bregenz

Esther Schipper is pleased to announce the representation of Simon Fujiwara. Over the past decade, Fujiwara (born 1982 in London, lives and works in Berlin) has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies. Addressing the inherent contradictions of image and narrative making – from social media and self-presentation to marketing and history formation – Fujiwara revels in the complexity and paradox of our simultaneous quest for fantasy and authenticity. Crossing multiple media, from sculpture and installation to video and painting and mining worlds as diverse as advertising and archaeology, Fujiwara's works are a constant reportage on the real world sources from which they draw inspiration. However, rather than simply presenting commentary, the artist creates a unique universe of his own – one that is populated with challenging and often absurd new narratives that are as intellectually rigorous as they are emotionally stimulating. 

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artgenève presents, Myth, Music and Electricity, part of “contemporary art as concert”, a series of events focused on musical and ephemeral works by artists invited by Augustin Maurs.

This event will take place at Munich's Herkulessaal and plays with the adventurous and puzzling construction of myths. The concert hall will host a series of musical and perfomative works, including a bass guitar ensemble by Angela Bulloch and performances by Karin Sander.

Doors: 7pm

Admission: 8 EUR / 12 EUR

Tickets: julia.etter@palexpo.ch

Gabriel Kuri working in his studio.

This special event will explore the work of two artists with a cutting edge, experimental practice: Analia Saban and Gabriel Kuri. The evening will begin with viewing of two short documentaries featuring each artist, created as part of the Artist Dialogues series, followed by a conversation among the artists and Rachel Rivenc.

The movies and conversation will focus on the artists' material practice and how it relates to meaning, their approach to making and finding objects, their playful use or misuse of materials, as well as their thoughts on longevity, the future of their work, and the role of conservation.

Presented as part of Pacific Standard Time: LA/LA

Flyer © Nathan Carter

Mixing fictional representation and real-life celebration, on October 27 a screening of The DRAMASTICS are Loud (2016) will be followed by the Dramastics Revue, a live concert by Nathan Carter and The DRAMASTICS at the legendary Grapevine Bar, as featured in his film and dioramas.

The presentation will include hand-made Dramastics t-shirts and performace capes produced in collaboration with the artist Dan Estabrook and Featherweight Studio.

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, dimensions ø 850 cm

Photo © Peter Greig

On October 14, Anri Sala will share his insights into the conceptual and creative development of The Last Resort in a conversation with Maud Page, Deputy Director and Director of Collections, Art Gallery of New South Wales.

Read more about the event here

Exhibition view

Our Interplanetary Bodies, 2017

Asia Culture Center, Gwangju

Photo © Andrea Rossetti

On Thursday, October 5 at 6pm, Tomás Saraceno will be joined in convesation by Yasmil Raymond, Associate Curator at the Museum of Modern Art.

This event is presented by Arts, Science + Culture Initiative and the Gray Center for Arts and Inquiry at the University of Chicago, the Chicago Architecture Biennial, and the Goethe Institut.

Find out more about this event here.

Tomás Saraceno Eclipse of the Aerocene Explorer, 2016

Photo: © Studio Tomás Saraceno

Join Tomás Saraceno for a lecture at The Lantern, Lenfest Center for the Arts in New York.

This Event is co-presented by Columbia University School of the Arts; the Fu Foundation School of Engineering and Applied Science; and the School of International and Public Affairs as part of Saraceno’s Fall 2017 visit to at Columbia University.

Read more here: lenfest.arts.columbia.edu

We're pleased to announce Roman Ondak's participation in the eigth edition of Sequences.

While Sequences uses the term “real time” to refer to time-based media, Sequences VIII: Elastic Hours considers how the term might be applied to the experience of art making, exploring how artists manipulate time as a raw material. Stretching, echoing, and inverting hours, the works included in Sequences VIII often go beyond standardized metrics such as clocks to investigate alternative systems for measuring and experiencing time.

Find out more about the festival here: sequences.is

Film still: David Claerbout, Die Reine Notwendigkeit/The Pure Necessity, 2016

David Claerbout's work Die Reine Notwendigkeit/The Pure Necessity is included in this year's BFI London Film Festival.

"A hypnotic and lyrical reworking of The Jungle Book, that removes its anthropomorphism and its human characters to give the animals back their dignity. The artist redrew all the animated animals and deconstructed the narrative arc to render it eventless, thus giving the impression of watching the animals in their natural surroundings and unaware of any human presence. The effect is one of rekindling a fond memory of childhood, but with the shades of commercial and cultural exploitation removed."

Helen de Witt, bfi.org.uk

Ryan Gander, Earnest Hawker (performance detail), 2015. Artwork and image © Ryan Gander. Image courtesy the artist.

The Contemporary Austin presents new outdoor works by Ryan Gander. On occasion his permanent exhibition The Day to Day Accumulation of Hope, Failure and Ecstasy, the artist and Senior Curator Heather Pesanti will talk about Gander's work, his evasion of visual style, and his voracious practice ranging across styles and forms.

Read more here

Exhibition view: Between Spaces, ZKR, Berlin

Photo: Frank Sperling

Join Isa Melsheimer for an artist talk at ZKR–Center for Art and Public Space, Schloss Biesdorf in Berlin. Entitled "Fading Architectures, Melsheimer will talk about the present and future of urban cityscapes and architectures. Read more about the event here: zkr-berlin.de

Christoph Keller will receive the prestigious scholarship of German Academy Rome Villa Massimo. The artist has been awarded numerous grants and residencies and will begin his stipend in September 2017.

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Roman Ondak

Photo © Benoit Linero

Esther Schipper congratulates Roman Ondak, recipient of the 2018 Lovis Corinth Prize.

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Tino Sehgal

Photo: Robin Roger, 2017

V-A-C Foundation presents V-A-C Live: Tino Sehgal, an exhibition of seven works by Tino Sehgal. From 1 August to 14 September 2017, the New Tretyakov Gallery and Schusev State Museum of Architecture will host works by the internationally renowned artist, who de es art as material production and constructs immersive situations that reinvent the traditional museum environment. This will be the first large-scale appearance of Sehgal’s work in Russia and parallel to the exhibition, an educational programme exploring the exhibition themes will run at the New Tretyakov Gallery and the Solyanka State Gallery.

Cleveland, Ohio. Courtesy FRONT International.

We congratulate Dominique Gonzalez-Foerster and Tino Sehgal for their inclusion in the upcoming FRONT International: Cleveland Triennial for Contemporary Art.

FRONT's first edition, titled An American City: Eleven Cultural Exercises, will run from July 14, 2018 through September 30, 2018. Conceived by FRONT’s Artistic Directors Michelle Grabner and Jens Hoffmann, this multipart presentation of interconnected “cultural exercises” will investigate the significance and meaning of staging a large-scale international triennial in the contemporary context. Bringing together more than 55 local, national and international artists across mediums and disciplines, FRONT will partner with sites throughout the city of Cleveland and beyond to explore artistic collaborations, intellectual exchanges and curatorial dialogues connecting the city and the Great Lakes region to broader global, political and economic networks. FRONT’s ambitious program will weave critical approaches to museum exhibitions, public and educational programs, residencies, publications and research strategies in a complex presentation.

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Visit Ugo Rondinone's extensive new website at www.ugorondinone.com

Film still: David Claerbout, Die Reine Notwendigkeit/The Pure Necessity, 2016

Cinema Zuid in Antwerp will present an exclusive screening of David Claerbout's work Die Reine Notwendigkeit/The Pure Necessity, 2016.

Die reine Notwendigkeit/The Pure Necessity is a color animated cartoon by David Claerbout, based on the classic 1967 animated adaptation of Rudyard Kipling's Jungle Book. The 60-minute-long film follows the tradition of the frame-by-frame animation, re-creating the historical characters with the most faithful precision. Claerbout's film focuses exclusively on the animals: Bagheera the panther, Baloo the bear, Kaa the snake, among others. Although the 1967 film depicted them as speaking animals, well-known for their witty dialogues, dances and jokes, they are here seen as “realistic” animals without any anthropomorphic characteristics. Claerbout represents them wandering in the jungle, drinking from a water spring, sleeping on tree branches, observing one another. Each of their movements is followed with precision and duration, giving the spectator the opportunity to observe every detail of the drawings. The title of Clearbout's work refers to the famous song, Bare Necessities, performed by Baloo in the 1967 film.

We congratulate Prabhavathi Meppayil for her participation in the 21st Biennale of Sydney!

Artistic Director of the 21st Biennale of Sydney Mami Kataoka has announced the title of the 2018 Biennale of Sydney is SUPERPOSITION: Art of Equilibrium and Engagement and shared the names of additional artists from Asia selected to present their works in the multi-venue event.

The 57th International Art Exhibition, VIVA ARTE VIVA, will take place at the Giardini and the Arsenale in Venice, from May 13 to November 26, 2017. Curated by Christine Macel, it will feature 120 artists from 51 countries, including Liu Ye, Philippe Parreno, and Anri Sala.

The exhibition will offer a route that unfolds over the course of nine chapters or families of artists, beginning with two introductory realms in the Central Pavilion, followed by another seven across the Arsenale through the Giardino delle Vergini. Each of the nine chapters or families of artists of the Exhibition will represent a Pavilion in itself, or rather a Trans-Pavilion as it is trans-national by nature but echoes the Biennale's historical organization into pavilions, the number of which has never ceased to grow since the end of the 1990s. From the "Pavilion of Artists and Books" to the "Pavilion of Time and Infinity", these nine episodes will tell a story that is often discursive and at times paradoxical, with detours that mirror the world's complexities, a multiplicity of approaches and a wide variety of practices.

Tomás Saraceno, Arachno Concert, with Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Photo: © Studio Tomás Saraceno

Fondation Beyeler, Basel

Photo: © Mark Niedermann

Pierre Huyghe, artist's plan, Skulptur Projekte Münster 2017

Image: © Pierre Huyghe

General Idea, Portrait of AA Bronson, 1973, vintage silver gelatin print, 12,5 x 17,5 cm (unframed), 15,5 x 20,5 x 4 cm (framed)

Photo: © The Estate of General Idea

David Claerbout, Olympia (The Real Time Disintegration Into Ruins Of The Berlin Olympic Stadium Over The Course Of A Thousand Years), 2016

Single-channel video installation (color, silent, HD animation), duration 1000 years

Film still

Karin Sander, Exhibiton Space 1.7, 1:2, 2017

Graphic: © Ari Benjamin Meyers/Kunsthalle for Music

Kunsthalle for Music and its Artistic Director Ari Benjamin Meyers continue the unfolding of Kunsthalle for Music by addressing fundamental questions through a symposium of multiple modes: lectures, auditions, open workshops, and performances.

The two-day symposium at Witte de With Center for Contemporary Art in Rotterdam will feature international practitioners from the fields of contemporary art, music, and theory. As part of the symposium, Witte de With will host a casting of the Kunsthalle for Music's future ensemble, which will invite selected performers to collaborate with composers towards the creation of music and performance works.

The program was conceived by Ari Benjamin Meyers, Armen Avanessian, and Witte de With's Defne Ayas, Samuel Salemakers, and Rosa de Graaf.

Ugo Rondinone, let's start this day again

Image: © Ugo Rondinone

Starting May 6, 2017, CAC–Contemporary Arts Center in Cincinnati will present let's start this day again, a solo exhibition by Ugo Rondinone. This hypnotic installation will be carefully layered in groups that include a neon rainbow, colored gels on the windows, floating mandalas, blurred target paintings, painted windows, gradient color walls and a surreal cast of life-size, clown sculptures. Presented as a constellation, Rondinone marries elements he has used in the past to “bring all those groups together in a colorful symphony.”

Ryan Gander, Echo from Culturefield, 2016, 13 x 75 cm, wall plugs and dust

Photo: © Andrea Rossetti

Ryan Gander's solo exhibition These wings aren't for flying (April 29 – July 2, 2017) will present approximately 60 new works at the National Museum of Art, Osaka. At the same time, Gander will curate an exhibit made up of works from the museum collection. Using the human tendency to think in comparisons as a premise, Gander will present the works in numerous pairs. Though the pairings will be based on a physical resemblance, they will be derived from different genres and eras.

Gabriel Kuri, complete set of vestiges from Church of Saint Hubert, lotto tickets, scratch cards, 2017

Photo: © Alain Janssens

David Claerbout

Olympia (The Real Time Disintegration Into Ruins Of The Berlin Olympic Stadium Over The Course Of A Thousand Years), 2016
Two-channel video installation (color, stereo sound, HD animation)

Duration: 1000 years
Exhibition view: KINDL Centre for Contemporary Art, Berlin, 2016

Legislating Architecture Chicago Architecture Biennal, Chicago, 2017

Isa Melsheimer

Kallmorgen (Kaispeicher), 2015
Reinforced concrete

Photo © Andreas Weiss

Ugo Rondinone

clockwork for oracles II, 2008

Photo © Studio Ugo Rondinone

Tomás Saraceno

Aerocene Gemini, Free Flight, 2016

Photo © Tomás Saraceno

Liam Gillick

Construcción de Uno (A Prequel), 2006

Volkswagen (Golf Mk 1 or equivalent), texts, participants

Exhibition view: Tate, London, 2006

Ryan Gander

Portrait of a colour blind artist obscured by flowers, 2016 (film still)

Roman Ondak

Tugendhat 1, Villa Tugendhat, Brno

Photo © Roman Ondak

Exhibition view of Andrew Grassie's works at Blipblipblip Gallery, Leeds, 2017

Christopher Roth and Armen Avanessian

Hyperstition, 2015, HD film, Blueray player and non-removable disc

Duration: 113 minutes with an eight-minute break

Photo © Christopher Roth

Tomás Saraceno

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector
Photo © Andrea Rossetti