The Fridericianum presents Waters’ Witness, the first solo exhibition in Germany of the work of Tarek Atoui.
The Fridericianum presents Waters’ Witness, the first solo exhibition in Germany of the work of Tarek Atoui.
The Cone of Concern at the MCAD centers around the idea of the ‘tropical depression’, a weather disturbance characterized by strong winds that take place mostly in the region of the Pacific Ocean and Indian Ocean.
Deball’s exhibition focuses on sharing the stories of a number of little-known female anthropologists and indigenous storytellers and makers.
In MMCA Hyundai Motor Series 2020: Haegue Yang - O2 & H2O, the artist attempts another leap toward "the abstraction of reality."
This performance investigates fluidity and permanence via the body, identity, the moving image and performance, challenging definitions of physical, emotional and psychological relationships.
The artist created a new installation that exploits the physical qualities and proportions of this iconic architectural space designed by Ieoh Ming Pei.
For the first exhibition in St Luke’s, Antunes has been commissioned by The Box to create a new east window design, alongside a series of new sculptural works.
The Menil Collection presents a major exhibition of seven sculptural works by the artists Allora & Calzadilla that revolve around this concept, serving as a manifestation of noon’s hold over humankind and as a metaphor for the uncertainties defining our time.
Marking over a decade of collaboration with Sharjah Art Foundation and the surrounding community, Tarek Atoui’s exhibition Cycles in 11 centres around experimental and innovative musical forms and offers audiences opportunities to learn about and explore instrument-making, compositional structure and musical collaboration.
The Willfulness of Objects presents a selection of works from The Bass’ collection, many newly acquired, by artists who utilize found, altered, recycled, or transformed everyday objects as their materials to explore facets of human nature, history, and the surrounding environment.
Abraham Cruzvillegas with the assistance of Sandiwch Gallery, has invited artist-run spaces from various countries, the great majority of which have responded positively, to send us instructions for a group exhibition of group exhibitions.
This exhibition brings together two Mexico City-based artists whose work draws from the languages of comic-strips and cartoons.
On the Razor’s Edge is an international exhibition that brings together works within four thematic sections: migration and liberty; the human body; its environment; and the irrepressible and forever incomplete passage of time.
Anri Sala participates in the exhibition 2020 + with his piece If and Only If, where a garden snail slowly crawls from one end of a viola bow to the other, disturbing the subtle balance of the musician’s performance.
For his first solo exhibition in Ireland, Kuri presents a new site-specific installation that recasts the cavernous architecture of the Douglas Hyde Gallery, creating a static field to reduce the building's energy use during the run of the exhibition.
Companion Pieces: New Photography 2020 traces correspondence between images — from pendant pictures that together convey a shared message; to visual echoes reverberating through montage; to photographic series that, woven together, deliver more complex accounts of the world.
art+château presents El Castillo de las junglas imposibles (The Castle of the Impossible Jungles), its first-ever exhibitio in the historic setting of the Château de Serrigny in Burgundy. The show features 14 artists from Latin America, including Miguel Calderón.
Centro Botín presents AS YOU GO (Châteaux en Espagne), a new project by Anri Sala. His work explores non-verbal forms of communication with innovative narrative techniques.
This exhibition is the first such large monographic presentation of the artist’s work in Poland. It features the older works selected from her comprehensive output as well as more recent works focusing around new themes and inspirations.
This long-awaited first solo exhibition at a Japanese art museum presents a comprehensive picture of Danh Vo which features approximately 40 pieces including new and recent ones, among them a collaborative project with the family of the late US Defense Secretary Robert McNamara.
Wifredo Prietowill present an exhibition of all new work, produced during his residency period in Naples, taking over the entire building of Palazzo Caracciolo di Avellino: Fondazione Morra Greco becomes Fondazione Morra Prieto.
Nairy Baghramian participates in Performa 19, taking place over a period of three weeks at locations throughout New York City, which once again celebrates the extraordinary vitality, inventiveness and significance of New York as a leading global performance capital of the world.
This exhibition blurs the boundaries between art and life, a key aspect of the artist’s practice that has led him at times to abandon the art object in favor of creating shared, immersive experiences.
This exhibition reflects on the evolution of the Arab Image Foundation (AIF) and its collections through the work and contributions of its co-founder Akram Zaatari.
This exhibition presents an ensemble of new and recent works juxtaposed with older pieces that will be accompanied by a major work, The Last resort.
For her project at MUMA, Castillo Deball has focused on Nilpena, an area north of Adelaide, which is home to one of the most well-preserved ediacara fossil sites in the world.
Okayama Art Summit is an international exhibition of contemporary art that offers visitors the opportunity not only to see exciting exhibits but also to experience the thought processes of the artists.
Inspired by José Saramago’s The year of the death of Ricardo Reis, the works in the exhibition include quotes from the book that, typed or handwritten, are individually integrated into each piece.
The Istanbul Biennial has served as a dynamic plane of interaction, a meeting point, and a critical site for the development of new aesthetic and political visions.
Assembling works from materials sourced in both Chicago and Michoacán, his ancestral home in the west of Mexico, Abraham Cruzvillegas meditates on the nature of rootedness and drift in The Ballad of etc.
This exhibition adopts materials as its organizing principle, sorting his works into four categories: paper, plastic, metal, and construction materials.
This exhibition presents artistic experiences designed as direct or indirect dialogues with Hélio Oiticica and Joseph Beuys’ production, two of the most important and active artists of the second half of the twentieth century.
This exhibition continues the largely conceptual practice of Danh Vo in which he interweaves fragments of archives and personal references, often evoking experiences of migration and integration to destabilize the entrenched structures of legitimacy within citizenship and identification.
The exhibition is part of a long-term collaboration between the two institutions and the institutional exchange will see another exhibition at Para Site, Hong Kong in September 2020.
Handles, Yang's installation comissioned for MOMA's Marron Atrium, features six sculptures that are activated daily, dazzling geometries and the play of light and sound, to create a ritualized and complex environment with both personal and political resonance.
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux.
A first presentation will be displayed in Mudam’s Sculpture Garden, from 20 April to 25 August 2019, with a selection of emblematic works by the artist Danh Vo from Pinault Collection. This conversation between the two collections is the result of close consultation with Danh Vo and Caroline Bourgeois, curator of Pinault Collection.
Autorreconstrucción: insistir, insistir, insistir is a collaboration between Abraham Cruzvillegas (Mexico City, 1968) and Bárbara Foulkes (Buenos Aires, 1982) in which they incorporate sculpture and dance through a series of choreographic actions, linked to gravity, suspension and movement
For her first solo exhibition in New York, artist Minerva Cuevas presents a body of video work that makes concise connections between the consequences of dominant economic ideologies and urgent, global ecological and social issues.
SI ONSITE is a series of commissioned and borrowed semi-permanent works and installations exhibited in non-gallery spaces of the building. In the reception area, reading room, stairways, hallways, roof, elevator and other interstitial spaces.
La guerra fría is about emotional tension between individuals and the tension between way of representing reallity. A thrid unites the protagonists. He's a sound engineer; he mixes tracks and also people (he has introduced the characters and in a way "produced" them). This "third party included", a necessary witness of the relationship, gives another weight to the decisions. How much do you depend on him? Can you love each other if he disappears?
In her choreographies, performances, videos and sculptures, Alexandra Bachzetsis examines how contemporary media culture inscribes itself in the body. The core of her exhibition at Neuer Berliner Kunstverein (n.b.k.) consists of her latest body of works Escape Act (2018). Bachzetsis picks up stereotypical ideals of body and behavior spread by mass media and treats them by means of persiflage.
Over the past 30 years, Sarah Lucas has created a distinctive and provocative body of work that subverts traditional notions of gender, sexuality, and identity. Since the late 1980s, Lucas has transformed found objects and everyday materials such as furniture, cigarettes, vegetables, and stockings into absurd and confrontational tableaux that boldly challenge social norms.
The Institute of Contemporary Arts is proud to present a newly commissioned permanently sited work by Rirkrit Tiravanija.
This solo exhibition presents three distinct kinds of work—and worlds—created by Castillo Deball in the past decade. They strike a balance between material folds and unfolding ideas, whereby multiple senses of time are experienced in the blank spaces of a drawing, in the negative space of sculpture, or in the wrinkles of a surface. For years, Castillo Deball’s work has consistently manifested the ways in which the passage of time is illustrated, organized, and expressed in nature as much as in artifice.
Using a poetic and scientific approach, Allora & Calzadilla create an installation that transcends borders that provokes a subtle but powerful visualization of the ecological crisis that we all must collectively face.
Organized by Mark Beasley, the museum’s Robert and Arlene Kogod Secretarial Scholar, Curator of Media and Performance Art, the exhibition transforms the Hirshhorn’s galleries into a communal dining space in which visitors are served curry and invited to share a meal together.
Eldorado seeks to be a movement that highlights the qualities on which the wealth of the Lille region is built: its inhabitants and their ability to invent new models for better living together, its companies, which are innovating to create a new economy and a network of links between artists, researchers and citizens.
Tomorrow Is the Question is the first solo exhibition in an Italian museum by Rirkrit Tiravanija (Buenos Aires, 1961), one of the most influential artists of his generation, known internationally for works that bring real life inside the spaces of art, achieved by the active intervention of the public and breaking down all barriers between the object and spectator.
Orozco’s Obi Scrolls were fashioned by incising, rotating, and reversing sections of fragments of antique kimono sashes (obi). The results were then mounted on scrolls as paintings, converting conventions of wrapping into explicit content.
The creative poetry of Gabriel Orozco is the museum's international proposal for the programming of the 13th Bienal de La Havana.
Minerva Cuevas works move at the interface to political action and practices of social self-determination. Conditions of global food production, the economization and distribution of natural resources on a global level as well as the social causes and consequences of climate change and neoliberal labour market policies are recurring themes in her work.
Pioneer Works presents for the first time in the United States the performance Escape Act by Alexandra Bachzetsis.
For the Fondazione Adolfo Pini has conceived the exhibition l'ora dannata centred on the installation of the environmental dimensions Black Cloud and on various elements related to the project Life in the folds. The exhibition also includes silhouettes and other works by the artist, in a continuos change between images and signs.
The sculptural work of adrián villar rojas - sometimes you wonder, in an interconnected universe, who is dreaming who? traces the chronology of its origins through the materials with which they are made and the physical and mental landscapes with which they are used. A complete visual map of the exhibition and the concepts it encompasses (in the form of a booklet) provides the keys to reading and navigating the creative process of Villar Rojas.
In this new commission for the BAMPFA Art Wall, entitled Ghost Demonstration, Amorales draws from the multiple histories of mural art in Mexico, the political demonstrations that occurred in Berkeley in the 1960s (as well as more recent events), and protests in the United Kingdom in the 1980s.
kurimanzutto is delighted to felicitate Leonor Antunes with a seam, a surface, a hinge or a knot representing the Portugal Pavilion at the Fundazione Ugo et Olga Levi Onlus, Palazzo Giustinian Lolin.
Providing the title to the exhibition, The Bell, the Digger, and the Tropical Pharmacy (2013) spectacularly documents the demolition of one of the largest US-owned pharmaceutical manufacturing plants in Puerto Rico, an event that is emblematic of the island’s highly asymmetrical political and economic framework of colonial exceptionality, defined by the reckless pace of capital flight in an “un-incorporated” territory and the low levels of corporate accountability in the exploitation of the region’s resources.
The artist uses the architectural space to fold together visual, sound and tactile elements in order to generate new interpretations of history and new possibilities within an emancipatory vision of language and culture.
During the exhibition, a series of site-specific, assemblage sculptures will be enlivened through music, performances, workshops, cooking, storytelling, art making, skateboarding, and more, in “activations” led by the artist’s collaborators from Mexico City and invited community partners from Austin.
Human-size sticks of chalk—each 64 inches long and approximately 120 pounds—fill Gallery 7, which has been transformed into an environment open to spontaneous mark-making.
Alexandra Bachzetsis creates a poetic device that allows the viewer to "perceive" the technical and socially constructed dimensions of desire. The piece gathers seven living bodies and a multitude of objects that connect and disconnect to form different desiring machines.
Beliete stellen / Privieged Points is a series of works by the artist Nairy Baghramian, who approaches her institutional environment with different colors and volumes.
Danh Vo reveals the invisible systems that work behind the scenes to ensure the smooth running of the house, as well as the conservation efforts made by its staff.
Nairy Baghramian is the guest of the Autumn Festival 2018 in Paris.
Deball gives the title Petlacoatl to his first individual exhibition in Chicago, the title comes from taking up the Nahua word that means "mat woven with snakes that point in all directions".
In White Columns, Dr. Lakra will present some recent, never before-seen collages.
Zaatari discovered the photographs of Hashem El Madani (1928–2017), who recorded the lives of everyday individuals inside and outside his humble Saida studio in the late 1940s and 1950s.
The Last Days in Galliate is Leonor Antunes first major exhibition in Italy, conceived as a complex installation that fills the 1,400 square metres on the space known as the shed at Pirelli HangarBicocca: the works, many of which are new productions, converge with the structural elements of context and the natural lightning, thus merging into a single narrative.
In response to the architecture and acoustics of the space where The Last Resort is being exhibited, artist Anri Sala has developed a site-specific instllation with thirty-eight drums supended from the ceiling.
The exhibition will present the work of twenty-one acclaimed artists and filmmakers who have shown video works at the New Museum in its ten years on the Bowery.
The exhibition gathers colonial codices from the Biblioteca Nacional de Antropología e Historia (National Library of Anthropology and History) and map-paintings from the Archivo General de la Nación (General Archive of the Nation), together with the encyclopedic project known as the Florentine Codex housed in the Biblioteca Medicea Laurenziana, in Florence, Italy. Together, the documents examine the indigenous point of view on the conquest and the processes of survival, negotiation, and creation of a new land.
This exhibtion it points to her deep engagement with the unspoken: the urge to create a language as subtle and delicate as a tightrope walk, where movement becomes powerfully dynamic and charged with both emotional and perceptual tension.
The sculptures and installations of Nairy Baghramian update inherited forms and concepts to deal with notions such as functionality, abstraction or feminism. With clear references to the History of Art and modern architecture, specifically to minimalism and surrealism, the artist questions the tensions between function and ornament, industry and crafts, among others.
Works from the museum’s holdings of international contemporary art are brought into oftentimes surprising and unconventional situations of dialogue: Sigmar Polke/Haegue Yang, Maria Lassnig/Georg Baselitz, Neo Rauch/Tony Cragg, Georg Baselitz/Mike Kelley, Vajiko Chachkhiani/Peter Doig among others.
Many of the works, both contemporary and ritual, contains symbols and concepts that seek to show the invisible. Its strength and visual and aesthetic impact come from this symbolic load, precisely because they convey ideas and concepts that go beyond the everyday and utilitarian.
The Serenity of Madness is structured into distinct sections: one corresponding to the artist’s private world, peopled with friends, family and long-time collaborators; another takes up the public sphere but with a more abstract dimension of experience, utilizing light, memory and temporal, spatial, and spiritual displacement. The survey culminates with a selection of recent work addressing the social reality in his homeland.
Echigo-Tsumari Art Triennale is one of the most important art festivals in the world and is held every three years in the Echigo-Tsumari region since 2000. Over the years the triennial has taken place in a rural area that expresses human coexistence with nature. The region currently suffers a rapid aging and depopulation due to globalization, so Echigo-Tsumari Art Triennale aims for international artists to develop projects using art as a catalyst for rural values to revitalize the region.
Triple Vita Nestings uses formal strategies—such as layering, doubling, splitting, and merging— to reveal how individual subjects are embedded in the lives, stories, and contexts of others.
Her sculptures and interventions transform, in a certain way, the places where they are placed, and explore notions that are normally associated with the architectural, the planned and the built-such as measurement, proportion or scale. Paradoxically, Antunes has a systematic work methodology that incorporates randomness and arbitrariness as part of its raw material, which gives autonomy to the subject and gives its forms a specific meaning.
In the exhibition Based on True Events, the Slovak artist Roman Ondak deals with the current social and political imponderables.
This work will be activated in a twenty-minute performance by choreographer Bárbara Foulkes, whose improvised, aerial dance mirrors the suspension of the objects on display. The performance features musical intervention by Andrés García Nestitla. Organized by Tim Griffin and Rachel Valinsky.
The intervention entitled Objects in the Mirror, created specifically for the non-profit space of BASE, confirms the interest of the famous Slovak neo-conceptual artist to create unprecedented experiences with which to shift the public's attention on the methods of discovery, perception and practice both of reality and of the experience of art.
Jimmie Durham questions current standards of human - animal relations.
The exhibition will begin with Yang’s first venetian blind installation from her 2006 Series of Vulnerable Arrangements - the 2006 Version Utrecht, an immersive and sensorial experience unfolding from a composition of various materials and the simultaneous use of wind, scents, light, and heat. Within this arrangement, video essays document the artist’s travels through cities around the world and convey feelings of home, isolation, and dislocation associated with her itineracy in quite personal commentaries.
SUPERPOSITION: Equilibrium and Engagement will examine the state of ‘superposition’ by examining how it might operate in the world today. We are surrounded by conflicting ideas across all levels of humanity: different cultures; readings of nature and the universe; political ideologies and systems of government; interpretations of human history, the history of art and definitions of contemporary art.
For her exhibition at the SCAD Museum of Art, Castillo Deball presents the most recent iteration of the project "To-Day," which combines historical research about a specific site and a physical form that contains this research, which the artist calls a "fictional character."
Axiomas para la acción is a review of twenty-two years of Carlos Amorales' career proposed as an exhibition that emphasizes the conceptual aspects of his work.
A serene, immersive film environment where falling asleep is allowed: that’s one way to describe Apichatpong Weerasethakul’s SLEEPCINEMAHOTEL, a unique one-off project during IFFR 2018.
The artist is mainly interested in language and the impossibility or possibility of communication through non-recognizable or un-codifed forms such as sounds, gestures and symbols, experiencing at the same time, the limits of image and sign through different mediums such as animation, video, cinema, drawing, installation, performance and sound.
In private there are Oriental drag queen dances, gym and western yoga exercises mutating into football and porn poses, stock moves from theatrical training for advertising and the repetition of Michael Jackson’s rituals by teenagers. There is Trisha Brown transitioning into Rembetiko, and a single voice fighting to survive national and gender identity social theaters.
The starting point for the artist’s work is her enthusiasm for fossils and their association with lithography as well as the change in evolutionary research during technical development. Mariana Castillo Deball’s Pleasures of Association, and Poissons, such as Love thematizes the rivalry between different techniques for creating scientific »facts«, each showing a different view of Evolution.