Liverpool Biennial is the UK biennial of contemporary art. Taking place over 15 weeks across the city in public spaces, galleries, museums and online, Liverpool Biennial commissions artists from around the world to make and present work in the context of Liverpool. The 10th edition Beautiful world, where are you? invites artists and audiences to reflect on a world of social, political and economic turmoil with free exhibitions and events across the city. In 2018, Liverpool Biennial is celebrating 20 years of presenting international art in the city and region.
The Moscow Museum of Modern Art with the support of the State Hermitage Museum presents «Untold Story» — a solo exhibition of the world-famous photographer Steve McCurry. The project, which includes more than 80 works, is intended to reveal the author’s creative method and to acquaint the viewer with the process of McCurry’s work as a reporter. Along with photographs, the show includes fragments from McCurry’s notebooks, his travel itineraries and archive materials which have never been shown before. The BMW Group Russia is the general partner of the project.
For the reopening of the modernised exhibition spaces of the Alte Pinakothek Munich audiences will have the unique opportunity to see first-hand the world-famous ‘Woman in Blue Reading a Letter’ by the Dutch painter Johannes Vermeer (1632–1675), on loan from the Rijksmuseum in Amsterdam. This masterpiece of the Dutch Golden Age – one of the best known and most beautiful works by the painter from Delft – enters into a fascinating dialogue with the major works of Dutch painting in the Munich collection.
The Jameel Prize is an international award for contemporary art and design inspired by Islamic tradition.
This landmark exhibition explores the influence of Michael Jackson on some of the leading names in contemporary art, spanning several generations of artists across all media. Curated by Dr Nicholas Cullinan, Director of the National Portrait Gallery, the exhibition will open in the summer of 2018 to coincide with what would have been Michael Jackson’s 60th birthday (on August 29, 2018).
This two-part project reveals the multifaceted work of artist, writer and film director Roee Rosen (Rehovot, 1963). The exhibition “Histoires dans la pénombre” presents two major works – The Blind Merchant (1989-1991), an alternative version of Shakespeare’s Merchant of Venice told by a blind usurer and Vladimir’s Night (2011-2014), a political treatise on the dangers of fetishising an object – accompanied by a more recent film, The Dust Channel (2016), an operetta on purification in all its forms.
The exhibition Double Lives focuses on visual artists who wrote or produced music, who performed music in public, or who were or are members of artists’ bands. The exhibition really “exhibits” music, with large projections of videos and photographs of concert and studio performances that give visitors a sense of being there “live,” while also illustrating the significance of different kinds of performance situation. The artists and works in the show range from the early twentieth century to the present day. We begin with Marcel Duchamp and the futurists, then move on to Yves Klein and Fluxus artists Nam June Paik and Yoko Ono, and then present key figures from the 1960s and 1970s such as A. R. Penck, Hanne Darboven, Gerhard Rühm, and Hermann Nitsch. Representatives of proto-punk like Captain Beefheart and Alan Vega were precursors of the many artists’ bands of the 1980s, in which artists like Mike Kelley, Albert Oehlen, Heimo Zobernig, and Pipilotti Rist played. The stylistically more heterogeneous scene of the 1990s to today is represented by Jutta Koether, Stephen Prina, Angela Bulloch, Carsten Nicolai, Christian Marclay, Billy Childish, Emily Sundblad, and others.
Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising […]
Like a tale in its principle and construction, with multiple levels of interpretation, addressed at once to children and adults, with its numerous rites of passage, the exhibition invites visitors, “from 7 to 77”, to cross through a variety of initiatory trials, while confronting themselves with the strange and the stranger.
For her first solo show in a Parisian institution, Laure Prouvost presents “Ring, Sing and Drink for Trespassing”; an exhibition manifesting as an escape that is both psychological and geographical. The Palais de Tokyo is transformed into a space where nature is purported to have taken over from humanity. Inspired by global warming, the exhibition invites us to explore and celebrate ambiguity by being at once intimate and expansive. Messages elsewhere spill over from the confines of the exhibition: “IDEALLY THIS PLANT WOULD GROW BOOBS AND PRODUCE MILK” or “IDEALLY HERE WOULD BE A SMALL CRACK IN THE WALL YOU COULD PASS THROUGH” in a demonstration of cognitive delinquency for both language and space. Through these multiplying and concertinaing viewpoints, “Ring, Sing and Drink for Trespassing” operates as an ode to diagonal lines, the transcending of limits and the joy of slipping over a fence to discover a wasteland. Or, a now-abandoned but marvelous garden, in which the artist has discovered a forgotten dystopic biological laboratory.
As a collaborative artist duo, Anita Fuchs and Resa Pernthaller explore temporary interventions in the urban space, nomadic collective processes, and all manner of nature art. Their projects often begin with an ‘actionist’ approach: road trips that transfer plants across several states, the transportation of trees from a research station, or the sowing of a field with historical seeds. These ‘action art’ events are associated with contemporary societal topics such as climate change, terrorism, migration, history, global economies, and politics. Scientific, research-based endeavours and years of exchange with international institutions are all part of their conceptual work method. The artist duo has chosen to take a closer look at the KUNST HAUS WIEN and analyse ‘the Museum as host’ in terms of its flora. The KUNST HAUS WIEN lends itself particularly well to this, given that its founder and designer Friedensreich Hundertwasser chose to provide the inner courtyard, the façade and the roof with plentiful, luxuriant plant life. So what does the Museum’s botanical setting look like today, twenty-six years later? That’s the question that RESANITA will be keen to ascertain, document and implement artistically. Since autumn 2017 the artists have been busy compiling a photographic inventory of the flora […]
Through this exhibition covering the confused, precarious post-war years between 1945 and 1960, the Centre Pompidou provides a new interpretation of Sabine Weiss‘s photographs, which belong to a movement unjustly perceived as “sentimentalist”. Her rich and varied output, seen here through a fresh look at her work based on her own archives, illustrates a commitment fostering a reconciliation with reality.
This solo exhibition—Bayrle’s first major New York museum survey—brings together works from the last fifty years, highlighting Bayrle’s experiments across media and their prescient commentary on the relationship between consumerism, technology, propaganda, and desire.
Since the early 1980s, Akomfrah’s moving image works have offered some of the most rigorous and expansive reflections on the culture of the black diaspora, both in the UK and around the world. Akomfrah’s work initially came to prominence in the early 1980s as part of Black Audio Film Collective, a group of seven artists founded in 1982 in response to the 1981 Brixton riots. The collective produced a number of films notable for their mix of archival and found footage, interviews and realist depictions of contemporary England, and layered sound collages. In works like Handsworth Songs (1986), Akomfrah and Black Audio outlined the political and economic forces leading to social unrest throughout England. Akomfrah and Black Audio’s works were remarkable for their trenchant political inquiries and consistently experimental approach. They were also pioneering in their injection of narratives of black British history and culture into popular media through documentaries made for British television.
The Museo del Prado is presenting the first major monographic exhibition on Lorenzo Lotto’s portraits. Co-organised with the National Gallery in London, it is benefiting from the sole sponsorship of Fundación BBVA and is the Museum’s most important exhibition this summer.
This exhibition presents an extraordinary collection of personal artefacts and clothing belonging to the iconic Mexican artist Frida Kahlo. Locked away for 50 years after her death, this collection has never before been exhibited outside Mexico.
The Washington Women’s Arts Center (WWAC), located at 1821 Q Street NW, then at the Lansburgh Cultural Center, was created in 1975 as a non-profit organization to provide professional support and opportunities for women in the arts. Throughout its history, the WWAC also sponsored speakers, produced literary and visual arts journals, and collaborated with other organizations to raise the profile of women artists in the Washington area and around the country.
Artists featured in this exhibition use abstraction as a conduit to express their keen observations. The broad implications of the exhibition signify the fluency of abstraction and its many interpretations. What is absent is present. The artists explore the unseen through abstract sculpture, painting, and photography. Featuring Adrienne Gaither, Alteronce Gumby, Allen Jackson, and David Smedley.
Four women artists convincingly place human figures in space, each reaching that high-water mark of Western Art in their own way. Kiley Ames has a seemingly rational, systematic technique akin to pointillism that on closer inspection emits an emotional charge. Jo Weiss’s expressionist, emotional process ultimately reveals an analytical, orderly understanding of figures in space. Janice Nowinski’s paintings are brushy, mysterious, and unexpected portrayals of men in ambiguous situations. Kyle Staver’s technique is smooth and sophisticated, serving up darkly humorous tales of violence and sensuality. These artists create narratives that open our world to reflection and engagement in a way that abstraction cannot manage.
Originally curated by Anita O’Brien at the Cartoon Museum, London, the Ralph Steadman Retrospective offers phenomenal insights into the genius of one of the world’s most acclaimed artists. This exhibition takes the viewer on a journey through Steadman’s prolific career of more than sixty years, from the sketches he created as a student in the 1950’s to present day pictures.
After two successful editions, this summer the Instituto Buena Bista (IBB) Curaçao is back in the Kunsthal Rotterdam with All you can Art for the third time. All you can Art 3 is a studio, exhibition and summer school all in one, in which everyone has the opportunity of following the master-apprentice principle to make art, to learn and to discover.
Composer and visual artist Ryoji Ikeda is a prominent figure in Japanese electronic music. His creations invite listeners to experience immersion in a world mingling sound, image, space, perceptive phenomena and mathematical equations. The exhibition unveils a new installation, where a black room and a white room divide the space into two opposing and complementary worlds.
The BP Portrait Award is the most prestigious portrait painting competition in the world and represents the very best in contemporary portrait painting.
This summer Kunsthalle Zürich will present the largest solo exhibition to date of the Georgian artist Andro Wekua. On show will be older and little known works, as well as new sculptures, a selection of current paintings and collages as well as the world premier of his newest film All is Fair in Dreams and War.
A preeminent artist of the twentieth century, Alberto Giacometti (1901–1966) investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and his unmistakable aesthetic vocabulary. Featuring important works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, the exhibition aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.
Questions of race, representation, and the body as a locus of political inquiry recur in the films, performances, and installations of Luke Willis Thompson (* 1988).
Die Ausstellung [CONTROL] NO CONTROL der Hamburger Kunsthalle ist Teil der Triennale der Photograhie 2018, die unter dem übergeordneten Motto Breaking Point – Searching for Change nach Bildern sucht, die Bruchstellen thematisieren.
Our Acquisitions 2012-2018 show invites visitors to discover a selection of works that include several pieces added to the Collection de l’Art Brut holdings since Sarah Lombardi became the museum’s director in 2012. The over 150 drawings, paintings, sculptures, textile pieces and photographs highlight the museum’s dynamism.
An exhibition «Perfect age» is devoted to the crisis experience of age in the modern world and the comprehension of this phenomenon in the Russian art of the XX-XXI centuries. It consists of two self-sufficient and complementary parts, which are presented on different venues — in the MMOMA Educational Centerand in the AZ Museum. Both of these metropolitan museums, located within walking distance of each other and united not only by interest in Russian art of the second half of the 20th century, that reflected in the nature of their extensive collections but also by the openness to modern visual culture. The AZ Museum, which central task is the preservation, study and actualization of the heritage of Anatoly Zverev and other artists of the sixties, marks this year its third anniversary. Always paying special attention to innovative methods of presentation, the museum for the first time takes part in the Moscow International Biennale of Young Art.
TWithout doubt, the Danish installation artist of Icelandic origin, Olafur Eliasson (b. 1967), is one of the most outstanding artists of our times. Like no other, he captures the imagination of people around the globe – also outside the museum world – with his large art projects. His drawings are still of central importance to his work that encompasses all other media. Initial ideas are formulated in drawings that the artist refers to time and again in the course of a project. The impression is given that Eliasson’s thought process is recorded in such drawings.
The exhibition falkeis2architects: active energy building details the extensive research by the Austrian architects Anton Falkeis & Cornelia Falkeis-Senn and the many advances in materials, building, and network design that led to a truly “active building”. Their project demonstrates that innovation will be the best strategy for tackling major societal challenges, such as climate change and energy and resource scarcity.
Alexander Kluge (born 1932) has long been known as an engaged poet, polyphonic chronologist, and seismographer of the present. Using images, texts, and objects, the author and filmmaker creates ever new constellations, the meanings of which are mainly derived from the nature of their arrangement. Kluge has won a number of awards for his interdisciplinary works. In 2017, he was awarded the Jean-Paul Prize for his lifetime literary achievements.
Marking the 100 years since the end of World War One, Aftermath: Art in the Wake of World War One looks at how artists responded to the physical and psychological scars left on Europe.
Juergen Teller navigates the boundary of art and commercial photography, putting the portrait at the heart of things. Whether in the realms of music, fashion, everyday life or landscape, his distinctive feel for individuals and situations allows him to create visual compositions with an immediacy that is sometimes deceptively simple. On closer inspection, his seemingly laid-back and casual imagery proves to be artistically crafted and full of verve. Deliberately breaking with convention to challenge our ways of seeing and undermine our preconceptions, Juergen Teller does not indulge in sentimentalised visual strategies. Through the intimacy of his portraiture, he orchestrates some quite extraordinary photographic encounters.
On the occasion of its 100th birthday, the DekaBank is making a donation of major works to the MMK from its collection. The gift encompasses four installations, in part quite large in size, by the artists Michael Elmgreen & Ingar Dragset, Michael Beutler, Tue Greenfort and Martin Kippenberger.
To mark the 100th anniversary of the death of Otto Wagner (1841–1918) the MAK exhibition POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism investigates Wagner’s role as the “Father of Modernism” and points out not only the context and the interaction between Wagner and other protagonists of early Modernism, but also the influence his epochal work had on his contemporaries, students, and following generations of architects and designers.
The new exhibition devoted by the Centre Pompidou to Jean-Jacques Lebel features 50-odd works and numerous archive documents. In the 1950s, Jean-Jacques Lebel (“the painter of the cross-over”, according to his friend Félix Guattari) began to develop an unclassifiable technique. Simultaneously artist, activist, writer, publisher, creator of happenings and organiser of events, he was one of France’s most important “go-betweens” in the second half of the 20th century.
A regular event, the exhibition of recent acquisitions by the Graphic Art department reveals new historical and contemporary works to the public. This edition features a selection of a hundred or so works on paper acquired by the Centre Pompidou since 2011. This varied and eclectic exhibition opens with Henri Matisse’s large-scale stained-glass window project for the Chapelle de Vence and a large collage by the contemporary artist Pierre Buraglio, clearly inspired by Matisse’s chasuble designs for the same chapel. Modern and contemporary drawings are given equal billing in a chronological circuit illustrating incredible diversity, with artists like Kandinsky, Klee, Picabia, Wols…
The UAM (Union of Modern Artists) embodied French modernity in the 20th century. It united all the great names in creation in a new, unrivalled approach, mingling a variety of artistic disciplines and fields. The UAM wanted to propose a new lifestyle, and constantly sought to share it with a broad audience. The new exhibition devoted by the Centre Pompidou to this adventure stages fifty years of modern creation under the aegis of the 20th century’s most iconic names, including Le Corbusier, Mallet-Stevens, Eileen Gray, Charlotte Perriand, René Herbst and Pierre Chareau.
The Kunsthal exhibition ‘Poetry of a Nation / the Nation of Poetry. KAMP HORST’ is taking part in the Poetry + Art Gallery Tour on the occasion of the 49th Poetry International Festival. From 30 May to 2 June Poetry + Art will take you to leading Rotterdam galleries and art institutions for surprising exhibitions at the interface between language and art.
On the occasion of the twenty-fifth anniversary of the Dutch luxury fashion house Viktor&Rolf, the Kunsthal organizes a large exhibition in collaboration with the Dutch designers and Canadian curator Thierry-Maxime Loriot.
In Moki Cherry’s artistic practice, there are no sharp boundaries between design, art, drama and music. In 1962, Moki Cherry moved to Stockholm to study at the Beckmans College of Design. A few years later, she met the American jazz musician Don Cherry, and they embarked on a close collaboration. Separately and together, they created happenings, music, art, posters and album covers. Their motto was “the stage as a home, and the home as a stage”.
Open to the public from Saturday May 26th to Sunday November 25th 2018, at the Giardini and the Arsenale, the 16th International Architecture Exhibition, titled FREESPACE, will be curated by Yvonne Farrell and Shelley McNamara and organized by La Biennale di Venezia chaired by Paolo Baratta. The preview will take place on May 24thand 25th, the awards ceremony and inauguration will be held on Saturday May 26th 2018. «With the aim of promoting the “desire” of architecture», President Baratta explained that this edition curated by Yvonne Farrell and Shelley McNamara focuses on the question of space, the quality of space, open and free space. The fundamental parameter of reference is indicated with great clarity. «The desire to create FREESPACE can become the specific individual characteristic of each individual project. But space, free space, public space can also reveal the presence or absence of architecture, if we understand architecture to be “thinking applied to the space where we live, that we inhabit”. And the International Architecture Exhibition will offer us examples, teachings, and topics of discussion. Therefore, we are thankful to Farrell and McNamara for having accepted our invitation and for the choice, which adds an important link to the chain of Exhibitions held over the years.»
This new circuit revisits the history of the Musée National d’Art Moderne’s collections as we celebrate the bicentenary of the Musée des Artistes Vivants, of which it is one of the heirs. This “retrospective” of the museum’s collections is laid out in some fifteen sections scattered through the modern circuit. Over 120 works, accompanied by an all-new documentary system, explore the identity of the Musée National d’Art Moderne and its predecessors from the 1920s to the opening of the Centre Pompidou.
French artist Philippe Parreno sees the medium of exhibition as a living organism that can be set in motion by light, sounds and images. His focus is less on the individual object, but rather on the choreographed interaction between the various components.
With the works of Cao Fei, Richard Mosse and Paulo Nazareth, the exhibition EXTREME. NOMADS at MMK 1 focuses on different aspects of contemporary forms of nomadic existence and addresses the dissolution of boundaries in politics, economy, society, and culture.
The show at the Kunstmuseum Bonn is the most comprehensive exhibition about Hans Hartung’s paintings in Germany since the early 1980s and focuses exclusively on the artist’s late work, i. e. the years from 1962-1989.
10 years on from our acclaimed exhibition of Gustav Klimt, Tate Liverpool showcases the works of his radical protégé, Egon Schiele, alongside the sublime photography of Francesca Woodman.
For the New Museum’s annual summer art and social justice residency and exhibition, the Black School (Joseph Cuillier and Shani Peters) and Kameelah Janan Rasheed will explore the pasts and futures of black critical pedagogies.
10 years on from our acclaimed exhibition of Gustav Klimt, Tate Liverpool showcases the works of his radical protégé, Egon Schiele, alongside the sublime photography of Francesca Woodman.
On May 22, the Moscow Museum of Modern Art will open an exhibition celebrating the 80th anniversary of the canonical Russian writer Ludmilla Petrushevskaya. Being more than a biographical project about a person’s life, the exhibition paints a picture of a whole generation delineating recognizable features and aesthetic codes of the Soviet time. The exhibition will evoke the atmosphere of Petrushevskaya’s oeuvres, in particular in one of the halls the writer’s apartment in which she once lived, worked and welcomed some of the most prominent artists of her time will be recreated.
The summer exhibition KÖNIGSKLASSE will once again be taking place in the splendid Herrenchiemsee Palace constructed by King Ludwig II, featuring major works from the Pinakothek der Moderne. Rooms devoted to the art of Wolfgang Laib, Andy Warhol, Dan Flavin, Arnulf Rainer and Jean-Michel Basquiat will be recontextualized within the palace’s incomplete historical architecture.
Photographs, photocollages, many of which have never before been on view, and a selection of paintings, drawn from the collections of Solomon R. Guggenheim Museum, New York, and the Josef and Anni Albers Foundation, illuminate the relationship between the art of Josef Albers (1888–1976) and the geometrical forms of pre-Columbian monuments studied by the artist on his travels to Mexico, offering new perspective on his most celebrated abstract works.
The exhibition will stretch from Heron’s early work in the 1940s to his death at the very end of the 20th century, showing the full evolution of his vibrant abstract paintings. Making use of the gallery’s new building, the show will include a number of large-scale paintings offering visitors a unique opportunity to explore this modern master’s sense of scale, colour and composition.
In 1974, the Belgian cartoonist Hergé, a great admirer of American avant-garde art, and Karel Geirlandt, the new director of the Centre for Fine Arts, invited Charlemagne Palestine to perform in Brussels, after discovering him on a prospecting trip to New York. Having witnessed the artist in performance, they were impressed by the “total art” nature of his work, and the physical power of his presentation.
Raphaela Vogel’s exhibition hosts impressive sculptural installations, mostly poised in precarious balance, often in combination with pulsating sound or videos that feature the artist herself (*1988).
Melanie Smith (b. 1965) was born in the U.K. but established her career in the Mexican art scene of the 1990s.
Výstava Total Romantic je kurátorskou výstavou, ktorá prezentuje slovenské a české umelkyne, ktoré tvoria (aj) v médiu maľby. Téma výstavy je analógiou na historický romantizmus v maľbe a jeho autora. Výstava predstavuje súčasné, stále tvoriace autorky – maliarky, ktorých diela sú niektorými rysmi prepojené s autormi pôsobiacimi v ére romantizmu.
For Lucian Freud and Frank Auerbach, art is a process of gaining deep insight into their subject. Their portraits are celebrated as some of the most unflinching and innovative in contemporary art. Marking the accession of important acquisitions, the Städel’s Department of Prints and Drawings presents key works by both artists together for the first time.
With its wide-ranging jubilee exhibition 300 YEARS OF THE VIENNA PORCELAIN MANUFACTORY, the MAK is drawing attention to the history and significance of the second-oldest porcelain manufactory in Europe. Founded in May 1718 when the imperial privilege for porcelain production was granted to Claudius Innocentius Du Paquier, the Vienna Porcelain Manufactory set new aesthetic standards over the following decades. Some 1 000 objects from the holdings of the MAK as well as national and international collections offer a formidable overview of Viennese developments in the context of Asian precursors and European competitors.
From smart appliances to satellites, artificial intelligence to internet culture, this exhibition brings together more than 100 objects as a landscape of possibilities for the near future.
S tvorbou poľského sochára Marcina Berdyszaka mala verejnosť možnosť zoznámiť sa v rámci výstavy Free style/Voľný štýl roku 2016, kedy vystavoval spoločne s Patrikom Kovačovským v priestoroch Kopplovej vily.
Celebrate the timeless beauty of the female form with thirty-five years of haute couture from Azzedine Alaïa, and discover the mastery of cut, tailoring, fit, innovative form and materials behind the designer’s unique creations.
For the KUNST HAUS WIEN, Austrian artist Rainer Prohaska has compiled an array of proposals for making Vienna’s Danube Canal directly accessible from the Museum’s inner courtyard. The Museum, like Vienna’s third municipal district as a whole, is separated from the water’s edge at the right end of the Danube Canal by the Weissgerberlände, a busy three-lane thoroughfare.
Rotterdam Cultural Histories is a collaborative project between Witte de With Center for Contemporary Art and TENT. This long-term project, begun in 2014, articulates conceptual meeting points between the programs of these two institutions, both housed in this building, through the study of their common roots in Rotterdam.
This exhibition, bringing together work by Pamela Rosenkranz, Susana Mejia, and Anicka Yi, invites us to engage with a rarely visited part of the world: the Amazon. The largest tropical rainforest in the planet, Amazonia extends over nine different countries in South America, including Brazil and parts of Venezuela, Colombia, and Suriname. Scientists have likened its ecosystem to the lungs of our planet, like a larger-than-human organ taking in, but also producing, oxygen. Similarly, as an organism, art exhibitions operate as entities that make worldviews palpable. For, historically, artists have come to picture, and make visible, unknowns. In so doing, artists probe at what an image of a place, its experience and its mediations, may come to constitute or trigger; they explore the limits of an image, and what its ends could become.
Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.
Irene Kopelman, a solo exhibition presents a selection of artworks from four different projects created by the artist between 2012 and 2016. Each of these projects was made during, or after, Kopelman engaged in fieldwork, travelling to comprehend and, ultimately, to render these environments. For nearly two decades, Kopelman analyzes with scientific rigor the landscapes and ecosystems of remote places, or, at least, sites that are not easily accessible, from the volcanic islands of Hawaii in the Pacific to the mountainous heartland of Borneo in Asia to the Peruvian rainforest in South America. At each location, she develops a specific method of observation.
At Untitled, curatorial and educational goals are intertwined. With art installations and events, as well as a bookstore and an initiative dedicated to collective learning, this long-term project in our now freely accessible ground floor gallery will continuously evolve. The project is designed as a Matryoshka doll, where one work holds another work, which holds another work and so forth. To offer this multi-layered experience, Untitled uses a variety of display mechanisms and presentation formats. Each of these involve different exhibition time-periods, and engage with different attention spans in terms of how they’re experienced.
Eliza Douglas creates precariously balanced compositions that teeter between realism and abstraction, balletic grace and slapstick humor. These latest works, part of a series begun in 2016, are titled with lines from the poems of Dorothea Lasky. In each canvas, expertly rendered hands are connected by a network of outlandishly long, gesturally painted shirtsleeves. Douglas typically serves as the model for these body parts and clothing, creating an oblique form of self-portrait. Her slippery approach to depicting herself suggests that there is always a gap between how we envision ourselves and how we are perceived by others.
This exhibition of more than 30 paintings by Chaim Soutine, the Expressionist known for his gestural and densely painted canvases, focuses on the artist’s remarkable paintings depicting hanging fowl, beef carcasses, and rayfish, now considered among his greatest artistic achievements.
Artist Aaron Fowler (b. 1988, St. Louis, MO) creates elaborate assemblage paintings from discarded found objects and unconventional materials sourced from his local surroundings.
“The Loom of History” marks the first US solo exhibition of Armenian-Egyptian artist Anna Boghiguian (b. 1946, Cairo, Egypt), whose raw and expressionistic works combine painting, drawing, writing, collage, and sculpture to contemplate the past and present through intersections of economics, philosophy, literature, and myth.
Drawing on vernacular forms and collaborative and performative actions, Iraqi-Kurdish artist Hiwa K (b. 1975, Sulaymaniyah, Iraq) makes work inspired by political events, chance encounters, oral histories, and his own experiences, including fleeing Iraq on foot in the late 1990s.
For the first time, Tate Modern tells the intertwined stories of photography and abstract art.
How do Indian women artists use their voice today? How do they deal with their social responsibility and the legacy of their feminist predecessors? What language do they find for the unexpressed? The Kunstmuseum Wolfsburg is presenting the first exhibition in Germany featuring six women artists from India. Aside from a few exceptions like the state of Kerala in the south of the country, India is characterized by a patriarchal society. The assumption that women are of less value than men is deeply rooted in the Indian mentality. Although women are equal before the law and the Independence Movement put their equality on the agenda, women are still severely disadvantaged and—as frequently addressed by the international media—often victims of violence. The exhibition pursues the question about how their own country’s past, present and future are represented from a female perspective.
„Hello World. Revising a Collection“ is a critical inquiry into the collection of the Nationalgalerie and its predominantly Western focus: What could the collection look like today, had an understanding characterised its concept of art, and consequently also its genesis, that was more open to the world?
Hello World. Revising a Collection is a critical inquiry into the collection of the Nationalgalerie and its predominantly Western focus: What could the collection look like today, had an understanding characterised its concept of art, and consequently also its genesis, that was more open to the world?
EVA & ADELE – L’AMOUR DU RISQUE presents the artist-couple’s work of the last 25 years in an installative retrospective. The exhibition explores the concepts underlying the pair’s art and their imagery.
General Rehearsal is a content-rich, innovative presentation that combines works from three international art collections: V-A-C Foundation, KADIST and Moscow Museum of Modern Art. The project addresses for the first time V-A-C’s new approach to exhibition making, introducing a more fluid, transparent method of working collectively and engaging all disciplines equally. Designed to evolve and change like a living organism that adapts and responds to its environment, it adopts the structure of a theatrical play developing over three acts to be staged over a five-month period. In this framework, the project proposes considering artworks as actors in the play, having a potential agency similar to human beings.
African Mobilities is not concerned exclusively with the architecture of the refugee camp. Instead, it seeks to explore how cities and towns might become sites of refuge for African populations on the move, while simultaneously reckoning with the ways in which colonial geographies of extraction are enfolded within seemingly new zones of resource extraction. The show aims to rethink the geography of African migrations and the challenges and opportunities they pose for doing architecture and urbanism differently: through an exploration of architectures at the intersection of migration, displacement and digital technology. The exhibition connects fourteen diverse locations through workshops, commissioned projects and master classes: Johannesburg, Harare, Kampala, Addis Ababa, Munich, Luanda, Abidjan, Lagos, New York, Dakar, Nairobi, London, Lubumbashi, and Praia. It is based on a trans-national and interdisciplinary approach to architectural research and design, showing both current work and creative research-driven work that offer future possible urban scenarios and architectural prototypes, brought about by a world in motion.
Lisa Brice is a South-African born, London-based artist. On show at Tate for the first time, Brice’s work includes large-scale new and recent paintings which address the longstanding art-historical tradition of the female nude. Shown alongside sketches, drawings and studies, her paintings recast female subjects from art historical paintings, photographs and the media into new environments, imbuing them with a newfound sense of self possession.
The first UK exhibition to explore the complex relationship between fashion and nature from 1600 to the present day.
The investigation of time, language, and history is central to the artistic activities of the Raqs Media Collective. Founded in 1992 by Jeebesh Bagchi (b. 1966), Monica Narula (b. 1969) and Shuddhabrata Sengupta (b. 1968), Raqs practices at the intersection of contemporary art, historical enquiry, philosophical speculation, and theory, while taking into account social and political conditions in a global context.
Ana Mendieta (1948-1985) is one of the outstanding artistic positions of the 1970s and 1980s. The exhibition Covered in Time and History: The Films of Ana Mendieta will show 23 of Mendieta’s multi-layered film works, which after several years of research have been restored and digitised.
This solo exhibition of Domènec (Mataró, 1962) offers a retrospective of his work from the late 1990s to the present, including some new projects.
Inspired by the tableau with the wooden ornaments of the minbar of the Ibn Tulun Mosque in Cairo from the year 1296, a masterpiece of the Mameluke era, the artist Adriana Czernin developed a work series that takes as its theme the different aspects of geometric construction. In doing so, she sees ornament as a metaphor for cultural, social, and personal entanglements. The expansive works in the MAK exhibition paraphrase the fragmentary nature of the parts from the minbar that have been in the collection of what is today the MAK since 1907.
The exhibition brings together a selection of nine paintings on monochrome stone (slate and white marble) by Italian painters such as Sebastiano del Piombo, Titian, Daniele da Volterra and Leandro Bassano, which reflect the consolidation of a new approach to artistic techniques that emerged in the early decades of the 16thcentury. They are displayed alongside classical Roman works and specimens of natural stone that provide a context for the relationship between painting and natural history, geology and archaeology.
La Cárcel Segovia_Centro de Creación
MACBA: Museu d’Art Contemporani de Barcelona
MAK-ÖSTERREICHISCHES MUSEUM FÜR ANGEWANDTE KUNST / GEGENWARTSKUNST
me Collectors Room
MMK – Museum für Moderne Kunst
MMOMA – Moscow Museum of Modern Art
Mumok – museum moderner kunst stiftung ludwig wien
Museé du Louvre
Musées d’art et d’histoire
Museo Nacional del Prado
Museum für Fotografie