The architectural office of Ritter Schumacher is based in Chur, located in the eastern Swiss alpine canton of Graubünden. The traditionally close relationship between the city and the surrounding region has shaped the holistic, integrative working approach of Jon Ritter and Michael Schumacher. The exhibition provides insight into their firm’s planning strategies for rural development in Switzerland. Using their work in the municipality of Churwalden as an example, it shows how a series of precise structural interventions in the rural context has set in motion a consistent, sustainable process of the area and is driving its future development.

With roughly forty multimedia works, the exhibition provides an overview of the oeuvre of the artist and musician Carsten Nicolai, who has been active at the interface of visual art, music, and natural science since the early 1990s. Using electronic sound and light material, Carsten Nicolai creates minimalist installations, sound performances, and visualizations of physical phenomena that reflect systems and structures of the media world. As a musician working under the pseudonym Alva Noto, Nicolai is one of the best-known representatives of contemporary electronic music.

As one of Iceland’s leading artists, Hreinn Friðfinnsson (born in 1943, Bær Dölum, IS) is celebrated for his inspirational and poetic use of everyday objects. His vocabulary, underscored by a delicate sense of humour, playfully implements storytelling and perceptual ploys. Friðfinnsson’s work could be characterised as conceptual, it investigates our understanding of time and the world around us.

Whether it is his photographic works, digital animations, performances, wall pieces, or works on paper, the core of Robin Rhode’s multimedia oeuvre is the drawing, the line. Born in Cape Town in 1976 and raised in Johannesburg, he first studied art at the Technikon Witwatersrand, now the University of Johannesburg, followed by a postgraduate program at the South Africa School of Film, Television and Dramatic Arts in 2000.

The group exhibition Embodied Lines brings together drawings in which the experience of the physical body is central.

The first solo exhibition of the Dutch artist Gerbrand Burger.

The exhibition will celebrate Peggy Guggenheim’s Venetian life, shedding light on how she significantly continued to add works of art to her collection after her departure from New York, having closed her museum-gallery Art of This Century (1942–47), and having made Venice her home in 1948. The exhibition will present a selection of paintings, sculptures and works of paper that Guggenheim acquired from the late 1940s to 1979, the year in which she passed away, while simultaneously highlighting the milestone events and exhibitions that she organized and participated in.

Mikhail Karikis’s film explores the relationship between land, industry and community. Children of Unquiet (2013–14) was created with a group of forty-five children living in the Devil’s Valley, Italy, a volcanically-active region in Tuscany that inspired Dante’s Inferno. The site of the world’s first geothermal power plant, the area has recently become depopulated following the automation of the process of generating energy.

Nigerian-born contemporary artist Otobong Nkanga will install new and existing works at Tate St Ives as the culmination of her upcoming residency at the gallery. Nkanga’s drawings, installations, photographs and sculptures variously examine ideas around land and the value connected to natural resources.

This solo show features works by the historic and leading Art Brut creator Carlo Zinelli (1916-1974), aka “Carlo.” Jean Dubuffet acquired several of the latter’s pieces as of 1963, thanks to Carlo’s psychiatrist Vittorino Andreoli, the first person to champion Carlo’s artistic output. Today, the Collection de l’Art Brut holdings include ninety-nine of his pieces, enabling this public institution to boast the greatest number of that Italian creator’s works in museological possession. Furthermore, since Carlo often painted and drew on both sides of his supports — indeed, doing so consistently as of 1962 — this body of works comes to one hundred and sixty gouaches, including some of his rare collages.