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Berlin-based artist Heike-Karin Föll (born 1967, DE) works on the materiality and mechanisms of drawing, painting, and writing. The exhibition speed at KW Institute for Contemporary Art is her first institutional solo show and presents an overview of various groups of work.

Image Bank was founded in 1970 in Vancouver, Canada, by artists Michael Morris, Vincent Trasov and Gary Lee-Nova. A model for a utopian, alternative system of art distribution operating outside institutions like the museum and the market, Image Bank engaged in an international exchange of images and correspondence by mail. Among the artists participating in the ever-growing network of exchange were (besides Morris, Trasov, and Lee-Nova) Dana Atchley, Robert Cumming, Dick Higgins, Geoff Hendricks, Glenn Lewis, Eric Metcalfe, Kate Craig, Willoughby Sharp, General Idea and Ant Farm.

The Moscow Museum of Modern Art presents a solo exhibition by Ivan Gorshkov. Gorshkov is a prominent representative of the so-called «Voronezh Wave» in contemporary Russian art. The artists of this movement are known for their traditional art forms such as painting and sculpture rendered in a bold, «hooligan» manner. The exhibition includes Gorshkov’s works for the past few years such as the «Swan Lake» painting series, the «My Sweet Homeland» sculpture series, the installation «Utopia of Dragons», and selected works from the projects «Crystal Boots», «Hyper Jump and Anteater» and «Crème Brûlée». These works make up only a fraction of the show with most of the pieces being created specially for the occasion.  

Samostatná výstava vznikla pri príležitosti nového výskumu autorovej tvorby a sústredí sa na jeho tvorivé rozmýšľanie, expresívny kresbový rukopis a jeho vývoj. Skice, kresby a grafiky dopĺňajú vrcholné maliarske diela v niekoľkých tematických líniách, ktoré poskytujú divákovi kľúč na čítanie maliarovej tvorby aj doby, keď vznikala.

The exhibition City Prince/sses is presented as an imaginary, multiple and complex city, without borders, messy, staggering and creative: an unpredictable laboratory, which is always in motion and being (re)constructed. Visual artists, creators, fashion designers, experimenters, tattooists, musicians: a good fifty artists are presented without any geographical grouping, mostly via new productions and in situ interventions.

With her installation entitled A Blazing World, created especially for KUNST HAUS WIEN, Claudia Märzendorfer opens up multiple perspectives on the polluting of the world’s oceans with plastic waste. With a central sculpture and her texts France and Plastiglomerate. Equal to a photograph, Modernity’s reservoir, the artist draws attention to the complexity of the situation.

Rozměrná site-specific instalace slovenské sochařky rozvíjející téma rostlin a herbáře v podobě pravidelného rastru na dolním podlaží synagógy doplněná o kreslířský projekt s obdobným ideovým rámcem prezentovaný v prostorách ženské galerie.

Výstava velkoformátových fotografií – portrétů muže. Každý ze záběrů představuje odlišnou scénu nebo vlastnost „Adama“ a zosobňuje tak archetyp každého muže.

The exhibition features pictures of the moon from various epochs. Sometimes they present the moon as the source of light in a nocturnal landscape, sometimes it is allegorical in multiple ways, and sometimes it becomes a sort of anthropomorphic vehicle for conveying own states of mind. Contrary to the sun, the moon represents the night, darkness, things that can’t be explained by rational means, the horrifying, the miraculous, feminine and even healing powers. Among the artists whose works will be on show are Sebald Beham, Balthasar Anton Dunker, Franz Niklaus König, Ernst Kreidolf, Paul Klee, Nell Walden, Meret Oppenheim, Claude Sandoz to name just a few.

Mirror/Echo/Tilt is a performance and pedagogical project created by artists Melanie Crean, Shaun Leonardo, and Sable Elyse Smith to examine the language and gestures used to describe experiences of arrest and incarceration.

The District of Columbia, Maryland, and Virginia (DMV) region is full of boundaries and borders, both physical—like the state lines that divide these artists—and imagined—political ideology, economic class, gender identity, religious belief. These boundaries delineate spaces, groups, ideas, and more, but they are easily walked over, pushed through, and broken down. Furthermore, the artists featured in Crossing Boundaries and Breaking Borders: DMV Printmaking also question, push, and break down the traditional notions of what printmaking is as a technique, how it can be used, and how printmaking can be defined.