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From the summer of 2019 the Kunsthal Rotterdam will present the impressive retrospective exhibition ‘Joana Vasconcelos. I’m Your Mirror’, featuring the work of the famous Portuguese artist Joana Vasconcelos (1971). In an activist and feminist way, and with a profound respect for Portuguese culture and traditions, she gives reality her own personal twist. Vasconcelos is known for her sharp sense of proportions, masterly use of colour and unusual choice of materials, like household appliances, wall tiles, textiles, medicines, urinals, pans and plastic cutlery.

The exhibition ‘A Journey to the Homeland’ by the South African photographer Katharine Cooper (1978, Grahamstown) presents a probing portrait of white Africans. Major political events, such as the collapse of Apartheid in South Africa in 1994 and the expulsion of white farmers from their houses in Zimbabwe in 2000, significantly changed the position of these Africans. Although many of them managed to secure a certain future for themselves after these changes, others were not so lucky. In 2013, Cooper returned for a journey through the countries of her childhood, South Africa and Zimbabwe. In a respectful way, she captured members of the white minority that she used to belong to herself.

The Kunsthal Rotterdam has already organised All you can Art with David Bade and Tirzo Martha, the founders of the Instituto Buena Bista (IBB) Curaçao, and their team for three years in succession. All you can Art is a studio, exhibition and Summer School all in one, in which everyone – with no exception – has the opportunity of collaborating, making art, learning and discovering.

In collaboration with the HipHopHuis and guest curator Lee Stuart, the Kunsthal Rotterdam presents an exhibition about hip-hop and its influence on fashion and lifestyle. Streetwear is dictating the speed and aesthetics of the fashion industry and changing how that industry is developing itself. Hip-hop is THE youth culture of choice, dominating the charts as well as the world-wide street scene – from a source of inspiration for high fashion brands to making sportswear more accepted for everyday attire.

On the occasion of the 50th edition of the Poetry International Festival, the Kunsthal is presenting the exhibition ‘What Happened to the Future?’. In their work, the artists Vera van de Seyp and Yara Veloso explore the boundaries of new media. Especially for this anniversary exhibition, they dived into the Poetry International archives and selected work by poets who once appeared on the festival stage.

The Italian Giovanni Battista Piranesi (1720–1778) is considered to be the greatest print artist of his time. For the first time in a decade, a large Piranesi exhibition will be shown in the Netherlands. The Kunsthal is presenting over seventy large-format prints by Piranesi from the impressive graphic art collection of Museum Boijmans Van Beuningen. As an artist, Piranesi became known in the eighteenth century for his ‘Vedute di Roma’, an extensive series of etchings of impressive views of the ruins and monuments of Rome. In his famous series of prints featuring imaginary prisons, the ‘Carceri d’Invenzione’, Piranesi – who was originally an architect – expressed his spatial fantasies. Prints of rare quality are shown from both these series, as well as eight colossal books that highlight the dizzying imagination of Piranesi – as an artist, researcher and designer. This exhibition is part of a series of three exhibitions at the Kunsthal in the context of the city-wide project ‘Boijmans Next Door’.

From Saturday 16 March Kunsthal Rotterdam is presenting ‘Sirens’, a kinetic sound installation by artist and composer Joris Strijbos. His work is inspired by ongoing research on complex processes, such as organised systems in biology and digital technology. The way the individual birds interact in a flock, the process of algorithms in data networks – Strijbos unravels the complexity and translates the beauty he finds there to compositions of light and sound.

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.

Melike Kara creates her painterly work along with writing poetry, and most recently with making sculpture, video and other mediums. In her works on canvas, especially, she has developed a pictorial range of characters communicating with each other through what appears to be body language and whispers. These figures can often be characterized as ungendered, and of a nondescript time and place. Their dress, if at all, blends with their skin, which appears to be made of armor. Her primary medium for her works on canvas has been, for years, thick oil pastels. She regularly chooses one color and its hue variations to paint these figures, more recently, the palette of each of her paintings includes two to three more colors, but no more.

An Exhibition of Posters by Maja Bekan, Kévin Bray, Chloë Delanghe, Baldvin Einarsson, Priscila Fernandes, Vera Gulikers, An Onghena, Kevin Osepa, Josie Perry, Rory Pilgrim, Tramaine de Senna and Edward Clydesdale Thomson.

Cecilia Vicuña, a retrospective exhibition brings together over a hundred works by the poet, visual artist, and activist Cecilia Vicuña. Since the 1960s, the artist has constituted a radical perspective on the relationship between art and politics through her writing and art making. She has done so in different parts of the world, leaving her native Chile for London in 1973, before basing herself in the United States since 1980.

In a new body of work, including paintings and a film in three parts, the first premiering in this exhibition, Rosalind Nashashibi explores affective relations and community building. These works follow a non-linear narrative that weaves various intimate settings, some within shared domestic spaces, others in outdoor environments. Shot in Lithuania, London, and Edinburgh, the film features the artist and her children, as well as close friends, which she considers extended family. In the process of creating this new work, Nashashibi questions how a group’s sense of commonality is dissolved when there is an absence of communal experience and adherence to linear time. Through an open-ended discussion of space and time travel in the film, which is in part inspired by the creation and dissolution of group relationships in Ursula Le Guin’s The Shobies’ Story (1990), Nashashibi explores new modes of conviviality, considering the absence of having a nuclear family structure, without an imperative model in sight. For years, Raimundas Malašauskas has collaborated with Nashashibi and is here the guest curator of the exhibition. He has remarked that Nashashibi’s work is the dip of an eye scrolling for a footnote while it reads. Writing about Nashashibi’s new work, Malašauskas points that “by […]

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