Group exhibition curated by Cécile Bourne-Farrell with works by Alberto López Baena & Manuel Prados, Sara Bichão, Márcio Carvalho, Mikhail Karikis, Florence Lazar, Josèfa Ntjam, Uriel Orlow, Corinne Silva, Lawrence Smail, James Webb.
As part of the Anton Bruckner Year 2024, the exhibition is dedicated to the aspect of communal singing from the perspective of contemporary art. The collection brings together around 20 national and international fi gures for whom singing is a fundamental point of reference within their artistic practice. The works on display explore singing in its various levels of meaning: be it as an expression of personal identity, as an opportunity for intercultural exchange, as a means of (political) protest, or as a community-building practice within contemporary societies.
With works by Sammy Baloji, Chto Delat, Michèle Pearson Clarke, Clément Cogitore, Ines Doujak, Noam Enbar, Nikolaus Gansterer, Mathilde ter Heijne, Dejan Kaludjerović and many others.
Artist talk with Samson Ogiamien and Uriel Orlow in the context of the exhibition ‘In dialogue with Benin – art, colonialism and restitution’ at the Rietberg Museum.
The Artist Talk will be moderated by Annette Bhagwati, Director of the Museum Rietberg.
On the occasion of the exhibition ‘Knowledge Is a Garden’, the museum is hosting an artist talk between the artist Uriel Orlow, Francesca Brusa (from the researcher ZHdK) and Louisa Behr (curatorial assistant).
Uriel Orlow curated the exhibition together with Nadia Schneider Willen, Co-Director Museum – Collection, and placed his own works in dialogue with works from the museum’s collection and external loans. His thematic starting point is his interest in the suppression of knowledge, the unlawful appropriation of knowledge and, ultimately, new forms of knowledge production and diversity. During the talk, Uriel Orlow will provide a deeper insight into both his own artistic practice and the selection process of the collection works and loans. The artist’s talk will focus on the impossibility of neutral knowledge production and reflect on the curatorial process, which is inevitably selective and thus makes a choice as to what knowledge is conveyed by the artworks.
The exhibition Knowledge Is a Garden presents Uriel Orlow’s elaborate three-part video installation Theatrum Botanicum Trilogy (2016-2018) for the first time since it became part of the Migros Museum für Gegenwartskunst collection. In addition, the artist was invited to place his works based on his own artistic interests in dialogue with works from the collection. His focus is mainly on artistic explorations of «wilful non-knowledge» (agnotology). What knowledge is permitted in the course of global power relations, what is suppressed or hidden? What knowledge is unlawfully acquired? How is knowledge lost? What is a knowledge economy?
With works by Maria Eichhorn, Susan Hiller, General Idea, and others.
For his show in the MCBA Espace Projet venue, Uriel Orlow is presenting a series of new works from a research project begun in Bolzano (Italy) which takes fossilised trees as its main subjects, in order to explore the extended time of climate change.
The exhibition ‘Imminent and Eminent Ecologies’, is co-curated by Leora Farber and Brenton Maart, and falls under VIAD’s newly established Bioart + Design Africa (BA+DA) research stream. The artworks on show foreground the entanglement between living and non/living forms, humans and the more-than-human, and the effect culture has on climate change. The exhibition advocates that holistic decolonial practice can only be manifest through breaking down the artificial boundaries between species, and between the organic and elemental. An important outcome of this is the emergence of a new kind of trans-species democracy composed of multiple materialities – a democracy whose constitution is premised on what theorist and physicist Karen Barad terms ‘intra-actions’ based on empathy, care and respect.
With works by Adam Broomberg and Rafael Gonzalez, Janneke de Lange, Leora Farber, Stacy Hardy, Russell Hlongwane, Francois Knoetze and Amy Louise Wilson, Dean Hutton, Bronwyn Katz, Nandipha Mntambo, Miliswa Ndziba and many others.
EVN, as a company, will be opening an exhibition about ‘Technik Innovation Wandel” at its premises. This exhibitionit is abouth the company’s history and special technical innovation programmes. The collection is also part of this exhibition, with four selected works of art. The selected artworks mirror technics, its history and innovation in a special and artistic way.
How is it possible in a technological urban world full of stimulation to maintain a connection with other species that share our direct environment? Building on the (re)connecting.earth (02) Biennial from Geneva, the edition “Beyond Water” evolved into a nomadic version in Kiel, featuring the works of 31 artists in two museums and in public space.
This edition highlights the diversity of urban ecosystems and the richness of contemporary art production with an environmental focus. It explores the artistic potential of using scientific knowledge to draw attention to, imagine, listen to, and visualize living forms. Thanks to the works of the chosen artists and local initiatives, the Kiel Fjord and parks will become a landscape of creativity, reflection, and participation.
Group show with works by Carolina Bachmann, Flurina Badel & Jérémie Sarbach, Juan Blanco, Seba Calfuqueo, Luis Camnitzer, Luis & Gabo Camnitzer, Julian Charrière, Eli Cortiñas and many others.
News from Everywhere is a series of artworks created for a noticeboard in London’s Ravenscourt Park. Six artists – one from every inhabited continent – were invited to respond to the board’s function and surrounding environment. Displayed over the summer holidays, News from Everywhere brings the world to Ravenscourt Park.
The exhibition takes its name from the 1890 utopian novel ‘News from Nowhere’ written by Hammersmith artist and activist William Morris. Set in 21st century London transformed by agrarian revolution, Morris imagined a more equal society, united by creativity, collective land ownership and respect for nature.
Supported by London Borough of Hammersmith and Fulham with special thanks to the Parks team, Rural School of Economics and MyVillages, POSK Gallery and The William Morris Society.
With works by Gele Hailu, Gudskul, Amy Franceschini, Yinjaa-Barni Collective and Fernanda Galvão.
The show curated by Leandré D’Souza with Dale Luis Menezes as Historian adviser, takes its inspiration from a collection of watercolors produced in sixteenth and seventeenth-century Goa, the Codex Casanatense (c. 1560 and 1580), which depicts daily life in Goa, Asia, and Africa; Suma de árvores e plantas da Índia intra Ganges (1612) by Manuel Godinho de Éredia, a compendium of Goan plants; and O livro das plantas de todas as fortalezas, cidades e povoações do estado da India Oriental (1635) by Antonio Bocarro, illustrating coastal areas of Africa and India.
This exhibition is presented by Sunaparanta Goa Centre for the Artsin support with Fundação Oriente, Delegation in India; Swiss Arts Council Pro Helvetia; Australian Consulate-Genrel in Mumbai, Australian Government, Creative Australia and Create NSW.
With works by Nadia de Souza, Ashish Phaldesai, Maria do Carmo Piçarra, Asavari Gurav, Viraj Naik and many others.