Uriel Orlow is presenting We Have Already Lived Through Our Future—We Just Don’t Remember It, a solo show at Dialogue Gallery, in Lisbon.
Uriel Orlow will present his performance “Reveries of Collective Walkers (Busan)” as part of the Sea Art Festival 2025 in Busan.
Under the title Undercurrents: Waves Walking on the Water, the exhibition traces the subtle metabolic exchanges hidden between land and sea, seeking to reveal their invisible yet vital flows as part of our sensory and embodied experience. This edition of Sea Art Festival asks how the shifting metabolic rhythms of the sea intersect with our daily lives, and how these unseen processes might surface as shared awareness.
Group show with works by Anna Anderegg, Antje Majewski, Diana Lelnonek, Heike Kabisch, Hyeong‑seob Cho, Janine Antoni, Jeewi Lee & Phillip C. Reiner, Jin Lee, Marco Barotti, Marie Griesmar, Mathias Kessler and Ahmet Civelek, and many others.
Performance “Reveries of Collective Walkers” by Uriel Orlow and Lecture by Sophie von Redecker as part of the exhibition “Planetary Farmers.”
Under the title EVERYTHING IS INTERACTION, the art festival Begehungen aims to make the complexity of the issues of resource consumption, species loss and the climate crisis visible. The festival is intended to be an inspiring place for new, forward-looking discourse – a space for encounters, exchange and creative impulses. It is part of the official program of the European Capital of Culture Chemnitz 2025.
With works by Ana Alenso, Ursula Biemann & Paulo Tavares, Elza Gubanova, Diana Lelonek, Anna Weberberger and many others.
The Confluences exhibition brings together the collections of the Fondation François Schneider, FRAC Alsace, FRAC Champagne-Ardenne and 49 Nord 6 Est – FRAC Lorraine. Inspired by the concept of “confluences”, it explores the interactions between different works, like rivers that meet. Through different themes, the works engage in a dialogue of forms, compositions, narratives and colors. Visitors are invited to imagine themselves in moments of life inspired by water, whether admiring a sparkling sea, exploring urban beaches or observing the harmony between body and water.
Group exhibition curated by Sarah Guilain, with works by Claude Batho, Mégane Brauer, Pat Bruder, Cécile Carriere, Julie Chaffrot, Gigi Cifali, and many others.
Oscillating Spaces looks to the Rhône Glacier—undergoing fast melting and transformation processes—as a case study to reflect on environmental challenges in a constantly oscillating site. Juxtaposing glacier cartography, photography, film, ecclesiastical documents, tourist souvenirs, and architectural archives, the exhibition questions the role of architecture when confronted with a shifting climate, an unstable landscape, and a site that possesses a life of its own. The research also incorporates the work of contemporary art and architecture practices whose works document the Alpine landscape, responding to and raising awareness about the complex consequences of glacier recession for plant, animal, and human life.
Group exhibition curated by Anneke Abhelakh, with works by Aufdi Aufdermauer, Anneke Abhelakh, Filip Dujardin, Harvest Salon, Leo Fabrizio, and many others.
Great Artists on Campus #3 – Conversation with Uriel Orlow: Art, Memory and Political Ecologies, on April 7 at 6pm at the Cinema Fernando Lopes, Universidade Lusófona, Lisbon.
Uriel Orlow’s exhibition ‘Memória Colateral / Collateral Memory’ proposes an investigation into the concept of restitution, a theme he has explored for more than two decades. Beyond the simple return of objects or artefacts, restitution needs to be taken as a collective responsibility to reintegrate marginalised memories into history. This concept gains expression in interventions that recover forgotten knowledge and propose new ways of narrating historical events. Emphasis is placed on listening to the resonances of suppressed narratives in the present and fostering an ethic of memory and reparation.
With the support of República Portuguesa – Cultura I DGARTES – Direção-Geral das Artes, Galerias Municipais I EGEAC and Pro Helvetia I Swiss Art Council
In 1838, Swiss naturalist Johann Jakob von Tschudi (1818—1889), commissioned by the Natural History Museum of Neuchâtel, sailed to Peru on a merchant ship filled with fabrics, champagne, and watches. During his journey, which lasted almost five years, he hunted and prepared over a thousand specimens, which he sent to Neuchâtel. This story is not unique: many European museums have collections acquired in a colonial context.
The Naming Natures project, supported by the Swiss National Science Foundation and the Federal Institute of Technology in Zurich, takes a critical look at natural history collections from colonial settings, combining scientific, historical, and museographic approaches. Is it still possible to exhibit these collections? And if so, how can they be presented differently without exoticizing or glorifying the figure of the “great men of science”? What responsibility do museums have towards the communities concerned?
With works by Chonon Bensho, Denise Bertsch, Fabiano Kueva, Ximena Garrido-Lecca, Raúl Silva, Santiago Yahuarcani and many others.
Garden Futures is an exhibition about the history and future of the modern garden. The garden is back in the spotlight, not only as an idyllic retreat, but also as a testing ground for new ideas and experiments in biodiversity, social justice and a sustainable future. Garden Futures was previously on show at the Vitra Design Museum.
Exhibition of the film We Have Already Lived Through Our Future-We Just Don’t Remember It (2024) at the Fondazione Antonio Ratti, for the second session of the Permanent Cinema.
On Thursday 21 November at 6:30pm the session will be introduced by Towards a Vegetal Pedagogy, a lecture by Michael Marder, and followed by a conversation between Michael Marder, Uriel Orlow and Lisa Mazza.
Screening of Imibizo Ka Mafavuke at EMAMI Art, Kolkata, in a session focused on films by Swiss artists curated by Damian Christinger and supported by the Swiss Embassy in India & Bhutan at EMAMI Art Experimental FIlm Festival 2024. Screening along side works by Nicole Bachmann, Elodie Pong, Ursula Biemann and Monica Ursina Jäger.
Emami Art Experimental Film Festival (EAEFF) is a platform dedicated to curating and building discourses around alternative and experimental films, videos, and artists’ moving image practices.
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.