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Exhibitions

Digital Ecologies Chapter One | SKLAD and The Ancient Bath, Center of Contemporary Art, Plovdiv

Art Today Association’s project “Digital Ecologies” is an exhibition that, by employing the means of art, is exploring the interaction between electronic technologies and urban environment in its complexity. The project will have two editions in 2018 and in 2019.

Operaismo Naturale: Ecology of the Event (27 July – 31 August 2018, at SKLAD and at Ancient Bath) is an exhibition accompanied by a series of talks, art interferences and performances.

The concept behind the two editions comes from the project curator, Dimitrina Sevova (Switzerland/Bulgaria), in collaboration with Katharina Swoboda (Austria) and Emil Mirazchiev (Bulgaria).


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Subcontracted Nations | A.M. Qattan Foundation, Ramallah​

Subcontracted Nations is a group exhibition that questions differing concepts of nation. In these times, we are seeing major transformations in these concepts through rhetorical and political discourse across many corners of the globe.

The exhibition draws its title from the proliferation of the processes of sub-contracting found in our world today―whether it is the sub-contracting of health services, or the privatisation of public resources including education. These processes have been instrumental in the fragmentation and compartmentalisation of public services and the diminution of the role and obligations of the state.

Another question the exhibition will pose is how the different forms of neoliberal orders in societies are being kept within socially and economically acceptable limits, in a manner considered optimal for preventing dissent and thus serving to maintain the delusion of social agency. The effects of these neoliberal mechanisms have become intrinsically entrenched in the production of day-to-day relationships, from family to sexual relations, to the status of citizenship and the structure of politics. This imposition of neoliberal mechanisms has contributed in numerous ways to the transformation of the individual through reformatory techniques, pre-designed lifestyles, dependency, and so forth.

Curated by Yazid Anani, featuring works by Ahed Izhiman, Ahmed Hamed, Alexandra Handal, Bashar Alhroub, Bashir Makhoul, Bisan Abu Eisheh, Dirar Kalash, Essa Grayeb, Habib Asal, Iyad Issa, Jonas Staal, Jumana Abboud, Khaled Jarrar, Lara Baladi, Larissa Sansour, Majdi Hadid, Manal Mahamid, May Odeh, Mirna Bamieh, Naeem Mohaiemen, Nida Sinnokrot, Noor Abed, Rima Essa, Sarah Beddington, Sliman Mansour, Taysir Batniji, Uriel Orlow, Vera Tamari, Vladimir Tamari, Waseem Fouad, Yazan Khalili and others.

The London Open 2018 | Whitechapel Gallery, London

The London Open 2018 brings together critical and dynamic art that reflects on the experience of living in a global city now. This triennial open submission exhibition features 22 artists working across painting, sculpture, performance and video. With works by Larry Achiampong, Rachel Ara, Gabriella Boyd, Hannah Brown, Rachael Champion, Gary Colclough, George Eksts, Ayan Farah, French & Mottershead, Vikesh Govind, Richard Healy, Des Lawrence, Tom Lock, Céline Manz, Uriel Orlow, Rachel Pimm, Renee So, Alexis Teplin, Elisabeth Tomlinson, Jonathan Trayte, Tom Varley and Andrea Luka Zimmerman.


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Manifesta 12: The Planetary Garden | Palermo

Throughout history, the city of Palermo has been a laboratory for diversity and cross-pollination.  Continuous migration – from the Ancient Greeks, the Arabs and the Normans to the recent arrival from Northern Africa, South East Asia and the Middle East – has constantly redefined the city and its people. Palermo’s streets, architecture, parks, cultural legacy and personal histories are the result of a long-lasting syncretism of cultures across the Mediterranean and beyond.

Manifesta 12 in 2018 will also dialogue with the ephemeral components of Palermo’s life. Honouring the city’s long tradition of storytelling – or canta storie – through a series of new narrative productions about the city’s hidden networks. Recognising Santa Rosalia procession as a territory of contemporary syncretism, dialogue and celebration. Supporting existing initiatives to provide spaces for public hospitality. Mobilising its rich collection of archives to disclose untold stories on the city and its characters.

New commission presented in exhibition curated by Bregtje van der Haak, Andrés Jaque, Ippolito Pestellini Laparelli, and Mirjam Varadinis. Featuring works by Maria Thereza Alves, Jelili Atiku, Coloco & Gilles Clement, Cooking Sections, John Gerrard, Uriel Orlow, Khalil Rabah, Rotor, Marinella Senatore, Giorgio Vasta and others.


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Yinchuan Biennale | MOCA Yinchuan

The second Yinchuan Biennale “Departing from the Desert – Ecology on the Border” is conceived with the aim of measuring itself against a specific geo-historic context, and proposed as a form of minor language within the biennale system, Starting from the Desert seeks to respond to contemporary urgencies (not only in China) by adopting an “archaeological method.”

The Biennale’s framework is articulated over four, interdependent (and often overlapping) thematic areas that, without seeking to limit or circumscribe, attempts to visualize their material and immaterial aspects: Nomadic Space and Rural Space, Labor-in-Nature and Nature-in-Labor, The Voice and The Book, Minorities and Multiplicity .

Curated by Marco Scotini, with Andris Brinkmanis, Paolo Caffoni, Zasha Colah, and Lu Xinghua. With works by over 80 artists including Can Altay, Said Atabekov, Erick Beltrán, Alighiero Boetti, Filipa César, Emory Douglas, Duan Zengqu, Miriam Ghani, Raphaël Grisey, Silima Hashimi, Kiluanji Kia Henda, Hiwa K, Li Fenglen, Liu Ding, Adrien Missika, Pedro Neves Marques, Uriel Orlow, Kyong Park, Marjetica Potrč, Song Dong, Zheng Bo and others.


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Infected Landscapes | M.1 Hohenlockstedt

Landscapes hint at demarcations and serve communities; are depositories of memories and states of being that allow us to make conclusions about the past and assumptions about the future; and are run through with or even constructed by computing and biochemical processes. Landscapes prompt desire and yearning. They provide an image both diffusely beautiful and alluringly disturbing. Landscapes and the shifts that occur therein foster critical reflection on the so-called anthropocene as well as observations on interaction between human and non-human players. The term landscape designates both a spatial situation and a symbolic construct; and each carries traces of multifaceted aesthetic, cultural, territorial, capitalised and subjective inscriptions. Landscapes have different effects depending on their context.

The artists’ contributions to the symposium and exhibition are a lens through which we will collectively review these constructs and discuss the extent to which we might consider landscapes to be impure and infected.

Curated by Joerg Franzbecker, featuring works by Filipa Cesar & Louis Henderson, Esther Kinsky, knowbotiq, The Many Headed Hydra, Elke Marhöfer & Mykhail Lylov, Uriel Orlow, Nguyen Trinh Thi, Sandra Schäfer, Kerstin Schroedinger, Virgilijus Šonta, Vangjush Vellahu, and Gitte Villesen.


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The Battle of Coal | Sculpture Museum Glaskasten Marl

The Sculpture Museum Glaskasten Marl includes sculpture, video and sound art, which are also reflected in the exhibition. Two plants are to be newly produced for the exhibition with a special focus on the situation of the coal mining site Marl and the Ruhr area.

Denise Ritter will record noises underground and use them to create an electroacoustic sound installation. Another site-specific video work will also address the specific conditions and phenomena of coal mining. Jeremy Deller’s video work The Battle of Orgrave is a reflected re-enactment of the heated situation at the end of coal mining in England in the late 1980s. This emotionally highly charged work reflects the economic and social contradictions of Margret Thatcher’s politics, which show a clear contrast in comparison with the development in Germany. Steve McQueen has created a video that also causes a strong physical presence in the viewer: The mining journey of black African miners in 3. 000m depth is set in its tormenting physical urgency in the picture. Coleen Alborough has created a relief-like installation that conveys an imaginative picture of South African coal mining in small scale, which also allows a comparison to the situation of the now-ending coal mining in Germany. This work is supplemented with an abstract black and white video. The more or less conventional, metal worker sculptures from the collection of Werner Bibl form the plastic counterpart and frame to the virtual media. which also allows a comparison to the situation of the now-ending coal mining in Germany. This work is supplemented with an abstract black and white video. The more or less conventional, metal worker sculptures from the collection of Werner Bibl form the plastic counterpart and frame to the virtual media. which also allows a comparison to the situation of the now-ending coal mining in Germany. This work is supplemented with an abstract black and white video. The more or less conventional, metal worker sculptures from the collection of Werner Bibl form the plastic counterpart and frame to the virtual media.


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Theatrum Botanicum | Kunsthalle Sankt Gallen

In his research-based and process-oriented artistic practice Uriel Orlow is concerned with spatial manifestations of memory and blind spots in history. At Kunst Halle Sankt Gallen Orlow is presenting his ongoing research project Theatrum Botanicum (2015–2017). The large-scale work series sees the botanical world as a stage for politics. From the viewpoints of South Africa and Europe the project shows plants as witnesses and actors in history, as dynamic agents which combine nature and humanity, rural and cosmopolitan medicine, tradition and modernity — through various geographies, histories and knowledge systems. Videos, sound works, photographs and installations illuminate botanical nationalism and other legacies of colonialism, plant migration and invasion, bio-piracy, flower diplomacy under apartheid, the role of the classification and naming of plants along with the garden planted by Mandela and his fellow inmates in Robben Island prison.


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Imbizo ka Mafavuke / Mafavuke’s Tribunal | The Edge, University of Bath

Imbizo Ka Mafavuke / Mafavuke’sTribunal, (2017) is an experimental documentary set at the edge of a nature reserve in Johannesburg. A kind of Brechtian ‘Lehrstück’, the film shows the preparations for a people’s tribunal where traditional healers, activists and lawyers come together to discuss indigenous knowledge and bio-prospecting. The protagonists in the film slip into different roles and make use of real-world cases involving multinational pharmaceuticals scouting in indigenous communities for the next wonder drug. Ghosts of colonial explorers, botanists and judges observe the proceedings.

Imbizo Ka Mafavuke / Mafavuke’s Tribunal is part of Orlow’s major new body of work and ongoing research called Theatrum Botanicum, which looks to the botanical world as a stage for politics at large through film, photography, installation and sound.

Orlow’s film installation at The Andrew Brownsword Galleries also includes film Muthi, and sound work What Plants Were Called Before They Had a Name (2016).

Muthi (2016-17), 17’00” takes us to South Africa where the artist documents the infrastructure around traditional herbal practices in Johannesburg, the Western Cape and Kwazulu-Natal. Muthi is a comment on value and practice, whilst touching on the wider issues of the loss of indigenous knowledge and tradition, in the presence of modernity.

Orlow’s sound installation What Plants Were Called Before They Had a Name (2016) re-creates an oral dictionary of plant names in a dozen South African languages, not only restituting audibility but also spirituality.


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Plant Echoes | Galleria Laveronica, Modica

In this exhibition, Orlow’s interest in how colonialist categorisation expunges indigenous systems of knowledge and belonging, took him to South Africa. Here, he found that not only did the British and Dutch re-name indigenous plants and try to eradicate as dangerous the use of herbal remedies, they also imported 9000 different exotic plants, many of which choked local flora. Orlow’s extraordinary new body of work uses plants as a potent lens through which to explore the socio-political, economic and spiritual ramifications of colonialisation.

Orlow focuses on the important role of medicinal herbs or ‘muthi’ in South African culture, with 60% of the population consulting a healer, who can choose from over 3000 plant species. With European pharmaceuticals exploiting the market for ’natural’ cures, a new front has opened in the contest of who owns what the land grows, has always grown. In ‘What Plants Were Called Before They Had A Name’ (2015-ongoing), male, female and collective voices recite the names of native plants in ten African languages, from isiZulu and SePedi to isiXhosa and Khoi, which had no legitimacy under a Latin taxonomy. ‘Language relates to politics,’ says Orlow, ‘and plant classification can be a form of epistemic violence’ In this sense, the surround sound audio piece acts as a restorative and moving oral dictionary.

‘Echoes’ (2017) is a series of photographs of dried brown sap stains on protective paper from botanical repositories in South African herbaria which date back to the colonial era of exploration. The tracings tell nothing of the traditional names or uses of the plants and highlight the imposition of a one-dimensional classification system that was revered as objective and unrivalled. It’s difficult to look at these frail residues, which contrast the tending delicacy of the botanists working amidst the cruel and murderous savagery of apartheid and colonialism before.

‘The Fairest Heritage’ (2016-17), poignantly intercepts a version of history. During his research, Orlow discovered a film made in 1963 to celebrate the 50th anniversary of Kirstenbosch, the national botanical gardens of South Africa. Only three years after the Sharpeville Massacre and a year before Mandela’s incarceration for life on Robben Island, fifty international botanists toured South Africa, in a whites-only garden party. Orlow invited an African actor, Lindiwe Matshikiza, to interact with the projected images, delivering an elegantly silent addendum to the past, when the trade in exotic flowers evaded the boycott of South African goods till the late 1980s.

In this show, Orlow continues and develops his sensitive and pertinent re-working of histories, staging old documents in new settings, giving voice to those who have been muted to reconsider how agency can be re-enforced by art.

On 31. March at 14:45 there will be a film screening followed by a conversation between Uriel Orlow and Gabi Scardi at Cinema Aurora, Modica.


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Geometries | Locus / Agricultural University of Athens

A walk through the grounds will be both a visual and discursive feast as in parallel with the exhibition framework a parallel program activating different layers and sites of academic life will sow and reap knowledge throughout the exhibitions’ three-month cycle. Soil, food, seeds, eco-systems will be some of the vital bi-products of research into the primary materials on hand. Academic knowledge, technological methodologies, agricultural practices will be understood through the prism of contemporary art for the artists who have been invited to contemplate and create new landscapes in the University’s environment.
Curated by locus athens (Maria-Thalia Carras and Olga Hatzidaki)
Featuring works by AREA (Architecture Research Athens), Paky Vlassopoulou, Marios Desillas & Georgia Ntousikou / Soil School, Céline Condorelli, Cevdet Erek, Faye Zika, Athina Ioannou, Kassandras, Troō Food Liberation, Giannis Manetas, Natassa Biza, Marjetica Potrč & Valentina Karga, To Peliti, Didem Pekün, Javier Rodriguez/Standart Thinking, Thanasis Totsikas, κ.ά.

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Healing | Czech Centre, Berlin

The exhibition Healing (Healing in the active and passive sense of the word) is based on the fact that personal health and a healthy way of life in today’s society (above all, but not only in the western world) is such a highly valued asset. that the pursuit of health sometimes seems almost cultic. The definition of “being healthy” is different in different cultures, and the healing methods and procedures are different.

Medicine, healing and therapy will be addressed, taking into account the existence of certain tensions and paradoxes: be they interfaces between rationality and belief, between science and magic, between healing applications and rituals, or between natural and artificial substances or aids. In today’s globalized world, it is often not easy to draw a clear line between what is modern and progressive (qualities that we can associate with the development of technologies, science, chemistry, etc.) and what is in essence originated in a long tradition (which in turn is based on inherited knowledge, natural sources, but also on collective rituals and non-rational beliefs).

From the perspective of contemporary art, the exhibition as a whole intends to present various current perspectives on the topic of healing and health, thus placing the complex of issues in broader social, political and economic contexts. The fact that the exhibition builds on the tension between rational and irrational aspects of healing is a consequence of her concern to point out the close connection between these opposing aspects, which in the final analysis can not be separated.

The exhibition is organized by the Jindřich-Chalupecký-Gesellschaft and presents mainly young Czech artists in an international context, among them also selected winners and finalists of the Jindřich-Chalupecký Prize.

Curated by Tereza Jindrová

Exhibiting artists: Jana Doležalová, Marco Donnarumma, Romana Drdova, Jakub Jansa, Barbora Kleinhamplová, Martin Kohout, Uriel Orlov, Johana Střížková, Miroslava Večeřová & Pavel Příkaský


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There Will Come Soft Rains | Basis-Frankfurt

Group exhibition curated by Stefan Vicedom and Bernard Vienat with works by: Marcela Armas, Hicham Berrada, Carolina Caycedo, Julian Charrière, Andreas Greiner & Tyler Friedman, Galina Loonova, Uriel Orlow, Mario Pfeifer , Superflex, Jeronimo Voss, Pinar Yoldas

For modern people, the experience of certain scenarios often proves to be an effective medium for opening new perspectives on themselves and their present. Following on from this, the exhibition explores a special context of experience by initiating a fictional journey through time. A group of international artists enter the year 2318, where they encounter a new world without human species. Fundamental questions on dealing with our environment, the relationship between art and science as well as the late capitalist self-understanding of the human being form recurring moments of the artistic argument within the exhibition.


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What Plants Were Called Before They Had a Name | PAV Parco Arte Vivente, Turin

As Michel Foucault says, “the theory of natural history can not be dissociated from that of language.” In any culture, naming things means dominating them, as in law, the legal act of naming is an exclusive prerogative of the person who has power over it. This solo exhibition take shape from the artist’s research between Europe and South Africa. European colonialism was preceded and flanked by important botanical expeditions. The aim was to explore and classify the new territories and their natural resources, thus paving the way for employment and exploitation. Through films, photographs, installations and sound projects, the artist outlines a scenario that focuses on the idea of ​​the botanical world as a stage for complex and articulate political dynamics.

Curated by Marco Scotini


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In the Peaceful Dome | Bluecoat, Liverpool

In the Peaceful Dome is themed around transformation and continuity, time and time travel, and the intersection of the past and the future. The show will attempt to trace within this accumulation of history a continuum across time as culture shifts and the building itself undergoes profound change.  It raises questions about how the past informs the future and how art and arts venues might adopt a more civic role.

Including works by Roderick Bisson, Sean Borodale, Fanny Calder, Edward Carter Preston, Julia Carter Preston, Dan Coopey, Philip Courtenay & Yellow House, John Davies, Jacob Epstein, Edgar Grosvenor, The Grantchester Pottery, Janet Hodgson, Nathan Jones & Scott Spencer, Juniper Press, Sumuyya Khader, Donald Lynch, Joanne Masding, Syd Merrills, Grace Ndiritu, Uriel Orlow, William C. Penn, Jo Stockham, and Edmund Tan.


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Solo Exhibition | Theatrum Botanicum: The Memory of Trees | Parc Saint Léger, France

This solo exhibition looks at the history of South Africa, from the first wave of colonization by the Dutch and the British to the apartheid regime and contemporary society. From the dual point of view of Europe and South Africa, the artist explores the links between plant ecology and the construction of national identity. Plants here assume the roles of actors, witnesses or instruments working for the organization of space, the delimitation of borders and, consequently, the establishment of territories. This botanical universe thus makes it possible to reveal or re-evaluate political, social, economic, but also spiritual narratives.

If the whole project is anchored in the context of South Africa, its scope is more general, since through these studies of botany, Uriel Orlow tells us about the migratory flows, hybridization, and the relative purity of species.

Curated by Catherine Pavlovic.


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Stealing from the West | The Academy of the Arts of the World, Cologne

Cultural appropriation has recently become the subject of heated debate. What was not long ago considered a purely aesthetic, vaguely postmodern, individualistic device of translation is suddenly revealed in its frightening political-economic dimension of exploitation and profit. This exhibition seeks to show another side of this story overshadowed by current discussions: the strategy of cultural counter-appropriation used by the underprivileged. The thieves, counterfeiters, and resistant appropriators in the exhibition show that “stealing from the West” is a potent tool of cultural resistance and an instrument of postcolonial retaliation.

Curated by Ekaterina Degot, David Riff, Aneta Rostkowska, including works by Lawrence Abu Hamdan, Yuri Albert, Kader Attia, Younes Baba-Ali, Ines Doujak, Tom Gould, Ramon Haze, Uriel Orlow, Gosha Rubchinskiy, and Ulay.


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7th Moscow International Biennale of Contemporary Art | New State Tretyakov Gallery, Moscow

The 7th Moscow International Biennale of Contemporary Art, entitled Clouds⇄Forests, is a proposition at a time of crisis to instigate the establishment of new relationships in our world. This proposition will be proposed by the artists and creators called ”Creative Tribes”, who gather in different sites all over the world, do not feel restricted to the notion of nation state and also surmount the dichotomy between globalism and localism. Curated by Yuko Hasegawa, including works by 52 artists from 25 countries.


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The Materiality of the Invisible | Bureau Europa, Maastricht

This exhibition sees contemporary art as a form of archeology: new and strange worlds are exposed by spitting in reality and underlying layers of our social, social and political reality. In discoveries, stories and installations, artists bring possible versions of the past and the future, in which the present is peeled into layers. Thus, they offer us new insights into our own reality and also make them visible what lives in the imagination.

The exhibition includes works from Lida Abdul, Sema Bekirovic, Rosella Biscotti, Marinus Boezem, Lonnie van Brummelen & Siebren de Haan, Mikhail Karikis & Uriel Orlow, Daniel Knorr, Jeroen Kooijmans, Irene, Kopelman, Guiseppe Licari, Chaim van Luit, Mark Manders, Alice Miceli, RAAF , Raewyn Martyn, Stephanie Saade, Fernando Sanchez Castillo, Oscar Santillan, Daniel Silver, Studio Ossidiana, Marjan Teeuwen, Leonid Tsetkov, Maarten Vanden Eynde, Roy Villevoye & Jan Dietvorst, Matthew C. Wilson, Martin Westwood and Joey Bryniarska.


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