What kind of times are these, when a conversation about trees is almost a crime, solo show by Uriel Orlow, curated by Gabi Scardi, at Laveronica, Modica.
Ground Zero takes the ground as its starting point—a place where memories are inscribed, narratives are brought to life, and new beginnings are envisioned. The works invite a sensitive and critical examination of historical legacies, social and ecological issues, and the possibilities for transformation, suggesting a space for reflection, regeneration, and collective creation.
Group exhibition curated by Black Atlas, with works by Catarina Leitão, Cristina Ataíde, Jermay Michael Gabriel, Marcelo Moscheta, Mónica de Miranda, Nii Obodai, Nithya Iyer, Susana Anángua, Marta Machado and Sofia Yala
In 1951, the Festival of Britain acted as a beacon of post-war hope, launching a landmark touring exhibition that brought world-class art to local museums and art centres across the UK. Seventy-five years later, Hayward Gallery Touring honours this legacy with Small Wonders: Reimagining British Art, a contemporary reimagining of that original vision.
The exhibition brings together 50 acclaimed artists who have participated in the British Art Show – the UK’s definitive five-year curated survey of contemporary art – since its inception in 1979. Taking inspiration from Marcel Duchamp’s Boîte-en-valise – a “portable museum” contained within a suitcase – each artist has created a new, small-scale work that responds to their original British Art Show presentation. The result is a condensed yet expansive overview of a half-century of British art history.
With works by Abake, Tomma Abts, Caroline Achaintre, Simeon Barclay, Zarina Bhimji, Kathrin Böhm, Frank Bowling, Pablo Bronstein, Andrea Büttner, Varda Caivano, Ergin Çavuşoğlu, Michael Craig-Martin, Nicholas Deshayes, Mandy El-Sayegh, Doug Fishbone, Martino Gamper, and many others.
Uriel Orlow is presenting Mangoes of Goan Origin (An Archive) as part of the group show Mangoes and Meaning: Histories, Ecologies and Cultural Imagination at Museum of Goa.
Expect to encounter the mango in ways you may not have before. After all, this isn’t just any fruit-it’s aam, the common thread that connects us all. This exhibition brings together personal, cultural, ecological, and communal perspectives, reflecting on what it means to grow a mango, to sit in the shade of its tree, to share it with neighbours, and to spend long summers in its presence. The exhibition explores how this fruit becomes a symbol of place, of season, and of belonging.
Uriel Orlow is invited to the 61st International Art Exhibition of La Biennale di Venezia by Koyo Kouoh.
With the support of Pro-Helvetia, Calouste Gulbenkian Foundation and CREAM.
Ground Zero takes the ground as its starting point—a place where memories are inscribed, narratives are brought to life, and new beginnings are envisioned. The works invite a sensitive and critical examination of historical legacies, social and ecological issues, and the possibilities for transformation, suggesting a space for reflection, regeneration, and collective creation.
Group exhibition curated by Black Atlas, with works by Catarina Leitão, Cristina Ataíde, Jermay Michael Gabriel, Marcelo Moscheta, Mónica de Miranda, Nii Obodai, Nithya Iyer, Susana Anángua, Marta Machado and Sofia Yala
Uriel Orlow is presenting a new commission in the group show Materials and Makers: Goa Past and Present, at Sunaparanta, in Goa. The exhibition is curated by Leandre D’Souza with Kelli Wood.
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.
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.
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.
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.
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.