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Exhibitions

27 Mar ’18 – 15 Jun ’18

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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22 Feb ’18 – 12 Apr ’18

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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16 Feb ’18 – 15 Apr ’18

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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4 Nov ’17 – 17 Mar ’18

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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13 Oct ’17 – 25 Mar ’18

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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24 Sep ’17 – 10 Dec ’17

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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20 Sep ’17 – 10 Dec ’17

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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18 Sep ’17 – 18 Jan ’18

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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29 Aug ’17 – 29 Nov ’17

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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3 Aug ’17 – 15 Oct ’17

Summer of Love | Art Space Pythagorion, Samos

The exhibition borrows its title from the sociocultural phenomenon that took place fifty years ago in the summer of 1967. While in Europe 1968 might have more of a legendary status due to the student uprisings in Paris and the Prague ‘Spring’, 1967 was in many ways a more seminal year in terms of geopolitical, cultural and intellectual developments. It was the year of the Six-Day War, which irrevocably changed the landscape in the Middle East; the effects of this are still being felt today. In Greece it was the year that marked the beginning of the seven-year military dictatorship. Ironically, it was also the year that the UK applied for EEC membership. In the US, 1967 also saw the first major political protests by young people against the war in Vietnam. At the same time the outburst of new popular and subcultural music was also one of the defining features of the ‘Summer of Love’.

The exhibition Summer of Love will reflect on the unlikely liaison of love and politics, connecting the summer of 1967 to the world in 2017, where the idea of love – at least in intellectual but also political circles – is dismissed as naïve and sentimental. It is a mystery why, since love is one of the most potent – and complex – forces of human life. The exhibition Summer of Love will draw on these ideas and weave a web of cultural and historic reference points in order to link the ideas of fifty years ago to the present European crisis point, and perhaps inspire us to imagine a way out of the current political impasse. It is an opportune moment to do this. Fifty years have gone by; the postwar baby boomers are ageing and dying, and their youthful ideals have largely died out. We might ask: what went wrong, when and why? What lessons can we learn? Should we rethink these ideals? Can we learn from the experiences and disappointments of the generation of 1967? In a world that rapidly seems regressing, it is time for checks and balances in order to learn from history and to avoid making the same mistakes again.

Including works by Nicolas Kozakis, Raoul Vaneigem, Johan Grimponprez, Mikhail Karikis, Mäetamm, Uriel Orlow, and Marge Monko.

Curated by Katerina Gregos

 


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28 Jul ’17 – 22 Oct ’17

Propositions for a Stage: 24 Frames of a Beautiful Heaven | Institute of Contemporary Arts, Singapore

Propositions for a stage: 24 frames of a beautiful heaven looks to the limits of time and the possibilities for time’s staging. Here the idea of ‘staging’ refers both to artists’ use of performance and questions of time as haunting, as stasis, as a looping repetition. This experience of time is most familiar to us through its presentation in forms of theatre and, most particularly, film, where the mechanical structure of analogue film suggests the idea of both continuous and discontinuous temporalities. The stage, set and scene provide us with a space-time apart from the everyday: a speculative world. If we think of the filmstrip as a series of discrete frames that might be chopped up, rearranged and layered then time might not always run forward but instead be characterised by stops and breaks where the past leaks into the present and the future.

Curated by Dr. Bridget Crone, including works by Amanda Beech, Zach Blas, Rabih Mroué, Uriel Orlow and Ming Wong.


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7 Jul ’17 – 13 Nov ’17

Document Bilingue | Mucem, Marseille

Following the residencies and preparatory workshops that began in 2015, artists and researchers are presenting an unprecedented rousing of the Mucem’s collections through Bilingual document: a dual exhibition presented at Fort SaintJean and the Centre for Conservation and Resources, featuring a sound walk that links the two sites and a book.

The Mucem houses in its reserves the collections from the former Musée National des Arts et Traditions Populaires, created in 1937 by Georges Henri Rivière. Artisanal or preindustrial vestiges of a bygone era, the objects assembled here are the bounty of methodical collections conducted during field surveys, enriched by objects acquired since the opening of the museum. The question of the dual nature of the object, split between popular art and scientific discourse, was at the heart of Rivière’s project. But what about these collections now dormant in the Mucem’s reserves? An uneasy feeling seizes visitors at the sight of these curious and sometimes obsolete time capsules. While a few objects may be called upon for a specific exhibition, how can we mobiliser the collection in a more general way within the framework of a museum of civilisation? How can we activate a document, even make it perform, by reflecting its bilingual nature: an object with an aesthetic or poetic status, while also testifying to its ethnographic value? Could art be, paradoxically, the way of reviving these trophies?

Including works by Jean-François Chougnet, Yo Barrada, Omar Berrada and M’barek Bouhchichi, Jean-Roch Bouiller, Marie-Charlotte Calafat, Erik Bullot, Sabrina Grassi, Yaël Kreplak, Franck Leibovici, Florent Molle, Uriel Orlow, Abril Padilla and Pascal Riviale.

Curated by Sabrina Grassi and Guest Curator Erik Bullot


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20 May ’17 – 28 May ’17

VIDEOEX Festival | Zürich

VIDEOEX is the only festival in Switzerland that explicitly devotes itself to experimental film and video production and presents it in a cinematographic framework.
For nine days VIDEOEX presents refreshing, uncompromising, great, ingeniously simple and exhilaratingly complex experimental films and videos: works beyond the conventional narrative cinema.

Festival Director Patrick Huber


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11 May ’17 – 16 May ’17

The International Short Film Festival Oberhausen | Oberhausen, Germany

In its 2017 Theme programme the International Short Film Festival Oberhausen looks at the history of utopian hope universally pronounced to be dead in our present day and age

“Why we’re losing the Internet to the culture of hate”, the cover of the August 2016 issue of Time magazine read. Ever since Donald Trump won the US elections, the prevalent topic of discussion is whether the internet is a failed utopia. But exactly what kind of utopia is this and what types of participatory media existed before the internet? In its Theme programme ‘Social media before the internet’, curated by Tilman Baumgärtel, Oberhausen will look at pre-digital forms of media by everyone for everyone and ask whether current developments were already foreshadowed in the early media experiments and what these can contribute to a re-assessment of our current situation.

Curated by Tilman Baumgärtel, including works by Yi Cui, Chai Siris, Zhong Su, Ayo Akingbade, Amber Bemak, Nadia Granados, Boris Poljak, Ivan Jose Murgic Capriotti, Sofia Lena Monardo, Zhong Su, Ico Costa, Hao Jingban, Philippa Ndisi-Herrmann, Katie Davies, Jovana Reisinger, Ulu Braun, Laurentia Genske, Uriel Orlow, Tim Nowitzki, Kerstin Honeit, Markus Mischkowski, Kai Maria Steinkühler, Moïra Himmelsbach, Eszter Jánka, Dean Ruddock, Aude Cuenod, Martin Turk, John Sheedy, Antoneta Kusijanović, Naghmeh Farzaneh, Claire Randall, Egil Pedersen, Christoph Girardet, DJ Hell, Zeljko Vidovic, and Mariola Brillowska


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10 Mar ’17 – 12 Jun ’17

Sharjah Biennial 13: Tamawuj | Sharjah Art Foundation, Sharjah

The thematic focus of SB13 is grounded in the four keywords water, crops, earth and culinary, which form the foundations of social interaction and exchange. Just as the thematic keywords are porous and feed into one another, SB13 places researchers and interlocutors in conversation with one another, and with Sharjah. Its multi-city, multi-part programmes are envisaged as infrastructures to channel knowledge transmission and information sharing between artists, curators, editors, researchers and the general public. This fluidity of knowledge irrigates new, enduring terrains of collaboration and references the threefold meaning of Tamawuj: a rising and falling in waves; a flowing, swelling, surging or fluctuation; and a wavy, undulating appearance, outline or form.

Sharjah Art Foundation (SAF) is pleased to announce the list of over 60 artists participating in Act I of the forthcoming Sharjah Biennial 13, Tamawuj (SB13):

Noor Abuarafeh, Lawrence Abu Hamdan, Abbas Akhavan, Tamara Al Samerraei, Allora & Calzadilla, Maria Thereza Alves, Kader Attia, Tonico Lemos Auad, Ismaï l Bahri, Sarnath Banerjee, Yto Barrada, Abdelkader Benchamma, Ursula Biemann and Paulo Tavares, Dineo Seshee Bopape, Jonathas de Andrade, Mariana Castillo Deball, Roy Dib, Vikram Divecha, Barış Doğrusöz, Koo Donghee, İ nci Eviner, Em’kal Eyongakpa, Harun Farocki, Fehras Publishing Practices, Future Farmers, Daniele Genadry, Deniz Gul, Shadi Habib Allah, Taloi Havini, Takashi Ishida, İz Öztat and Fatma Belkıs Işık, Lamia Joreige, Christoph Keller, Samir Khaddaj, Mahmoud Khaled, Nesrine Khodr, Basim Magdy, Metahaven, Hind Mezaina, Mochu, Oscar Murillo, Joe Namy, Uriel Orlow, The Otolith Group, Christodoulos Panayiotou, Khalil Rabah, Raqs Media Collective, Stéphanie Saadé, Abdullah Al Saadi, Natascha Sadr Haghighian, Ghassan Salhab, Roy Samaha, Massinissa Selmani, Setareh Shahbazi, Nida Sinnokrot, Walid Siti, Monika Sosnowska, Zhou Tao, Mario Garcí a Torres, Jorinde Voigt, James Webb, Rain Wu and Eric Chen, Paola Yacoub, Fathi Zamroud

Sharjah Biennial 13 is curated by Christine Tohme


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9 Nov ’16 – 29 Jan ’17

belong and observe | FMAC, Geneva

Group exhibition curated by Bénédicte Le Pimpec and Isaline Vuille with Sylvie Boisseau & Frank Westermeyer, Christoph Draeger, Christy Gast, Alexandra Navratil, Uriel Orlow, Jean Painlevé. From Tierra del Fuego to South Africa by way of Germany, belong and observe – or how to belong to the world while being capable of observing it – presents a selection of works which question the links between living beings and their territories.


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