Exhibition curated by Katya Garcia Anton with Ayreen Anastas/René Gabri/François Bucher, Petra Bauer/Dan Kidner, Ursula Bieman, Jan Peter Hammer, Maria Iorio/Raphaël Cuomo, Angela Melitopoulos, Mara Montoya, Uriel Orlow The Otolith Group, Marco Poloni, Jozef Robakowski, Azucena Rodriguez and John Smith.
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.