External Link →
Geometries | Locus / Agricultural University of Athens
External Link →
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 premiere of Orlow’s new film Imbizo Ka Mafavuke (Mafavuke’s Tribunal), will be followed by a discussion between Uriel Orlow, Emily Pethick and Shela Sheikh and the launch of Theatrum Botanicum, published by Sternberg Press, with contributions by Sita Balani, Melanie Boehie, Clelia Coussonet, Karen Flint, Jason Irving, Nomusa Makhubu, Bettina Malcomess, Karin van Marle, Khadija von Zinnenburg Carroll, designed by In the shade of a tree (Samuel Bonnet, Sophie Demay, and Maël Fournier-Comte).
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.
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.
The second Yinchuan Biennale “Departing from the Desert – Ecology on the Border” will be opened at the Yinchuan Museum of Contemporary Art on June 9, 2018. This year’s Yinchuan Biennale invited Italian curator Marco Scotini as the chief curator. The curatorial team was composed of Andris Brinkmanis and Paul Kafani. (Paolo Caffoni), Zasha Colah, and Lu Xinghua.
The idea of “departing from the desert—ecology on the border” aims to measure itself in the established geo-historical context. The purpose is to present itself as a weak language (Delez) within the biennial system and pass it. The Archeology of Knowledge (Foucault) method responds to the urgency of the contemporary world (not only China).
Curated by Marco Scotini, with Andris Brinkmanis and Paul Kafanim 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.
The films presented here, chosen from those exhibited at the Parco Arte Vivente in the last two years, investigate the antagonistic relationship between environmental activism and neoliberal policies on a global scale. Policies that, in spite of the imminent depletion of fossil fuels, continue to devastate vast areas of the planet, replicating exploitative practices that constitute a new colonialism and acting to the detriment of the dignity à and the rights of indigenous peoples of the North and South of the world .
Uriel Orlow’s films Imbizo Ka Mafavuke and The Crown Against Mafavuke are screened alongside works by Pedro Neves Marques, Oliver Ressler, Ursula Biemann and Paulo Tavares, curated by PAV Turin.
The question of the restitution of patrimonial objects is currently hotly debated in a world which is a return to the European colonial past and which questions the origin of extra-European objects torn from their original context, as well as their exposure patterns in the West. Director Susan Vogel , an expert on African art, recounts the fast-paced and tragically burlesque journey of a Fang statuette through the 20th century, since its delivery to the West. In his film The Visitor (2007), the Swiss artistUriel Orlow goes to meet Oba Erediauwa, then king of Benin, to question him on the need to repatriate or not the famous bronzes of Benin preserved in the British Museum. Finally, the Senegalese videographerFatou Kandé Senghor films a Casamance artist-ceramist, Seni Camara, whose ancestral know-how is threatened with extinction.These different films help to question the fate and transmission of confiscated objects, all too often dedicated to museification alone.
Uriel Orlow’s film The Visitor is screened alongside Fatou Kande Senghor’s work Giving Birth, and Susan Vogel’s film, Fang: An Epic Journey, followed by an in-conversation with curator Alicia Knock
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.
Inspired by Tarek Atoui’s current exhibition The Ground: From the Land to the Sea at NTU CCA Singapore, this screening series features artist videos, documentaries, and filmic essays that examine how the image and the sonic create immersive ways for multiple sensorial elements to come together and form a singular space. Maybe I hadn’t been paying attention is further guided by the Centre’s overarching research topic CLIMATES. HABITATS. ENVIRONMENTS. by focusing on artistic interpretations that reflect our present-day ecology, bringing attention to global issues we tend to overlook, and by observing how we navigate different environments, particularly through aural perception.
The screening series features works by Robert Ashley (United States), Lawrence Abu Hamdan (Jordan/Lebanon), Melanie Bonajo (Netherlands/United States), Camille Henrot (France/United States), Alison O’Daniel (United States), Uriel Orlow (Switzerland/United Kingdom), Simon Ripoll-Hurier (France), Ben Russell (United States), and Nico Vascellari (Italy).
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.