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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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Leave no Stone unturned | Le Cube, Rabat

Leave No Stone Unturned [Remuer la terre] is a collective exhibition, curated by Clelia Coussonnet, that highlights the links between plants and politics in Morocco and other countries of the global South, while rejecting the idea that nature is ornamental and neutral. By scratching the visible surface to plunge into the interstices and gaps of history, the selected works show plants are intertwined in power networks and suffer from the paradox of being knowledge resources simultaneously accessible and subjected to processes of invisibility. While human impact on climate and environmental change is increasingly discussed in public and scientific debates, still few institutions and individuals explore in depth the largely underestimated relations between plants and politics. Flora is indeed an actor, a pawn and a witness of History, revealing narratives forgotten and eluded by official history’s records.


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Conversing with Leaves | Kunsthalle Mainz

Conversing with Leaves at Kunsthalle Mainz

A survey exhibition which brings together Theatrum Botanicum, Soil Affinities, Wishing Trees and Learning from Plants. Trees as actors in history, the migration of flowers, and medicinal plants testifying to neo-extractivism – these are some of the themes that Uriel Orlow pursues in his research-based art. Concrete circumstances and developments invariably form the basis of his multi-layered, multi-media works. In recent years his attention has mainly focused on entanglements between the African continent and Europe. Plants are both the narrators and protagonists here, anchoring all the events in the present day. For his solo show at Kunsthalle Mainz the artist has developed a route through the exhibition that takes visitors room by room from the origins of colonialism via the anti-apartheid movement through to contemporary concerns.


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The Twin | Coventry Biennial

Works by Art & Language, Jordan Baseman, Paul Chan & Badlands Unlimited, Matthew Darbyshire, Joseph DeLappe, Lisa Denyer, Jacqueline Donachie, Caitriona Dunnett, Lawrence Abu Hamdan, Mona Hatoum, Juneau Projects, Navi Kaur, Smirna Kulenović, Uriel Orlow, Lis Rhodes, Shirana Shahbazi, Larissa Shaw, Thomson & Craighead and others.


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Soil is an Inscribed Body | Savvy Contemporary, Berlin

Soil is an Inscribed Body: On Sovereignty, Agropoetics and Struggles for Liberations is a project examining both the anti-colonial struggles of the past and the current land conflicts across the world to resist the invasiveness of neo-agro-colonialism and its extractivist logic. Curated by Elena Agudio and Marleen Boschen with works by Marwa Arsanios, Filipa César, Hassan Darsi, Raphaël GriseyLeone Contini, Julia Mensch, Pedro Neves Marques and Uriel Orlow.


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Garden of Earthly Delights | Gropius Bau, Berlin

In this large-scale group exhibition, artists including Pipilotti Rist, Rashid Johnson, Maria Thereza Alves, Uriel Orlow, Jumana Manna, Taro Shinoda and Heather Phillipson interpret the motif of the garden as a metaphor for the state of the world and as a poetic expression to explore the complexities of our increasingly precarious world. Their artworks open up a wider discourse on social, political and ecological phenomena, such as migration, gentrification and gender politics. In addition to common understanding of the garden as a place of yearning full of meditative, spiritual and philosophical possibilities, the exhibition will tread the line between reality and fantasy, harmony and chaos, beauty and exile.

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Fragile Earth | MIMA, Middlesborough

MIMA’s summer exhibition presents artistic responses to current urgencies around ecological change. Works by Maria Thereza Alves, Zheng Bo, Allan Sekula and Noël Burch, Miriam de Búrca, Laura Harrington, Andy Holden, David Lisser, Shahar Livne, Anne Vibeke Mou, Otobong Nkanga, Uriel Orlow, Faiza Ahmad Khan and Hanna Rullman, Zina Saro-Wiwa, Cooking Sections, Mierle Laderman Ukeles, Diane Watson, Wayward.

 


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