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Icone Vegetali: Arte e Botanica nel Secolo XXI | Museo Villa dei Cedri, Bellinzona
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Group exhibition curated by Adwait Singh with works by Abdessamad El Montassir, Almagul Menlibayeva, Asunción Molinos Gordo, Bhagwati Prasad, Bouba Touré with Raphaël Grisey, Deniz Uster with Burcu Yağcıoğlu, Bint Mbareh, E.B. Itso, Fatoş Irwen, Gülsün Karamustafa, İpek Hamzaoğlu, Jonas Staal, Kamen Stoyanov, Karan Shrestha, Kathyayini Dash, Lara Ögel, Marwa Arsanios, Merve Ünsal, Mikhail Karikis, Nandita Kumar, Neda Saeedi, Nejbir Erkol, Ömer Pekin, Rakhi Peswani, Ritu Sarin and Tenzing Sonam, Sasha Huber, Selma Gürbüz , Server Demirtaş, Sibel Horada, Thukral and Tagra, Uriel Orlow, Zahra Malkani.
With a focus on the Levant — the cradle of civilisation — and its allied geographies along the ancient silk route, the exhibition will see a gathering of over 30 artists from Turkey and beyond, representing around 25 countries. Their works bring the edaphic generosity of the region as well as its syncretic bindings to bear upon its fraught present. Spread across four main venues in the old town, with a few spill-overs, the exhibition will open to the public free of charge from 20 May onwards. Through the course of the exhibition border_less, an independent archiving and publishing platform, will be keeping a cosy reading space at Sahaf Kebikeç for those who seek an extended engagement with the exhibition contents.
Group exhibition curated by El Hadj Malick Ndiaye and Emmanuelle Cherel with projects by Hervé Youmbi, Ibrahima Thiam, Uriel Orlow / Ariane Leblanc, Alioune Diouf, Patrick Bernier / Olive Martin, Ussumane Ca, Vincent Meessen, François Knoetze and Mamadou Khouma Gueye.
Teg Bët Gëstu Gi aims to stir up the metamorphic life of objects. Teg Bët Gëstu Gi in Wolof means ‘to see or touch with the eyes’ – research. Uriel Orlow’s new commission ‘Botanique de la more, botanique de la vie’ consists of a video and a garden and engages with artefacts from the collection of the Musée Theodore Monod which are intimately connected with plants: woven baskets used to collect plants, mortar and pestle used to process leaves and roots for medicinal use or sachets of plants worn by warriors to bring them luck… Objects that testify to our entanglement with the vegetal world and that evoke the spiritual and medicinal powers of plants.
Uriel Orlow exhibits for the first time the commissioned work Botany of Death, Botany of Life (video, 2020-2022). Outside the museum walls, in the garden, we encounter Botany of Care, a medicinal garden project conceived and developed jointly by Uriel Orlow and Ariane Leblanc.
In Concert by Uriel Orlow will be on view during the exhibition Before · Between · Beyond. The collection in transition in Aargauer Kunsthaus, Aarau, Switzerland. The Collection — the cornerstone of the Aargauer Kunsthaus — is growing apace, and today consists of over 20,000 pieces of Swiss art dating from the 18th century to the present day. In recent years, notable donations and loans — such as those from the Ringier Collection, the Federal Collection of Contemporary Art, the Walter A. Bechtler Foundation, or from patrons of the Aargauische Kunstsammlung — have contributed enormously to the outstanding importance of the collection in the European art scene. These additions, including many works by contemporary artists, serve as a source of fresh inspiration and form surprising associations within the portfolios. Spread throughout the gallery space, the exhibition describes new narrative arcs in three chapters, reflecting the past, questioning the present, and venturing a glimpse of the future.
British Art Show 9 explores three overarching themes – healing, care and reparative history; tactics for togetherness; and imagining new futures. Each of the four exhibitions will also adapt to local contexts. In Manchester the exhibition will engage with the evolving nature of work and the ongoing struggle to shape a new social contract.
Manchester’s legacy as the world’s first industrial city was made possible by the mass exploitation of the working class – the subject of Friedrich Engels’s The Condition of the Working Class in England (1845). New ways to think, live and work emerged from this environment, including a spirit of resistance and community. These ideas resonate with many of the BAS9 artists’ interest in new proposals for living with social justice, care and healing at their core. The presentation in Manchester also explores how technology, and in particular Artificial Intelligence, is radically transforming how we work and connect with others.
BAS9 is curated by Irene Aristizábal and Hammad Nasar and includes work by over 40 artists.
Border Environments investigates the interplay between migration struggles and ecological processes. This two-day programme of talks, projects, screenings, and conversations seeks to examine the complex role the environment plays in the making of cross-border mobilities and immobilities. With this event, the Centre for Research Architecture is opening its regular Roundtable seminar to the public, with the aim of generating a broader conversation around these pressing issues.
Participants: Arun Agrawal, Dele Adeyemo, Andrea Bagnato, Border Ecologies Network, Nadine El-Enany, Sara Frikech, Uriel Orlow, Marina Otero Verzier, Hanna Rullmann & Faiza Ahmad Khan, Juanita Sundberg, Avi Varma, Stéphane Verlet-Bottéro, (The School of Mutants), Gabrielle Wolf. The programme is organised by the Centre for Research Architecture in collaboration with the Het Nieuwe Instituut, and takes place in LG02, Professor Stuart Hall Building, Goldsmiths University Of London.
Group exhibition curated by Sara Castelo Branco, with works by Basma Al-Sharif, Diogo Evangelista, Hugo de Almeida Pinho, Ismail Bahri, João Tabarra, Julien Prévieux, Nguyễn Trinh Thi, Oscar Santillan, Sanaz Sohrabi, Uriel Orlow.
“The hand was, in more than one aspect, our destiny”, said Elias Canetti. This apparent predisposition is manifested by the fact that the hand is one of the most symbolized parts of the human body – it’s an archetypal organ to talk about the process of correspondence between theory and practice, thought and materialization. On the other hand, gestures express both ancestral elements, and symptoms or traces of a given time, revealing what we can apprehend from our own contemporary condition. Considering this context, the group exhibition Back of My Hand is based on the way in which different artists work the poetic and political potential of hand, and its relationship with certain dynamics involved in the (in)visibility of images. In this sense, this exhibition presents a series of works in which the hand appears as a mechanism of action, revelation or performativity, aiming to question certain structures of knowledge and historical narrative, and to reflect about a tensioned space between what the image makes visible, and what exists in it in resistance and unintelligibility.
Uriel Orlow has created three maps to celebrate the centenary of the Becontree Estate. Through the rich variety of plant life found on the estate, the maps tell stories of global migrations, cultural history and botanical remedies. Looking at Becontree through the prism of plants, we can trace rich histories of global connections and migrations, discover food sources and healing remedies for the body, and encounter stories of traditional use or cultural significance. The maps are available free of charge at the Valence House Museum & Valence Library (Becontree Avenue), the White House (884 Green Lane) and throughout Becontree Estate.
Commissioned by CREATE for the Becontree centenary, based on a botanical survey of Becontree Estate conducted by Denis J Vickers, a consultant ecologist living on the estate.
Perfect Nature: Amstelpark Test Site is a group exhibition and field experiment organized in collaboration with Neal White of CREAM/Westminster University in London. This project explores how local and indigenous knowledge relates to scientific methodology. What is the impact that scientific and visual classification systems of the natural world have on our relationship to flora and fauna? The artworks presented by Neal White, Tina O’Donnell and Uriel Orlow explore scientific representations of nature – which we encounter for example in the field of international trade in plants, plant medicines and soil – alongside local cultural knowledge in which other relationships to the natural world appear.
Screening of Imbizo Ka Mafavuke at X-Centric Futures as part of the monthly cycle We’d like to add, organised by Giovanbattista Tusa and Bartholomew Ryan, in collaboration with the CultureLab of the Institute of Philosophy of Nova and Carpintarias de São Lázaro Cultural Centre.