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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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Tip of the Iceberg | Focal Point Gallery Southend

This exhibition explores the relationship between art and alternative growing practices, which are increasingly coming together in pursuit of climate action and social justice. New and recent works by local and international artists explore three key themes: the notion of the ‘commons’, i.e. our common right to the earth’s natural resources (air, water, soil, land); how plants can be considered as both witnesses and agents across history, and how local hidden economies can act as catalysts for wider change. With works by Shaun C. Badham, Becky Beasley, Kathrin Böhm, Graham Burnett, Gabriella Hirst with Warren Harper, Anna Lukala, Mary Mattingly, Uriel Orlow, Rachel Pimm, Alida Rodrigues, Zheng Bo


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Potential Agrarianisms | Kunsthalle Bratislava

Potential Agrarianisms sets out to diversify agriculture and pluralise its histories, recovering suppressed peasant pasts and activating their unrealised possibilities, destabilising urban-rural dichotomies, repairing the disconnect with the natural world and restoring caring and reciprocal relationships to the soils and plants that nourish us. Curated by Maja and Reuben Fowkes with work by Melanie Bonajo, Gerard Ortin Castellví, Anetta Mona Chişa, Annalee Davis, Ferenc Gróf with Jean-Baptiste Naudy, Oto Hudec, Marzia Migliora, MyVillages, Ilona Németh, Uriel Orlow, Prabhakar Pachpute, Alicja Rogalska.


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What the eyes cannot see | Kunsthaus Dresden

The exhibition What the eyes cannot see, the heart cannot feel is dedicated to the coexistence of humans with their natural environment. Around the world, landscapes and ecosystems have been and are still being changed by human interventions, while languages and cultural techniques have evolved in direct response to landscapes, plants and soils. Curated by Christiane Mennicke-Schwarz, Vincent Schier with work by Aline Baiana, Minia Biabiany, Kadija de Paula & Chico Togni in collaboration with FELL, Patricia Esquivias, Andreas Kempe, Antje Majewski, Silvia Noronha, Uriel Orlow, Lois Weinberger


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British Art Show 9 | Aberdeen Art Gallery

The British Art Show is a landmark touring exhibition that celebrates the vitality of recent art made in Britain. British Art Show 9 was developed at a precarious moment in Britain’s history that has brought politics of identity and nation, concerns of social, racial and environmental justice, and questions of agency to the centre of public consciousness. The artists presented in the exhibition respond in critical ways to this complex context; imagining more hopeful futures and exploring new modes of resistance.

BAS9 is curated by Irene Aristizábal and Hammad Nasar and includes work by over 40 artists.


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Extractive Zones | Museum der Kulturen Basel

Human-environment relations are radically changing through the interventions of extractive industries and knowledge technologies. Against this background, the exhibition tests the critical dialogue between contemporary art and museum artifacts. Curated by Liliana Gómez, in cooperation with the University of Zurich, University of Kassel and the Documenta Institute.


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