Ausgangspunkt für die Ausstellung Dissonance – Platform Germany (2) ist eine gleichlautende Publikation, die Positionen aktueller Malerei vorstellt. Zusammengestellt von den Kuratoren Christoph Tannert und Mark Gisbourne eröffnet diese einen Überblick über unterschiedliche künstlerische Ansätze und Strategien, die sich in den vergangenen drei Dekaden in Deutschland herausgebildet haben. Ausgewählt wurden internationale Künstler*innen, die nach 1972 geboren wurden und in Deutschland leben und arbeiten.
Ausgangspunkt für die Ausstellung Dissonance – Platform Germany (2) ist eine gleichlautende Publikation, die Positionen aktueller Malerei vorstellt. Zusammengestellt von den Kuratoren Christoph Tannert und Mark Gisbourne eröffnet diese einen Überblick über unterschiedliche künstlerische Ansätze und Strategien, die sich in den vergangenen drei Dekaden in Deutschland herausgebildet haben. Ausgewählt wurden internationale Künstler*innen, die nach 1972 geboren wurden und in Deutschland leben und arbeiten.
This exhibition Sounds Like a Whisper curated by Galina Dimitrova and Ariel Reichman presents a selection of 11 artists from 8 countries, whose artistic practice can be described as “poetically political.” The guiding principle of this practice is that it seeks the poetic (often in distressing realities) and is interested in the state of mind of the political sphere. Rather than didacticism, this form of art offers an experience, as it believes that people can strongly relate to each other, as well as to a cause, through feelings. Thus, it wants to create a feeling in the viewer, rather than a rational observation. It looks at subjects not as an “observation from the outside” but rather as “action from within.” In this way it treats acute political issues, allowing for a more subtle, complex, and poetic relationship with the viewer. At the same time, there is a critical relationship towards the subject matter, expressing the artist’s attitude to it.
Humor, often underestimated, plays a crucial role that can be interpreted both as a survival tactic and as a power tool. It is interesting to consider it as a means to communicate one’s position strategically.
A fun aspect can be when one says one thing and means the opposite or when bizarre aspects that usually go unnoticed are highlighted.
In “U Scantu”: A Disorderly Tale (2022), Sicilian artist Elisa Giardina Papa brings together ceramic sculptures and a large-scale video installation to explore the Sicilian myth of the ‘donne di fora’ – ‘women from the outside and beside themselves’.
The Quebec City Biennial will draw its inspiration from the Canadian winter and the sleeping earth to focus on human sleep and the multiple nuances of the process of waking. Both sleep and the cold season are times of latency, transition, and pause, of suspended productivity, and of resistance against the exploitation of bodies and resources. These daily or seasonal alterations, where different species and their environments interconnect, provide the living with the opportunity for regeneration, as well as for listening, attention to self-knowledge, and interaction with other life forms. By liberating inner, uncontrolled, and sometimes crucial strengths, and by altering our reflexes and shifting our perceptions, sleep can change how we perceive the world.
SLIME is a unique hybrid on-line and on-site project about our hybrid realities. Taking place at the Secession as an on-site event and as an on-line program, it includes commissioned and historic artworks, talks and performances, screenings and workshops (including one for making actual slime). Taking its name from the children’s toy—a metastable plasma-like substance that has both unique material and tactile features and a constant presence online through tutorials and documentation of people playing with it—SLIME tackles the social, cultural, political, and sensory operations of digital hybridity.
« sortir le travail de sa nuit »* souhaite ouvrir la voie à une réflexion transversale sur la notion d’invisibilité. il y est question de travail invisibilisé, de mécanismes globalisés, omniprésents et structurants, qui demeurent pourtant opaques, et de voix qui ne parviennent pas à porter, restant inaudibles des sphères publiques. il s’agit aussi d’élargir l’horizon pour examiner les phénomènes de la disparition et de l’effacement selon une focale plus esthétique, philosophique et poétique.
« sortir le travail de sa nuit »* souhaite ouvrir la voie à une réflexion transversale sur la notion d’invisibilité. il y est question de travail invisibilisé, de mécanismes globalisés, omniprésents et structurants, qui demeurent pourtant opaques, et de voix qui ne parviennent pas à porter, restant inaudibles des sphères publiques. il s’agit aussi d’élargir l’horizon pour examiner les phénomènes de la disparition et de l’effacement selon une focale plus esthétique, philosophique et poétique.
Die Düsseldorfer Künstlerin Angelika J. Trojnarski (*1979) beschäftigt sich in ihrem Werk mit unterschiedlichen Aspekten der Natur – mit Naturphänomenen wie Wolken, Stürmen, Licht oder Feuer ebenso wie mit der Tatsache, dass menschliche Handlungen das Anthropozän erzeugt haben. Ökologische Fragestellungen werden von ihr durch wissenschaftliche Recherche unterstützt und durch eigene Experimente erweitert.
From February 10th until June 30th, the MAST galleries will house 34 video art installations that analyse, comment on, explore and investigate rapid changes in different contexts including work and production processes, trade and traffic, new behaviours, communication, the natural environment, and the social contract.
This immersive multimedia show, which expands on an original presentation at Palais de Tokyo, Paris, provides an overdue opportunity to celebrate Maldoror’s antiracist, unapologetically irreverent work in film and her involvement with theater, poetry, and politics. The center’s spring 2024 calendar includes a wealth of related programs that reflect the remarkable scope of her influence, beginning with a February 2 Exhibition Opening Celebration. These events incorporate all disciplines presented at the Wex.
When Igor Stravinsky’s ballet Le Sacre du printemps – The Rite of Spring premiered at the Parisian Champs-Elysées Theatre in 1913, the rite turned into a riot. What was the cause of this consternation? What nerve did Stravinsky and the choreographer Vaslav Nijinsky touch to provoke the audience to jump to its feet — and not in the usual, more positive sense of the phrase?
The organizers of the Venice Biennale have revealed the names of the 331 artists who will be participating in the main exhibition of the event’s sixtieth iteration, slated to take place April 20–November 24. …
65 – 104. Disobedience Archive – Marco Scotini
with Ursula Biemann, Black Audio-Film Collective, Seba Calfuqueo, Simone Cangelosi, Cinéastes pour les sans-papiers, Critical Art Ensemble, Snow Hnin Ei Hlaing, Marcelo Expósito, Maria Galindo & Mujeres Creando, Barbara Hammer, mixrice, Khaled Jarrar, Sara Jordenö, Bani Khoshnoudi, Maria Kourkouta & Niki Giannari, Pedro Lemebel, LIMINAL & Border Forensics, Angela Melitopoulos, Jota Mombaça, Carlos Motta, Zanele Muholi, Pınar Öğrenci, Daniela Ortiz, Thunska Pansittivorakul, Anand Patwardhan, Pilot TV Collective, Queerocracy, Oliver Ressler and Zanny Begg, Carole Roussopoulos, Güliz Sağlam, Irwan Ahmett & Tita Salina, Tejal Shah, Chi Yin Sim, Hito Steyerl, Sweatmother, Raphaël Grisey and Bouba Touré, Nguyễn Trinh Thi, James Wentzy, Želimir Žilnik