Douglas Gordons solo exhibition ‘k.364’ is on view at Dundee Contemporary Art in Dundee, Scotland. This exhibition focuses on Gordon’s major film installation ‘k.364‘ and marks the premiere of this work in a public gallery in the UK. The film features two Israeli musicians of Polish descent (Avri Levitan and Roi Shiloah) traveling to Poland from Berlin by train. Shown on multiple screens and with layered audio, the film follows the two men through a desolate landscape in a country whose tragic and violent history is barely resolved for them. Gordon films the musicians on this personal journey, isolating intimate moments when their passionate love of music seems to move between them. Leaving Berlin, they first travel through Poznań, home of the celebrated Amadeus Chamber Orchestra. The journey concludes with the musicians’ performance, at the Warsaw Philharmonic concert hall, of Mozart’s Sinfonia Concertante in E-flat major (also known as Mozart’s Köchel Composition k.364, from which the title of this piece is derived). This work is an intimate document of the relationship between individuals and the power of music, against the subtly drawn backdrop of a dark and unresolved social history. April 11 – July 19, 2020.
Adel Abdessemed is part of the exhibition ‘Crossing views’ at Fondation Louis Vuitton in Paris that is presented parallel to a retrospective of Cindy Sherman. ‘Crossing Views’ displays a selection of works from the Fondation’s Collection which was chosen in collaboration with Cindy Sherman. Echoing her work, the exhibition is centered on the theme of the portrait and its interpretation through different approaches and media: painting, photography, sculpture, video and installation. The exhibition brings together around twenty French and international artists, of different generations and backgrounds. It includes around sixty works, many of which have previously never been on display at the Fondation. April 2 – August 31, 2020.
Douglas Gordon and Lawrence Weiner are part of the group exhibition ‘Magical Soup’ at Hamburger Bahnhof, Berlin. The group exhibition explores social, political, spatial, bodily and imaginary borders. Music and sounds make up a combined point of departure for the works of media art, installations and works on paper featured in the exhibition, ranging from the 1970s through to the present day. April 2 -August 16, 2020.
Naama Tsabar takes part in the group exhibition ‘The Musical Brain’ at various locations on the High Line in New York City, US. The exhibition reflects on the power music has to bring us together. It is named after a short story by the Argentine contemporary writer César Aira, and explores the ways that artists use music as a tool to inhabit and understand the world. The featured artists approach music through different lenses—historical, political, performative, and playful—to create new installations and soundscapes installed throughout the park. Traditionally, music is thought of as an art form we construct ourselves. With different organizing rules, instruments, and traditions across cultures, music has underpinned essential collective moments in societies for as long as we know. But music is also the way that we hear the world around us. Often used to described nature (wind whistling through trees), the cosmos (in the Music of the Spheres, or musica universalis), and even the built industrial environment (the rhythmic lull of a train car), music is the order we project onto a cacophonous world. Humans seek order and patterns but also relish chaos and noise; in many ways, music becomes the way that we can experience both at the same time. The artists in this exhibition listen closely to the sonic world and explore the different temporal, sculptural, social, and historical dimensions of the ways we make music, and the ways we listen. They wonder what stories discarded objects tell when played, what happens when a railway spike becomes a bell, and how the youth of our generation sing out warnings to save our planet. They remind us that music is a powerful tool for communication, especially in times when spoken language fails us. The sonic brings us together to celebrate, protest, mark the passage of time, and simply be together. For the High Line, Naama Tsabar makes a metronome installed on a stone pedestal. The work was inspired by contemporary conversations around the removal of confederate monuments, but goes further to explore the shifting relationship between history and time. In her work, Tsabar ignites the push-and-pull between static sculptures and the time-based performances and experiences that bring them alive. Opening: April 2020.
Thomas Hirschhorn is part of the group exhibition ‘ The Image Looks Back’ at RMIT Gallery in Melbourne, Australia. In an era of post truth, fake news, and manipulated images, ‘The Image Looks Back’ explores the reconfiguration of photography, asking how notions of visual truth and human experience are shaped by new technologies of vision. If the photograph has conventionally been understood as a record or memory of the world, what happens when the image looks back? March 27 – May 16, 2020.
Douglas Gordon and Mircea Cantor are part of the group exhibition ‘Animals in Art’ at Arken Museum of Modern Art in Ishøj, Denmark. Camels and kittens, elephants and rats, feathered creatures and cute pets. In recent years, contemporary art has been exploring the way we look at animals, talk about animals, use animals and understand ourselves through encounters with other species. ‘Animals in art’ shows sculptures and installations, video, photography and paintings by a wide array of international artists who explore the way we humans study, categorize, live with and use animals – and how we thus try to gain a deeper understanding of ourselves. March 21 – August 9, 2020.
Thomas Hirschhorn and political scientist Laurent Jeanpierre are having a conversation on the occasion of ‘Eternal Riuns’, at Galerie Chantal Crousel on Thursday, March 19 at 6 pm.
Laurent Jeanpierre is currently Senior Lecturer in political sciences at University Paris 8, Vincennes – Saint-Denis, after having taught in a higher school of artistic education. For the past two decades, part of his work develops an approach of art through political language. Furthermore, he has worked on Simone Weil’s corpus, specifically during the last years of her life spend in the United States and England.
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