Mircea Cantor at Grand Palais, Paris

Mircea Cantor is partcipating in the group show Moon at Grand Palais, Paris / April 3 – July 22, 2019 / The 50-year anniversary of the first human step on the Moon is an opportunity to study, present and celebrate the long history that links humans with this familiar celestial body, through the artworks and objects that embody the countless visions and emotions it has inspired. This five-part exhibition is a journey to the Moon, through dimensions both real and imaginary. Each stage takes visitors on a voyage through time, revealing artistic creations from Antiquity to the modern day, produced mainly in Europe but also by African, Arab and Far Eastern civilisations. Image: Marc Chagall

Hans-Peter Feldmann at FRAC Bretagne, Rennes

As part of the biennial Exemplaires – Formes et pratiques de l’édition, Hans-Peter Feldmann is participating in Des Mots et des Choses at FRAC Bretagne, Rennes / March 30 – May 6, 2019

Adel Abdessemed at Tang Contemporary Art, Hong Kong

Titled Unlock, the exhibition is an introspective journey into the rugged world of Adel Abdessemed. Embedded in political themes, the work of the Franco-Algerian artist is a response to the situation of the contemporary world crossed by all kinds of convulsive movements / March 23 – April 22

Thomas Hirschhorn at Stedelijk Museum, Amsterdam

Thomas Hirschhorn is going to be part of the exhibition “Hybrid Sculpture”  at the Stedelijk Museum / March 23, 2019 – January 12, 2020 / Hybrid Sculpture presents a selection from the Stedelijk collection, ranging from the nineties to the present, a period in which artists freely interpret the discipline of sculpture, always challenging and expanding the boundaries of the medium. The term ‘hybrid’ refers to the mixing of genres, styles and media, which is so typical of contemporary sculpture.

Yudith Levin at Beit Uri and Rami Nehostan Museum

Two Series, Six Submarines is Yudith Levin’s exhbition at Beit Uri and Rami Nehostan Museum curated by Smadar Keren / Closing April 27, 2019 / In Yudith Levin’s solo show, two series of paintings are presented in their entirety for the first time. The first series was created in 2014, and it comprises six paintings. Three of them have been shown at the end of that year in a group show titled Everyone has a name, at Dvir Gallery in Tel Aviv. As she tells it, a curator from the Museum of contemporary art from Montbéliard, France, who happened to be in Israel at the time, noticed her works and wondered why those abstract pieces were selected for the show. Dvir, the gallery owner, suggested that he go and look at the works again. The curator did so, and, looking again, realized what was really in the paintings. Following that visit, the curator chose to include the three works in an extensive exhibition called Back to the Abyss: Art and Genocide. The complete series, Portraits 1, 2, 3, 4, 5, 6, is now on view alongside five works from 2017, which have also never been shown as a series

Omer Fast at Eye Filmmuseum, Amsterdam

Omer Fast is participating in A Tale of Hidden Histories group exhibition at Eye, Amsteram / March 16 – May 19, 2019

Douglas Gordon’s “I had nowhere to go” at Ciname du Reel, Festival du Cinema Documentaire, Paris

Douglas Gordon’s “I had nowhere to go” will be screened for the Cinema du Reel, Festival du Cinema Documentaire at the Hotel de Ville on March 16th at 7pm and at the Forum des Images (Salle 100) on March 21st, 8:30pm

Nelly Agassi at Arts Incubator Gallery, Chicago

Still Here is an exhibition at Arts Incubator Gallery, Chicago, showcasing six design proposals submitted by commissioned artists to become the Chicago Torture Justice Memorial. The public memorial brings awareness to the torture of more than 120 Black men and women from 1972 to 1991 by the Chicago Police Department under the direction of former Police Commander Jon Burge. The memorial is intended to honor the decades long struggle for justice, and survivors, families, and communities targeted by Burge and his midnight crew / Opening Reception: Friday, March 15, 2019 | 6-8pm / exhibition March 15 – April 26, 2019

Miroslaw Balka at Arsenal Gallery, Bialystok

Miroslaw Balka is part of the group show FOGHORN. THE THEME OF THE TRANSFORMATION IN WORKS FROM COLLECTION II OF THE ARSENAL GALLERY at Arsenal Gallery, Bialystok / March 15 – May 15, 2019

Mircea Cantor at Musee d’Arts de Nantes

This exhibition can trace its roots back to 1999 when Robert Fleck, Director of Postgraduate Studies at the École régionale des beaux-arts de Nantes, who was  appointed to the post of Director of the institution a year later, discovered the work of this student from the Academy of Fine Arts in Cluj during a trip to Romania. Mircea Cantor  was invited to pursue postgraduate studies in Nantes, where he spent several years. Twenty years later, the photograph All the directions forms the starting point for the exhibition.  aken on  the Île de Nantes in 2000, it shows the artist as a hitchhiker holding a blank sign conjuring up every potential destination. There is an element of defiance in  the picture, which was taken when the artist’s American visa application for a study trip to New York was rejected, and it is tinged with melancholy and a sense of  disenchantment. This duality lies at the heart of a large number of works by the artist, who refers to himself as an “artist of the world”, thus challenging notions of identity, ethics,  politics, and also contemporary reality with all its contradictions. Encompassing video, photography and sculpture, the exhibition brings together a group of recent and earlier  works. The video Adjective to your presence, shot in Tokyo in 2018, shows demonstrators carrying transparent placards. It engages in a dialogue with Landscape is changing, in  which demonstrators carry mirror placards reflecting the city of Tirana, where the film was shot in 2003. Produced in Romania and Nantes, and comprising work from his youth  and pieces from the body of experiments on which the artist is casting his gaze with the benefit of hindsight, the extensive selection of photographs assembled for the exhibition  presents previously unseen material putting in perspective artistic approaches adopted very early in his career by Mircea Cantor and the elements which subsequently became  central to his work. Traces and memories are placed in counterpoint in the Chapelle de l’Oratoire, illustrating the ambiguous Romanian word Înainte, which can mean both  “forwards” or “before”, depending on the context.