At the Blaffer Art Museum in Houston, Simon Fujiwara presents a reconstruction of part of the hiding place in which Anne Frank lived, known as the “Secret Annex.” Expanding on his concept of a ‘museum within a museum’ that is regularly updated, Fujiwara presents a new collection of objects that point to the ways capitalism and image culture have been absorbed into all aspects of our lives. October 31, 2020 – March 14, 2021
Twelve poets, songwriters, and text-based artists will contribute a short text, loosely based upon the rules of the poetic form of Haiku, “that expresses their thoughts and ideas on our tumultuous times,” according to the announcement. In case anyone doesn’t remember from elementary school, Haiku is a Japanese poetic form made up of three lines, the first consisting of 5 syllables, the second 7 syllables, and the third 5 syllables. Lawrence Weiner: October 28th – November 4th, 2020
Simon Fujiwara is participating in ‘SITUATIONS/Closure’ at Fotomuseum Winterthur, Switzerland. In the last decades we have witnessed radical changes in our visual culture: with incredible speed, the networked image has spawned new visual forms and cultural practices – with unprecedented social and political implications. Memes and GIFS, selfies and Instagram filters, algorithms and neural networks, screenshots and drone images, net feminism and online visual activism, content moderators, influencers and attention economies: The image-based phenomena of our time have not only altered and expanded photography and its functions, but also challenged our understanding of it. For more than five years, Fotomuseum Winterthur’s format SITUATIONS has scrutinised and discussed these techniques, practices and aesthetics of post-photography.The final and concluding cluster “Closure” focuses on photographic images as both discursive starting points and final end points; as closed loops and iterations without conclusion. Be it in the form of digital data burials, the reappropriation and reoccupation of colonial spaces and viewing regimes, the photographic search for traces to make trauma visible, or the ultimate short-circuit of our networked image economy: the works presented in this cluster negotiate, irritate and challenge photography as a self-contained ideological, capitalist and colonial system. October 24, 2020 – February 14, 2021
Jan Mot presents a group exhibition entitled ‘A buoy if not a beacon’ with works by Francis Alÿs, Giovanni Anselmo and Latifa Echakhch. ‘Le Thé de Saïd’ (2010) creates a connection between inside and outside and lets the weather conditions be the works’ protocol. A small teapot is ready to catch rainwater from a gutter that runs along the gallery’s walls, passing through the window. This work reproduces an act of the artist’s Uncle Saïd that always fascinated her, because of the limited access to water supply in Khourigba, Morocco, he usually placed a teapot under the gutter of his house to fill with water and then prepare his “special tea”. Shown before at the Dvir gallery, Tel Aviv and BPS22, Charleroi the installation is a reference to the “War over Water”, the battle between Israel and its Arab neighbours from 1964 to 1967 to control the Jordan and its source. October 17 – December 5, 2020
‘Architecture into Art: a Dialogue’ is the first exhibition to engage in a dialogue with the Centro Botín building, which has become an instant landmark on the Santander waterfront from the moment it opened in 2017. It also addresses the somewhat ambiguous relationship artists maintain with the architects who fashion the space in which they present their work; and the no-less ambiguous status of “starchitects”, who are often regarded as artists.
This exhibition brings together a selection of works by artists who once directed a Fundación Botín visual arts workshop and exhibited their work in Santander, as well as some by former recipients of the foundation’s visual art grants. It explores the influence of architecture on art, and offers reflections on how architecture also shapes human lives and structures social interaction. October 10, 2020 – March 14, 2021
Omer Fast’s new video project is on view at the exhibition ‘Max Beckmann/Omer Fast. What can you see’ at the Staatliche Graphische Sammlung München / Pinakothek der Moderne (Munich, Germany). October 8, 2020 – January 10, 2021.
STUK is delighted to present the work of internationally renowned contemporary visual artist Mircea Cantor (°1977). His multidisciplinary practice is first and foremost to be understood in terms of (a quest for) visual poetry, meditation and spirituality. Inspired by the large and small events of everyday life, and through an ingenious play with rhythm, repetition, symmetry and tactility, Cantor succeeds in creating strong poetic images which have the capacity to linger in the mind. In this first solo exhibition in Belgium, Cantor presents a careful selection of films, photography and drawings from his recent oeuvre, in addition to a film made especially for this exhibition titled Am I really Free?. Together, the works allow us to reflect upon the freedom of our movements in space, the practice of tracking and tracing, ideas of borders and limitations, and the courageous and sometimes audacious attempt to sublimate or subvert. Curator: Karen Verschooren. October 7 – December 13, 2020
Thomas Hirschhorn was to present this spring, at the Galerie Chantal Crousel in Paris, his exhibition “Eternal Ruins” which brought together a series of unpublished cardboard works called “Chat Posters”. Built in reference to the work of Simone Weil, these new pieces mix text, images and smartphone aesthetics. Closed to the public a few days after its opening, the exhibition could only be visited virtually. All 23 Chat-Posters will be visible, for the first time since, in the exhibition of the Ex-Decathlon at BIP2020.
“On large (240 x 125 cm) vertical cardboard supports that are not without evoking the maximized proportions of smartphone screens, Thomas Hirschhorn is redesigning the conversation design of the WhatsApp platform with felt pens. Quotes from French intellectual Simone Weil are then integrated into these contemporary phylacteries: “Love is no consolation. It is a light” or “Beauty is the harmony of chance and goodness”, all aphorisms enunciated by Simone Weil in the 20th century which, in this eminently contemporary form, would seem better able to capture our educated attention to these new modes of exchange”.