A solo exhibition called ‘Eternal Ruins’ by Thomas Hirschhorn is on show at Galerie Chantal Crousel in Paris, France. The exhibition includes a new series of ‘Chat-Posters’ referring to Simone Weil’s work. March 7 – April 11, 2020.
Shilpa Gupta and Mircea Cantor take part in the group exhibition ‘Mappa Mundi‘ at Villa Empain in Brussels. Representation of the world is a practical and scientific necessity, both in the past and still today; one which allows us to comprehend our geography, whether it is near or distant, and which provides a source of reverie, inviting us to dream of travels and the fantastical. The first explorers discovered unknown worlds, thus allowing their pictorial translation. The cartography was meant to be completed, filled in with details from compiled information, and according to the meaning one wished to convey. Maps indeed represent reality, but interpret it by creating an image from multiple, more or less reliable elements. Our representation of the world is constantly evolving. Current technologies render it extremely precise, helping us see the world differently. Nevertheless, this translation into a two-dimensional surface, this fattening out, is an artifice; from the moment they take shape, maps are a testament to an artistic concern which is added to their navigational function. Contemporary artists are also captivated by world maps, which many of them reinvent and transform. The artists find each map’s potential – not only geographical but also political, poetic or utopian. The map is, to a certain extent, an inevitable form from which all sorts of geographic deviations stem, but it is also the pretext for a reflection on the state of the world, or a space for imaginary projections. It is illusion and reality all at once. Maps reinterpret a truth, and transform it. This undoubtedly explains why so many artists have showcased maps in their work, each in their own way, thus making the world flat. Completed by a selection of ancient maps and literary translations, the exhibition brings together more than thirty contemporary artists from across the world. It is testament to the recent interest artists have developed for a revisited Mapping according to their own aesthetic research. Some have developed numerous works on this theme, such as Marcel Broodthaers and Mona Hatoum, whereas others have periodically found world maps through their research, like Alighiero Boetti with its series of Mappa, or Wim Delvoye who conceives a new installation for this exhibition, just to name a few. The exhibition reunites around a theme rich in meanings, the map being for the artists a pretext for all sorts of comments on contemporary society, power relations, ecology, conflicts, etc. March 5 – August 22, 2020.
Hans-Peter Feldmann’s installation ‘Rotes Abendkleid’ (2002) and his room-sized photo installation ‘100 Jahre’ (1998-2000) are on show at the group exhibition ‘To Whom It May Concern. Gifts of Paul Maenz’ at Hamburger Bahnhof in Berlin, Germany. Paul Maenz is giving three important works of contemporary art to the Nationalgalerie. In the exhibition, following on the heels of his 80th birthday, these works are on view for the first time, together with the Berlin collector’s earlier gifts. February 22 – May 3, 2020.
Nedko Solakov created an exhibition called ‘The Artist-Collector’s Dream (a nice thing)’ that is on show at Galleria Continua in San Gimignano, Italy. ‘The Artist-Collector’s Dream (a nice thing)’ is an exhibition that sees the Bulgarian artist Nedko Solakov simultaneously engaged in playing multiple roles: artist, collector, architect of the realisation of one of his dreams. Ultimately, the creator of an inclusive and decidedly original exhibition project. Nedko Solakov and his wife collect works by artists whom they value and whose work they love immensely. Over the years they have put together a vast collection composed mostly of small works; from this collection, Solakov selected sixteen artists from whom they have works and three from whom they don’t have works, writing to them and inviting them to take part in his project for Galleria Continua in San Gimignano. Solakov’s ‘Some Nice Things to Enjoy While You Are Not Making a Living’ is at the heart of the exhibition; a multi-component installation that critiques the seemingly banal and mundane that we accept as truth. Furthermore, the exhibitions includes the work of Hans-Peter Feldmann and Shilpa Gupta.
February 22 – May 10, 2020.
Omer Fast, Lawrence Weiner and Douglas Gordon take part in the group exhibition ‘(SELF) PORTRAITS. Portraits & Self-Portraits Made by Artists for Parkett since 1984’ at Parkett Exhibition Space in Zurich, Switzerland. On view at Parkett’s Zurich Space, the artists included in this retrospective expand, challenge, transform, and push forward the traditional parameters of the portrait and self-portrait. The show and its theme provide a new perspective on Parkett’s 33 years of direct collaborations with 270 artists from around the world. For as long as people have been making art, they have been portraying themselves and others. The artists included in this exhibition employ a wide array of techniques, media, and methods, including printmaking, photography, collage, and sculpture, among others. Through the use of both traditional and conceptual representation, the works explore the subjective, emotional, physical, or political identities of their subjects. February 22 – July 18, 2020.
Ariel Schlesinger and Moshe Ninio take part in the group exhibition ‘Shutters and Stairs. Elements of Modern Architecture in Contemporary Art’ at the Israel Museum in Jerusalem. An examination of Israel Museum acquisitions from recent years has uncovered an interesting phenomenon: contemporary artists directing their attention not to an entire architectural structure (or a part of it), but to a single isolated element – such as a floor, wall, door, or staircase – whose design is typical of modernist architecture. Each of the works in the exhibition offers an encounter with such an element and with the conceptual underpinnings of its transposition from real life to the context of art. The materials of which they are made and their treatment underscore the materiality of the represented elements and draw our attention to small details that often elude us. Inspired by modernist architecture, many of the works recall the geometric abstraction of twentieth-century art. Like photography, which is an act of framing and exclusion, the works on view appear to have been cut out of the vast expanse of the world and cast upon the museum wall or floor. Presented in the gallery space, the shutter, window handle, and stairs – whose dimensions correspond to the human body – invite us to take a closer look, as though they have burst out from the unconscious realm of quotidian existence and are demanding our undivided attention. February 21 – October 3, 2020.