Miroslaw Balka is participating in the group exhibition ‘Arbeit am Gedächtnis Transforming Archives’.
The Akademie der Künste and its Archives are a place of artistic memory work. On the occasion of its 325th anniversary, the Akademie is engaging in a new process of reflecting on its own institution as memory storage. In this context, artistic memory work is realized as an archaeological practice and a political act. It receives new urgency in the current dynamic between digital change, historical revisionism on one side and the beginning process of decolonising the established spaces of knowledge on the other. How and what a society remembers has becomes a key question at a time when self-perceptions are being re-negotiated and mechanisms of inclusion and exclusion are being questioned.
The extensive main programme revolves around a number of event series and a central exhibition: 13 commissioned works by contemporary artists will visualise the grammar of remembering and forgetting and put what has been preserved into new contexts. The power of narration and the presence of that which is absent are among the central themes that will be addressed in installations by Candice Breitz and Eduardo Molinari, film work by Robert Wilson, Cemile Sahin, Susann Hempel and Alexander Kluge, archive-based productions by Arnold Dreyblatt, Thomas Heise and Jennifer Walshe, literary investigations by Ulrike Draesner and Cécile Wajsbrot and sound work by Miroslaw Bałka and Matana Roberts. The exhibition will show the archive not only as resource, but also as artistic method.
Exhibition: 4 June – 15 August 2021
Exhibition opening: 3 June 2021
e-flux Video & Film will is online screening Omer Fast’s5000 Feet is the Best (2011),on view from Tuesday, April 6 through Monday, April 19, 2021.
5000 Feet is the Best is based on conversations with a U.S. Predator drone operator, that were recorded in a Las Vegas hotel. On-camera, the drone operator discussed the technical aspects of his job and his daily routine. Off-camera and off-the-record, he briefly described incidents in which the unmanned plane fired at both militants and civilians. The film repeatedly turns from documentary to reenactment and fiction, weaving together the drone operator’s account along with scenes depicting other crimes in and around Las Vegas.
5000 Feet is the Best is presented here as one of four films in Part Five | Faux Documentary and Complex Reality the last of five programs in the online series True Fake: Troubling the Real in Artists’ Filmsprogrammed by Lukas Brasiskis for e-flux Video & Film.
True Fake: Troubling the Real in Artists’ Filmsruns from February 9 through April 19, 2021. The films in each part will screen for two weeks with a repeat screening of films in all programs on Tuesday, April 20, 2021.
The title of Adel Abdessemed’s 2011 work Hope references Caspar David Friedrich’s, Die gescheiterte Hoffnung (The Wreck of Hope, 1823–24). Friedreich’s painting expresses the concept of disappointed aspirations, mirroring the tragic results of many migrant journeys. The heavy materiality of Hope — an actual, dense object — contrasts with the recurring media images of mass migration which have flickered in and out of our screens for more than a decade. Adel Abdessemed recently discussed this notion and what moves him to create, in conversation with Shifting Vision.
Junkerhaus (2019) will be screened as part of Films in Competition 13 on Sat., Mar 27, 2021, at 3:00 PM EST (7pm GMT). The 59th AAFF will be held online launching as a live stream, then available for asynchronous viewing.
Ann Arbor is the longest-running film festival of avant-garde and experimental film and video in North America. Thousands of influential filmmakers and artists have exhibited work at the AAFF, including Kenneth Anger, Brian De Palma, Agnes Varda, Andy Warhol, Gus Van Sant, Barbara Hammer, George Lucas, Les Blank, Matthew Buckingham, and James Benning.
David Maljković is participating in the group exhibition ‘Bye Bye His — Story’ Chapter 5050 at Centre de la Gravure et de l’Image imprimée, La Louvière, Belgium opening on the 27th of March 2021.
History is generally defined with the apparition of writing; this valuable instrument allowing to create and transfer culture. However, writing also implies the beginning of a logic of separations and boundaries : its origin goes along in the first place with the need to record the heritage transmission of a patriarchal agrarian society. From this perspective, writing thus seems closely related to the concept of ‘property’.Together with property, writing, as the first intrument to objectify nature, living beings and genders, was at the root of what would – throughout history – lead to conflicts and confrontations between cultures, mythologies, religions and ideologies.
The tensions in our contemporary world and its many crises (related to climate, ideologies, energy, culture and migration) urge us to adopt an open attitude, to dispel prejudices, to reconnect and build bridges between individuals, genders, cultures and nations to share knowledge, mental and cultural approaches as well as scientific disciplines, in order to find solutions together.
Far from being a literal illustration of these concepts, this exhibition brings together the art works of nearly 60 artists. With a touch of humor and the necessary aesthetic distance, you are being invited to surprising confrontations between art works dealing with (and questioning) various issues such as our relationship to the economy and to the dogma of growth, gender relations and diversity, our relationship to nature and to technology.
The Andy Warhol Museum announces ‘Fantasy America’, opening March 5, 2021. This exhibition invites New York-based artists Nona Faustine, Kambui Olujimi, Pacifico Silano, Naama Tsabar and Chloe Wise to revisit Andy Warhol’s seminal publication, America, and contribute through their own artistic practices. March 5 – August 29, 2021
Dvir Gallery is pleased to announce the opening of ‘Who The Bær‘, Simon Fujiwara‘s solo exhibition at Fondazione Prada, Milan on March 2, 2021.
For this new site-specific project conceived for the ground floor of the Podium in the Milan premises of Fondazione Prada, Simon Fujiwara introduces audiences to the fairytale world of Who the Bær, an original cartoon character that inhabits a fantasy universe created by the artist. Who the Bær is a cartoon bear without a clear character – “Who” as they are known, seems to have not yet developed a strong personality or instincts, they have no history, defined gender or even sexuality. Who the Bær only knows that they are an image, and they seek to define themselves in a world of other images.
The world of Who the Bær is a flat, online world of pictures, yet one full of endless possibilities. Who the Bær can transform or adapt into any image they encounter, taking on the attributes and identities of those depicted within the image – human, animal or even object. In this sense the fantastical world of Who the Bær is a world of freedom: Who can be whoever they wish to be, Who can transcend time and place, Who can be both subject and object. Yet Who the Bær may never be able to overcome their one true challenge – to become anything more than just an image.
The fire that ravaged the historic BOZAR building on 18 January 2021, in the middle of the pandemic, led to more cancellations of concerts, performances, exhibitions and events.
In a sign of solidarity, Thomas Hirschhorn, Museum Dhondt-Dhaenens and Galerie Chantal Crousel join forces with BOZAR to exhibit Hirschhorn’s “Spinoza-Car” (2019) in the Horta Hall, fortunately spared by the fire. The display of the work in the Horta Hall could be seen as a catalyst for the collective rebuilding of BOZAR.
“Spinoza-Car” was most recently exhibited during Prelude: Melancholy of the Future at MDD.
Yudith Levin will be the gest of Bezalel Academy of Arts and Design new program “מה ציירות אומרות” on zoom.
The talk will be held in Hebrew on the 21.2.21 at 19:00.