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Sarah Ortmeyer at Jahn und Jahn in Munich

Sarah Ortmeyer will be part of the group show ‘Greater than the sum” at Jahn und Jahn in Munich. Other Artists on show are Kerstin Brätsch, Michaela Eichwald, Helen Marten and Laure Prouvost. Opening 24.10.19 7 -9 PM Running 25.10.19 – 14.12.19 Baaderstrasse 56 b

Jonathan Monk at Centre Pompidou

Jonathan Monk will take part in the group exhibition “Points de Rencontres” at Centre Pompidou. This unique exhibition presents seven works destined to enter the Center Pompidou’s collection. The newly created works by Jonathan Monk, Hubert Duprat, Lionel Esteve, Alexandre Estrela, Agnès Geoffray, Camila Oliveira-Fairclough and Bruno Serralongue interact with a selection of modern or contemporary works from the collection (Joseph Albers, Brassaï, Sonia Delaunay, Paul Klee …). The show will be on until the 27th of January 2020.

Mircea Cantor’s signing his souvenirs for 350 year anniversary of Paris Opera

The stamps and souvenirs by Mircea Cantor, made especially for the 350th anniversery of the Paris Opera will be sold: On Friday, October 18, 2019 THE OPERA OF PARIS PALAIS GARNIER , Glacier Rotunda, from 13H30 to 17H, corner of the streets Scribe and Auber 75009 PARIS. – signing session with Mircea CANTOR and Sarah BOUGAULT from 14:30 to 16:30. and Saturday, October 19, 2019: The Carré d’Encre, from 10:00 to 17:00, 13 bis rue des Mathurins, 75009 PARIS
  • signing session with Mircea Cantor from 14H to 16H.

‘red nerv’ by Miroslaw Balka will be inaugurated at Castello di Ama, Siena, Italy

Castello di Ama is pleased to announce the inauguration of red nerve, a new site-specific sculpture by Mirosław Bałka. This occasion marks the sixteenth addition to the series of permanent artworks conceived and realized for Castello di Ama for Contemporary Art, already including works by Anish Kapoor, Lee Ufan, Daniel Buren or Louise Bourgeois. At Castello di Ama, Bałka has suspended a single red thread in a cantina from ceiling to floor—a simple but radical gesture that has profound philosophical implications. A turning mechanism causes the thread to twitch and stir, investing it with a living presence and sensitizing the space around it. As the title implies, the thread is a metaphor for the human body, like a vein or umbilical cord that sustains a fragile and tenuous existence in the surrounding darkness. There is a spiritual dimension as well: the thread spanning the extreme height of the cantina metaphorically links earth and heaven, the visible realm of concrete things and the invisible realm of the spirit. In red nerve, Bałka has created an image of the contingency and vulnerability of the human condition. Curated by Philip Larratt-Smith Opening 15.10.2019 at Castello di Ama, Gaiole in Chianti, Siena, Italy.

Naama Tsabar in Group Exhibition “I’ve grown roses in this garden of mine” at Goodman Gallery London

The Group Show “I’ve grown roses in this garden of mine” at Goodman Gallery London will include Nama Tsabar’s ‘Work on Felt (Variation 8), Grey. The inaugural exhibition at Goodman Gallery London seeks to create a space in which to imagine possibilities for social repair. The exhibition explores how varying approaches to exposing painful collective memories and experiences could initiate healing. “I’ve grown roses in this garden of mine” Goodman Gallery London: 3.10.19 – 2.11.19!

Naama Tsabar will inaugurate The Nasher Museum

Duke University is building the first outdoor space on campus dedicated to the arts. The new green space will showcase the arts, visually connecting the Nasher Museum of Art and Rubenstein Arts Center.

This new green oasis establishes a gateway to the Duke Arts District along Campus Drive. The Nasher Museum will inaugurate the space on September 28 with a work of performance art by Israeli-born artist Naama Tsabar in collaboration with local musicians.

Haim Steinbach is curating ‘who knows one’ at VISTAMARE including works of Moshe Ninio

Haim Steinbach is curating ‘who knows one’ at VISTAMARE in Pescara, Italy. The artist has invited twenty-three artists, from different backgrounds and with different professional experiences, choosing to ask a question, who knows one, which encourages them to ponder the very significance of the work of art, a question that also involves the eventual viewer of the artwork, leaving all of us engaged in the search for an answer. Moshe Ninios work hole/patch will be featured in the group exhibition. Opening: 28.9. 6:30 pm Running 28.9.19 – 14.2.20

Farewell Robert Walser Sculpture

The dismantlement of Hirschhorn’s ‘Robert Walser-Sculpture’ in Biel, Switzerland has already begun. Before the sculpture will vanish completely the Farewell Day marks the end of the Project on 28.9.19! Free drinks, food and a big goodbye  in Biel 10 am – 10 pm!

Karen Russo at Tel Aviv Museum of Art

The solo exhibition features, for the first time in Israel, three of Karen Russo’s films: Junker Haus, TET-Stadt and Haus Atlantis, alongside large-scale figurative charcoal drawings. The films, shot in northern Germany, refer to the area’s local and cultural history before and after World War II and examine a moment in history when ancient mythologies merged dangerously with political ideologies. Opening Date: 26.9.2019

Nelly Agassi at Pola Magnetyczne in Warsaw with Nicolas Grospierre

From the 20th of September to the 2nd of November, 2019 In Longue Durée, Nelly Agassi and Nicolas Grospierre develop a visual dialogue which revolves around time, architecture, and the physical absence of light. “Longue durée” – the long run – should be seen as a view on things, perceived over a long period of time, and focusing on the longstanding and imperceptibly slow changing events and their consequences, and understood as perhaps the most fundamental aspects of reality. In Heliography, Nicolas Grospierre’s new body of works, the photographer abandons one of his favourite topics, architecture, to deliver works that could be seen as the antithesis of Cartier Bressons’s concept of “decisive moment”. It is indeed the long perspective that is essential in Heliography, which could be described as photography without film, without camera, and even without paper: geometric patterns created by the sun over colorful velvet canvases, exposed over a period of 5 months. The long run is equally essential in Nelly Agassi’s practice, and her re-interpretation of architecture. In Longue Durée, Nelly Agassi deals with the the biography of the building housing the Pola Magnetyczne gallery. Plein-Air, one of her minimalist yet masterful interventions, revives architectural elements once integral to the house, and which have disappeared: the windows of the gallery space. Marking the absence of these windows allows her to connect with the long history of the house and explore erasure, preservation, and architecture’s capacity to change and repurpose by its users and by time, while at the same time echoing Grospierre’s Heliography, by referring to the absence/presence of light which the window allow, and which is fundamental in Grospierre’s works. Born out of the visual exchange between two autonomous artistic sensitivities, Longue Duréee eventually hints at notions of time, memory and immanent change, often imperceptible to the naked eye.