Nedko Solakov is part of the Lahore Biennale 02 that take place in various locations in Lahore, Pakistan. Founded in 2014, the Lahore Biennale Foundation (LBF) has since strived to create opportunities for the promotion of the arts, particularly in the public realm as well as funding research in the fields of visual arts an culture. Through our year-round programming, our focus has been on
facilitating creative practitioners and researchers to develop and disseminate their work to local and international publics. Numerous public projects at the city, regional, and global levels have been implemented as well as formalising grants through the newly established LBF Research Cell. January 26 – February 29, 2020.
Melik Ohanian is part of the group exhibtion ‘Scènes dans une bulle de cristal – Seen in a crystal ball’ at Galerie Chantal Crousel in Prais. The exhibition invites the visitor to explore works offering some suggestions on how to transcend the universe we are part of. Fluids and moments or trajectories frozen into solid glass, turbulences, contribute to a present or future and drive them in its most complex form, whether it is through the wandering of a drop of water, the metaphysical phenomenons and human insight, or merely through the use of a black box and crystallization to cease an eternal present. January 25 – February 29. 2020.
Karen Russo takes part in the exhibition ‘Ministry of Culture Award 2017 – 2018’ as she has been awarded the 2018 Israeli Ministry of Culture award for an Established Video artist. The prize, of £10,000 was awarded to Russo for her work in film and video in the last 20 years. The exhibition by the Ministry of Culture award recipients for the years 2017-2018 will take place at Ashdod Museum of Art. Opening date: January 18, 2020.
Matan Mittwoch’s first solo exhibition in France is on show at Centre d’art de l’Onde in Vélizy-Villacoublay. Within the exhibition called ‘Facing Landmarks’, the artist explores the technological tools that surround us and the control devices generated by them. In the time of the “smartification” of the world, where technology is an integral part of our lives, the artist investigates and dissects these tools to understand their challenges, their impact on our bodies, our emotions, our attention and our relationships to each other. January 18 – April 3, 2020.
Sarah Ortmeyer takes part in the group show ‘A shelter in the folds of the infinite’, curated by Eloi Boucher, at Sans Titre (2016) in Paris, France. Including a completely new body of work and two site-specific installations by Michael Debatty and Jonathan Binet for Sans Titre’s space, the exhibition aims to propose new surrounding architectures by bringing together a selection of works by artists Lorraine Châteaux, Basile Ghosn, Ray Johnson, Sarah Ortmeyer w/ Kerstin Brätsch and Paloma Proudfoot. The eight artists design irregular forms that alter our experiences of buildings and structures, playing with relationships that humans have with spaces or materials. The show is inspired by the practice of architect and landscape designer Roberto Burle Marx, specifically by his concept of gardens and ‘floors in movement’. The unique combination of rigorous organization of space and the natural disorder of plants set free to grow as they will, created a cross-over between the surrounding environment, fragmentation of perspective and volumes constantly changing depending on the season and climate change. As an admirer of the curve and the root, he was able to establish a complete and lively work by presenting free forms incorporating texture as a key element of urban planning.
The title of the show is borrowed from the last sentence of Nathalie Haddad’s article on the architecture practice of John Lautner in Frieze (2009): « Lautner’s stylistic break from exacting geometries coincides with his transition to concrete as his primary structural material and to the folds of the earth. The concrete ‘shell’ became the metaphor and the medium for man’s flight away from the civilisation into the shelter of nature. » January 17 – February 22, 2020.
Florian Pumhösl takes part in the group exhibition ‘1. Color 2. Hole and 3. Joke. Selected works on paper’ at Galerie Meyer Kainer in Vienna, Austria. Drawing became fashionable in the 18th century, when it left the confines of the artist’s studio to enter a broader field of discourse, culture, politics, and social life. This transformation was most evident in France, where drawing was significantly and influentially repositioned and reconceptualized. This exhibition traces the emergence of the modern understanding of works on paper in multiple senses—as an autonomous form of expression, an index of the artist’s style, an object of aesthetic contemplation, and an epistemological tool. By exploring the artists’ interactions with paper rather than simply their use of the material as a basis, the exhibition considers works on paper as a means of conceptualization as well as a visual mode of thinking in and of itself. Focusing on the power of contemporary works on paper, this selection of work looks at how artists use drawing to examine themes including identity, place, and memory, thereby pushing the boundaries of the medium. The constitutive influence of Pop Art on their work is shared by all the artists represented in the show. Building on the achievements of Dadaism, the Pop artists began to parody the society on which their reactions were based. The Pop Art movement then sought to solidify the idea that art can draw from any source, that there is no cultural hierarchy to disrupt this. Presented in a fine art setting, the line between “high culture” and the quotidian becomes blurred. To assess the permanent conceptual impact on contemporary drawing, we must bear in mind some of the characteristics of contemporary art after Pop Art: Appropriation of cultural icons; use of vibrant, bright colors, irony, and satire; as well as innovative techniques like print, mixed media, and collage that reference its graphic nature. January 17 – March 7, 2020.
Hans-Peter Feldmann and Florian Pumhösl take part in the group exhibition ‘Out of Order. Works from the Haubrok Collection, Part 2’ at Neues Museum in Nuremberg, Germany. Following on from Part 1, this second edition of ‘Out of Order’ offers a similarly extensive cross-section of the collection assembled by Barbara and Axel Haubrok. This time, ninety works by around fifty artists focus attention on a seminal figure in art: picture objects mounted on the wall. What is foregrounded here, forming the anchor point for many of the conceptual approaches featured in the show, is not what a picture shows but the fact that it always also shows itself as a material object in a specific context. January 17 – March 1, 2020.
Naama Tsabar’s solo exhibititon ‘Inversions’ is on show at Shulamit Nazarian Gallery in Los Angeles. The exhibition title, Inversions, refers to a new body of work that is installed directly into the existing architecture of the gallery. Utilizing the shallow space behind the gallery’s walls, Inversion #1 and Inversion #2 assumes an overlooked space as a site of importance or a platform for action. Fusing together elements from guitars, harps, banjos, and violins, Tsabar creates an inverted instrument that relies on the contortions and penetrations of participants’ bodies for its activation. Inversion #2 includes a singing chamber, with holes and voids in the architecture for the voices of performers to fill. January 10 – February 22, 2020.