Thomas Hirschhorn is part of the group exhibition ‘ The Image Looks Back’ at RMIT Gallery in Melbourne, Australia. In an era of post truth, fake news, and manipulated images, ‘The Image Looks Back’ explores the reconfiguration of photography, asking how notions of visual truth and human experience are shaped by new technologies of vision. If the photograph has conventionally been understood as a record or memory of the world, what happens when the image looks back? March 27 – May 16, 2020.
Douglas Gordon and Mircea Cantor are part of the group exhibition ‘Animals in Art’ at Arken Museum of Modern Art in Ishøj, Denmark. Camels and kittens, elephants and rats, feathered creatures and cute pets. In recent years, contemporary art has been exploring the way we look at animals, talk about animals, use animals and understand ourselves through encounters with other species. ‘Animals in art’ shows sculptures and installations, video, photography and paintings by a wide array of international artists who explore the way we humans study, categorize, live with and use animals – and how we thus try to gain a deeper understanding of ourselves. March 21 – August 9, 2020.
Thomas Hirschhorn and political scientist Laurent Jeanpierre are having a conversation on the occasion of ‘Eternal Riuns’, at Galerie Chantal Crousel on Thursday, March 19 at 6 pm.
Laurent Jeanpierre is currently Senior Lecturer in political sciences at University Paris 8, Vincennes – Saint-Denis, after having taught in a higher school of artistic education. For the past two decades, part of his work develops an approach of art through political language. Furthermore, he has worked on Simone Weil’s corpus, specifically during the last years of her life spend in the United States and England.
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David Maljkovic takes part in the group exhibition ‘New Reproductions’ at Annet Gelink Gallery in Amsterdam, Netherlands. The exhibition explores the correlation between publication, research, artwork, graphic designer, artist and institution. It investigates the varied ways this correlation is formed, from insight into an artist’s practice, to exploration of either artwork or exhibition, an in-depth reference work, or indeed to an independent work in and of itself. Mirroring the often overlooked yet rich material provided by artists’ books, ‘New Reproductions’ presents a visually eclectic selection of works to highlight a wide-ranging selection of publications; at the entrance to the show the various books are featured in the show as part of David Maljkovic’ reconfigured modernist bookcase. March 14 – May 2, 2020.
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.