The solo exhibition ‘Omer Fast. The Invisible Hand’ is on show at Ring Gallery of the Salzburger Kunstverein in Salzburg, Austria. They present a long-term installation of Omer Fast’s VR-film The Invisible Hand, based on a Jewish fairy-tale. This immersive 3D Virtual Reality (VR) film follows a young girl who recounts her family’s uncanny past in the People’s Republic of China. The film was shot in Guangzhou, China, on a 3D VR camera. The work was commissioned by and premiered at the Guangdong Times Museum in 2018, but was shut down by the local government after running for a few days. The reason given was that there are no more ghosts in China since the founding of the People’s Republic. February 8 , 2020 – January 24, 2021.
Shilpa Gupta is part of the group exhibition ‘Measure Your Existence’ at The Rubin Museum of Art in New York City. The fleeting, impermanent here and now—in all its destruction, regeneration, and intense immediacy—is the ultimate reality. The exhibition questions and expands the Buddhist concept of impermanence through artworks by six contemporary artists who explore duration, survival, memory, fate, history, loss, disappearance, and reappearance. Visitors are called upon to co-produce, participate, and intimately experience works of art through time-based and durational installations. The exhibition creates ephemeral moments of reflection and meaning, inspiring personal recollection and reminiscence. February 7 – August 10, 2020.
Haim Steinbach’s work is on show at the group exhibition ‘Leaving and Returning’ at Braverman Gallery in Tel Aviv. The exhibition seeks to instill a sense of belonging in Braverman Gallery’s new exhibition space. It is composed of works concerning the tension between the domestic and the public, art and design, old and new, and between past and present. Accepted forms of displaying art and design allow us to read into a setting, providing us with a sense of mutual understanding in a dialogue with the objects we choose to surround ourselves with. In a digital age where sharing and privacy no longer refer to intimate encounters alone, our physical spaces have become no less intriguing as art and design continue to be charged with psychological, social, or political associations and ideas, some giving rise to uncertainty more than others. The works in the exhibition, and the actual and representational spaces between them, questions structures of form and function concerning the identity of an object in space as well as its representation.February 6 – April 30, 2020.
Invited by the BPS22 for her first big exhibition in Belgium called “The sun and the set’, Latifa Echakhch presents a new installation and a selection of older works in relation to the architecture of place and her local roots. February 1 – May 3, 2020.
Lawrence Weiner takes part in the group exhibition ‘Not in so many words’ at Kröller Müller Museum in Otterlo, Netherlands. The exhibition brings together a wide variety of works from the collection of the Kröller-Müller Museum, in which words, letters, sentences and text fragments play a prominent role. From word puzzles and poems to philosophical contemplations and political commentary. February 1- May 10, 2020.
Shilpa Gupta takes part in the group show ‘Unhomed’ at Uppsala Art Museum in Uppsala, Sweden. This exhibition brings together a group of international artists, whose creative practices are in constant dialogue with the complex narratives of cultural heritage, history writing, and freedom of speech. Their art examines borders between to public and domestic spaces in rapidly changing cities, underlining colonial structures and national aspirations, while at the same time mapping the geography in terms of gender, class, ethnicity and religion. Memories become embedded into architectural elements, structures, and patterns are embedded with memories. As the cities change, new hybrids emerge and certain memories are erased. Through the media of performative actions, moving images, and sculpture, the works of art destabilise the notion of identity and what is considered to be a national or personal “home”. “To be ‘unhomed´,”’ says Homi K. Bhabha, “is not to be homeless, but rather to escape easy assimilation or accommodation”. The concept ‘Unhomed’ is also taken from the poetic work by Shilpa Gupta ‘Words Come from Ears’.
David Maljković’s solo exhibition ‘With the collection’ is on show at the Museum of Modern and Contemporary Art in Rijeka, Croatia. ‘With the collection’ is an open-ended exhibition based on a series of collaborations that would take place on different locations at different times. It centers on Maljković’s extraordinary site-specific intervention which, in an unconventional way, represents the MMSU’s collection. Even though the Museum was founded in back 1948, its collection has never been presented in the form of permanent display, mostly because of the lack of spatial resources. Therefore, in Maljković’s spatial reconfiguration, the Museum’s collection becomes present, it receives a new face, and each of its works becomes more than just an artefact, acquiring a fresh meaning and a renewed social relevance. While building the relationship with the collection, Maljković rejects taxonomies and linear narratives. Instead, he applies his own recognizable artistic methods: he creates a collage of the existing artefacts and plays with the ways we perceive and experience exhibitions. January 31 – April 20, 2020.
Nelly Agassi and Miroslaw Balka take part in the group exhibition ‘(Not) a Good Time for Love. Love Stories of the Holocaust Survivors’ at the Jewish Museum & Tolerance Center in Moscow. The project is based on the recently published diaries, memoirs and biographies of the concentration camps prisoners, Jewish guerrillas and members of the political underground as well as their children, grandchildren and invited biographers. The exhibitionchooses love and care in the times of the Holocaust in search of new perspectives on the traumatizing experience and new language to represent individual memories. ‘(Not) a Good Time for Love’ is an attempt to explore the role of the contemporary art museum in the development of the memory culture. How do we transform a collective memory into spontaneous and sacred event? How does contemporary art state the value of the individual experience of the Holocaust victims? How do we transform the memorial ritual of visiting the Holocaust exhibitions into collective empathy experience? January 28 – May 15, 2020.