Omer Fast’s new video project is on view at the exhibition ‘Max Beckmann/Omer Fast. What can you see’ at the Staatliche Graphische Sammlung München / Pinakothek der Moderne (Munich, Germany). October 8, 2020 – January 10, 2021.
STUK is delighted to present the work of internationally renowned contemporary visual artist Mircea Cantor (°1977). His multidisciplinary practice is first and foremost to be understood in terms of (a quest for) visual poetry, meditation and spirituality. Inspired by the large and small events of everyday life, and through an ingenious play with rhythm, repetition, symmetry and tactility, Cantor succeeds in creating strong poetic images which have the capacity to linger in the mind. In this first solo exhibition in Belgium, Cantor presents a careful selection of films, photography and drawings from his recent oeuvre, in addition to a film made especially for this exhibition titled Am I really Free?. Together, the works allow us to reflect upon the freedom of our movements in space, the practice of tracking and tracing, ideas of borders and limitations, and the courageous and sometimes audacious attempt to sublimate or subvert. Curator: Karen Verschooren. October 7 – December 13, 2020
Thomas Hirschhorn was to present this spring, at the Galerie Chantal Crousel in Paris, his exhibition “Eternal Ruins” which brought together a series of unpublished cardboard works called “Chat Posters”. Built in reference to the work of Simone Weil, these new pieces mix text, images and smartphone aesthetics. Closed to the public a few days after its opening, the exhibition could only be visited virtually. All 23 Chat-Posters will be visible, for the first time since, in the exhibition of the Ex-Decathlon at BIP2020.
“On large (240 x 125 cm) vertical cardboard supports that are not without evoking the maximized proportions of smartphone screens, Thomas Hirschhorn is redesigning the conversation design of the WhatsApp platform with felt pens. Quotes from French intellectual Simone Weil are then integrated into these contemporary phylacteries: “Love is no consolation. It is a light” or “Beauty is the harmony of chance and goodness”, all aphorisms enunciated by Simone Weil in the 20th century which, in this eminently contemporary form, would seem better able to capture our educated attention to these new modes of exchange”.
Latifa Echakhch will present works from her series ‘Fall’ as part of Kunsttage Basel.
The Kunsttage Basel are a broadly supported, temporary association of museums, art institutions, exhibition spaces and galleries in Basel and its surroundings. The aim of the joint activity is to support and revitalize the cultural life of the region, to stimulate the public to experience art and culture in the city and on the country as well as to strengthen the contribution of modern and contemporary art under the current crisis conditions. September 17 – September 20, 2020
Karen Russo will participate in a tree persons show ‘The City & The City & The City’ at the Frestonian Gallery, London. The exhibition is curated by Tom Morton and presents works by Karen Russo, Charles Avery, Dana Lixenberg.
17th September – 31st October 2020
Karen Russo will be showing new drawings, photographs and a film alongside Charles Avery and Dana Luxembourg at Frestonian Gallery, London.
Curated by Tom Morton, The City & The City & The City borrows (and extends) the title of the British writerChina Miéville’s celebrated novel The City & The City (2009), a police procedural set in two separate fictional Eastern European cities, Besźel and Ul Qoma, which occupy the same physical territory, while having markedly different languages, cultures, and systems of belief. The exhibition, then, might in a sense be conceived of as aconurbation or megalopolis, whose constituent ‘cities’ each have their own complex civic identity, while sharing (sometimes surprising) correspondences and overlaps with not only their near neighbours, but with many other cities, real and imagined, from across human history.
16 SEPTEMBER – 31 OCTOBER 2020
Matan Mittwoch is part of the group show ‘LA PHOTOGRAPHIE À L’ÉPREUVE DE L’ABSTRACTION’ at Frac Normandie Rouen, opening on September 11th and closing on December 6th.
with: XAVIER ANTIN, PIERRE-OLIVIER ARNAUD, MUSTAPHA AZEROUAL, SYLVIA BALLHAUSE, UTA BARTH, TAYSIR BATNIJI, LIONEL BAYOL-THÉMINES, PAULINE BEAUDEMONT, WALEAD BESHTY, JEAN-CHRISTOPHE BÉCHET, JULIANA BORINSKI, MICHEL CAMPEAU, MARIETA CHIRULESCU, STAN DOUGLAS, JAN PAUL EVERS, RYAN GANDER, PAUL GRAHAM, SHANNON GUERRICO, WADE GUYTON, BARBARA KASTEN, ZOE LEONARD, MATAN MITTWOCH, ROMAN MORICEAU, HANAKO MURAKAMI, CONSTANCE NOUVEL, EILEEN QUINLAN, SÉBASTIEN REUZÉ, EVARISTE RICHER, SEBASTIAN RIEMER, THOMAS RUFF, BETTINA SAMSON, ADRIAN SAUER, ZIN TAYLOR, LAURE TIBERGHIEN, JAMES WELLING, HANNAH WHITAKER
The exhibition “The Clouds and the Cloud” in the MGKSiegen deals with the phenomenon of the cloud from a contemporary perspective. In doing so, it goes much further than the customary cloud images. Using a variety of media, the contributions range from artistic translations of the natural motif to the technical infrastructure of the clouds and their affects. The works presented combine ecological, socio-political, economic and technological aspects. The focus is on exploring the various perceptions, materialities and functions of the cloud today. September 4, 2020 – January 10, 2021
Wilde, Geneva presents a new solo show ‘Description d’un combat’ by Adel Abdessemed. The first time Adel Abdessemed worked with printed sheet metal – the metal used for food tins
and cans containing dangerous substances – was in 2005, for a small work of art that was never
exhibited, Monsieur Poulet, based on the 1974 film “Cocorico Monsieur Poulet” (Cock-a-doodledoo! Mister Chicken), by the filmmaker and French anthropologist Jean Rouch.
After the series of sculptures Queen Mary II, 2007, and the big series of Mappemondes, 2010 –
2014, the artist began in 2016 the Cocorico series of paintings, in progress to this day, made from
the same recycled printed metal, with each part functioning as an unique work. Indeed, apart from
the formal similarity that characterizes these works, each work has its own pictorial beauty and
Abdessemed addresses the art of painting in a direct fashion. And yet, the words he places in
each painting are neither titles, nor comments, nor even slogans that stand out on the pictorial
background, but rather side notes in the margin where chance plays an evocative role.
Daniel Birnbaum writes, in the exhibition catalogue to be published in the autumn of 2020: With
Cock-a-doodle-doo, I’m drawn-in, beckoned into something intriguing. It’s not so much the
industrial approach and detachment from the production of the works, or the artist’s attempt to
reduce “creation” to chance and collective mechanics, but rather the transparency of his method.
These are not paintings produced by an embodied subject. The subject in question would require
countless hands. When I look at these shiny, beautiful surfaces, I can’t help visualizing the frenetic
activity of the artist trying not to lose control. I see him first as a spider, then as an octopus, and
then as Edward Scissorhands. In any case, the artist cannot be fully human. The paintings are
produced by a multitude. They are the filth and luxury of a globalized economy, unnecessary
spending, the waste of the world.
The works in the series are bold and yet seductive, like invitation cards. The tradition of making
visually appealing souvenirs from scrap metal is widespread in North Africa where Adel
Abdessemed produces all of these works, in his workshop in Fez, Morocco.