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Latifa Echakhch at Museum für Gegenwartskunt, Siegen

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

Adel Abdessemed, solo show ‘Description d’un combat’ at Wilde, Geneva

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 elegance. 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.

Matan Mittwoch is participating in the group show ‘Transcoding’ at Société, Brussels

Matan Mittwoch is participating in the group show ‘Trancoding’ at Société, Brussels alongside Gert Aertsen, Carl Andre, Matthew Biederman, Otto Berchem, Jane Benson, Alec De Busschère, Detanico & Lain, Lars Fredrikson, Pierre-Philippe Hoffmann, Farah Khelil, Takahiro Kudo, LAb[au], Le Corbusier & Iannis Xenakis, Julie Morel, Joachim Olender, Jacob Riddle, Thomas Ruff, Karin Sander, Yann Sérandour, Venetian Snares, VOID, Hannah Weiner and Wennig & Daubach.

The term “transcoding” originates from the field of computers and more precisely from the conversion of one digital format to another. However, this terminology appears more and more in the cultural context as a new paradigm beyond common media theories. It addresses the issue of correspondence of signs which one medium operates within another.

We now draw with algorithm, copy/paste in paintings, think resolution in photography or sculpt in 3D… All illustrate transcoding of these two spheres – the cultural and the technological one. This isologic approach has been addressed in Fluxus and concept art by the term of intermedia and now emerges in form of transmedia. The exhibition explores the trans-lation/coding of signs in between different forms of expression as a possible reading of actual artistic production.

Karen Russo screening ‘Halls for Single Viewers’ at the Crown Cinema, Jerusalem

The Crown Cinema welcomes its viewers to attend screenings in the COVID-19 era, with three single-viewer screening halls: a momentary refuge of alternative, imagined, or documentary reality, a brief pause from a heady summer season in which the ruling crown is slipping and cracking, the streets of the city are filled with demonstrators, and the world is hanging in limbo and uncertainty. In days in which governmental institutions are collapsing and a pandemic is threatening the familiar paradigms of our existence, the Crown Cinema invites the viewer to to sink into the coolness of the theater and the comfort of its cushioned seats, and at the same time to cast a sober gaze at the reality of our lives; under the seductive cloak of the movie theater, 30 video works by local artists allow us to peer into the cracks – a powerful weapon in times of change. The spectator is invited to choose her/his own hall and screening program. The duration of each program is about one hour. Entrance according to availability. The exhibit was planned as part of the Intersections events at the Jerusalem International Film Festival Participating artists: Adi Kaplan & Shahar Carmel, Amir Yatziv Amitai Arnon & Ester Bires, Ariela Plotkin , Dan Robert Lahiani, Dorel gillerman & Agata wojcierwoska gillerman, Elham Rokni, Galia Galina Lyoloko, Guli Silberstein, Jonathan Doweck, Karen Russo, Leigh Orpaz, Maya Geller, Maya Zack, Naama Shohethet, Nir Evron, Nira Pereg, Shai Ratner, Shir Handelsman, Tal Shochat, Tali Keren, Tamar Shippony – תמר שפוני and Mili Ben Hayl, Thalia Hoffman, Tzion Abraham Hazan ,Sagit Mezamer, Samantha Adler De Oliveira, Yahav Ger, Yaron Attar, Yeshaiahu Rabinowitz, Yitzhak Mizrahi. 13 Aug at 15:00 – 27 Aug at 15:00 https://www.facebook.com/events/945615629183986/

Lawrence Weiner at Venet Foundation, Muy, France

This summer, Venet Fondation in Muy, France presents a new installation by artist Lawrence Weiner. The proposition of the American artist focuses on the outdoor spaces of the foundation, adapting to the global health situation. Designed especially for this place, the artist’s statement is written along the path of the long glass gallery. It is entierly visible from the outside and therefore becomes a key element of the sculpture garden.

Melik Ohanian at Galerie Chantal Crousel

Melik Ohanian is part of the new group show ‘DEMAIN EST LA QUESTION’ at Galerie Chantal Crousel opening on Saturday, June 27. With works by Jennifer Allora & Guillermo Calzadilla, Abraham Cruzvillegas, David Douard, Mimosa Echard, Jean Luc Moulène, Gabriel Orozco, Tim Rollins and K.O.S., Anri Sala, Rirkrit Tiravanija, Danh Vo, Haegue Yang. “[…] The mammoth hunters spectacularly occupy the cave wall and the mind, but what we actually did to stay alive and fat was gather seeds, roots, sprouts, shoots, leaves, nuts, berries, fruits, and grains, adding bugs and mollusks and netting or snaring birds, fish, rats, rabbits, and other tuskless small fry to up the protein. And we didn’t even work hard at it–much less hard than peasants slaving in somebody else’s field after agriculture was invented, much less hard than paid workers since civilization was invented. The average prehistoric person could make a nice living in about a fifteen-hour work week1. […]” — Ursula K. Le Guin June 27 — July 25, 2020.