Re-Sculpt is the title of Thomas Hirschhorn’s first exhibition in China, which gives form to the fact-less and faceless truth by exploring the aesthetics of ruins and discusses the complexity and paradox of destruction and creation.
As the temporary studio of the artist, McaM’s 2000 square meter space will be “re-sculpted” into a space of resistance and a place without hierarchy. Two “shelters” are placed in this precarious ruin landscape that offer the space for workshops. Each participant can use the materials provided within to create their own sculptures. This self-evolving shelter space, as part of the exhibition, associates, convenes and confronts with the ruin space. During the exhibition period, McaM shall put forward together with the artist the public projects through a non-programmatic method, in order to extend the public space and the social fabric into the museum: it’s free and open to all public to engage in the discussion raised by the exhibition, organizing and inventing their own meetings and events. Re-Sculpt is a never-ending work, a continuously developed and re-developed field. It invites and asks for the presence of every one of us to prove that: I am/we are as good in creation as in destruction.
The Exhibition is up until 17 February 2019.
Showing from 8 June – 1 September 2019, the TarraWarra International 2019 exhibition, The Tangible Trace,explores the notion of a trace as a residue or marker of a place, situation or body of knowledge. The exhibition includes the works of Francis Alÿs (Belgium/Mexico), Carlos Capelán (Uruguay/Sweden), Simryn Gill (Singapore/Malaysia/Australia), Shilpa Gupta (India), Hiwa K (Iraq/Germany) and Sangeeta Sandrasegar (Australia), including newly commissioned works by Capelán, Gupta and Sandrasegar.
Since its establishment in 2013, the TarraWarra International series has supported a number of Australian artists, including Janet Laurence, Louise Weaver, Tom Nicholson, Patrick Pound and Cyrus Tang, to exhibit their work in a global context by presenting it alongside leading contemporary artists from abroad. Each of these exhibitions has uniquely identified and meaningfully considered significant developments in contemporary art practice – from the interrelationship between the animate and inanimate, to the experience of temporality, to imaginative responses to the archive.
The TarraWarra International’s strength lies in its rigorous curatorial research, reception of new ideas, commissioning of new works, exposure for exhibiting artists, and for providing a publicly accessible context for seeing major work by leading Australian and international artists. Previous TarraWarra International exhibitions include Animate/Inanimate (2013), Pierre Huyghe (2015) and All that is solid … (2017).
The group show at Megaron, The Athens Concert Hall, “After Babel” is the second part of the Exhibition Trilogy “The Unwritten Library” curated by Anna Kafetsi. It focuses on books and texts through their physical, hybrid, or intangible reality. The exhibition trilogy is revolving around this threefold theme and explore the complex networks of relations and interconnections emerging at the intersection of textuality and orality, book/text and body, private and public space.
Objects of desire and main characters in new fictions, books generate enchantment and emotion through the exhibits. They cross paths with the vision and other senses. Through processes both linguistic and conceptual, they open an ambiguous, often hermetic space of reading. The viewer-reader crosses its boundaries to go beyond knowledge and meaning, sometimes even beyond writing itself, into uncharted aesthetic territories.
The Exhibition is open from 5.12.2018 until 19.05.2019
The 58th International Art Exhibition “May you live in interesting times” that includes Shilpa Gupta’s works, is curated by Ralph Rugoff and organized by La Biennale di Venezia chaired by Paolo Baratta is open untill 24 November 2019.
«The title of this Exhibition could be interpreted as a sort of curse – stated Paolo Baratta – where the expression “interesting times” evokes the idea of challenging or even “menacing” times, but it could also simply be an invitation to always see and consider the course of human events in their complexity, an invitation, thus, that appears to be particularly important in times when, too often, oversimplification seems to prevail, generated by conformism or fear. And I believe that an exhibition of art is worth our attention, first and foremost, if it intends to present us with art and artists as a decisive challenge to all oversimplifying attitudes.»
The Exhibition develops from the Central Pavilion (Giardini) to the Arsenale and includes 79 participants from all over the world.
“Altered Inheritances: Home is a Foreign Place” a Group Show by Shilpa Gupta and Zarina is open untill the 13th July at Ishara Art Foundation in Dubai.
The title resonates with the condition of being South Asian in the Gulf; at home, but yet elsewhere. In Altered Inheritances – 100 (Last Name) Stories (2014), Gupta traces individuals who changed their last names either to succeed, or to survive. A linear presentation of images is layered with the reasons that names were shed, and then split in half, evoking a sharp break with the past. The words on each of 36 monochrome woodcuts are “triggers for memory” in Zarina’s Home is a Foreign Place (1999), expressing a quiet yearning for a home she could not return to. The architectural staging of the two-person exhibition is inspired by the floorplan of her childhood home, creating intimate spaces for almost forty works presented in both formal and conceptual affinity. The exhibition includes a video by Sophie Ernst, where Zarina recollects leaving the house after the Partition in 1947.
Ishara Art Foundation is the first non-profit independent institution dedicated to contemporary South Asian art and artists in West Asia. Founded by Smita Prabhakar, Ishara Art Foundation is a new space for contemporary art and artistic exchange building on the shared histories, continued presence and cultural contribution of South Asian voices in the Gulf. Richard Armstrong, Director of the Director of the Solomon R. Guggenheim Museum and Foundation chairs the Advisory Board, which includes Maya Allison, Executive Director of NYUAD Art Gallery, art historian Sandhini Poddar, and artists Bharti Kher and Chittrovanu Mazumdar. Ishara Art Foundation is presented in partnership with Alserkal Avenue.
The exhibition “O tempo mata” whose title translates to Time Kills brings together works by seventeen artists from the Julia Stoschek Collection who work with film and video. Covering more than six decades of audiovisual production, the show focuses on themes such as race, visual culture, gender identity, media circulation, and the role of artists in society. Work by Douglas Gordon is included.
The group show is open from 16 June 2019 at SESC avenida Paulista in São Paulo, Brazil.
Rothko in Lampedusa is an independent show organised by UNHCR taking place during the 58th Venice Biennale at the Palazzo Querini. The exhibition reflects upon the migrant crisis utilising a poignant artistic language. The common thread weaving throughout the exhibition is Mark Rothko, the artist who escaped from the repressive regime of the Russian Empire in the beginning of the 20th century. If this particular refugee had not been able to explore his artistic potential in his host country, we would not have his extraordinary artworks today. The exhibition therefore intends to create a dialogue between established contemporary artists and five younger refugee artists, who will be hosted in residency in the city of Venice / May 11 – November 24, 2019
Hey Psycho! is a duo show by Douglas Gordon and Florian Süssmayr at Arsenale Institute for Politics of Representation, Venice that will be open from May 8th, 2019 / Opening Opening 8 May 2019, 5:30 pm. The Exhibition will be on view until 24 November 2019.
The exhibition Our Happy Life is a three-act study on the new spatial models founded on the measurement of happiness, and the complexity of the Data world. The exhibition, curated by Francesco Garutti is open from 8 May till 13 October at CCA, Canadian Centre of Architecture.
How do we measure the quality of our life? What is the data behind happiness? Over the last decade, lists of indicators, indices and rankings commisioned and produced by public and private entities alike, have changed how we perceived and design the space we inhabit.
Key to the development of these lists was Nicolas Sarkozy’s 2008 formation of a committee to rethink GDP as a measure of social progress and David Cameron’s 2010 initiative to collect national statistics on well-being. Both of these projects can be seen as early markers of a new Happiness Agenda. At a global scale, the consequences of this agenda include a redefinition of relational parameters between wealth and well-being and the rise of a social science, rooted in new strategies of data collection.
MISS READ: The Berlin Art Book Festival 2019 is taking place May 3 – 5, 2019 and will bring together 304 exhibitors. Jonathan Monk will be participating in lectures, and panel discussions that will be held on Sunday, May 6, 2019.