The Event IN SITU Patrimonie et Art Contemporain offers during the Summer to discover works of Contemporary Art realized in situ and establishes a dialogue between historical heritage and modern art, ancient historical patrimony and Contemporary Art.
in particular the Summer Exhibition’s program of this year features the work of the contemporary romanian artist Mircea Cantor from 21 June until 31 August 2019 at the Forteresse De Salses, Salses-le-Château in France.
The Group Exhibition “Jews, Money, Myth” is a major exhibition exploring the role of money in Jewish life. Discover the ideas, myths and stereotypes that link Jews and money over the course of 2000 years. The Group Show is on display until 17 October 2019 at The Jewish Museum in London. The work of Ryan Gander is included.
To create new green public space at the heart of CBC for all users: employees, patients and visitors. Located to the west of Addenbrooke’s Hospital between the new Royal Papworth Hospital and Astrazeneca, The Green & The Gardens is a set of spaces for relaxation and calm, and to inspire thriving new relationships and ideas between current and future CBC organisations. To achieve this, and in line with the campus’ ethos of exemplar collaboration, international concept artist, Ryan Gander, and leading landscape designer, Gillespies, were commissioned right at the start of the process to create this vision, and then develop the landscape design and all its features (routeways, planting, street furniture, lighting and sculpture) as one holistic public art and landscape commission.
The Solo Show “I see you’re making progress” by Ryan Gander at Lisson Gallery in Shanghai, will be on view until 31 August 2019. The exhibition’s title ‘I see you’re making progress’ reflects Gander’s constantly evolving practice and career trajectory, while the works also display this evolutionary process – from the confines of the artist’s mind and studio, towards the boundless possibilities to learn and develop from the outside world.
Organised in partnership with the museum director Jochen Volz — Pinacoteca de São Paulo, Brazil — the 2019 Verbier Art Summit took place on 1–2 February 2019 in Verbier, Switzerland around the theme: We are many. Art, the political and multiple truths.
In times of increasing uncertainty, we are in need of a deeper understanding of the multiplicity of narratives around us. Art has the potential to give voice to forgotten and silenced narratives, but also to envision entirely new possibilities. By bringing together artists, museum directors, activists and academics, the Verbier Art Summit engaged the art world in critical reflection on their social and political responsibilities. Together, we explored the political power of art.
The 2019 Summit Edition speakers included artists Tania Bruguera, Latifa Echakhch, Rirkrit Tiravanija and others.
The Group Show “Stumbling Through the Uncanny Valley: Sculpture and Self in the Age of Computer Generated Imagery” will be on show from 13 July 2019 until 7 September 2019 at the CCA Center for Contemporary Art, Tel Aviv.
We spend so much time looking at screens that show us images created by computers rather than cameras or humans. This new aesthetic filters through our daily lives and gives form to a new mode of visual representation. Following these premises, the exhibition examines the boundaries of this phenomenon through the work of 30 pioneering artists from around the globe. The exhibition title refers to the term “The uncanny valley,” that was coined in the 1970s to describe the unsettling feeling when androids (humanoid robots) or audio / visual representations of people closely resemble humans, but are not fully realistic or convincing. This dissonance is found today in computer-generated imagery (CGI) that now form our visual world and artists today are responding to and deconstructing the resultant visual landscape.
The Exhibition includes the work of Adi Fluman and Miri Segal.
The Group Exhibition “Constellations: a choreography of minimal gestures” will be on show until 22 September at Museu Coleção Berardo in Lisbon.
“It’s not that what is past casts its light on what is present, or what is present its light on what is past; rather, image is that wherein what has been comes together in a flash with thenow to form a constellation.” (Walter Benjamin). The names used to refer to the different constellations are imbued with history, tradition, and myths. Imaginary clusters of stars have always been a source of fascination to humans. Perplexed by their surroundings, we have endeavoured to decipher our own origins in a mythical, cosmogonic space crisscrossed by superhuman intentions—an unlimited space—which also accommodates the conflicting desires of the gods. This longstanding fascination with the celestial sphere of our planet and the urge to investigate what we could see led stars and constellations to be included on maps and in myths in the form of varied signs and narratives. The human mind has thus perceived these luminous dots in the sky to be mysterious clues about the universe, life, and humanity. It was in this context that the constellation first appeared: in the midst of immortal, fixed stars, retaining a permanent reminder of collective and individual fates.
The Show includes the work of David Maljkovic.
The Group Exhibition “Deep Sounding – History As Multiple Narratives” at Daadgalerie in Berlin will be on view until 11 August 2019.
Deep Sounding – History as Multiple Narratives brings together artists with a shared interest in exploring the factors and background narratives that generate multiple perspectives on history. A particular focus of this presentation, which also includes works by current and former guests of the DAAD Artists-in-Berlin Program, are the subjective historiographies that emerge as a result of multiperspectivity. These involve the cognitive processes of assimilating history and rethinking existing – and often fictitious – hi(stories). The act of rearranging documentary material or breaking with linearity frequently provides the starting point for the creation of new narratives. In addition to linguistic narrative structures and language policy, above all the sensuousness of the charged material of historical events serves the participating artists as a vehicle of narrative communication.