• Matt Mullican: Through Walls and Layers. Cross-Sections in Art and Science.

    2 May — 30 June 2019


    The best way to find out what holds the world together at its very core is to cut it open. Cathedrals, skulls, the hulls of ships, the circles of hell, volcanoes, blossoms, caterpillars or even entire mountain chains – nothing and nobody can escape the exploring cut. Be it a cross section or a longitudinal section, the most important thing is that it runs right through the middle. The world opened up in this way is presented as images, models or at the object of curiosity itself.
    The exhibition shows how the cross section functions as a visual principle of insight. It is presented as a versatile and effective method of visual communication, be it in medicine, architecture, biology or geology. The works in the exhibition tell an exemplary story of the symbiotic relationship between art and science. While scientific researchers adopt many of the established methods, techniques and compositional strategies of art in order to visualize their findings, artists, in turn, appropriate the specific visual syntax of the sciences in a way that at times seems to verge on expropriation.
    The method of obtaining certainty about invisible inner worlds by cutting clearly through it, not only connects art and science, but also very different epochs. The exhibition shows cross-sections from the 15th century to the present. Not all of them come from the Graphische Sammlung: important loans from a total of eight different ETH collections and archives enter into a dialogue with them.
    Participating artists are next to Matt Mullican, huber.huber, Le Corbusier, Toni Ungerer, Stefan Gritsch, Regula Dettwiler, Peter Emch, Maria Sybilla Merian and Gottfried Semper.

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  • Ana Jotta: touché (gesture, movement, action)

    17 April — 22 June 2019


    Touché (gestures, movement, action) brings together the works of artists from Lebanon and the international scene, as an extension of scènes du geste, an exhibition and performance program curated by Christophe Wavelet at the invitation of Centre National de la Danse and the Festival d’automne in Paris in 2015, and the weight of vision, a seminar presented by Marie Muracciole at Beirut Art Center the same year. The aim of the exhibition is to showcase what body and mind are capable of, once they are motivated by an artistic practice.
    Gestures are constituents of the life and history of human societies, and play a role as decisive as words or speech. Without them, there would be neither shared imagination nor collective history. Thus, whether prescriptive or discursive, normative or emancipatory, gestures seek the involvement of both senses and sense. In a manner similar to language, they are inherent to any social contract, and to the possibility of behaving socially. In the realm of art in particular, each gesture brings into play the sensible and the intelligible: body and thought cooperate in solidarity.
    Next to Ana Jotta,the participating artists are: Basel Abbas and Ruanne Abou Rahme, Majd Abdel Hamid, Francis Alÿs, George Awde, Yto Barrada, Mathilde Besson, Ismail Bahri, Manon de Boer, Tacita Dean, Ali Eyal, Omar Fakhoury, Hiba Farhat, Ghida Hachicho, Mona Hatoum, Hassan Khan, Nesrine Khodr, Joachim Koester, Arthur Ligeon, Pierre Leguillon, Mathilde Lequenne, Dala Nasser, Roman Signer and Rania Stephan.

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  • Matt Mullican: Banners

    5 April — 11 August 2019


    Curated by Dieter Schwarz Matt Mullican’s exhibition will surround its visitors with huge, colourful banners. They will find themselves immersed in a cornucopia of colours and signs that repeat and cross-reference each other according to some law of their own in an abstract world that we are we are left to decipher. This Californian artist is fascinated by pictograms. He uses the poster as a form of expression aimed at the public. Pictograms representing music, theatre, film and painting reveal themselves to us immediately, while others are pure inventions. By placing his name alongside them on the posters, Mullican combines elements of reality with his own subjective world. Mullican recognised the banner as a particularly effective vehicle for bringing a message to the street. The visual syntax is pared down to the minimum and is instantly legible. What distinguishes his banners from the carriers of national symbols and battle insignia is that they serve to present his models of the world. Using signs. Mullican has constructed cosmologies and world models. The first cosmology was based on ideas he had conjured as a child. Black figures on red banners represent god, souls, angels and demons. Glass models redolent of scientific instruments illustrate the cycle of human life on its journey between birth and death, heave and hell. Mullican’s second cosmology shows five interrelated worlds: the green world of the elements, the blue world of objects, the yellow world of the arts, the black world of abstract signs, and the red world of subjectivity. The banners bear signs portraying the elements, objects, the sign itself, and the head that represents the subjective mind. The signs recur, hewn in stone, as figures on a field of play. Amid the flurry of banners, colours and signs intermingle to generate a combination of meanings

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  • Dora García: The Essay Film Festival

    30—31 March 2019


    The Essay Film Festival presents together with LUX a focus on Dora García. Screenings of her films Segunda Vez (Second Time Around) on Saturday 30 March and The Joycean Society on Sunday 31 March at the ICA will be expanded and contextualised with a workshop and a collective reading.
    Dora García’s first feature-length film is an essayistic response to the work of Argentinian author, critic, artist and psychoanalyst Oscar Masotta (1930–1979). Second Time Around (Segunda Vez)(2018) echoes Masotta’s engagement with the concept of re-enactment through reconstructions of several of Masotta’s ‘happenings’ alongside dramatised excerpts of contemporaneous writings by Macedonio Fernández and Julio Cortázar. Through these layered duplications and repetitions, the film creates a dialogue with Masotta’s work as it explores the intersection of art, politics and psychoanalysis.
    A famously mammoth and difficult text, James Joyce’s Finnegans Wake (1939) has long been regarded as a labyrinth of interpretations. In The Joycean Society (2013), Spanish artist and filmmaker Dora García follows the activities of a small, Zurich-based group of Joyce enthusiasts who have met weekly for over thirty years to share their observations and interpretations of the Irish writer’s famed text. The film documents the group’s debates and discussions over their heavily annotated and well-thumbed copies of the book, depicting the importance of both the text and the rituals surrounding the group’s meetings.

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  • Peter Piller: The Way we are 1.0.

    29 March 2019 — 4 January 2020


    Starting at the end of March 2019, the collection presentation “The Way We Are 1.0” will be featured on two floors constituting more than half of the overall exhibition space of the Weserburg. The exhibition includes works from a large number of collections, some of which have enjoyed a long association with the institution while others are new additions; also on display will be works from the Weserburg’s own collection as well as loans by artists who will be participating in a show at the Weserburg for the first time. The Way We Are 1.0 investigates more than one hundred and forty works by eighty artists from various contexts and times with regard to both their contents and their form. This focus gives rise to a succession of spaces which identify the thread connecting works of art from the 1960s all the way to today and which approach the themes of these works from various perspectives. The exhibition tracks down images of nature or special aspects of daily life; it explores such themes as the body, time or memory; it turns its attention to urban spaces or characteristics of language; and it presents fundamental positions of painterly abstraction or minimalist formal language. Next to works by Peter Piller, there are works on display be artists like Etel Adnan, Carl Andre, Arman, Robert Barry, Ross Bleckner, Christian Boltanski, Viktoria Binschtok, Louise Bourgeois, as well as Urs Fischer, Ceal Floyer, FORT, Dani Gal, Isa Genzken, Liam Gillick, Katharina Grosse, Wade Guyton and others.

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  • Matt Mullican: Representing the Work

    23 March 2019 — 8 June 2020


    The private art foundation NC-Arte is showing the first solo exhibition by Matt Mullican in Bogotá, Colombia. NC-Arte, which is promoting national and international artists since 2010, invited Mullican to realize a site specific installation on this occasion.
    Matt Mullican is since the 1970s interested in different models to explain the world and has developed his own complex system of symbols, colours and pictograms, which seeks to structure our world. A central aspect of his work is the systematization of his particular vision that oscillates between subject and object, between a personal and a universal view of the world. Another recurring element is the relation to the subconscious. Some of his works are influenced and produces under hypnosis, which results in a fascinating hybrid between preformance and drawing. In Bogotá Mullican will show a large series of paintings on textile, as well as a site specific installation of flags.


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  • Jochen Lempert: What they call my shadow here on earth is my true substance

    21 March — 27 April 2019


    This group exhibition at CACBM in Paris borrows its title from Moby Dick and was inspired by Clément Rosset’s book The Real and Its Double. Rosset’s thesis takes on the question of people’s natural ability to sidestep and bypass reality when they find it unpleasant or uncanny. The works presented here question our conditional acceptance of the real.
    With works by Jochen Lempert, Anna Sophie Berger, Luzie Meyer, Olivier Mosset, Robert Szczerbowski and Jessica Warboys.

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  • Dora García participates at Picasso et l’Exile

    15 March — 25 August 2019


    The exhibition deals with the theme of the cultural, artistic, and humanist resistance that continued into the post-WWII period, while militant exhibitions were organised by artists in exile from Paris to Prague, via Toulouse, and support committees continued to battle Franco’s regime. Making the fervent wish only to return to Spain once liberated from Francoism, Picasso died in 1973 without having seen his native country again. Does a specific literary and pictorial culture exist for an artist who emigrated by choice and who became an exile despite himself? Picasso, nostalgic for Spain, and who had long understood his media power, staged his Hispanic roots and sourced inspiration from both art history and Spanish traditions. The debate on the return of Guernica to Spain, in the 1970s and 1980s, highlights the extent to which this work has become and remains a political symbol, which still today is one of the most often reproduced, filmed, and reinter- preted artworks of all time.

    A contemporary art section, inviting over twenty artists, completes this exhibition at the Abattoirs. The works bear testament to Picas- so’s importance in the message of artistic and individual freedom while others address the theme of exile today

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  • Pieter Vermeersch: M Museum, Leuven

    15 March — 11 August 2019


    M is presenting a major exhibition of new work and a selective survey of Pieter Vermeersch’s practice. Vermeersch is tailoring the exhibition to the specific museum and architectural context of the exhibition spaces. Pieter Vermeersch’s work combines painting and architecture, and explores the relationships between representation, time, space, and colour. Beyond the borders of the canvas, his investigations result in large-scale spatial interventions that manipulate the space. These pictorial installations or gradual wall paintings create visually powerful experiences that physically affect the viewer. More recently, Vermeersch has started working with marble, which he manipulates pictorially, introducing a new layer to the crystalized time of the material.

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  • Koenraad Dedobbeleer: Highlights for a Future

    15 March — 29 September 2019


    On the occasion of its 20th anniversary, S.M.A.K. is presenting ‘The Collection (I): Highlights for a Future’ which includes about 200 works from the collection and, like the opening in 1999, it will occupy the whole museum. In this exhibition, S.M.A.K. wants to look mainly at the present and the future. Well-known classics, outstanding newer works and also recent additions to the collection are to be used to show the position of the museum and of art in contemporary reality and to make new links with other, sometimes surprising and less well-known works in the collection.
    Next to a work by Koenraad Dedobbeleer, the show includes artworks by artists like Allora & Calzadilla, Francis Alÿs, Art & Language, Richard Artschwager, Kader Attia, Francis Bacon, Nairy Baghramian, John Baldessari,Michaël Borremans, Charbel-joseph H. Boutros, Ricardo Brey, Marcel Broodthaers, stanley brouwn, Bjarne Melgaard, Henri Michaux, François Morellet, Oscar Murillo, Bruce Nauman, Carsten Nicolai, Sophie Nys, Wolf Vostell, Lois Weinberger, James Welling, Jordan Wolfson, Zhang Peili and Gilberto Zorio.

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    9 March — 26 May 2019


    The exhibition “One Doesn’t Paint Souls” opens with the question concerning the definition of painting and channels it through the medium of film into a broader discourse exploring the relationship between painting, photography and film (still and moving image). Artworks and archive material by selected artists are presented that formulate possible answers, continuations and questionings while focusing attention on the theme of pictorial observation, description and critique. In a draft for the film project, Danièle Huillet wrote: “We must see again, see better, really see, canvases that we do not know, and Cézanne will help us with his penetrating gaze.” In a world where images are produced as weapons to wound souls, Straub/Huillet’s concentrated move in the direction of painting is a decidedly political act and thus more relevant today than ever. With works by Ana Jotta, Harald Bergmann, Gerald Domenig, gerlach en koop, Peter Handke, Pierre Leguillon, Erle Loran, Benoît Maire, John Rewald, Ker-Xavier Roussel, Hartwig Schwarz, Straub/Huillet, Joëlle Tuerlinckx and Rémy Zaugg.

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  • Matt Mullican: Between Sign and Subject

    9 March 2019 — 26 January 2020


    Over the past four decades, Matt Mullican has created a body of work encompassing drawing, collage, painting, photography, video, sculpture, and installation as well as performance under hypnosis. Trying nothing less than to “organize the world” and make sense of his existence, Mullican invented a personal cosmology tin which colors indicate different orders or “worlds.” The first order, identified by the color green, is the material world; the second order, represented by blue, is everyday life; the third order is yellow and refers to culture and science; the fourth order is language and appears in black and white; and the last, most important order is subjective experience, rendered in red. His de Young installation comprises fifty works, including rubbings made by transferring the image of a glass etching onto canvas with acrylic gouache and oil stick; light boxes with computer graphics that map the five worlds; and bulletin boards with found household objects, studio drawings, comics, and charts that represent the visual system with which Mullican attempts to categorize the world around him.

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  • Hans-Peter Feldmann: Forgetting – Why we don’t remember everything

    7 March — 14 July 2019


    How do people cope with the inability to forget? To help a person survive after an extremely traumatic experience, the psyche creates a fragile balance by splitting the memory of the threat to the person’s life off from the rest of his or her personality. It makes a fragment of the traumatic experience and buries it. That is a “healthy” reaction to a “sick”, life-destroying environment. Various displays in the exhibition explain and demonstrate these psychological reactions that are essential for survival if a person has to live with something that is impossible to live with.
    Contemporary artworks also play a key role in the exhibition. Here they are not mere illustrations of cultural or life-science theories, however, but independent explorations of the dynamics of forgetting and remembering.  Next to Hans-Peter Feldmann, the following artists are participating: Kader Attia, Christian Boltanski, Jake & Dinos Chapman, Daniela Comani, Tacita Dean, Mark Dion, Sam Durant, Robert Filliou, Jochen Gerz, Martin Honert, Ilya Kabakov, Christina Kubisch, Boris Lurie, Arwed Messmer, Jana Müller, Adrian Paci, Regis Perray, Maya Schweizer, Tino Sehgal, Sigrid Sigurdsson.

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  • Christoph Weber: Silverettatelier

    1—31 March 2019


    This group exhibition is combining works of different media of the eight international artists, which were invited to spend in 2018 two weeks on the mountain station in Montafon. Next to Christoph Weber, the following artists are participatin in the exhibition: Alexandra Berlinger, Catrin Bolt, Mattias Göttfert, Roland Haas, Germaine Koh, Reinhold Neururer and Seth Weiner

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  • Hans-Peter Feldmann: Focus

    1 March — 2 June 2019


    Works by German artist Hans-Peter Feldmann (born 1941) have become an increasingly popular part of Louisiana’s collection over the past few years. It is obvious to see why, now that these works have been gathered in a presentation on show at the far end of the South Wing.
    All the works by Feldmannin the Louisiana collection are presented here. First one enters the installationen 100 years – a series of photographs of people from either Feldmann’s family or his wider social circle from the age of 0 to 100 years. The suite narrates a century as left its traces in the faces of different individuals. In the following rooms we are met by a series of humorous and subtle modifications of older paintings. Feldmann strives to set the images free – in the sense of free of history, of their sublimity, and free of their originating social context, thereby inviting us to meet and think the artworks anew. Futhermore samples of early artist books, the so-called ’Bilderhefte’, are shown as well as a Louisiana Channel interview with the artist.

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  • Jochen Lempert: One Minute, One Hour, One Month… One Million Years

    23 February — 23 March 2019


    The Island Club presents One Minute, One Hour, One Month… One Million Years, a group show with works from the Kerenidis Pepe Collection.

    One Minute, One Hour, One Month… One Million Years operates at the interstices between day and night, wake and sleep, work and rest. Where time bends and boundaries become porous. Where language, in form and function, surrenders to the weight of interpretation. For the duration of the exhibition The Island Club will be open from 17:36 to 21:36. As the sun sets and commercial activity gives way to leisure time, the exhibition unfolds across buildings – shopfronts and public spaces in proximity to The Island Club  and can be explored through a walk. With fleeces, with vestments, I have tried to cover the blue-black blade. I implored day to break into night. I have longed to see the cupboard dwindle, to feel the bed soften, to float suspended, to perceive lengthened trees, lengthened faces, a green bank on a moor and two figures in distress saying goodbye. I flung words in fans like those the sower throws over the ploughed fields when the earth is bare. I desired always to stretch the night and fill it fuller and fuller with dreams.

    Virginia Woolf, The Waves, 1931

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  • Gilda Mantilla & Raimond Chaves: El calor derrite los estilos

    22 February — 9 June 2019


    Between 2005 and 2008, Mantilla and Chaves discovered the Library of the Centre for Theological Studies of the Amazon (CETA) in the Peruvian city of Iquitos. Years later, with the aim of further exploring the inconsistencies arising from the clash between the jungle and the city, they made several visits to this city with the aim of creating a digital compilation of documents from the Amazonian Library and the Library of the Research Institute of the Peruvian Amazon (IIAP), as well as other sources of printed and library material of interest to them. This undertaking gave rise to a project called Un afán incómodo (An Uncomfortable Eagerness), for which they amassed an extensive body of work that was midway between a narrative account and research, playing around in the incongruent, dystopian space that opens up between iconographic sources and their particular contexts.

    Continuing this line of work, the artists went one step further, focusing in particular on dismantling images, peeling back their layers in every sense, stripping them of all meaning, laying them bare of any signs that once alluded to a specific place. Heat Melts Styles doesn’t so much allude to a specific geographic area –the Amazon– or a particular forest or city.Rather, it questions the ways that these places are constructed and subsequently interpreted. In the words of the artists: “Unable and unwilling to speak for others, renouncing ethnography and anthropology and allowing ourselves to be carried away by a methodology without logic, we set ourselves in a narrow limbo in which to put into practice a sort of anti-landscape theory, purposely losing ourselves in the leafiness of paper, stains and signs. A few intuitions as far, we hope, from naivety as from cynicism”.

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  • Jochen Lempert and Asier Mendizabal: Ganar Perdiendo

    22 February — 26 May 2019


    Winning by losing seeks, through contemporary artistic practices and some historical documents, to identify gestures and traces that bear witness to the subversion of certain temporal orders or the superposition of historical marks, critically analyzing contemporary rituals or the ideological naturalization of a supposed normality. The project also pays particular attention to instances in which the notions of evolution are disarmed -mainly in non-Western ways of thinking-, while considering the colonial stamp as the most embedded and efficacious in the contemporary world and, for that reason, the most susceptible to being disturbed.
    With works by Jochen Lempert and Asier Mendizabal, next to pieces by Caroline Achaintre, Pauline Boudry y Renate Lorenz, Marcel Broodthaers, Cian Dayrit, Aleksandra Domanovic, Juan Downey, Elvira Espejo Ayca, Patricia Esquivias, Sheroanawe Hakihiiwe, Geir Tore Holm, Sean Lynch, Paper Tiger TV, Xabier Salaberria, Jorge Satorre and Rosemarie Trockel

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  • Xavier Ribas: Setze barris, mil ciutats

    17 February — 17 May 2019

    GROUP SHOW: El Borsí, Barcelona

    This exhibition brings together a selection of images from the photographic projects developed by eleven artists between July and December of 2018, as part of a commission by Foment de Ciutat to document sixteen low-income districts in Barcelona. The commissioned works will be housed at the Arxiu Fotogràfic de Barcelona.

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  • Dora García: Footnote to a Footnote

    15 February — 5 April 2019


    Curated by Javier Hontario, the exhibition “Footnote to a Footnote” brings the works of eight Spanisch contemporary artists together with a selection of works by Gianfranco Baruchello.  The exhibition is the result of a one year long research which Hontario did during a residency in Rome. It creates through some thematic paths a dialogue between  the works of Baruchello and the invited artists from Spain. The dream (“a model for a game, a palpable mood” Baruchello once said), the earth, nomadism, the fragmentation of narration, the political gaze or the way in which the story is told, are the themes on which the project focuses. The archival practice, which is essential for the work of Baruchello, is another crucial point in the structure of the exhibition.

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  • Allen Ruppersberg: Intellectual Property 1968 – 2018

    10 February — 12 May 2019


    The exhibition Allen Ruppersberg: Intellectual Property 1968–2018 was organized by the Walker Art Center, where it was on view in 2018. It is a major retrospective on the work of conceptual artist Allen Ruppersberg and marks the artist’s first comprehensive US survey in over 30 years. Many of the works included, from private and public collections in Europe and elsewhere, have never before been exhibited in US museums.
    The exhibition charts Ruppersberg’s key themes: movement between places, presence and absence, the book as object and subject, memorials, and self-portraiture. It also reveals his reverence for cultural forms “destined to disappear,” from postcards and wall calendars to hand-painted signs and early recorded music.

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  • Ana Jotta: Composição

    7—23 February 2019


    Ana Jotta will have a solo show at the independent art space Appleton in Lisbon. Appleton is a place of experimentation and learning, equipped to receive, promote and present diverse expressions of contemporary art. It occupies a clearly complementary position to commercial galleries, as an independent, non-profit association, and intends to continue contributing to the production, contemplation and promotion of the ideas and practice of contemporary art. Its programmes are divided between Square, where exhibitions of a longer duration take place, and Box, which is set up to present performance, dance, music, film, theatre, discussions, courses and even exhibitions of a shorter duration, with a decidedly faster pace and informal atmosphere.

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  • Marc Nagtzaam: The Gulf Between

    27 January — 21 April 2019


    This group show is focusing on artworks, which use all the different tones of grey, the complete spectrum between the colors of black and white.
    When color photography made its appearance, photographers appeared to stick to black and white photography. Just because the expression options are different. In painting too, there are early examples of black and white or gray works. Just think of the grisaille technique that emerges as early as the 15th century. These works are rather a game of illusion or trompe l’oeil. They show the technical mastery of the artist. Only in the 20th century did artists explore the possibilities of omitting color as a means of expression in painting, such as the Belgian artist Léon Spilliaert at the start of the century. In the 1980s, the movement in painting in which the color shone was specific in Belgium, with painters such as Luc Tuymans and Bert De Beul.
    Next to Marc Nagtzaam, artists like Stephan Balleux, Ruben Bellinkx, Charif Benhelima, Tom Callemin, David Claerbout, Stijn Cole, Johan Creten, Bert De Beul,  Hans Op de Beeck, Veronika Pot, Berit Schneidereit, Stefan Serneels, Renie Spoelstra, Hiroshi Sugimoto, Batia Suter, Marco Tirelli, Luc Tuymans, Rinus Van de Velde, Hannelore Van Dijck, Marcel van Eeden, Sine Van Menxel, Philippe Vandenberg, Jan Vanriet, Kevin Vanwonterghem and Dirk Zoete are participating.

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  • Christoph Weber and Pieter Vermeersch: The Fragence of Images

    2 February — 22 April 2019


    This exhibition presents a selection of works carefully brought together to demonstrate the association between smell, memory and the construction of visual language. It is a basic human instinct to document, preserve, and materialize experience, often translated and existing as an archive of sorts, a reference to a time lived. It is an affirmation of cultural identity frequently associated with the psychical space of the mind. The exhibition presents a diverse group of works, of artists like Christoph Weber, Pieter Vermeersch, Wolfgang Tillmans and Rebecca Horn, in a wide variety of media, with an emphasis on process and in many cases the use of found objects. It was on view before at Opelvillen.

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  • Guillaume Leblon: The House Where You Live Forever

    1 February — 14 April 2019


    Like with nature, some people ignore the body, while others do consider it as the most vital in life. Dancers, actors, and performers use their bodies as a tool and instrument for communication. But most of the time, we live our lives, using our bodies without thinking about the blood and flesh, which composes it.
    The House Where You Live Forever is the first exhibition by the Brazilian curator Marina Coelho in Garage Rotterdam. The international artists, as Guillaume Leblon, Berlinde de Bruyckere, Sophie Dupont et. al, scrutinise the obsession that the current society has about the idea of the perfect body. How do we reinvent ourselves everyday with the same body?

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  • Koenraad Dedobbeleer: Plastik – Gallery of Material Culture

    26 January — 22 April 2019


    Dedobbeleer’s practice explores sculpture, design, architecture and systems of display. He examines how value is ascribed to certain materials and practices, always with a lightness of touch or understated sense of humour. The show’s title Plastik is a German word that translates as “plastic” but is also a synonym for the German word “Kunststoff”, which is composed of the words “art” and “material” and was the titel of Dedobbeleer’s last large solo show at WIELS in Brussels. And exactly this show travelled from Brussels and is on view in an adapted form under this new titel Plastik in Winterthur.

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  • Dora García: “La Caixa” Collection of Contemporary Art

    17 January — 28 April 2019


    This display is the first of four from ”la Caixa” Collection of Contemporary Art, established in 1985 to foster dialogue between Spanish and international art. Whitechapel Gallery has invited leading authors to curate the displays and to contribute a fictional text based on their selection.
    Enrique Vila-Matas seeks truth through fiction and values ‘the ambiguity of experience’. A video by Dora García (b. 1965, Spain) features a girl receiving strict instruction on how to perform breathing exercises. In a staged self-portrait by Carlos Pazos (b. 1949, Spain) the artist appears lost in melancholic reverie at a Barcelona nightclub. These small dramas contrast with seemingly timeless landscapes. A mixed media painting by Miquel Barceló (b. 1957, Spain) and a digitally collaged photograph by Andreas Gursky (b. 1955, Germany) take a ground level and an aerial perspective on the land, where the human figure is absent or minute.

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  • Xavier Ribas: Geografías Concretas

    15 December 2018 — 20 March 2019


    The solo exhibition Geografías Concretas shows ten works – photographs, videos and texts – by Xavier Ribas, which he did between 2003 and 2009.
    Most of the works are part of projects with an archaeological character, using images, documents and texts, to address the history and memory of different sites and showing the traces, footprints and sedimentations of this past.

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  • Dora García: I Always Tell The Truth

    5 December 2018 — 17 February 2019


    What is truth and who speaks the truth? In her exhibition at Bonniers Konsthall, Dora Garcia explores the concept of truth; through film, drawings, text and performance. Today, when the division between true and false appears increasingly dissolved and when the occurrence of ‘fake news’ makes it hard to assess the veracity of statements, Dora Garcia’s exhibition appears as an important space for dialogue.
    The text I Always Tell The Truth – which also is the title of the exhibition – can be seen as part of the chalk drawings that cover the facade, walls and floors of the Konsthall. The sentence is retrieved from an interview with the French psychoanalyst Jaques Lacan that appeared on French television in 1973. Lacan´s answer to the first question in this well debated interview made at the end of Lacan´s career was “I always tell the truth, but not all the truth”. In the exhibition Dora García weaves together various notions and perspectives on truth with references from art, literature, film and psychoanalysis.

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  • Patricia Dauder: Alineacions

    29 November 2018 — 6 January 2019


    One more year, the Joan Miró Foundation marks the end-of-year festivities with an artistic proposal made exclusively for the occasion. This year Patricia Dauder will present “Alineacions” a new work that arises from her research on astronomic phenomenas and, in this particular case, on the Christmas star. Patricia Dauder’s interest in astronomy, and in the importance of the starry sky in many cultures, connects with a part of Miró’s iconography, in which steles and constellations are clear images.

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