“Everybody Talks About the Weather” is a research exhibition exploring the semantics of “weather” in visual art, taking atmospheric conditions as a point of departure to highlight the urgency of climate change.

ARTISTS:

Sophia Al-Maria, Giorgio Andreotta Calò, Shunivai Ashoona, Anonymous Veneto, Ursula Biemann, Nina Canell, Vija Celmins, Paolo Cirio, Gustave Courbet, Vittore Grubicy de Dragon, Jason Dodge, Ayan Farah, Theaster Gates, Beate Geissler & Oliver Sann, Antony Gormley, Hans Haacke, Ichoryusai Hiroshige, Katsushika Hokusai, Jitish Kallat, Anne-Christine Klarmann, Zdeněk Košek, Goshka Macuga, Iñigo Manglano-Ovalle, Santu Mofokeng, Plinio Nomellini, Carlo Francesco Nuvolone, Alix Oge, Richard Onyango, Chantal Peñalosa, Dan Peterman, Nick Raffel, Raqs Media Collective, Gerhard Richter, Thomas Ruff, Tiffany Sia, Himali Singh Soin, Vivian Suter, Fredrik Vaerslev, Pieter Vermeersch, Pae White, Tsutomu Yamamoto, Yang Yongliang.

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The exhibition Jochen Lempert . Lingering Sensations at C/O Berlin is the artist’s first institutional exhibition in Berlin. Three sections organized by topic include wall-mounted works and works presented in display cases. They explore the parameters of the artist’s work, from the 1990s to today. The display includes a visual biography which uses invitations, posters, and other printed matter designed by the artist to tell the story of how this exciting, internationally singular body of work has developed. Curated by Dr. Kathrin Schönegg, C/O Berlin Foundation.

The exhibition is accompanied by an extensive artist book published by Verlag der Buchhandlung Walther König.

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The exhibition She Has Many Names by Spanish artist Dora García surveys some of the most important performances, drawings, installations, printed matter and films created throughout a career spanning three decades.

Dora García’s practice relates to community and individuality in contemporary society, exploring the political potential of marginal positions, and paying homage to eccentric characters and antiheroes. These characters have often been the centre of her film projects, such as The Joycean Society (2013), Segunda Vez (2018) and Amor Rojo (2023). An essential aspect of García’s work is entanglement with political movements such as feminism, and the ways they occupy public spaces.

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In the spring of 2023, the Kunsthalle Düsseldorf will present the first retrospective in the Rhineland on the German artist Peter Piller (*1968 in Fritzlar), who has been a professor at the nearby Kunstakademie Düsseldorf since 2018, where he teaches a class in fine art.

During his studies in Hamburg, Piller began working on the Peter Piller Archive, in which thousands of images and photos that he meticulously collected from sources such as magazines, the internet, postcards, and aerial photographs are organized, categorized, and assembled in series. His most important tools have always been his gift for precise observation and a subtle sense of humor, which allow Piller to discover serial, curious, and unusual elements in images that appear extremely banal and trivial, and to relate them to others. These include the aerial photo archive von erde schöner, based on 20,000 aerial photos and categorized into 23 series, which Piller has been working on since 2002.

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Made up of three videos and archival material, Amor Rojo is a project by the Spanish artist Dora García, who offers a vision of feminisms in Latin America and their historical relationships, prepared together with four Mexican researchers: Paloma Contreras Lomas, Carla Lamoyi, Olga Rodriguez Montemayor and Rina Ortiz.

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El Born Culture and Memory Centre displays the exhibition “Another end. THE REMAINDER. Art and antifranquism” bringing together works by twenty contemporary creators from several generations who turn the memory of those silenced by the regime into artistic material.

CURATORSHIP: Nora Ancarola and Amanda Cuesta

ARTISTS: Pep Agut, Alán Carrasco, Domènec, Marcelo Expósito, Dora García, Maria Amparo Gomar Vidal, Carles Guerra, Antoni Hervàs, Concha Jerez, Lola Lasurt Bachs, Marco Noris, Ndong Obama, Filiberto Obama Nsué, Ana Teresa Ortega, María Ruido, Joan Anton Serra Ollé, Jaume Serra Torelló, Francesc Torres, Guillem Viladot.

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For Vincent van Gogh, nature was not only one of the principal subjects explored in his art, it was also where he found a joyful and creative lucidity. Writing to his brother Theo from Provence in 1899, he declared: “I’m beginning to feel more the wholeness of the countryside in which I live.” Building on Van Gogh’s ambition to develop his work in direct connection with the living world, the thematic exhibition Nature humaine – Humaine nature looks at the different ways in which today’s artists take up the concept of nature in order to bear witness to the upheavals connected to our notions and representations of the living world.

Exibition curators: Bice Curiger, Julia Marchand, Margaux Bonopera

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The Santes Creus Monastery, founded in 1160, reflects the canonical model of the Cistercian monasteries, together with Santa Maria de Vallbona and Poblet.

The work of Dora García (Valladolid, 1965) focuses on exploring the relationship between community and individuals and investigates marginal positions and forms of solidarity between minorities. In this sense, the figure of women focuses much of hes interests. The proposal to work at the Royal Monastery of Santes Creus derives from a series of images and representations found in the monastery, which paradoxically highlight the female presence in a Cistercian monastery of Benedictine monks: an altar of Mary Magdalene, capitals of cloister with the expulsion from paradise or the figure of a mermaid, the tomb of an abbot’s sister, the tombs of nuns and the tomb of Blanca d’Anjou and her mummy (who was thrown into a well and recovered).

Hes intervention was presented on October 30 in Santes Creus and consists of 5 handwritten posters. Titled María Magdalena, the artist tells a fictional story in episodes that imagines Mary Magdalene as the founder of Christianity. According to the New Testament and several apocryphal gospels, Mary Magdalene was a distinguished disciple of Jesus of Nazareth and it is from a rather unique perspective that Dora García approaches her figure. His intervention can be visited until the end of 2022.

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The exhibition 50 YEARS OF WORK in the gallery Kunsthalle St. Annen presents in an impressively condensed form with many examples the diverse range of media used by Matt Mullican. In addition to paintings and rubbings, some of them also in vast dimensions, the exhibits include steel sculptures, photographs, glass objects, performances, videos and computer animations, assembled as installations and arrangements that interact with their respective surroundings. At the centre of the exhibition is the voluminous piece “Representing the work” (2019), which in its symbolic, formal and chromatic combinations has been designed to provide a complete overview of Matt Mullican’s artistic endeavours.

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Parade is Guillaume Leblon’s first exhibition in Paris for 10 years. As such it serves as a kind of summary of his work over the past decade, which brings together his at-times dizzying variety of interests and approaches along with the numerous contexts that he has traversed, in particular since his move to New York in 2015 and a period spent working in a studio in Guadalajara in Mexico between 2018 and 2022.

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For the Festival d’Automne à Paris, Ana Jotta reinvented the space given to her by displaying her existing work alongside a selection of her summertime finds on the streets of Paris. When the exhibition opens, the artist disappears, leaving behind the magic of a “room in the city.” Visitors can delve into the unique, subtle universe of an interior design expert, soaking in a sarcastic, yet melancholic ambiance, replete with quirks and details. In parallel, the exhibition A comme encre (A as in “ink”) displays her printed work (artist’s books, posters, invitation cards, “footnotes”) at the Immanence center for the arts. This exhibition provides a key to understand Ana Jotta’s work and admire her creativity. The artist has always been very close to French culture.

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“Language is Foreign” is a quote taken from an interview with Ursula K. Le Guin which impressed me for its brevity, while still managing to express in few words a concept that has intrigued me for many years. It surfaces also in Lacan (“Language is work”), and Proust, with his famous quote: “Les beaux livres sont écrits dans une sorte de langue étrangère” (Beautiful books are always written in a sort of foreign language).

Contrary to what common sense might suggest, language is not something made with an intention to communicate, for a sound or gesture to marry a concept to a thing, but rather something to inspire wonder at how the world is constructed, the greatest marvel of all being that we are both inside and outside of it. We do not speak, “language speaks” (Heidegger).

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The exhibition Natural sources brings together a number of early series, such as The skins of Alca impennis, with the collection pieces Oiseaux-Vögel (1997–2004) and the recently acquired Ivy shadow and horse (2021), together with more recent works. For each exhibition Lempert selects works and installs them alongside one another without reference to any chronological hierarchy, but based on the context provided by the museum. He selects the photographs with great care, always seeking subtle associations and cross-references between adjacent works.

Natural sources is curated in collaboration with Centre Pompidou in Paris, and following its exhibition in Huis Marseille it will travel on to C/O Berlin.

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“Earth: A Retrospective” shows the Collection Per Amor a l’Art as a “creative geography” -an editing concept developed by Lev Kuleshov, designed to collide shots from different places to generate a new seamless landscape where the narrative takes place. With this project, El Ultimo Grito looks at the Earth from an indeterminate point in a future space-time. A point where our memory of the Earth is broken and our only link with it is a collection of images where meaning and signifier are blurred; where our gaze romanticizes them in narratives that seek to find a meaning beyond their historicity.

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This retrospective exhibition presents three decades of work from Jochen Lempert (born in 1958, lives and works in Hamburg). As a trained biologist and dragonfly specialist, it was only in 1989, at the age of 31, that he began his career as a photographer, after a fruitful period with the experimental cinema collective Schmelzdahin [Melt Away]. This scientific heritage underlies his artistic practice, marked by images of nature where the animal and vegetal go hand in hand.

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“Premature Architectures” comprises a collection of town planning and building proposals drawn up by Valcárcel Medina between 1984 and 1992 which, to quote him, “evidence the absolute contradiction extant between the most immediate reality of urban space and the structures pretending to configure it.”

This exhibition curated by Kristine Guzmán displays 30 of these projects where the 2007 National Plastic Arts Award winner reveals the capacity of architecture to propose different ways of living and uses of spaces, enabling debates affecting politics and society. The exhibition is completed with the “Premature Architectures” publication, which completely includes for the first time all projects on urbanism and architecture conceived by Isidoro Valcárcel Medina. It also includes the replicas the artist created of Ernst Neufert’s “The Art of Projecting in Architecture” the publication is on sale at dendaz, the Azkuna Zentroa shop; and at dendaz.azkunazentroa.eus.

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UNBOXING ASPEN 5 + 6 is an exhibition project by fascicles that reexamines some of the texts, objects, scores and recordings included in issue 5 + 6 of Aspen magazine, edited by Brian O’Doherty in 1967. These elements serve as starting point for a series of proposals by various artists. As with the contents of the original magazine, the works made for this exhibition establish a series of connections that seek to put past and present in continuity. Curator: Arnau Horta.

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The visual history of sodium nitrate, also known as saltpeter and Chilean nitrate, is visible in a number of photographic albums compiled by sodium nitrate businessmen who were mostly of British origin. The albums form a photographic registry documenting the process of sodium nitrate extraction in the Atacama Desert between the decades of 1870 and 1920. This legacy, which is preserved in the archives and libraries of Chile, exudes capitalist and colonial rhetoric. The question we are posed is: how do we approach these photographic albums critically? How is it possible to recount the experience of sodium nitrate workers and their history of resistance from these images? How do we think of these photographs considering what was left out of the image? And, finally, how do we look at them from their historical outcome? As Andrea Jösch stated, these images anticipate a future of ruins and a coup d’état.

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The relationship between Ana Jotta (Lisbon, 1946) and Serralves is a long one. In 2005, the Serralves Villa hosted the exhibition Rua Ana Jotta [Ana Jotta Street] that consisted of a numerous, polymorphous selection of works complemented by the presentation of Mirmidão da Tragédia [Myrmidon of Tragedy] at the Chapel. At the time, nine of the elements that make up this piece were acquired for the Serralves Collection; the only plaster element was kept by the artist, and the remaining one by a private collector. Seventeen years after the first and only presentation of this work, we have once again brought together the eleven masks of Mirmidão da Tragédia.

Ana Jotta is the author of an eclectic and heterogenous oeuvre marked by an attitude of freedom strongly linked to everyday life through objects, texts, ideas and, in this case, music that the author gathers and collects. The artist has a particular taste for the decorative arts, classically classified as ‘minor arts’, often bringing them into the artwork. The Greek masks in Mirmidão da Tragédia can be seen as a reference to the decorative masks from disparate origins that can still be found in many homes. However, like the title itself, they are above all a reference to Classic Antiquity and particularly to Greek tragedy, which dealt with fundamental human questions; Myrmidons were the Thessalonian soldiers who accompanied Achilles in the Trojan War; the name comes from the Greek word for ‘ant’: myrmex.

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Jochen Lempert participates in “Fata Morgana” an exhibition related to The Jeu de Paume Festival, Paris.

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The exhibition at Portikus is Jochen Lempert’s first solo exhibition in Frankfurt. In his black-and-white photographs and photographic arrangements, the artist deals in depth with moments and phenomena from the animal and natural world as we encounter them in different contexts. Jochen Lempert (1958) lives in Hamburg and was nominated for the shortlist of the Deutsche Börse Photography Prize in 2014.

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The exhibition Raíz y Rizoma. México en la Colección Otazu is a selection of works by artists from the contemporary Mexican scene.

The exhibition includes pieces of various formats: video-performance, sculpture and textiles, by the artists Edgardo Aragón, Carlos Arias, Iñaki Bonillas, Tania Candiani, Marilá Dardot, Fritzia Irízar, Ximena Labra, Teresa Margolles, Fernando Palma, Óscar Santillán, María Sosa and Hector Zamora.

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Jochen Lempert and Hans-Peter Feldmann participate in the exhibition “Botánicas” curated by Vicent Todolí.

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The Museo Nacional Centro de Arte Reina Sofía reformulates its collection with the aim of offering narratives and experiences that, without claiming to be exhaustive or categorical, talk about the present moment through a critical study of the common past. What prevails in this new presentation is not the chronological succession of events and works, but the relationships and genealogies from the present we can weave and reveal. In this way, eight thematic episodes are proposed that are open to flexible temporalities and interdisciplinary approaches, and that can be linked to each other while generating new stories.

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Dora García has received The “Premio Nacional de Artes Plásticas 2021” (National Prize for Plastic Arts). The prize is awarded by the Spanish Ministry of Culture and Sports.

The jury has recognized “her comprehensive way of conceiving spaces to create performances in which interaction with audiences is key, as well as her versatility in the use of supports and his ability to promote ethical reflection by relating concepts and emotions.”

Read article in El País (in Spanish) here.

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O pequeno mundo (The Small World) is a group exhibition that brings together paintings, drawings, sculptures, installations and photographs by 24 Portuguese artists, including many of the major figures from the Portuguese art scene in recent decades. This exhibition consists of a diversified group of works that evoke one of the most distinctive features of artistic practice: the possibility – the vocation – of creating peculiar worlds, in-between worlds, quasi-worlds, parallel alternative and projective worlds that question the realities in which we live. Accordingly, artists were chosen who have distinguished themselves through their profoundly idiosyncratic nature and the way in which they construct mirror worlds, creating fields open to the imagination, exploring the transfigurative capacities inherent in the artistic process, understood as a privileged way of transforming and converting some things into others, and changing the status and symbolism of what is in front of us. Curator: Sérgio Mah

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