The ideas of Jacques Lacan are, alongside the work of Roland Barthes, Michel Foucault, Jacques Derrida and Gilles Deleuze, essential for understanding our modernity. While homages and exhibitions have already been dedicated to these intellectual figures, the thought of Lacan has not been dealt with in museums to date, even though he was strongly attached to works of art.

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The intersection of symbolic expressions and contemporary migration issues has been the meeting ground for BIENALSUR and Together Apart since 2017. These initiatives challenge unidirectional thinking and introduce a decolonial critique through the lens of human mobility. Based in Cúcuta, Colombia, the main city on the Colombian-Venezuelan border, this project serves not only as a permanent observatory but also as a central hub for dialogue that enriches the nature and identity of the city and the region. Both initiatives are actively engaged in the global map of cultural and knowledge transactions, contributing to discussions on the dynamics between the center and the periphery.

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In European culture, landscape began to be valued as a pictorial genre in the 17th century and reached its maximum expression in the 19th century, from Romanticism to Impressionism. Nowadays, the natural landscape has returned to the limelight due to the possibilities of fabulation that digital technology allows, as well as the concern generated by the deterioration of nature and the environmental threat of climate change. If in the beginning the landscape allowed us to dream with the idea of paradise and gave shape to unknown or remote places, today it is again relevant in art with the hybridization of images and the possibility of creating new fictions.

The title, “Horizon and limit”, wants to emphasize the way we perceive the territory. Faced with the immensity of the world, the human being can only learn it by framing the gaze and representing what, in the end, is an illusion. The exhibition is divided into thematic sections that address the fiction of the landscape, the perception and experience of the landscape, as well as the human impact on nature.

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For their first major exhibition in Czechia, Elmgreen & Dragset present their own work alongside artworks by sixty artists. Encompassing various decades, geographic regions, and artistic movements, many of these works have been selected from Kunsthalle Praha’s Collection, while other artists have been personally invited by the duo to participate. The sprawling exhibition READ focuses on the historic and enduring relevance of books. Designed as a minimalist version of a contemporary public library, it also questions our relationship with books as physical objects and knowledge in the age of digital media. The title not only encourages reading, but also learning and understanding, as in to “read the signs,” “read a situation,” and “read the room.”

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For his first museum exhibition in Belgium, the German photographer Jochen Lempert has taken over four rooms at the MACS with his delicate photographs of nature. When faced with the poetic intensity of each individual photograph, we are initially struck by the simplicity of the means that are used, such as the 35 mm camera with a normal focal length, the home-made, black-and-white prints, the various formats of baryta paper that the artist places against the white background of the walls without any frames, or even the simple photograms of plants or animals. The evocative illustrative power of the sequences of photographs, depending on how they are arranged, demonstrates a great mastery of composition and installation. These constellations of images, some of which are presented in showcases, form a body of work that invites both contemplation and interpretation, through an inexhaustible web of connections generated by the similarities or contrasts of shapes, tones and subjects. After studying biology with a specialisation in dragonflies, Jochen Lempert turned to photography at the end of the 1980s and extended his meticulous observation of the animal, plant and human world with an extreme sensitivity to infinitesimal phenomena and minute existences: the traces of tiny frogs, the luminous flight of fireflies, a gentle breeze in dead leaves, a constellation of freckles on a shoulder… any poetic, photosensitive ecology of discreet life that is close to hand.

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“The Occupation” is conceived as an invasive journey that crosses the halls of the Patio Herreriano Museum in different thematic and spatio-temporal directions. The title emphasizes the transitory condition of our stay and refers to a libertarian poetics of resistance that recognizes itself as fragile; although willing and needing to intervene in its present. Ours is a practice that is nourished by the urgency to rethink the place occupied by our bodies and to redefine their presence in a common space that they will have to compose for themselves. This recognition has led us to embark on a journey with no apparent destination during which we have not hesitated to look ahead and experiment with the multiple possibilities that artistic practice offers.

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Circular is an art festival which produces artistic interventions in the public space, created with recycled and found materials; these interventions are easily associated to street-art but at the same time want to stay way from how street-art is mainly conceived nowadays, where big murals have a dominant role. Circular aims to help to revert the process which has taken street-art far from human scale and somehow take it back there. Besides, by promoting the use of found materials for the interventions, we launch the debate about a second life for objects, responsible consumption and leveraging of resources, focusing on sustainability, recycling and the role of people in our cities.

The neighborhood of San Cristóbal de los Ángeles, in Villaverde, hosted all the activity of the two editions of the festival. By taking Circular to this area, we wanted to contribute to cultural decentralization and democratization of art in Madrid city, taking art to all kinds of audiences.

Besides, the artists worked closely with the context of the area: in the first week, they got first-hand knowledge about the neighborhood and worked on the future context of their interventions; in the second week, they produced and installed their works, which were complemented with a parallel street activities program.

Circular is a project by Madrid Street Art Project. The first edition was possible thanks to the support of a subsidy granted by the Área de Cultura y Deporte del Ayuntamiento de Madrid. The second edition was possible thanks to a subsidy granted by the Subdirección General de Gestión y Promoción Cultural de la Comunidad de Madrid.

In both editions we have had the invaluable support of Cinesia, Center for Neighborhood Innovation and Development, and the Neighborhood Association La Unidad de San Cristobal de los Angeles.

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TEA Tenerife Espacio de las Artes opens on Friday, September 29, at 6:30 p.m., Insolación, curated by Gilberto Gonzalez, artistic director of TEA. The exhibition, which is free admission, can be visited in this art center until February 25, from Tuesday to Sunday, from 10:00 to 20:00 hours.

Insolación, the progressive increase in the temperature of an organism due to its exposure to the sun’s rays, serves as a starting point to talk about characters marked by the maladjustment to their environment, difficult to classify, but also of an uncontrolled exuberance.

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SEPTEMBER 27, 2023 – JANUARY 12, 2024
Opening Tuesday September 26, 6 – 8.30 pm
Solo exhibition Palazzo Borromeo, Antonini Milano, Piazza Borromeo 12, 20123 Milan, Italy

Open by appointment Tuesday – Friday / 10 am – 1pm, 2 – 6 pm: events@antonini.it

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Humans and pigs – what kind of relationship do they have? More similar in genetic make-up than we think, pigs are intelligent, playful and – like us – omnivorous. But our relationship is anything but on an equal footing. There’s no doubting that we humans dictate how and where pigs live. But what are we doing to ourselves and our environment with an industry that produces meat with production-line methods? OCULAR WITNESS: THE WHOLE HOG takes the pig-human relationship as an opportunity to reflect on our relations with ourselves, with pigs and with the world. What does the global meat industry mean for lifestyles in rural regions? What is the real price of our pork chop, roast or sausage? And is it possible to use the means of art to address social and political issues that are as concrete as they are complex and to put them up for discussion?

The exhibition brings together artists who explore these issues. All of them – biologists, sociologists, bee educators, chefs, shop assistants, etc. – bring their specialist knowledge to the table.

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“Romeos, Luchadorxs e insecto” is both a compendium and a synthesis of Dora García’s artistic practices, displayed via four projects that propose to the spectator a repositioning regarding history, social conduct and the function of a museum.

This repositioning fits within the artist’s usual modus operandi: to explore the mechanisms involved in the relationship between artist, work and public. It is the latter who, by adopting a certain point of view, conditions the relations of meaning between the works themselves and their relation with the institution that hosts them, in this case, the museum. In order to generate this assemblage of relations, García uses media such as performance, photography, text and drawing.

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Over the course of the past five decades, the Portuguese artist Ana Jotta has developed a deeply personal artistic vocabulary that rejects and even antagonizes all forms of classification and identification. Instead of any recognizable style, she argues in favor of inconsistency and irreverence. She takes from, subverts, and trespasses across all aesthetic categories, making a world that exists only on her own terms. Drawn to collecting the most unclassifiable images, objects, phrases, or even marks on a wall, her acts of gathering are fully enmeshed within her acts of making, and as she extracts from what she experiences in the world, she puts the pieces back together in an order that is entirely her own.

Instead of attempting to encompass Jotta’s entire practice, this exhibition narrows its focus around a specific aspect of her work and uses it as a lens to reflect on her approach more broadly: the expanded sense she brings to the act of drawing—drawing on, drawing out, drawing in, drawing from.

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In the thinking of Félix Guattari and Gilles Deleuze, the idea of the machine undergoes a paradigm shift with respect to Marxist analyses of the industrial society. Until that point, it had been regarded merely as a technical instrument which alienated the individual, turning them into one more piece of machinery in capitalist production. After 1968, this judgement was reformulated into an abstract nucleus capable of containing infinite human and non-human relations. (…) Therefore, the primordial role of the machine is “to machinate”; namely, to conspire against established power, to imagine new possible assemblages [agencements], to invent the necessary means for radical transformation.

ARTISTS:
Georges Adéagbo, Efrén Álvarez, Ismaïl Bahri, Sammy Baloji, Jean-Pierre Bekolo, Ahmed Bouanani, Touda Bouanani, Rojava Film Commune, Cian Dayrit, Test Department, Ângela Ferreira, Hermanos Frenkel (Herschel, Shlomo y David Frenkel), Dora García, Florencia Rodríguez Giles, Heiner Goebbels, Patricia Gómez y María Jesús González, Huanchaco (Fernando Gutiérrez), Femke Herregraven, Iconoclasistas, hackitectura.net (Pablo DeSoto, Sergio Moreno y José Pérez de Lama), Yervant Gianikian y Angela Ricci Lucchi, Abu Bakarr Mansaray, François Pain y François Marcelly-Fernandez, Rabih Mroué, Bouchra Ouizguen, Taring Padi, Antón Patiño, Juan Pérez Agirregoikoa, Todo por la praxis, Dania Reymond, Monlee y Roxlee, Eran Schaerf, Tejal Shah, Tai Shani, Rayyane Tabet, Raphaël Grisey y Bouba Touré, Loreto Martínez Troncoso, La Rara Troupe, Alexander Tuchaček, Gee Vaucher, Simón Vega, Vangelis Vlahos, Abdul Hay Mosallam Zarara, Zush (Alberto Porta Muñoz)

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“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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