Exhibition dates: December 15th 2017 - March 18th, 2018   Galleria Civica Pirano Piran, Slovenia Group Show curated by Tatjana…

Exhibition dates: December 15th 2017 - March 18th, 2018


Galleria Civica Pirano

Piran, Slovenia

Group Show

curated by Tatjana Sirk


Exhibition dates: November 29th, 2017 – January 21st, 2018   Bank Austria Kunstforum Wien Freyung 8, 1010 Wien, Austria  …

Exhibition dates: November 29th, 2017 – January 21st, 2018


Bank Austria Kunstforum Wien

Freyung 8, 1010 Wien, Austria


For Michel Foucault the institution of the museum, but also libraries, cinemas and theatres are examples of his concept of the espace autre, the other space. This other, heterotopic space has rules specific to itself, reflects social conditions and circumstances, and relates levels of place and time that are independent of one another.

The museum as heterotopia, in which “[…] the real places of culture are simultaneously represented, enacted and used” therefore collects works that are situated outside their own time and in this way allow the realisation of Utopias.

In the seventh edition of the exhibition format collected, which presents selected works from the Bank Austria Kunstforum collection, paintings and photographs are juxtaposed which by means of scenarios of the real or manifestation of Utopias construe (pictorial) spaces, and by creating these other spaces summon up a critical way of seeing things and of questioning real places. The exhibition starts off a puzzle game oscillating between Utopia and the reality of pictorial spaces, the media and last but not least the museum itself as heterotopia.


Artists: Svenja Deininger, Alois Mosbacher, Gregor Pirker, Lois Renner, Hans Schabus, Eva Schlegel, Hubert Schmalix, Gerold Tagwerker.

Curator: Veronika Rudorfer


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Exhibition dates: November 9th, 2017 - December 22nd, 2017   Licenciado Tabasco 216, Colonia Roma, Delegación Cuauhtémoc Mexico City  …

Exhibition dates: November 9th, 2017 - December 22nd, 2017



Tabasco 216, Colonia Roma, Delegación Cuauhtémoc

Mexico City


‘Short Tales’ are a series of ballpen drawings made while listening to randomly chosen movies and TV Series.


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'Short Tales' by Ariel Orozco

‘Short Tales’ are a series of ballpen drawings made while listening to randomly chosen movies and TV Series.‘Short Tales’ are a series of ballpen drawings made while listening to randomly chosen movies and TV Series.


Exhibition dates: October 6th, 2017 - January 7th, 2018 Joslyn Art Museum2200 Dodge StreetOmaha, NE 68102-1292 Through an arduous process…

Exhibition dates: October 6th, 2017 - January 7th, 2018

Joslyn Art Museum
2200 Dodge Street
Omaha, NE 68102-1292

Through an arduous process that involves repetitive coating, scraping, varnishing, and stripping, Svenja Deininger achieves richly-layered paintings that contemplate the contrasts between harmony and dissonance, subtlety and bravado. Her style calls to mind several defining developments of post-war painting — namely Color Field abstraction and Minimalism — but she rejects the austerity championed by the stalwarts of these movements, and even hesitates to identify her work as pure abstraction. Seductive curves, such as the nose-like shape seen in several of the paintings in this exhibition, populate Deininger’s imagery, while slight imperfections interrupt otherwise precisely-rendered lines. At times, she opts for heavy application of her pigments, creating visually dense sections of canvas that offset more loosely-painted areas, where colors bleed into one another.

Deininger likens installations of her paintings to written sentences. Like an individual word, each painting comes with its own meaning; however, it is within the context of an exhibition that new relationships emerge among her canvases. In developing her installation for the compact Riley CAP Gallery, Deininger emphasized the importance of positioning works from different years and of varying scale in proximity to one another. In this intimate setting, viewers can draw connections from one work to the next, across several years of this young artist’s career.

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Opening: September 30th, 2017Exhibition dates: October 1st - October 14th, 2017 OGR, Grandi Officine RiparazioniCorso Castelfidardo, 2210128 - Torino (TO)…

Opening: September 30th, 2017
Exhibition dates: October 1st - October 14th, 2017

OGR, Grandi Officine Riparazioni
Corso Castelfidardo, 22
10128 - Torino (TO)

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Opening: September 28th, 2017Exhibition dates: September 29th – November 5th, 2017 MIC Museo Internazionale delle Ceramiche in FaenzaViale Baccarini n°1948018…

Opening: September 28th, 2017
Exhibition dates: September 29th – November 5th, 2017

MIC Museo Internazionale delle Ceramiche in Faenza
Viale Baccarini n°19
48018 Faenza (RA)

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group showcurated by Giovanni De Francesco Opening: September 24th, 2017, 11 pmExhibition dates: September 25th – October 15th, 2017 H.…

group show
curated by Giovanni De Francesco

Opening: September 24th, 2017, 11 pm
Exhibition dates: September 25th – October 15th, 2017

H. Friday - Saturday : 12 pm - 2 am
Sunday : 11 pm - 2 am

Antonio Barletta
Andrea Branzi
David Casini
Giovanni De Francesco
Massimo Faion
Anna Franceschini
Duccio Maria Gambi
Francesco Merlini
Paolo Gonzato
Alessandro Gori
Stefano Mandracchia/Giulia Azzini
Giovanni Oberti
Marta Pierobon
Rio Grande
Andrea Sala
Luca Scarlini
Stefano Serusi
Annalisa Sonzogni
Luca Trevisani
Patrick Tuttofuoco
Simone Zaccagnini

Plasma Plastic Modern Art
via Gargano 5


Leave me like this. I have been around the world and I understood. You can read the world even upside-down. All is clear.
(italo Calvino, The Tale of Roland Crazed with Love, in The Castle of Crossed Destinies)


The artworks float into thin air, they are looking for a new home but, as it has always been the case since Calder’s Mobiles, their home is in the air. The objects move and engage the visitor in a challenging gaze. In the Tarot deck the Hanged Man is the twelfth card. In ancient decks this figure was also called the Traitor. In spite of being subject to sheer torture, this young and attractive male figure is represented with a gentle smile, sometimes even with carrying an halo, almost to signify the earth, redemption and epiphany that lies in holding one’s expectations. All interpreters see in this card acceptance, unconditional surrender and opening to interpretation. Early modern rebel poet François Villon’s hanged men ask those who will live after them not to judge them harshly for that eagerness to live that led them to their death. Such is the artworks’ destiny: a long processing, a silence and chaos hiatus looking for a mould and then the audience’s eye in a blink formulates a judgment, pronounces a sentences, activates the firing squad of likes. And yet these works hang in the unpredictable winds of History, made out of abrupt mood changes and trends, and exist in a fluctuation of value judgements whose existance, deep down, they ignore.

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Opening: September 15th, 2017, 6.30 - 9 pmExhibition dates: September 16th – November 11th, 2017 Hightpoint Center for Printmaking912 West…

Opening: September 15th, 2017, 6.30 - 9 pm
Exhibition dates: September 16th – November 11th, 2017

Hightpoint Center for Printmaking
912 West Lake Street
Minneapolis, MN 55408

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Opening: September 14th, 2017 h: 6.30 pmExhibition dates: September 15th - December 2nd, 2017 The Mosaic RoomTower House226 Cromwell RoadLondon…

Opening: September 14th, 2017 h: 6.30 pm
Exhibition dates: September 15th - December 2nd, 2017

The Mosaic Room
Tower House
226 Cromwell Road
London SW5 0SW


The Mosaic Rooms presents a solo exhibition by Lebanese artist Pascal Hachem. In this new body of work displayed for the first time, the artist interrogates experiences of his home city of Beirut. Facing life in a city of both daily instability and overwhelming fragmentation, how does an individual or society remember their own past? The search for traces is recurrent in these works, as Hachem questions the meaning of what one remembers and why. These works offer timely reflections widely applicable to contemporary situations of political and social unease.

These preoccupations are explored in a series of installations. In the manner of ready-mades, Hachem combines or alters ordinary domestic items and displaces them into the art gallery or public spaces to unexpected effect. Hachem activates these passive objects to become subjects, resonant with the potential for action. In the stone in my pocket installed in the basement gallery, several pairs of trousers hang suspended in the air above mirrors, a stone is placed where each right foot should be. The leg of one of the pairs of trousers lifts and drops repeatedly throughout the day, the stone hitting the glass. At some point the accumulated impact will break the mirror beneath, splintering its reflection. The works create physical traces, but these traces point to absence. The shattered mirror becomes the record of this repeated force, the cause does not remain.

In back to square one two irons move continuously in opposite directions across the floor, ironing a pile of flour, this staple ingredient and symbol of community. The passing of the iron is registered in the precise flatness of the flour, but the possibility of disruption is also present, the smooth surface could break beneath the iron. In left under a series of wire brushes is mounted to the wall. Through a mechanized device they scrape the wall each day until layers of paint from previous exhibitions are gradually revealed. The end result of the repetitive actions enacted in these works remains unpredictable. Deliberately undocumented, the original form may not even be recalled.

For Hachem, the trace becomes meaningless as the search to understand or remember its origin cannot be fulfilled. The use of repetition in these works hints at the impossibility of grasping meaning in the face of successive events. Smaller visual interventions installed in the gallery and its exterior seem to provoke humorous and absurd responses to the challenge of making sense of one’s surroundings.

Hachem’s work explores a contradiction, in which a sense of powerlessness to act or understand exists alongside invitations to act. The repetition of nonsensical actions can create a sense of distance. Yet these works often invite participation. By presenting these visual conundrums to interact with, Hachem is prompting the viewer to be present, to observe and carefully consider what is happening around them. The outcome of which he leaves to the individual.

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Opening: September 12th, 2017, 6 - 9 pmExhibition dates: September 13th - October 28th, 2017 Van Doren Waxter195 Chrystie St,…

Opening: September 12th, 2017, 6 - 9 pm
Exhibition dates: September 13th - October 28th, 2017

Van Doren Waxter
195 Chrystie St, New York
NY 10002-1202, United States

Van Doren Waxter is delighted to present Ishmael Randall Weeks: Annotations, Striations, and Souvenirs, a solo exhibition of new works by the Peruvian-American artist Ishmael Randall Weeks, on view September 12 – October 28, 2017 at the gallery’s 195 Chrystie Street location. Following Randall Weeks’ recent solo exhibition at the Museo de Arte de Lima, this presentation of recent sculpture and mixed media work engages themes of place, historical space, loss, transition, and transformation. This is the artist’s third solo exhibition with the gallery.

Marking a continuation of Randall Weeks’ interest in the temporal dimensions of geographic, architectural, and civic space, the exhibition focuses on the confluence of past, present, and future, with a particular reference to archaeology and museology. In the center of the gallery will be two I-beams that each measure the artist’s body length: one is cast with sand from a pre-Columbian pyramid site, and a second is made from the brick-dust of a modern building. A metallic-grout cast of a tin roof and a series of hanging wall sculptures also alludes to the relationship of materials to the body, mental and topographical landscapes, and architecture. Brass structural elements hold wind-eroded bricks alongside layered sandblasted posters depicting ancient archaeological sites in Peru – sand dunes, pyramids, burial grounds – upon which the cities have been built and urbanized. Maintaining his ongoing use of found and transformed materials, also on view is a selection of objects sourced from these archaeological sites cast in copper. Transformed from abandoned detritus into permanent objects and presented in vitrines, these works elicit a museological gaze that disrupts the distinction between debris, artifact, and art object. Randall Weeks’ artistic practice is aligned with art historical movements such as Arte Povera, Minimalism, and Constructivism, particularly in their intersection with a conceptual mark surrounding humanity and its condensation.

Ishmael Randall Weeks will be featured in this year’s Pacific Standard Time: LA/LA, as part of Proyectos LA curated by Luisa Teixeira de Freitas & Claudia Segura. PST is a far reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at cultural institutions across Southern California. The artist will simultaneously present a solo exhibition at Federica Schiavo Gallery in Milan, from September through November 2017.

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group showcurated by Ilaria Marotta e Andrea BaccinOpening: July 5th, 2017, 7 - 9 pmExhibition dates: July 6th – September…

group show
curated by Ilaria Marotta e Andrea Baccin

Opening: July 5th, 2017, 7 - 9 pm
Exhibition dates: July 6th – September 8th, 2017

Francesco Arena
Paolo Canevari
Patrizio Di Massimo
Daniele Milvio
Andrea Sala
Francesco Simeti
Nico Vascellari

“Gone to explore my father’s kingdom, day after day I’m moving away from the city and the news that get to me are getting rarer. Though leaving light-hearted – far more than I am now! – I was concerned about being able to communicate, during my trip, with my dear ones, and among the knights of my escort I chose the best seven, to serve me as messengers.”

Through breaking into the mythical imagination described by Dino Buzzati in the story by the same name, seven messengers offer the spectator a magic land, a mysterious kingdom, a polyphonic stream of past, present and future experiences. Seven Italian artists – Francesco Arena, Paolo Canevari, Patrizio Di Massimo, Daniele Milvio, Andrea Sala, Francesco Simeti, Nico Vascellari – embody the seven characters of a story/exhibition embedded in the narrative cracks of the original story. A reflected and projected image immediately introduces us into a mythical and narrative dimension. Something has certainly already happened. An empty, no longer used sedan chair states so. There is no human presence, only memory. A choir of voices echoes from afar. This is the story of art that recounts itself. It is an amplified oral tradition, which in the mythical world is the only common heritage. The original texts have been lost. A curtain at the back opens and closes. It is beginning and ending. It is paradox. It also highlights the emptiness of images that are reflected, where everything is mixed and muddled. Past and present live in an exotic and suspended dimension. A scorched landscape, a border land. The one on the ground can be walked on. No longer mythical but real. It brings us back to the present. It is the promised land of Lampedusa. A new horizon that tells us about new borders. Oversize shoe soles do not walk on the ground. They tell of an imagination which is fictitious in shape and size and at the same time familiar in color and in matter. And yet, a pictorial, allegorical and perhaps apocalyptic dimension: it is Judith, who takes back Holofernes’s head and thus saves her people.

“But more often my doubts arise that this border does not exist, that the kingdom extends beyond limit, and that, as much as I may go ahead, I will never reach its end.”

The seven messengers represent the vectors of a spring path which is choral, multi-level, in a never-ending sliding of time and space. They incarnate an emotional state stretched in opposite directions: change, self-knowledge, rooting in one’s own origins. It is what is left of the memory, after forgetting everything. It is the very meaning of culture. The mythical ground now makes room to the real dimension. Human space, pliable, ductile, flexible, unlived story, nostalgia of utopia, identity.

“There is, I suspect, no frontier, at least not in the sense that we normally think. There are no separation walls, no dividing valleys, nor mountains closing the path. I will probably overcome the limit without even knowing, and keep moving forward, unknowingly.”(Dino Buzzati, I sette messaggeri, in La boutique del mistero, Mondadori, 1942)

Ilaria Marotta and Andrea Baccin are founding directors and curators of BASEMENT ROMA and editors-in-chief of CURA.

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Group showCurated by Florian Steininger Preview: Saturday 1st JulyExhibition Dates: 2 July - 11 November 2017 Kunsthalle KremsMinoritenplatz 43500 Krems-Stein,…

Group show
Curated by Florian Steininger

Preview: Saturday 1st July
Exhibition Dates: 2 July - 11 November 2017

Kunsthalle Krems
Minoritenplatz 4
3500 Krems-Stein, Austria

Abstraction is considered as one of the significant formal articulations of modern art, and it is most closely associated with painting.
The relentless analysis of the medium, breaking it down to its zero point, by the avant-garde of the 1910s was followed by a recurrent burgeoning of nonrepresentational painting, particularly in Abstract Expressionism, Informalism, and Minimal Art. Aftermodern abstraction of the 1960s was informed by skepticism of painting and the very idea of creative authorship; this was counterpointed with sensuality and intuition in the postmodern phase from the 1980s.
Featuring some sixty different art positions, the exhibition Abstract Painting Now! will place the focus on the present-day international situation of the nonrepresentational easel painting, covering the full range of a still significant painterly practice. The historical basis of the show is the development that followed upon Abstract Expressionism, carried above all by Gerhard Richter and Sigmar Polke. While the former after a period of agony, in which his grey “Inpaintings” were created, turned to the beautiful and seemingly expressive, the latter used abstraction as an ironic paraphrase, thus commenting on the veracity of the brush stroke as a mark of the artist self.
Deconstruction, criticism of authorship, mixing, quotation and ornament are some of the defining parameters of abstract painting today, when Wade Guyton is using an ink-jet printer to produce his minimalist striped pictures. Katharina Grosse switches from the traditional brush to the airbrush, creating iridescent colour fields. In classical modern painting, ornament was considered a crime, worthless skimmings in autonomous art. Within the stylistic plurality of postmodernism, it finds a place for itself again in abstract paintings of Ross Bleckner and Philip Taaffe. This expanded notion of abstraction also includes nature and landscape in the form of neoromantic expressive colour fields like those by Per Kirkeby. In Sean Scully, the geometric constructivism and painterly atmosphere come together in a symbiosis of reason and emotion. Spirituality and geometrical abstraction in the succession of Kazimir Malevich and Barnett Newman are essential to the work of Helmut Federle. In Brice Marden and Lee Ufan, the spiritual in art appears stored up in the brush stroke as a sign of the meditative act. This earnestness and the concentration on spirit and image are also found in the monochrome paintings of Marcia Hafif, Joseph Marioni, and Günter Umberg.
New abstract tendencies developed in Austria as well, which naturally integrated with the international positions into a larger whole: from the 1980s, there were neo-geometric conceptual works by Ernst Caramelle, Gerwald Rockenschaub, and Heimo Zobernig which originated side by side with colour field paintings by Erwin Bohatsch, Herbert Brandl, Hubert Scheibl, and Walter Vopava. In the exhibition, this will be followed by a number of more recent positions that have continued the abstraction project in its full range until the present day.

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A performance by Karthik Pandian and choreographer Andros Zins-BrowneJune 29, 2017 at 10.30 pm Inteatro Festival 2017Via G. Marconi 7760020…

A performance by Karthik Pandian and choreographer Andros Zins-Browne
June 29, 2017 at 10.30 pm

Inteatro Festival 2017
Via G. Marconi 77
60020 Polverigi, Ancona, Italy

In 2012, visual artist Karthik Pandian and choreographer Andros Zins-Browne visited the Atlas Film Studios in the desert of Ouarzazate, Morocco. There, in front of film sets from previous Hollywood productions, they hired a group of studio camels and tried to persuade them to dance. The result of this endeavor can be seen in their 2014 video Atlas/Inserts - a choreography that casts the camel both as a political animal and a technology of movement.
Now with Atlas Revisited, their latest collaboration, the artists look back at the project and beyond. In a performance using text, movement, and moving image, they question their own motivations and the consequences of their pursuit of an image of freedom.
Drawing on new video material, shot at EMPAC in Troy, NY in front of a green screen with American camel-actors, they pose the question of whether Atlas/Inserts was actually a ruse. Was the coercion depicted actually the performance of high-priced American talent keyed into background footage from Morocco? Were the artists documenting a shoot or acting in one?
In Atlas Revisited, Pandian and Zins-Browne stage the making, unmaking and remaking of a dance about freedom and the treachery often required to realize images of it.

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Group ShowCurated by Mark Mangion Salvatore ArancioHaris EpaminondaAnthea Hamilton & Nicholas ByrneBasim Magdy Preview: Friday 9th June 7 - 9pmExhibition…

Group Show
Curated by Mark Mangion

Salvatore Arancio
Haris Epaminonda
Anthea Hamilton & Nicholas Byrne
Basim Magdy

Preview: Friday 9th June 7 - 9pm
Exhibition Dates: 9 June - 12 August 2017

A Tranquil Star developed from a series of questions examining how narrative, process and material come into being and how they coexist in varying states of meaning and form. Each of these artists have very specific and individual connections to this inquiry and this exhibition creates vectors, threads, commonalities and juxtapositions that really bring to light very tactile questions and unfenced perspectives.

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Reviewing the ‘ideal’ landscape:a Meadow Arts contemporary art exhibition in two venues June 4 - September 3, 2017 - Weston…

Reviewing the ‘ideal’ landscape:
a Meadow Arts contemporary art exhibition in two venues

June 4 - September 3, 2017 - Weston Park
June 24 - September 3, 2017 - Shrewsbury Museum & Art Gallery

Meadow Arts will bring a vibrant programme of contemporary art to Weston Park for the first time. Renowned contemporary artists have been invited to explore Weston Park and its history, responding to ‘Capability’ Brown’s grand landscape and James Paine’s architecture with newly commissioned work and a group exhibition.

In this corner of the West Midlands, two radically different visions of man-made landscapes collide: on the one hand, the idealised landscaped garden magnificently expressed at Weston, on the other, the emerging industrial landscape. Synthetic Landscapes takes place across two venues, investigating these different ideas; at Shrewsbury Museum & Art Gallery artist David Bethel examines the birth of the industrial landscape.

Meadow Arts bring unique contemporary art projects to places where art is not usually shown, supporting artists by commissioning new work and creating inspiring events and exhibitions for new audiences.

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NoguerasBlanchard is delighted to present Mushrooms on the Ruins, an exhibition curated by Borbála Soós that was selected for the…

NoguerasBlanchard is delighted to present Mushrooms on the Ruins, an exhibition curated by Borbála Soós that was selected for the sixth edition of the curatorial Open Call organised by the gallery.


How do forests think? Do plants communicate? What are animals dreaming about? Humans live in the entangled connections of a complex system created by other beings. Perhaps it is not a coincidence that in children’s tales mushrooms are often called little men in hats. Anthropomorphising plants, or thinking about subjects that are interchangeable are symptoms of a search for familiar features and abilities, in our attempt to understand them.


The relationship between fungi and humans, including the stories that they unfold, can be used as metaphors for our future survival. As Anna Lowenhaupt Tsing put it, it is time to pay attention to mushroom picking, not that it can save us – but it might open our imagination when we are stuck with the problem of living despite economic and ecological ruination.


In the 1963 Japanese horror film ‘Matango’ (aka ‘Attack of the Mushroom People’) directed by Ishiro Honda, a group of people turns into mushrooms on a mysterious deserted island*. We meet a small company of friends of various professions and social status, who leave behind their modern city lives in Tokyo to go sailing. They become wrecked on a deserted island, with no other visible human activity apart from a second abandoned and marooned ship, which the characters determine was a nuclear research vessel. This ship is overtaken by mushrooms – the only edible species growing in abundance on the island. In the film the fungi are dangerous: they cause hallucinations and drive people insane, but most importantly, consuming them means that people are slowly transformed into mushrooms or a new fungi-human-hybrid species. The characters are consuming and being consumed, and eventually become inseparable from the island and its landscape. Only a single person manages to return to Japan, where he tells his tale, albeit from a psychiatric ward. Summing up his experiences, he points out that the booming and cruel city of Tokyo is not that different from this other island.


Anna Lowenhaupt Tsing in her book ‘The Mushroom at the End of the World, On the Possibilities of Life in Capitalist Ruins’ writes about entangled connections involving people and mushrooms. We find stories about forests where the curious autumn-smelling matsutake mushrooms thrive on land that suffered from human disturbances. After the destruction of the atom bomb on the city of Hiroshima, the first thing to grow in the charred and blasted landscape was matsutake. These fungi now present all over the world exchange for a high-price, which provides opportunities for displaced and disempowered people to find work and carve out a new living.


The exhibition maps relations between various species in a landscape both strange and familiar. It strives to open up a world of imagination where all other beings have the same agency as humans, and where, if you wish, species are capable or becoming, or transforming into one another.


What we share with mushrooms, or other living things – whether bacterial, floral, fungal or animal – is that how we represent the world around us, is in some way or another constitutive of our beings**. We are inseparable from our companion species, and dependent on them for our survival. It is an illusion that we can detach ourselves, and keep only within the borders of our bodies, or retreat within the walls of our cities. Instead, what we can do, is to redefine ourselves with adaptable and soft boundaries. We can start to understand our evolution as a story of an ongoing cross-contamination, and our bodies as a site of nature in the past, present and future. As social beings as well as economic and ecological factors, we are inseparable from the world around us, and as such, our fate is bound to other living creatures.


Thinking about a future landscape, on the ruins of capitalism, we can envision a new type of structure. Humans might soon disappear and leave behind a blasted and disturbed landscape – one, however, fertile for mushrooms like matsutake to dominate. These fungi will choose and enable other types of trees and forests to grow as their companions, and hence aid new landscapes to emerge. Human activity, or more precisely, the memory of human beings will be transformed into mushrooms, and then plants and other new species.




* Hybrid species are not new to the Ishiro Honda, he also directed the first Godzilla movies in 1954 and 1956.


** Eduardo Kohn: How Forests Think, Towards an Anthology beyond the Human, 2013. Kohn has a complex theory and explanation about what he means by representation here. Semiosis (the creation and interpretation of signs) permeates and constitutes the living world, and it is through our partially shared semiotic propensities that multi- species relations are possible, and also analytically comprehensive.


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Opening: May 12, 2017 from 18:30 till 21:30May 13, 2017 with appointment MEGADorso Duro 1114, Venice During the inaugural week…

Opening: May 12, 2017 from 18:30 till 21:30
May 13, 2017 with appointment

Dorso Duro 1114, Venice

During the inaugural week of the 57th international art exhibition of the Biennale, Mega goes to Venice to present a body of work by Patrick Tuttofuoco that for the first time will approach the painting language in a domestic context.

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Opening: May 5, 2017May 6 - June 17, 2017 In his upcoming exhibition at Marianne Boesky Gallery, Minneapolis-based artist Jay…

Opening: May 5, 2017
May 6 - June 17, 2017

In his upcoming exhibition at Marianne Boesky Gallery, Minneapolis-based artist Jay Heikes explores the entanglement of physical, perceptual, and intellectual barriers. Inspired by today’s social and political tumult, the show, aptly titled Keep Out, is Heikes’ meditation on the intensity and ubiquity of socially-constructed boundaries and their powerful ramifications to both individuals and communities. Keep Out, on view at 507 W. 24th Street from May 5 to June 17, 2017, features a large-scale copper, wire, and wax installation and a selection of new multimedia wall works from his “Zs” series. Together, the works reflect on and offer a prayer for transcendence in the face of the ongoing and seemingly endless onslaught of shocking and negative news.

For Keep Out, Heikes expands on his “Music for Minor Planets” drawing series, first started in 2013, releasing the delicate, graphite compositions from the two-dimensional confines of paper and wall and transforming them into a large-scale sculpture. The copper sculpture, which is made in three parts, each measuring 10 feet in height, 15 feet in length, and 10 feet in width, visually references sheet music and will occupy much of the gallery’s floor space. Its bars, made of bent wire, expand and contract within and beyond their frames, engaging the surrounding space and seemingly reacting to unseen forces. Its musical notes, appearing as wax orbs, are in some instances affixed to the bars and in others have fallen to the floor, scattered. The work at once compels and repels the viewer, contributing to the overarching sense of tension. The sculpture takes inspiration from some of Heikes’ favorite musicians like Terry Riley, and highlights the power of additive intervention to change and alter artistic intention and experience.

The sculpture is presented in dialogue with a selection of new “Zs” wall works, part of an ongoing series the artist began in 2016. These pieces signify the push-pull between introspection and the realities of the outside world. They reference the fleeting moment between sleeping and waking, and underscore the significance of the dreamscape to self-reflection and regeneration. At the same time, their physical form obscures the view beyond them and conjures the same sense of caution and exclusion that an “x” might. This dichotomy serves as the core of Heikes’ current explorations, looking at the way barriers are both imposed and overcome.

Of the exhibition and his recent work Heikes says, “I can see the horizon. It's a sunset shade of pink and brown, burned across the outlines of some thing’s lips. … Is this nature? Or a god to be heard in pale tones? … Either way, it's a view from a room that's been boarded up for years. It's a good room, though sometimes a filthy and misaligned place. But now it is suddenly scalped. Roofless. The elements have managed to erode its frame, and the imaginary guards have abandoned their posts. Is this what it feels like to surrender?

... So please, don't let my life be a cliché reborn as an ad campaign, sitting in a comfy chair as speakers sculpt my hair. Instead, let this current regression be the moment when sound becomes form, as if Kandinsky's' neighbor went from point to line to another planet. Let it be a place where all the billboards have been torn down to reveal nothing but sky...and a series of stories of how late capitalism led us back to the ground, the horizon and our bodies. Because in these bodies we defy madness, as our lungs remind us of the limitlessness of breathing. Language tries but fails in its ability to describe what it feels like to wake from a dream.”

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Curated by Sharon Lerner Opening: March 29 2017, 8.00 pmMarch 30 - June 25 El Museo de Arte de Lima…

Curated by Sharon Lerner

Opening: March 29 2017, 8.00 pm
March 30 - June 25

El Museo de Arte de Lima - MALI
Paseo Colon 125, Lima 1, Peru

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curated by Davide Giannella RAW RAW Edizioni Thursday 9th March h.19:00 - 21:30Spazio Sunnei, Via Vincenzo Vela 8, Milano Andrea…

curated by Davide Giannella

RAW RAW Edizioni

Thursday 9th March h.19:00 - 21:30
Spazio Sunnei, Via Vincenzo Vela 8, Milano

Andrea Sala takes a Tachipirina every day. It doesn’t matter if he’s sick or not, neither if this daily action is healthy for him. What really matters is to cultivate a well-defined methodology, like his personal creative path, which always starts from the creation of maquettes, in order to reach the final art piece.

TACHIPIRINA undermines certain perceptions and views and opens with a sly and sought uncertainty, an interlocking of surreal layers and values between the truth and the falsehood, the big and the small, original and it’s copy. This leads to multiple relationships and connections to the art and architecture history, which often give a useful key of reading to the artworks.

TACHIPIRINA is the third volume of Paper Space Collection (PSC#03).
PSC is conceived as a series of unedited exhibitions presented in the form of a book.
PSC is curated by Davide Giannella, designed by Studio Temp and published  by RAWRAW Edizioni.

In the occasion of the book launch, we’ll present an exclusive edition of fine art prints realized by Andrea Sala.




Opening: September 5, 2017, 6 - 9 PMSeptember 5 - November 10, 2017 Dimensions—Variable300 NE 2nd AvenueMDC Building 1, 3rd…

Opening: September 5, 2017, 6 - 9 PM
September 5 - November 10, 2017

300 NE 2nd Avenue
MDC Building 1, 3rd Floor
Miami, FL 33132

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February 10– March 11, 2017Opening reception: Friday, February 10 from 6–8 PM Adams and Ollman is pleased to announce an…

February 10– March 11, 2017
Opening reception: Friday, February 10 from 6–8 PM

Adams and Ollman is pleased to announce an exhibition titled THE FUTURE THE PAST with Todd Norsten. The exhibition will feature new paintings on canvas, as well as painting and collage works on paper and will be on view February 10 through March 11, 2017. This is the artist's second solo exhibition with the gallery.

Norsten's small-scale works on view at Adams and Ollman acknowledge the structure and history of paint and painting. Sampling liberally from historic techniques, such as trompe l’oeil, while also incorporating stenciling, flat surfaces and evocative brushstrokes, the paintings, which reflect Norsten's technically brilliant hand, feel collaged and fragmentary in a way that directly acknowledges that these canvases are about painting itself.

Norsten transforms vernacular images experienced throughout his travels—billboards, hand-lettered signs, and bathroom graffiti—into a meditation on the universal impulse to make art. Removed from their context, snippets of words, shapes and colors are transformed from their literal representation into something surprising, poetic and perhaps absurd. Norsten's to-the-point phrases—“The Wages of Sin Are Cheaper Everyday," "Highly Touted," or "Willing to Half Ass It” — are set against abstract fields of lush paint-for-paint’s-sake that speaks equally to modernist traditions as to faded paint on the side of a barn in Nebraska.

Todd Norsten was born in Minnesota in 1967 where he continues to live and work. He has exhibited at galleries and museums in the United States, Europe and Asia and was included in the 2006 Whitney Biennial at the Whitney Museum of American Art, New York. Selected solo and group exhibitions include Federica Schiavo Gallery and Fondazione Giuliani, both in Rome, Italy; Dayton Art Institute, OH; Leo Koenig, Inc. and Cohan and Leslie, both in New York, NY; Minneapolis Institute of Art, Walker Art Center, and Midway Contemporary Art, all in Minneapolis, MN. His work is in the collections of the British Museum, the Minneapolis Institute of Arts and the Walker Art Center, as well as numerous private collections.

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a performance by Karthik Pandian and Andros Zins-BrowneEuropean Premier 09-10 Februrary 2017 - 8:30 pmKaaistudio's, O.L.V. van Vaakstraat 81, Brussels, Belgium…

a performance by Karthik Pandian and Andros Zins-Browne
European Premier

09-10 Februrary 2017 - 8:30 pm
Kaaistudio's, O.L.V. van Vaakstraat 81, Brussels, Belgium

A dance about freedom

In 2012 the visual artist Karthik Pandian and the choreographer Andros Zins-Browne visited the Atlas Film Studios in the Ouarzazate desert (Morocco). They rented a group of camels, which they tried to coax into dancing in amongst the film sets of old Hollywood productions. The result could be seen in the video Atlas/Inserts (2014).

With Atlas Revisited, the artists take a look back at this quest for an image of freedom, questioning their motives and attempting to probe deeper. They present brand new video material, shot in front of a green screen using expensive American camels. Was Atlas/Inserts actually staged by projecting these camels onto background images from Morocco? Pandian and Zins-Browne show the making, unmaking and re-staging of a dance about freedom – and the deception that is often required when creating images of it.

• Andros Zins-Browne was born in New York. He came to Brussels to study at P.A.R.T.S. In 2008 he presented Second Life, his first evening-length performance. After this came Welcome to the Jungle (2013), The Lac of Signs (2014) and The Middle Ages (2015). This season, he also presents three evenings of Atlas Insights.

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8 February until 4 March 2017curated by Borbála Soós, Stella SideliArtist: Salvatore Arancio, Zuzanna Czebatul, Rowena Harris, Laure Prouvost, Suzanne Treister…

8 February until 4 March 2017
curated by Borbála Soós, Stella Sideli
Artist: Salvatore Arancio, Zuzanna Czebatul, Rowena Harris, Laure Prouvost, Suzanne Treister

Imagine a land full of swamps emitting suffocatingly sweet scents in the heat. The air is thick with poisonous substances left over after the party, which involved snorting and getting high on the lusciousness of the Earth. The intoxicating dance of consuming degenerates into entropy. Rhizomatic connections happen underground, underwater, and in the air. Algorithms mimic natural growth. Cells permutate and exchange. The senses are overloaded with the magical and the exotic, while we wonder about a nature after nature.

"This jungle was very thick and tall and lived mostly on dead seaweed and rotten fish. It grew as high as possible, and where it stopped it was met by sallow, rowan, and alder branches that bent down as far as they could reach. Walking between them with your arms outstretched was like swimming. Bird-cherry and rowan, especially rowan, smell like cat piss when they're in bloom."

– Tove Jansson, The Cave

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February 4 - April 16, 2017Norton Museum of Art, Palm Beach, FL, USA The Norton’s sixth RAW (Recognition of Art…

February 4 - April 16, 2017
Norton Museum of Art, Palm Beach, FL, USA

The Norton’s sixth RAW (Recognition of Art by Women) exhibition will premiere the first solo museum exhibition of Svenja Deininger (Austrian, born 1974) in the United States. Deininger is one of a new generation of abstract painters, aware of the rich history of abstraction, yet creating complex canvases originating from her sophisticated, knowledgeable and intuitive response to process, imagery, and materials. This exhibition of 22 canvases has been assembled with the artist’s participation and explores specific themes of the last five years. The Norton’s annual RAW exhibition was founded in 2011 through generous funding by the Leonard and Sophie Davis Fund/ML Dauray Arts Initiative to promote the work of living women artists. A publication will accompany the exhibition. Organized by the Norton Museum, Cheryl Brutvan, Director of Curatorial Affairs and Curator of Contemporary Art.

Organized by the Norton Museum of Art.
This is the sixth exhibition of RAW - Recognition of Art by Women - made possible by the Leonard and Sophie Davis Fund/MLDauray Arts Initiative.

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opening 26 gennaio, 19.0027 - 30 gennaio 2017Padiglione de l’Esprit NouveauPiazza della Costituzione, 11 – Bolognaa cura di Sergia Avveduti…

opening 26 gennaio, 19.00
27 - 30 gennaio 2017
Padiglione de l’Esprit Nouveau
Piazza della Costituzione, 11 – Bologna
a cura di Sergia Avveduti e Irene Guzman

Inaugura giovedì 26 gennaio 2017 alle ore 19.00 SOLO FIGLI, mostra collettiva che indaga la dimensione oggettuale della scultura di piccolo formato in stretta relazione con lo spazio che la ospita, il Padiglione de l’Esprit Nouveau di Bologna.

All’interno di questo edificio straordinario, progettato da Le Corbusier in occasione dell’Exposition International des Arts Décoratifs di Parigi del 1925 e ricostruito nel 1977 di fronte all’ingresso principale di Bologna Fiere, l’esposizione intende dare voce a trentatrè piccole, in certi casi inedite o per meglio dire neonate, opere d’arte.

Le sculture di piccolo formato si presentano dunque come costruzioni minime, capaci di interagire facilmente con l'idea architettonica e ideale dello spazio che ora abitano. Quest’ultimo diventa uno scenario scandito da un gruppo di elementi tridimensionali molto diversi tra loro, in alcuni casi dissonanti, ognuno dei quali mantiene un forte legame con la funzionalità degli ambienti: qui, tra gli indizi del tempo e caricate dal fascino della memoria immaginativa del luogo, le opere risultano come trasfigurate in “souvenirs” di viaggio, estremamente fragili e preziosi.

Salvatore Arancio, Sergia Avveduti, Simone Berti, Davide Bertocchi, Sergio Breviario, Jacopo Candotti, Gianni Caravaggio, Francesco Carone, David Casini, Alice Cattaneo, T-yong Chung, Cuoghi Corsello, Michael Fliri, Luca Francesconi, Giovanni Kronenberg, Stefano Mandracchia, Eva Marisaldi, Nicola Melinelli, Maria Morganti, Luca Pancrazzi, Alessandro Pessoli, Marta Pierobon, Andrea Renzini, Andrea Sala, Marco Samorè, Lorenzo Scotto di Luzio, Namsal Siedlecki, Vincenzo Simone, Natalia Trejbalova, Luca Trevisani, Marcella Vanzo, Serena Vestrucci, Italo Zuffi.

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Opening February 1, 2017February 2 – March 26, 2017 With Svenja Deininger the Secession is presenting an artist who represents a younger generation…

Opening February 1, 2017
February 2 – March 26, 2017

With Svenja Deininger the Secession is presenting an artist who represents a younger generation of Austrian painters in its main exhibition space. Deininger, who was born in Vienna in 1974 first studied in Münster under conceptual artist Timm Ulrichs and later painting under Albert Oehlen in Düsseldorf. Her idiosyncratic pictorial composition on the one hand and, on the other, the specific way in which the painting is designed layer by layer is characteristic of her works, which balance between abstraction and a figuration that is – at least – hinted at. This method of working corresponds to her interest in suggesting spaciality on the flat canvas or asserting a certain materiality that is permanently poised between becoming concrete and remaining indefinite. Deininger regards painting as a process: she does not consider her pictures, on which she often works over long periods of time, to be self-contained entities. It is, rather, that the process of creating an image serves to stimulate reflection and acts as a mental continuation of a form or composition – the imagining of the future picture and how is located in a spatial context are thus essential elements of the artistic process. As if working on a text the artist elaborates and polishes the syntax of her art. She considers her works to be parts of a system that require their interrelations to be analysed whenever they encounter one another. She alternates large and small format pictures and by means of combining and positioning them in a space she creates a tension, which, together with her range of shapes, results in a "Deiningerian idiom".

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Opening December 17th, 2016 - 4-7 pmDecember 17th, 2016 - January 17th, 2017Guimarães, Linke Wienzeile 36/1C, Vienna Guimarães is a…

Opening December 17th, 2016 - 4-7 pm
December 17th, 2016 - January 17th, 2017
Guimarães, Linke Wienzeile 36/1C, Vienna

Guimarães is a project by the artists Hugo Canoilas, Christoph Meier and Nicola Pecoraro.
The space will open with an exhibition of works by Italian artist Luisa Gardini (born 1935 in Ravenna) and the presence of Felix.

Guimarães, 17/12/2016

Enter: a staircase leading nowhere; a horse in the middle of the room, surrounded by dark wood panels, tiles, and painted walls and bricks. The horse as both a remainder to the space ́s previous life as a stable, and a way of injecting a new life into the room. It is a sculpture in the classical sense, which has lost its pedestal and is wandering around. White, alive and warm, its stillness disturbed by a twitch in its black eyes; conjuring both docility and unpredictable tension; rather than as an image, it stands as a physical entity, plastic and nervous.

Turn right, up another staircase, into a room; the objects on show here consist of organic, non- orthogonal shapes placed on two thick squares that separate these volumes from the wall. There are layers of clay that seem as if a body had pressed them against the wall, transferred with photographic images, which have been stripped of their previous intent in order to become sculptural material.Like an arch in tension, the work of Luisa Gardini (born 1935 in Ravenna) seems to be taken by something similar to that of the horse: a pensée sauvage, or a position towards something present, not possible to organize here in words but possible to ingest and envision in a series of quick actions and gestures, which rendered the intensity that is in front of us.

‘Intensity’ as something that will affect matter; that will be received by another body and deliver, through sensation; like an analogue tongue impossible to decrypt, yet precise and sharp.

The fast and erratic act of making these works is time that was sulk into the stomach of the artist, and later into ours. Like a diagram, it seems to compress, all the events, works and possible references that one could bring here, with a sense of urgency and inquietude towards the quotidian.

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Opening: December 15 at 6.30 pmIgnacio Liprandi Arte ContemporáneoAvenida de Mayo 1480 3º izquierdoBuenos Aires, Argentina Un museo por fuera…

Opening: December 15 at 6.30 pm
Ignacio Liprandi Arte Contemporáneo
Avenida de Mayo 1480 3º izquierdo
Buenos Aires, Argentina

Un museo por fuera del tiempo
Sobre Desierto de Ishmael Randall Weeks

Nada queda a su lado. Alrededor de la decadencia de estas colosales ruinas, infinitas y desnudas se extienden, a lo lejos, las solitarias y llanas arenas
Percy B. Shelley

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Curated by Collettivo Curatoriale LUISS Master of ArtDecember 15, 2016 – January 10, 2017Opening reception: December 14, 2017 “L’idea di…

Curated by Collettivo Curatoriale LUISS Master of Art
December 15, 2016 – January 10, 2017
Opening reception: December 14, 2017

“L’idea di confine appartiene in maniera costruttiva all’arte e ai suoi territori. L’arte è sempre la tentazione, la proposta, il tentativo di uno sconfinamento” Achille Bonito Oliva

Gli artisti: Liu Bolin, Silvia Camporesi, Calori e Maillard, Loris Cecchini, Giulio Delvè, Luca di Luzio, Kaarina Kaikkonen, H.H. LIM, Eva Marisaldi, Marzia Migliora, Fiamma Montezemolo, Ariel Orozco, Luana Perilli, Alessandro Piangiamore, Pietro Ruffo, The Cool Couple, Glenn Weyant, Marco Maria Zanin.

Il Collettivo Curatoriale composto dagli studenti della sesta edizione del Luiss Master of Art – Master Universitario di I Livello, sotto la guida di Achille Bonito Oliva (Responsabile Scientifico del Master), presenta la mostra SUBLIMINA. L’esposizione, organizzata e sostenuta dal LUISS Creative Business Center e promossa da Roma Capitale, Assessorato alla Crescita culturale-Sovrintendenza Capitolina ai Beni Culturali, si svolge dal 15 dicembre al 10 gennaio, negli affascinanti spazi del Museo delle Mura in Porta San Sebastiano.

Il progetto si propone di dare forma visiva a una riflessione sul concetto di confine, in un momento storico in cui la questione sull’invalicabilità e ridefinizione di vecchie e nuove frontiere geopolitiche si manifesta in tutta la sua criticità.

Il Museo delle Mura in Porta San Sebastiano, una delle più grandi e meglio conservate aree delle Mura Aureliane costruite nel III secolo d.C., confine della città di Roma, barriera osmotica di scambio e di difesa, diventa luogo ideale per ospitare SUBLIMINA.

L’aleatorietà dei confini, segni tracciati dall’uomo per creare una demarcazione tra il sé e l’altro, vengono indagati dal collettivo curatoriale attraverso le opere di quindici artisti attivi sul panorama nazionale e internazionale. L’attuale tema del confine viene affrontato non solo nella sua componente geopolitica, ma anche antropologica e filosofica.

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December 6, 2016 - February 28, 2017 Adaptation, contamination, confrontation, change, chance: Charles Darwin’s groundbreaking theory of evolution made clear…

December 6, 2016 - February 28, 2017

Adaptation, contamination, confrontation, change, chance: Charles Darwin’s groundbreaking theory of evolution made clear that the world has always been unstable, and adaptation is a necessary part of a species’ struggle to survive within it. Today change is brought about by an erratic global socioeconomic system and rapid technological developments, which has radically altered our relationships with each other, the environment, and other species.

Evolutionary Travels uses evolution as a concept through which we can approach today’s adaptation to an unstable world, constantly undergoing seismic economic, societal and technological shifts. If evolution considers how any species must adapt to a changing present and an uncertain future, how might human-made changes affect evolution? Have humans ‘transcended’ or altered evolution with their complex technologies and societies? The artists in this exhibition address both directly and indirectly these questions as they struggle to understand the present, rethink the past and speculate about the future.

Situating the need to adapt in the broader, speculative framework of evolution, Evolutionary Travels examines how artists today, engage with change and adaptation through appropriation, juxtaposition and archeological fictions. Interrogating the struggle induced by change and inherent in adaptation the works on view each provide a different lens through which these broad questions can be addressed.

Archeology or the recovery of pseudo-archeological artifacts stands out as a primary means to reconfigure the past in light of the present and in view of the future. Similarly the confrontation engendered by the juxtaposition of different layers of reality stitched together and the obsessive collection of artifacts and facts, questions the endemic need to conceive of history as a linear trajectory. In this struggle to adapt also art history itself with its now redundant classification into genres – such as still-life, portraiture and landscape – is intensely scrutinized. The adoption of what may appear as anachronistic genres becomes yet another means through which the contemporary struggle is broken down.

The physical and conceptual contemporary landscapes as well as the fine line between reality and fiction are questioned by Evolutionary Travels, which ultimately challenges and visually expands the model of evolution itself, whilst taking us on a journey asking how we critically engage with change today. Adaptation and evolution, as key components of awareness of our own existence, are at the core of the Fundación Arte’s collection. Thus Evolutionary Travels as the first show of Fundación Arte, aims to show the relevance and impact of contemporary art in the understanding of our everchanging world.

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TRANSCINEMAInternational Competition, Lima, Perù FRAGMENT 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli 71' | HD | Color |…

International Competition, Lima, Perù

a film by Carlo Gabriele Tribbioli & Federico Lodoli

71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Sat. 3rd Dec. 18h00, Sala Centro Cultural España, Jirón Natalio Sanchez 181, Lima
Mon. 5th Dec. 19h30, Sala Ventana Indiscreta, Universidad de Lima, Cruz Del Sur 121, Lima

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10th November - 20th November 2016
Openign reception: 12nd November 2016
curated by Poppy Bowers Inspired by the Greek proverb 'Where there…

10th November - 20th November 2016

Openign reception: 12nd November 2016

curated by Poppy Bowers

Inspired by the Greek proverb 'Where there is Sea there are Pirates', the exhibition brings together sound, drawing, printmaking, film and text-works by artists who subvert conventional modes of mass communication. In a digitally saturated epoch, where capitalism reigns supreme, the show offers alternative and transcendental perspectives on our daily experiences. Prompted by Paul Klee's cry that 'Half winged-half in prison, this is man!', the exhibition captures a group of works that infiltrate the boundaries between conscious and sub-conscious, public and private expression, live and recorded action.

Artist: Salvatore Arancio, Jeremy Deller, Nancy Holt and Richard Serra, Theo Michael, Melvin Moti, Nina Papaconstantinou, Aura Satz and Weronika Trojanska

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CARLO GABRIELE TRIBBIOLI | FRAMMENTO 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli71' | HD | Color | Stereo |…


a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015 | V.O. sub Ita

SATURDAY OCTOBER 15, 2016 - introduction by Donatello Fumarola (Fuori Orario)
Palazzo delle Esposizioni Sala Cinema - 6:30 pm
Palazzo delle Esposizioni Sala Cinema - 8:30 pm
Via Milano 9a, Roma
free entrance subject to availability

SECTION: Orestiade italiana curated by Simone Frangi

Frammento 53 a production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of Liberian warriors. Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.



GOOOONIES is a work by Patrick Tuttofuoco, conceived on the occasion of the 16th Quadrienniale d'Arte di Roma.
GOOOONIES is a portal to a time and a place of Patrick's past: the shores of the Adriatic Sea - the city of Pescara, in particular - and the beginning of the millennium. In Pescara, in 2000, Patrick created the work Grattacielo, along with four of his colleagues at the Academy of Fine Arts of Brera: Massimiliano Buvoli, Christian Frosi, Massimo Grimaldi and Riccardo Previdi.
Nearly twenty years distance from that first, seminal collaboration, GOOOONIES reflects on the value of friendship in an era in which art is increasingly a celebration of individuality.

October 13, 2016 - January 8, 2017
Palazzo delle Esposizioni
Via Nazionale 194, Roma

SECTION: Ehi, voi! curated by Michele D’Aurizio


Opening: October 8, 6 - 8 pmOctober 8 - November 12, 2016 Artists: Svenja Deininger and Alain Bilteryest The Embassy…

Opening: October 8, 6 - 8 pm
October 8 - November 12, 2016

Artists: Svenja Deininger and Alain Bilteryest

The Embassy is pleased to announce the extension of the space to 4E, the fourth floor space of the private residence which will present experimental statements by contemporary and emerging artists in dedication to the Muse of the house. The inaugural exhibition will present the work of Viennese painter Svenja Deininger and Belgian painter Alain Biltereyst.

The show arose out of a desire to present intangible thoughts, and abstractions on a private scale that imprints on the mind, beyond the scope of the canvas. Set in the domestic space, with brick walls, glimpses of a tree-lined brownstone street, the works are removed from the sterile space of the gallery. Each painting is no larger than a piece of letter paper, and at first glance reads as a note, though upon closer inspection the viewer begins to perceive the fuller narrative. The constructed picture planes are punctuated by poetic lines and geometric nodes.

Deininger and Biltereyst have each distilled a distinct painterly vocabulary, focusing on capturing a concentrated entity in a flattened plane of the canvas. The approach to painting varies, but both artists are parallel in their aims to depict something beyond pure abstraction.

Deininger approaches her compositions as explorations of form and sees them “like a concrete description without bringing the idea to a physical appearance.” Moments of illusion catch the viewer’s gaze in play of shadows, edges, and gradients. Thin washes of luminous colour radiate from the works as a nod to the masters. Simultaneously, raw canvas reveals the material and edges pull at a conscious tension, that aligns her practice in a framework of the present. The paint conveys layers of intuition and evokes a kind of near spiritual depth.

Biltereyst’s works draw their inspiration from much more concrete referents. They are based on geometric forms the artist finds on commercial property, such as trucks, gates, buildings and signs around the countryside of Belgium. In turn, the industrial graphic motifs are actually appropriation of high modern art, which have entered the design lexicon. The unconscious permeation of art into everyday life gives resonance to the geometric shapes and blurs the boundary of referents. Curiously, this cycle of appropriation does not skew the shapes. Instead, they become more poignant and resilient, the further they imprint of the cultural psyche.

The two artists are presented in dialogue. The soft curves of Deininger next to the hard geometries of Biltereyst, multiplicity of intuitive layers against the rational logical deduction, each a slow unfolding of two minds. One is tempted to invoke a gendered attribution but that would not capture the complexity. Each work exists in its own picture plane and together they serve as inflection points in the greater romance.

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Opening: Saturday September 17, 2016, 5 to 8 pm September 17 - October 29 Things Themselves presents a collection of…

Opening: Saturday September 17, 2016, 5 to 8 pm
September 17 - October 29

Things Themselves presents a collection of objects that look like nothing in particular.
They are curious hunks of matter, distorted and mysterious, that sit beyond the grid of designation.
They can only be described in the loosest terms, as things. This thread ties them together: Thingness as such.
The exhibition includes an essay by Zully Adler and a special edition by Paul Salveson.

Vernon Gardens is a metal project cage, sculpture garden, and drive-in movie theater run by Zully Adler and Ben Wolf Noam.



Opening: 16 settembre 2016 - 18:0017 settembre - 14 ottobre 2016Palazzo Candiotti, Largo F. Frezzi 2, 06034 Foligno, PG Il…

Opening: 16 settembre 2016 - 18:00
17 settembre - 14 ottobre 2016
Palazzo Candiotti, Largo F. Frezzi 2, 06034 Foligno, PG

Il Monumento (dal latino monere, “ricordare”) è un’opera, prevalentemente architettonica, di grande valore artistico e storico, inteso a “definire e a mantenere simbolicamente l’identità di un popolo nel tempo” (M. B. Mirri). Esso si presenta sotto diverse forme e significazioni, attraversa sguardi condivisi e si adegua alla varietà di molteplici interpretazioni: figura mitica, oggetto simbolico e depositario di memoria collettiva, elemento di un rituale che si ripete, punto geografico di aggregazione e di osservazione privilegiato, quanto isolato nella sua indiscussa solitudine.

Nell’antichità i monumenti più importanti erano quelli funerari e, in epoca romana, quelli dedicati agli imperatori e alle loro imprese, prevalentemente statue e obelischi. Dai Menhir alle Colonne dei trionfi, dalle immagini iconiche agli altari, agli edifici di rappresentanza, il concetto di monumento abbraccia le espressioni più diverse conservando in ognuna di esse l’esigenza alla rappresentazione, al memento, alla riflessione e alla celebrazione.

In occasione del Settantennale della manifestazione della Quintana Moderna, la mostra La Solitudine dei Monumenti, a cura di Marta Silvi, con la consulenza artistica di Pier Luigi Metelli, raccoglie alcuni lavori eseguiti dagli artisti che, negli ultimi tre anni, sono stati coinvolti nella produzione dei Palii: Tomaso De Luca, Stefano Emili, Matteo Fato, Gabriele Porta.

Una statua è anche il simbolo della Giostra della Quintana a Foligno. Conosciuta da molti come Quintanone, essa rappresenta il Dio Marte ed è il simulacro posto al centro del Campo de li Giochi, nell’intersezione delle diagonali, con il braccio teso, che tiene gli anelli contesi dai cavalieri nella tenzone. Anche in questo caso un singolo oggetto si carica di una energia evocativa, ergendosi a simulacro di un’epoca, di tradizioni lontane e di antichi fasti, trasformati ormai in rito.

Artisti nati tra la fine degli anni Settanta e la fine degli Ottanta si confrontano con un tema ampio quanto, a tratti, anacronistico. Cosa significa “monumento” oggi? E’ ancora possibile fare esperienza di quella forma di rispetto e venerazione che accompagnava la realizzazione dei monumenti del passato?

La mostra La Solitudine dei Monumenti si sofferma su uno degli aspetti peculiari del monumento stesso, quello forse meno celebrativo e più intimistico, la sua solitudine, ovvero l’isolamento che nella ieraticità lo rende inconsueto e unico, portatore di valore e di memoria, ma anche frammento e reperto eletto, in mezzo a tanti che il tempo porterà inesorabilmente via con sé.

Gli artisti invitati si avvicinano a questo tema all’interno della loro personale ricerca declinando risposte e riflessioni differenti attraverso l’impiego dei media più diversi: dal disegno al video, dall’installazione alla scultura, alla pittura.

Gli spazi espositivi del piano nobile di Palazzo Candiotti, già di per sé altamente suggestivi, diventano scenario di un racconto personale e allo stesso tempo universale, in cui ciascun artista mette in atto le proprie visioni particolari. Qui si innescano pensieri e discorsi sulla capacità e l’esigenza umana a convogliare e raccogliere, oppure cancellare e dissolvere, la propria memoria e la propria presenza in oggetti catalizzatori, in grado di esercitare un memento per le generazioni future.

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Monday 12 September 2016 - Friday 07 October 2016 Salvatore Arancio, Miriam Austin, Adham Faramawy, Susan Finlay, Florian Roithmayr, Mimei…

Monday 12 September 2016 - Friday 07 October 2016

Salvatore Arancio, Miriam Austin, Adham Faramawy, Susan Finlay, Florian Roithmayr, Mimei Thompson and Esther Teichmann.

A slight cloud of steam hung as usual above the warm waters of the spring: rose and drifted away in the soft currents of air that circulated through the caverns. Our life, he said, is like a cloud that rises from the earth: it floats in the air until it strikes the cooler surface of the rock, and there condenses, and becomes the more solid element of water. The water in its turn changes its form, solidifying on the surface of the rock. Everything solidifies: that is the law of the universe.

The Green Child, Herbert Read

Inland Far was the original title of poet and critic Herbert Read's only novel, completed in 1934 and published asThe Green Child.  The exhibition uses the original title to foreground the emotional, philosophical and psychological landscapes that the work explores, which in turn connect to Read’s interest in psychoanalytic theory (in a letter to Jung he claimed that the novel was a product of automatic writing).

The book is mysterious, heavily symbolic, mythic and dream-like, and incorporates both Modern and Surrealist influences.  In the final section the protagonists plunge into a pool and, surrounded by a large bubble, come out in an underground, parallel world of crystals, caverns and grottoes, with green tinted people living in a sophisticated society structured around intricate rituals and philosophies.  It is the atmosphere of this section that Inland Far particularly draws upon, evoking a subterranean phosphorescent world, where the organic and inorganic, and animal-vegetable-mineral freely mingle.

Inland Far features work by a range of emerging and more established artists who work across different mediums, ranging from ceramics, sculpture and video, to painting and photography.  Mimei Thompson’s cave paintings investigate the idea that the natural consistently exists as a construct and are in many ways Surrealist, whereas Florian Roithmayr’s at first glance Modernist sculptures illustrate what happens when one surface yields to another.

Miriam Austin, Adham Faramawy and Esther Teichmann all explore imagined and hybrid territories. Austin works with organic materials including flowers and latex, in sculpture and installation; Faramawy on digital film with CGI effects, and Teichmann with installation and large scale painted photographs. Susan Finlay and Salvatore Arancio both share an interest in psychedelia. The point of departure for Finlay’s sculptures is art nouveau revivalism, whereas Arancio collages images from the cult 1980s TV series The Cosmos and sets them to a trippy prog soundtrack.

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Opening: September 8, 6 - 8 pmSeptember 9 - October 22, 2016 In the large diptych Ringdans, the remaining very…

Opening: September 8, 6 - 8 pm
September 9 - October 22, 2016

In the large diptych Ringdans, the remaining very thin applications of paint create the impression of a fading fresco. Similar to a collage, where individual sections are painted or pasted over, the silhouettes of red shapes underneath the white areas of Die Liebenden emerge. In Wald, the emerging shapes oscillate with the retreating ones, so that the painting seems almost like a piece of fabric.

The cut edges, the revealed canvas, the visible different layers of paint – all these are traces of the process of creation: Clara Brörmann’s modus operandi is a play with her painterly opposite, where the painting’s status quo is continuously subjected to interventions until a final point has been reached, making the various steps of the process visible and rendering them parts of a new whole.

Brörmann’s works create their own inherent temporal and spatial simultaneity: the numerous steps in the process generate a condensed temporality characterised by an interlinking of before and after. At the same time, a multilayered pictorial space emerges where the below of the canvas as the support and the above of the applied paint merge. And finally, in Clara Brörmann’s paintings, the sides of the stretcher frames are integrated; they, too, reveal an earlier state of the painting and at the same time lend it the appearance of a sculptural object. The works in the exhibition pursuit of happiness are an extension of this play of exploring colour, form, and composition. Searching for new possibilities of placing her abstract paintings in unusual situations for reception, the artist has added another rule to her game: the descriptive titles open up a space for interpretation that places the abstract forms into a concrete context.

The four circles turning inside one another thus become the wheel of the fickle decider of fates, the goddess Fortuna, who delivers happiness and unhappiness; the circle that can be made out in the large diptych can be interpreted as a trace left by the dancers in the circle, the Ringdans; and the geometrical white shapes reveal themselves to be trees in close proximity in Wald.

The painting, the title and the beholder’s associations form a net in which abstract shapes become concrete situations. Whereas in Fortuna, Ringdans and Wald, the connection between the shapes and the titles is easily made, this is not so in the case of Die Liebenden. It is not easy to associate the pointed, drop-like structures in white and red with a pair of lovers. A further coordinate helps: in the second room of the gallery, watercolours are shown from which the titles for the paintings are derived. They are modelled on allegorical representations of medieval illuminations. The structure, shapes and colours of amants dans un lit illustrate the translation that took place from medieval representation to abstract painting. The additional visual material places the paintings in a further referential space, within which Brörmann confronts her paintings with the question of whether an abstract painting can embody an allegory, which itself is an image of an already abstract notion. And the beholder is called upon to ponder this question. Thus, the end of the walk through the exhibition becomes, as it were, the starting point of another walk, a second round of the game, this time with extended rules.

Text: Ferial Nadja Karrasch
Translation: Wilhelm von Werthern,

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Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015 A production of…

Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015

A production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Wednesday, July 13th, 2016 - h 2:00 pm, Les Variétés 2

Saturday, July 16th, 2016 - h 10:30 am, Les Variétés 2

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Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015 A production of…

Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015

A production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Monday, July 4th, 2016 - h 5:30 pm - Teatro Sperimentale

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June 23 – August 12, 2016Marianne Boesky Gallery I Talk with the Spirits, an exhibition featuring the work of artists…

June 23 – August 12, 2016
Marianne Boesky Gallery

I Talk with the Spirits, an exhibition featuring the work of artists Thornton Dial, Jay Heikes, and Lee Mullican. The exhibition explores the enduring hold of spirituality on artists and their art throughout the 20th century and beyond, expressed across disparate generations, cultures, and artistic traditions. This show, which takes its name from a 1964 album by the great experimental jazz musician Rahsaan Roland Kirk, weaves their work together to create a nuanced picture of the ways in which the spiritual has engaged the artistic imagination. Curated by artist and writer Chris Wiley and organized by Kristen Becker, I Talk with the Spirits will be on view from June 23 – August 12, 2016.

The exhibition is grounded in the work of Lee Mullican (1919-1998), best known as one of the founders of the influential but short-lived Dynaton group, created in San Francisco in the early 1950s. Mullican was highly influenced by the art, artifacts, and rituals of Native American and Pre-Columbian South American cultures, by an interest in Surrealism, and by Zen Buddhism, to which the influential philosopher Alan Watts introduced him. The works that resulted from these varied influences blend the signs, symbols, and myths of ancient religious rites with meditative techniques of painting and drawing. Mullican's exploration of artistic transcendence through the patterns and repetitions in his abstract paintings sets the course for examining how spirituality is interpreted and questioned within Jay Heikes' and Thornton Dial's varied practices. Featured in the exhibition will be a selection of Mullican’s drawings and paintings, such as those of Kuchina dolls, totemic figures, or luminous depictions of cosmogenesis, as well as some of his ceramic or bronze sculptures.

As a self-taught artist from rural Alabama, Thornton Dial (1928-2016) wove a spiritual content through his work drawing from the surrounding Christian faith. His assemblage paintings, with their intricate construction and often-imposing scale, have their origins in his work building boxcars for the Pullman-Standard rail company, while his looping, whimsical drawings often touch on religious themes and frequently contain a motley assortment of totemic objects (dolls, discarded clothing) and spirit animals (most notably the tiger). Much of his work also addresses the trials and triumphs of black life in America, lending additional metaphoric weight to Dial’s transformation of cast-off detritus into works of art. I Talk with the Spirits includes a number of Dial’s assemblages, dating from the mid-1980s, as well as a selection of his drawings.

In contrast to Mullican and Dial, Jay Heikes’ (b. 1975) interest and engagement with spirituality comes from a place of skepticism. Many of his works appear to be artifacts from an unknown tribe, or the unfinished experiments of an alchemist’s laboratory. But Heikes himself is no neo-primitivist, or latter day alchemist. The son of a chemist, Heikes grew up fascinated by the seemingly magical aspects of scientific progress, which gave him an incredulous view of the spiritual tinkering of shamans and pseudo-scientists. Nevertheless, he has been drawn to imitate the trappings of these systems of belief, acting as a self-professed “poseur”, trying to speak in a foreign tongue. This position, though it is partially an ironic take on the well-worn trope of the artist-shaman, is also shot through with a very earnest yearning: Heikes’ work seems to suggest that he harbors the hope that he can work backwards through these objects and make his way to belief. For this exhibition, Wiley has selected a number of Heikes’ sculptures and paintings from the last three years, including several new works.

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Opening 12 maggio 2016 h 19.0012.5.2016 - 16.7.2016 Giovedì 12 maggio 2016 alle ore 19.00 Quartz Studio ha il piacere di…

Opening 12 maggio 2016 h 19.00
12.5.2016 - 16.7.2016

Giovedì 12 maggio 2016 alle ore 19.00 Quartz Studio ha il piacere di presentare The Water They Dwell In, prima mostra personale a Torino di Salvatore Arancio (Catania, Italia, 1974) organizzata al termine di una residenza presso l’azienda La Castellamonte.
Suggestionato dalla forma delle conchiglie, uno degli elementi naturali che Arancio aveva notato diversi anni fa visitando Casa Mollino a Torino e che aveva affascinato ed inspirato l' opera del celebre architetto, l’artista ha lavorato sull’idea di uno spazio chiuso che trascenda la dimensione terrena, trasformando Quartz in un ambiente mentale perfetto come lo è il carapace per il mollusco che lo abita, un paesaggio disorientante che è allo stesso tempo archeologico e lunare.

Thursday, May 12, 2016 at 7:00 pm, Quartz Studio is pleased to present the exhibition The Water They Dwell In, the first solo exhibition in Turin of Salvatore Arancio (Catania, Italy, 1974), organised at the end of his residency at the factory La Castellamonte.
Arancio took inspiration from the form of shells, he had noticed several years ago when visiting Casa Mollino in Turin. A natural element that had enchanted and inspired the famous architect. Arancio started from the idea of a closed space that transcends the earthly realm, rendering Quartz a perfect mental environment as the shell is to the mollusk that dwells in it, a disorienting landscape that is at once archaeological and lunar.

via Giulia di Barolo 18/D
10124 Torino

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