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Accumulation – On Collecting, Growth and Excess 
Second Sequence

Opening: June 13, 2025 06:00 pm – 11:00 pm

Exhibition: June 14 - July 27, 2025

Migros Museum für Gegenwartskunst, Zurich 

The consequences of excessive growth are becoming ever more visible – and awareness of it is constantly increasing. Yet progress, prosperity and social status continue to be equated with the accumulation of material goods. Accumulation invites visitors to engage with the challenges of and alternatives to excess.

Over-consumption intensifies the climate crisis, deepens social inequalities and stabilises (neo-)colonial power relations. But what is the way out? What would the transition from a growth-oriented to a common-good-oriented society look like? The artists in this exhibition respond in different ways to this challenge: some address the issues directly, while others develop methodologies and strategies to counteract the logic of material accumulation.

In two sequences, ‘Accumulation’ explores the notion of accumulation as a defining phenomenon of the current time. In the first sequence, artistic positions critically evaluated the collection practices of museums, highlighted (neo-)colonial structures and identified the social challenges of sustained growth in relation to labour and production. The second sequence makes capital and accumulation tangible on a material and historical level, sheds light on the systemic consequences of the environmental crisis and explores how accumulation and prosperity depend on flexible boundaries between the private and public spheres. The exhibition also focuses on performances and provides additional in-depth theoretical insights in the form of two essays.

The exhibited works with their differing perspectives encourage reflection on the challenges of constant growth and invite discussions about visions for a society centred around the common good, environmental responsibility, and social justice.

Artists: Art & Language, Bare Minimum Collective, Clegg & Guttmann, Anne-Lise Coste (Uruk), Joana Hadjithomas & Khalil Joreige, Rindon Johnson, Mierle Laderman Ukeles, Nils Amadeus Lange, Gianni Motti, Yuri Pattison, Raqs Media Collective and others.

https://migrosmuseum.ch/en/exhibitions/accumulation---ueber-ansammeln-wachstum-und-ueberfluss-2?lang=en 

Dem Himmel so nah. Wolken in der Kunst 

Kunsthalle Emden

May 24- November 2

Who hasn't lost themselves dreamily in the sky, discovered a face in the clouds or marveled at changing light phenomena? Clouds fascinate us with their fleeting nature and fragile grace. Sometimes light and floating, sometimes heavy and threatening, they reflect our moods. Clouds have inspired art for centuries. They stand for the divine, sublime natural beauty and atmosphere, for transience and longing - and today also for climate change, environmental destruction and war.

The Kunsthalle Emden is dedicating an extensive exhibition to this multifaceted theme, which is also a tribute to the East Frisian sky. On display are works from different eras and genres, from classical landscapes to contemporary installations. The sky can thus be rediscovered in its poetic and political dimensions - but can also be understood as a mirror of the interior and as a sign of our times.

Artists: Heiner Altmeppen, Jean Arp, Sven Drühl, Berend Goos, Anna Grath, Daniel Hausig, Wenzel Hablik, Erich Heckel, Geoffrey Hendricks, Almut Linde, Hiroyuki Masuyama, Bjørn Mehlus, Nanne Meyer, Lyoudmila Milanova, Gabriele Münter, Emil Nolde, Yoko Ono, Robin Page, Ursula Palla, Richard Prince, Franz Radziwill, Gerhard Richter, Simon Roberts, Alexander Rodtschenko, Yvonne Roeb, Christian Rohlfs, Ugo Rondinone, Valentin Ruths, Michael Sailstorfer, Josef Scharl, David Schnell, Gustav Schönleber, Nedko Solakov, Klaus Staeck, Rolf Staeck, Walter Strich-Chapell, Hans Trimborn, Nasan Tur, Felix Vallotton

https://kunsthalle-emden.de/ausstellungen/dem-himmel-so-nah 

Screening 

Blickle Kino - Belvedere

5. Juni, 18:30

Queering the Belvedere: Bewegte Sammlung. Katrina Daschner

Ästhetiken queerer Bildpolitiken

Katrina Daschner ist eine zentrale Position der queer-feministischen Gegenwartskunst. Ihre interdisziplinäre Praxis umfasst u. a. Film, Performance, Textiles und Installation. Für die Inszenierung des Körpers als Ort queerer Lust, Widerständigkeit und ästhetischer Transformation greift sie auf Stilmittel des Theaters, der Burlesque, des Tanzes und des queeren Cabarets zurück. Dabei entstehen dichte und visuell komplexe Bildräume. Pomp (2020) ist der achte und letzte Teil des Zyklus Hiding in the Lights (2012-2020), in dem Daschner u. a. fragmentarisch auf Begehrensstrukturen von Arthur Schnitzlers Traumnovelle referenziert: (Filmische) Körper werden Orte lustvoller Projektionen. Schier skulptural inszeniert, verhandeln sie das Verhältnis von Begehren und gesellschaftlicher Maskierung neu. Daschner dehnt mit visueller Opulenz, Glanz und Pomp bestehende Machtverhältnisse und entwirft alternative Räume und Formen von Sinnlichkeit, Begehren und Identität.

Pomp wurde 2024 für die Sammlung des Belvedere erworben. Im Format Bewegte Sammlung wird er mit anderen Teilen des Zyklus sowie verwandten Filmen vorgeführt und in Anwesenheit der Künstlerin besprochen.

Freier Eintritt. 

Tickets hier. 

LIVING ROOM (CLOSING)

Eröffnung: 3. Juni, 18.30

ORF-Kulturkoordinatorin Jasmin Ölz stellt anschließend Fragen an die Künstlerin.

Ausstellung: 4. Juni - 14. September 2025

Mit der Skulptur Living Room (Closing) thematisiert Liddy Scheffknecht den Wandel des Wohnzimmers vom familiären Medienzentrum hin zu einem Relikt unserer analogen Vergangenheit. 
Die fragile, aus Karton und Papierklebeband gefertigte Installation erinnert formal an ein klassisches Wohnzimmer: Sofa, Tisch, Kommode und ein Fernseher sind klar erkennbar. 
Doch das Ensemble ist nicht stabil – es lässt sich wie ein überdimensionales Pop-up-Buch auf- und zuklappen.
Im halb geöffneten Zustand, wie im Funkhaus präsentiert, wirkt das Objekt wie im Begriff zusammenzufallen. Scheffknecht verweist damit auf die allmähliche Auflösung eines Raumes, der über Jahrzehnte durch das Fernsehen geprägt war. Heute haben mobile Endgeräte, Streamingdienste und On-Demand-Inhalte das traditionelle Fernseherlebnis – und damit das klassische Wohnzimmer – verdrängt. Die Skulptur wird so zum Sinnbild für eine medial und kulturell transformierte Alltagsrealität.
Dabei reflektiert Living Room (Closing) nicht nur unsere Mediennutzung, sondern auch die Ikonografie des Wohnzimmers in der Popkultur: Serien wie Friends, Seinfeld oder Die Simpsons haben diesen Raum über Jahre hinweg zu einem kollektiven Symbol familiärer und gesellschaftlicher Dynamik stilisiert – ein Bild, das zunehmend in die Vergangenheit rückt.

Archeologies of the Future

Opening: May 29

Exhibition: May 30 - June 29

KCB – Cultural Centre of Belgrade 

TERRA INCOGNITA - Art Expedition to an Unknown Neighbouring Country Czechoslovak Art between 1948 and 1989 in Dialogue with the Liaunig Collection

Museum Liaunig, Neuhaus

through October 31, 2025

The main exhibition TERRA INCOGNITA - Art Expedition to an Unknown Neighbouring Country, curated by Miroslav Haľák, presents Czechoslovak art in dialogue with works from the Liaunig Collection. The curator limits himself to the years 1948 to 1989, which represent the phase of the division of Europe, in which Austria and Czechoslovakia found themselves in two different spheres of influence and the mutual exchange in the previously so organically grown socio-cultural neighbourhood was radically interrupted. 

Since the parameters of art development in the two countries were shaped according to very different criteria and the artists had to work with sometimes completely different socio-political challenges, but were always located in a historically compact geographical sphere, the exhibition is divided into so-called "territories" that correspond to the variability and individual specifics of art production in these decades. Based on the tendencies towards figuration, abstraction, geometrisation and pluralisation typical of postmodernism, the respective artists from Austria and Czechoslovakia come together in a staged dialogue in which the concrete phenomena that developed in the four decades of the Cold War are presented.

The extensive exhibition project was made possible in co-operation with Czech and Slovakian institutions and private collections.

Curator: Miroslav Haľák

Artists: Milan Adamčiak, Marc Adrian, Jiří Balcar, Juraj Bartusz, Mária Bartuszová, Josef Bauer, Štefan Belohradský, Jiří Bielecki, Hans Bischoffshausen, Vladimír Boudník, Hellmut Bruch, Miloslav Chlupáč, Miloslav Cicvárek, Jarmila Čihánková, Miroslav Cipár, Jiří David, Hugo Demartini, Milan Dobeš, Jiří Georg Dokoupil, Otto Eder, Libor Fára, Rudolf Fila, Stano Filko, Emil Filla, Herbert Flois, František Foltýn, Johann Fruhmann, Michal Gabriel, Roland Goeschl, Franz Grabmayr, Mira Haberernová-Trančíková, Josef Hampl, Jiří Hilmar, Rudolf Hoflehner, Wolfgang Hollegha, František Hudeček, Friedensreich Hundertwasser (Friedrich Stowasser), Josef Istler, Othmar Jaindl, Jozef Jankovič, Čestmír Janošek, Jiří John, H+H Joos (Harold Joos, Hildegard Joos), Martha Jungwirth, Zdeněk Kirchner, Alojz Klimo, Tamara Klimová, Alfred Klinkan, Eva Kmentová, Milan Knížák, Jan Koblasa, Peter Kogler, Jiří Kolář, Stanislav Kolíbal, Július Koller, Jan Kotík, Jiří Kovanda, Viera Krajcová, Radoslav Kratina, Matej Krén, Richard Kriesche, Rudolf Krivoš, Jan Kubíček, Jaroslava Kurandová, Bohdan Lacina, Aleš Lamr, Maria Lassnig, Mariane Maderna, Gottfried Mairwöger, Antonín Málek, Karel Malich, Pavel Maňka, Mikuláš Medek, Juraj Meliš, Jürgen Messensee, Anastázia Miertušová, Josef Mikl, Vladislav Mirvald, Alexander Mlynárčik, Gerhardt Moswitzer, Jiří Načeradský, Rudolf Němec, Karel Nepraš, Pavel Nešleha, Hermann Nitsch, Franz Xaver Ölzant, Peter Oriešek, Marek Ormandík, Hermann J. Painitz, Milan Paštéka, Helga Philipp, Robert Piesen, Josef Pillhofer, Peter Pongratz, Markus Prachensky, Drago j. Prelog, Hannes Priesch, Arnulf Rainer, Erwin Reiter, Franz Ringel, Michael Rittstein, Gerwald Rockenschaub, Hubert Schmalix, Christian Schwarzwald, Zbyněk Sekal, Miloš Ševčík, Agneša Sigetová, Rudolf Sikora, Natálie Šimanová, Adriena Šimotová, Paulína Skavová, Otakar Slavík, Miroslav Šnajdr st., Soshana (Susanne Schüller), Jiří Sozanský, Jakub Špaňhel, Hans Staudacher, František Štorek, Jan Švankmajer, Ján Švec, Zdeněk Sýkora, Laco Teren, Erwin Thorn, Margita Titlová-Ylovsky, Jorrit Tornquist, Miloš Urbásek, Andreas Urteil, Jiří Valenta, Jitka Válová, Aleš Veselý, Jaroslav Vožniak, Max Weiler, Hana Wichterlová, Jan Wojnar, Erwin Wurm, Jana Želibská, Kamila Ženatá und Olbram Zoubek.

https://www.museumliaunig.at/en/exhibitions/2025.html 

Selection – Highlights from the collection

Neue Galerie Graz, Universalmuseum Joanneum, Graz

Through December 31, 2028

Comprising around 70,000 works, the Neue Galerie Graz collection has been shown in different ways in recent years, most recently on a large scale up to summer 2024 under the title Show! Highlights from the Collection. Some 9,000 interested viewers visited the exhibition over the four months it ran. Due to strong demand, a permanent presentation of the collection is now on show, which can be seen in concentrated form under the title Selection. For the first time, the public was actively involved in the new selection; a survey led to an astonishing result, which was adopted into the current presentation.

The Neue Galerie Graz collection has always been expanded not only by acquisitions, also through donations and foundations. Generous private gifts – from Norli und Hellmut Cerny, Helmut Suschnigg, Regine Ploner and numerous artists – together with many permanent loans have enabled the quality of the collection to be consolidated in recent years. The permanent presentation, which is slightly adapted every year, now allows special thematic areas to be shown, as well as new purchases. As this permanent exhibition is also concerned with ‘highlights’ from the holdings, the following question is justified: ‘What are highlights, and who determines their status?’

The public has voted.

A survey among the public as part of the exhibition Show! led to a surprising result, which has now flowed into the new selection, too. In this way, the Neue Galerie Graz has actively participated in a collection show for the first time. Here can be seen the republican, civic awareness of those who regard the museum as ‘theirs’ and the assets therein a collective treasure. Both the strength of the society and that of its institutions are revealed in this thinking – in our case, the museum as a venue of communal endeavour.

https://www.museum-joanneum.at/en/neue-galerie-graz/our-programme/exhibitions/event/selection-1 

WHY LOOK AT ANIMALS?  A Case for the Rights of Non-Human Lives

through February 16

National Museum of Contemporary Art Athens

Why Look at Animals? A Case for the Rights of Non-Human Lives centres on animal rights and animal well-being, highlighting the urgent need to recognise and defend the lives of non-human animals in an anthropocentric world that exploits, oppresses and brutalises them. The exhibition is inspired by John Berger’s seminal essay of the same name, “Why Look at Animals?” (1980), which explores the changing relationship between humans and animals, particularly in the context of modernity. The essay reflects on how animals, once deeply integrated into human life, have become increasingly distanced, objectified and commodified.

Why Look at Animals? A Case for the Rights of Non-Human Lives aims to engender a discussion around the ethics and politics of how we treat animals.  By exposing the exploitative, violent mechanisms behind systemic animal abuse, it renders what is shamefully invisible visible. The exhibition and its public programme hope to raise awareness of the conditions of non-human animal life today, from the home, the street and the factory to their threatened natural habitats. Why Look at Animals? invites us to consider the non-human animal not as “Other”, but as a being with a “voice” and intrinsic value of its own, capable of artfulness, play, socialisation and transformation, pleasure, inventiveness, pain and grief.

The exhibition begins on the museum’s lower ground floor where the focus is on the deeply interconnected phenomena of colonialism, industrialism, and technological “progress”, which led to the first large-scale destruction of habitats as well as the violent exploitation of animals. As visitors ascend through the museum, they will encounter works that examine the present state of things: how animals exist and survive in urban environments, examples of animal activism, and new forms of animal knowledge, among other themes. Finally, on the fourth floor of the museum, the exhibition shifts in tone; here, poetics, ecofeminism, animism, play, animal creativity, and humour intersect. Animals reclaim their dignity, and we are prompted to imagine a future world in which there will be more harmonious interspecies co-existence and collaboration. Advances in animal studies continue to show that more and more species of non-human animals possess intelligence and sentience; that they feel pleasure, pain, grief and fear.

The exhibition puts into question human exceptionalism, and aims to confront one of the carefully hidden and largely unspoken crimes of humanity on a mass scale: that of the daily, institutionalised, systematic violence against animals – whether directly or indirectly – a violence that denies them their basic natural rights. Why Look at Animals?  highlights the fact that the myriad species that exist alongside us are an integral part of our biosphere and ecosystems, not products and automata, separate from and subordinate to us. With this project EMΣT places ecological justice and the rights of non-human life at the heart of its programming for the months to come. Any serious engagement with climate justice and environmental protection must therefore involve animals as an integral part of the conversation.

Artists: Ang Siew Ching I Art Orienté Objet (Marion Laval-Jeantet & Benoît Mangin) I Sammy Baloji I Elisabetta Benassi I John Berger I Rossella Biscotti I Kasper Bosmans I Xavi Bou I Nabil Boutros I David Brooks I Cheng Xinhao I David Claerbout I Marcus Coates I Sue Coe I Simona Denicolai & Ivo Provoost I Mike Dibb & Chris Rawlence I Mark Dion I Radha D’Souza I Maarten Vanden Eynde I Jakup Ferri I Alexandros Georgiou I Igor Grubić I Gustafsson & Haapoja I Joseph Havel I Lynn Hershman Leeson I Annika Kahrs I Menelaos Karamaghiolis I Anne Marie Maes I Britta Marakatt-Labba I Nikos Markou I Angelos Merges I Wesley Meuris I Tiziana Pers I Paris Petridis I Janis Rafa I Rainio & Roberts I Marta Roberti I Mostafa Saifi Rahmouni I Lin May Saeed I Panos Sklavenitis I Sonic Space I Jonas Staal I Daniel Steegmann Mangrané I Oussama Tabti I Emma Talbot I Nikos Tranos I Maria Tsagkari I Dimitris Tsoumplekas I Euripides Vavouris I Kostis Velonis I Driant Zeneli

https://www.emst.gr/en/exhibitions-en/why-look-at-animals 

To See Aloud

Badischer Kunsvterein Karlsruh

Opening: February 27

Exhibition: February 28 - June 15, 2025

The Badischer Kunstverein presents the work of poet and artist Lenora de Barros (*1953, São Paulo) in a first extensive solo exhibition in Germany. To See Aloud includes diverse facets of her artistic practice—from early text works, videotext poems, publications and printed matter to photographs, objects, object poems and installations, all the way to her most recent performances and artworks in public
spaces, including sound-based and collective activations.

Lenora de Barros expands our understanding and experience of language by carrying the  ‘Verbivocovisual’ approach into the 21st century. ‘Verbivocovisual’ is a neologism that was coined by James Joyce and later used in Concrete Poetry, notably by the poets of the Noigandres Group, a pioneering collective of Brazilian Concrete Poetry. Lenora de Barros adopts the term as a guiding principle of her artistic work and explores the interplay between the verbal, vocal and visual on multiple levels while subverting any hierarchy or restriction. ‘I literally chose to go out of the space of the page, to depart for space’ (de Barros, 2018).

The exhibition is therefore designed as a network of different thematic spaces (library, kaleidoscope, labyrinth or radio station), which invite to a multisensory, non-linear, and participatory experience that dissolves the boundaries between art and poetry. Lenora de Barros cultivates a special interest in the interplay between various languages, in particular of their verbal, visual and acoustic elements, which enrich one another and provoke playful yet radical and engaging reflections on the body, gender, and social issues. New forms of language emerge, generating a diverse universe of meanings.

Curated by Alex Balgiu and Anja Casser

Whose Nature? – On Shared Trails

Jyväskylä Art Museum 

17.5.–7.9.2025

Artist Talk & Meet the Artists

Saturday, May 17 at 12 PM – Free admission

Nature and forests are deeply embedded in Finnish identity and remain central to the visual language of Finnish art. Yet our relationship with nature is far from unambiguous — while its uniqueness is widely appreciated, public discourse often emphasizes its instrumental value and the benefits it provides.

Whose Nature? – On Shared Paths invites viewers to re-examine this relationship from a fresh perspective. The exhibition seeks a more sustainable form of co-existence with the web of life and encourages us to reflect on how we perceive nature — and what we value in it.

The importance of photographic art in reshaping our relationship with nature is more relevant than ever. When nature is portrayed in conventional ways, it risks remaining ordinary and overlooked. The works in this exhibition go beyond simple representation — they offer surprising new perspectives, insight and quiet moments of presence. Could art inspire us to care for and act on behalf of the natural world?

Curated by photographic artists Harri Heinonen and Marko Hämäläinen, the exhibition brings together several acclaimed artists in contemporary Finnish photography. Their works prompt us to consider on whose terms we view, represent, and experience nature — and how art might foster deeper connection within a multispecies world.

Artists: Ilkka Halso, Harri Heinonen, Marko Hämäläinen, Sanna Kannisto, Ritva Kovalainen, Sanni Seppo, Juha Suonpää, and the working group Saxifraga: Julia Kemppinen, Kikka Niittynen, Pekka Niittynen, and Heikki Willamo.

https://www.jyvaskyla.fi/en/jyvaskyla-art-museum/exhibitions/whose-nature 

Razstava

Opening: May 15, 7 pm

Exhibition: May 16 - October 26, 2025

Cukrarna Gallery, Ljubljana

In his project David Maljković shows how painting opens a discursive field, reflecting and articulating the manifold relations between image, space, and time.
Painting has always been more than the material sum of what is created in the studio out of canvas, colour, and stretcher frame. This is also evident in David Maljković’s artistic practice since the mid-1990s, when painting became an open field which the artist used to transfer his experience with this particular medium into other artistic media. It was inscribed into the pictoriality of his objects, video works, and spatial installations. To which extent painting can represent a discursive field in order to articulate the relations between image, space, and time can be experienced in the project at Cukrarna Gallery. Here, painting no longer acts as a mediator but as a speaking voice.

Curated by Kathrin Rhomberg

https://cukrarna.art/en/program/exhibitions/50/david-maljkovic/

Lombardi—Kargl is pleased to invite you to an artist talk with Camila Sposati and Andrea Popelka. 

Saturday May 3, 2 pm

the artist´s Intelligence

Opening: May 3, 3 pm

Exhibition: May 4 - June 1, 2025

Kunstverein Schattendorf, Burgenland

Let us choose one of the many artists available. If he stands contemplatively in his studio, or sits next to his work table, if he consciously loses himself in his activity, if his understanding of his calling concurs with that he had of it beforehand, then he will realize that the sharpness and the precision of his observations have lead him to the point where he has found a way to develop his existence as an artist - unerringly. The changes which come to pass in our subject in this respect become clear as a result of certain characteristics.
He puts aside the inconsequential things which disturb his attention and distract him from his way of finding the truth, he immerses himself with joy and earnestness in the tasks he has set himself and, in doing so, pursues his one sole purpose: the productive channeling of all his mental powers in order to advance his intent of being a good artist in practice - as a result of his receptivity.

Artists: Adriana Czernin, KAtrina Daschner, Assaf Evron, Ben G. odor/Times Gates, Johannes Lakinger, Christian Kosmas Mayer, Thea Moeller, Constanze Schweiger

Curated by Siggi Hofer

shuttlebus: 10 euros
departure: 2 pm, felberstraße next to westbahnhof, in front of hotel mercure
return: 6 pm

https://kunstverein.schattendorf.com/the-artists-intelligence.html 

Lombardi—Kargl is pleased to invite you to a guided tour through the exhibitions From Within, Beneath, and Beyond: Through Matter by Camila Sposati and Weinstadt, Bierstadt, Wasserstadt by Andreas Fogarasi, followed by a talk between Bruno Mokross and Andreas Fogarasi.

Manufacturing Time 

through November 3, 2025

Musée de la Poste, Paris

By virtue of its history and its very activity, the Post Office is inextricably linked to the concept of time, and for centuries it has played a decisive role in measuring and managing time.

As early as 1839, the postal administration, whose activities were affected by the fact that time was not synchronised from one municipality to another, obtained an order from the Ministry of the Interior for municipal clocks to be set according to tables supplied by the Bureau des Longitudes, thus laying the foundations for a shared ‘national time’.

The rise of the railway in the mid-19th century further reinforced the need for a single time throughout the country, and it was the telegraph that enabled all public clocks to be synchronised with the time from the Paris Observatory.

These technical advances reflect a constant challenge for La Poste: to provide a fast, reliable and accurate service. Through the standardisation of time and the integration of new technologies, La Poste is establishing itself not only as a key player in the harmonisation of time, but also as an institution that is deeply rooted in societal transformations.

It is this relationship with time that the Musée de La Poste has decided to highlight in the exhibition The Manufacture of Time. To explore this theme, the museum has drawn on its resources and various collections. In all, over a hundred items are on display to the public.

Visitors will be able to admire some remarkable objects (a travel clock from the late eighteenth century, a mail coach watch from 1850), historical photographs (from 1887 to the present day), pieces of marcophily and philately (date stamps, postmarks, envelopes, etc.) and other artefacts (including some fifty almanacs from the early eighteenth century to the present day).

All these treasures and curiosities will be brought together with contemporary works of art that explore the measurement of time, providing a lively and fresh interpretation of heritage objects. Through an inspiring scenography, some fifty works of art in a variety of formats - videos, photographs, installations, objects, sculptures... - will question our perception of time while offering a poetic, philosophical and sometimes even humorous perspective on this theme.

Artists: Darren Almond, Maarten Baas, Patrick Bailly-Maître-Grand, Lenora de Barros, Patrick Bernatchez, Dominique Blais, Claude Closky, Angela Detanico et Rafael Lain, Julien Discrit, Ruth Ewan, Mark Formanek, Philippe Geluck, Susanna Hertrich, Véronique Joumard, Stephen Kaltenbach, On Kawara, Olga Kisseleva, Alicja Kwade, Jorge Macchi, Annette Messager, Melik Ohanian, Roman Opalka, Laurent Pernot, Patricia Reed, Keith Robinson, Franck Scurti, Benjamin Vautier dit Ben, Thomas Wattebled, Elsa Werth. 

Curated by Céline Neveux. 

https://www.museedelaposte.fr/en/expositions-et-evenements/manufacturing-time 

1 0  Y E A R S  G 2  K U N S T H A L L E - Works from the Hildebrand Collection

through June 29, 2025

To mark its tenth anniversary, the G2 Kunsthalle is presenting selected works from the Hildebrand Collection. For the first time since the Kunsthalle opened in 2015, works by national and international artists will be shown across the entire space.

With works of the Hildebrand Collection by Trisha Baga, Alvaro Barrington, Maja Behrmann, Norbert Bisky, Marcel van Eeden, Simon Fujiwara, Gregor Hildebrandt, General Idea, Melke Kara, Tomasz Kręcicki, Friedrich Kunath, Alicja Kwade, Benedikt Leonhardt, Inna Levinson, Hannah Levy, Rosa Loy, Conny Maier, Jeanette Mundt, Matt Mullican, Murat Önen, Neo Rauch, Daniel Richter, Tomas Saraceno, Andreas Schmitten, Kristina Schuldt, Dana Schutz, Brett Charles Seiler, David Shrigley, Marina Peres Simão, Sophia Süßmilch, Wolfgang Tillmans, Nora Turato, Matthias Weischer, Georg Weißbach.

http://g2-leipzig.de/en/exhibitions/10-jahre-g2-kunsthalle/ 

Excavations 

through September 15, 2025 

La Brea Tar Pits Museum, LA

Mark Dion’s immersive, uncanny installation at La Brea Tar Pits, Excavations, evokes a behind-the-scenes museum space, displaying new work alongside early museum murals, dioramas, and maquettes of Ice Age mammals in a playful, irreverent presentation in keeping with his meticulous yet mischievous approach. During an extended residency at the Tar Pits, Dion assisted with excavations, sorted microfossils, shadowed a taxidermist at the Natural History Museum, explored collections and archives, and interviewed researchers, educators, and floor staff to create this installation. 

Dion’s 10-foot-long sculpture of a fossil pack rat skeleton stands atop a mix of natural and cultural detritus from the Tar Pits and the Hancock Park neighborhood. Additionally, six new drawings by Dion of mammal skeletons commonly found in the Tar Pits—artworks labeled with the names of locally important scientists, artists, historical figures, and landmarks—further blend artifice and reality, belying Dion’s critical and satirical approach to museum didactics. A new field guide to Hancock Park published in conjunction with the exhibition highlights the flora and fauna of the site, as well as the Tar Pits’ unparalleled cultural and scientific significance.

https://tarpits.org/mark-dion-pst

Self-Portraits

through 20 July 2025

National Museum Warsaw 

The “Self-Portraits” exhibition presents an assortment of contemporary examples of this class of artwork, going far beyond the standard depiction of an artist’s likeness that classic art history has accustomed us to. Among the works spanning a range of disciplines (paintings, sculpture, photography, sound installation, and more) we find pieces that are highly personal as well as ones that contribute to a broader analysis of the artist’s place in society.

Our presentation of contemporary self-portraits hearkens back to an idea realised a century ago by Count Ignacy Karol Korwin-Milewski to assemble a collection of self-portraits by 19th-century Polish artists. The two corresponding undertakings illustrate the continuity of the tradition of artistic culture as well as the significance of private patronage. 

Artists: Paweł Althamer, Mirosław Bałka, Agnieszka Brzeżańska, Rafał Bujnowski, Barbara Falender, Izabella Gustowska, Zuzanna Janin, Łukasz Korolkiewicz, Katarzyna Krakowiak-Bałka, Zbigniew Libera, Rafał Milach, Jarosław Modzelewski, Agnieszka Polska, Katarzyna Przezwańska, Karol Radziszewski, Joanna Rajkowska, Wilhelm Sasnal, Jadwiga Sawicka, Aleksandra Waliszewska and Artur Żmijewski.

https://www.mnw.art.pl/en/temporary-exhibitions/self-portraits,66.html 

Art & Nature: Inside Out

6.4.- 12.10.2025

Villa Arconati Milan

Lavoro per Natura Vivente, non solo Capitali

through June 30, 2025

Fondazione Morra Greco, Napoli

The project is the culmination of two residencies the artist completed at Fondazione Morra Greco throughout 2024: for the occasion, Fend has had the chance to create never-before-seen works while interacting vigorously with the lively cultural context of both the city of Naples and the Campania region.

Peter Fend’s research begins in the late 1970s, focusing mainly on planetary survival. Embarking on different work trajectories, he found major correspondences with Leon Battista Alberti’s four books of architecture for a better improvement of the technology of a city (or any inhabited area),the quality of its air, water, circulatory space and defense.

The notion underlying his comprehensive work stems from the idea that the world is a living construction site, where the tools of contemporary art can prove fruitful in the development of natural resources. Fend seeks to adopt concrete solutions that can respond to the environmental problems that plague the Planet, well beyond the art system.

https://www.fondazionemorragreco.com/en/lavoro-per-natura-vivente-non-solo-capitali/

Énormément bizarre - La collection Jean Chatelus, donation de la fondatioin Antoine de Galbert

26.03.-30.06.2025

Centre Pompidou, Paris 

Nearly 400 works—sculptures, installations, paintings, photographs, drawings, and votive objects—explore themes of the body, death, and the fleeting nature of life.

This collection, presented almost in its entirety, reflects the evolution of Jean Chatelus' vision: initially influenced by Surrealism and repurposed objects, then by body art, ethnographic artifacts, and popular traditions. It also features some of contemporary art’s enfants terribles, including Cindy Sherman, Mike Kelley, Christian Boltanski, Yayoi Kusama, Michel Journiac, Daniel Spoerri, Robert Filliou, Nam June Paik, Joana Vasconcelos, Andres Serrano, and Wim Delvoye.

https://www.centrepompidou.fr/en/program/calendar/event/g675Pbf 

Corpus Cosmos 

Uppsala Art Museum, Sweden | 15.03.2025 - 24.08.2025

Opening: 15.03. 

The exhibition Corpus Cosmos seeks to engage in a dialogue about bodily experiences in the borderland between faith and knowledge. The Latin corpus refers to the body in medicine and the Greek kosmos to the idea of an organised universe. The exhibition features sculptures, tactile installations, paintings and sensual sound works. The artist's subjective view of the world mixes dreamlike and hallucinatory scenes with analyses and incisions.

Artists: Ingela Ihrman, Pakui Hardware/Neringa Černiauskaitė and Ugnius Gelguda, Pia Sandström, Camila Sposati and Xadalu Tupã Jekupé. 

https://konstmuseum.uppsala.se/utstallningar/corpus-cosmos/ 

The Neurobiology of Love

14.03-1.06.2025
Krupa Art Foundation, Wroclaw, Poland

Artists: Szilvia Bolla (HU), Joey Holder (UK), Denisa Lehocká (SK), Ursula Mayer (AT-UK), Luboš Plný (CZ), Iza Tarasewicz (PL),

curated by Boris Ondreička (SK)

Main motivation of The Neurobiology of Love rises out of observation of intertwinement of artistic and scientific ways of imagining and its further imaging, materialization of “subject”. Sometimes it is surprising (even for scientists themselves) how precisely artists portray certain phenomena even from other points of departure and methodology, allowing intuitive and/or automatic, subconscious forces to guide their creative endeavours. The Neurobiology of Love meditates around personal viewing, tacit knowing and chances of embodiment of “undisplayable” / “unspeakable”.

Following Semir Zeki’s pioneering study of neuroaesthetics, The Neurobiology of Love understands production (in-out) and consumption (out-in) of “undisplayable” in the wider net of triggers and consequent processes (of postproduction and distribution). It traces myriads of frequencies of neurosis of creative urge (and self-expression-drive) rising in a vertigo of turbulent times we live in. Neurosis of internet of everything incorporates itself in artistic cosmos of curves, synapses and hatchings, mycelia of drawing, pirouettes of performative act.

The Neurobiology of Love focuses on individual psychological which is influenced by (out-in) and influences (in-out) collective political. It does not matter if consciously, conceptually, strategically, or unconsciously, “spiritually”, poetically, metaphorically, spontaneously it does anyhow.

https://krupaartfoundation.pl/en/neurobiologia-milosci/ 

Lesen Sie Svea Grasbergers Kritik über Thomas Lochers letzte Ausstellung in unserer Galerie some notes...(barely written out). 

Subjekt • Prädikat • Objekt. Diese grundlegenden Elemente genügen, um die einfachsten Sätze der deutschen Sprache zu formen. Doch sie bilden nicht nur die Basis alltäglicher Kommunikation, sondern auch das Fundament des Rechtssystems. Wie dieses in die Prozesse innerhalb einer Gesellschaft eingreift und welche Rolle die Sprache bei dessen Entstehung und Wirkung spielt, ist das zentrale Thema bei der in der Galerie Lombardi—Kargl präsentierten Ausstellung some notes… (barely written out) von Thomas Locher.
Hier weiterlesen. 

Nedko Solakov

A Cornered Solo Show #5 

Ludwig Museum Budapest | 17.10.2024-29.6.2025

The Ludwig Museum – Museum of Contemporary Art is thrilled to present Nedko Solakov’s humorous, site-specific installation, located in the museum’s lobby, next to the cloakroom. In this work, Solakov explores the idea of an artist who seeks to view the world from a radically different perspective—literally by turning himself upside down to shift his viewpoint. 

A Cornered Solo Show #5 is being presented in celebration of the museum’s 35th anniversary and the 30th anniversary of Solakov’s solo exhibition, The Collector of Art. The exhibition also marks the Ludwig Foundation's recent acquisition of 12 drawings by Solakov, entitled Correctness (2021). As part of this event, the artist will generously donate A Cornered Solo Show #5 to the museum, along with three additional drawings titled Bad Moves (2023).

About the series 

The project, titled A Cornered Solo Show, began in 2021 when Solakov proposed the directors and curators of leading museums to offer him an “insignificant” corner of their institution—outside of the typical exhibition spaces, yet still accessible to the public. To date, four installations have been staged in major European museums, each uniquely tailored to the specific qualities of the chosen corner: #1 MUDAM – The Contemporary Art Museum of Luxembourg (2021) #2 MAXXI – National Museum of 21st Century Art, Rome (2022) #3 Upper Belvedere, Vienna (2023–2024) #4 National Gallery, The Palace, Sofia (2024)

https://www.ludwigmuseum.hu/en/exhibition/nedko-solakov-cornered-solo-show-5 

Nedko Solakov

Counter/Surveillance: Control Privacy Agency

Wende Museum, Culver City, USA | 13.10.2024-19.10.2025

In recent decades, technological advances have supercharged surveillance. Online, personal data are automatically collected and analyzed on a mass scale. Algorithms watch, listen, track, and identify people, complementing and sometimes replacing human eyes and ears. Powerful combinations of surveillance software and hardware, such as surveillance cameras outfitted with real-time facial recognition, are conquering public spaces. These technologies are often misleadingly presented as though they were pure innovation and have no history.

Artists: Asya Dodina, Berlin collective, Graham Fink, Gerhard Lang, Paolo Cirio, Robert Rehfeldt, Xu Bing, Verena Kyselka, Nedko Solakov, Damara Ingles, Ken Gonzales-Day, Ruth Wolf-Rehfeldt, Yang Jian, Decebal Scriba, Liat Segal, Sadie Barnette, Yazan Khalili, Franisco Masó, Slava Polishchuk 

https://wendemuseum.org/exhibition/countersurveillance/