News

PERFORMANCE: STORIES FOR MECHANIC BODIES

October 25, 2025

3-4 pm 

Moderna Museet, Stockholm
The Cinema, floor 2

In a time when the line between reality and illusion is becoming blurred, the artist Agnieszka Polska focuses on the power of storytelling. In a lecture performance commissioned by Moderna Museet, the artist explores how history — the one we share and the one we imagine — shapes our emotions, our present, and perhaps even our future.

We live in a world undergoing rapid technological and societal change, the informational current shapes physical objects and bodies, drowning everything in a solution of the real and the hallucinatory.

In this new environment, the ancient technology of storytelling plays a special role, it governs the workings of the system while itself undergoing inevitable transformation.

In her new lecture performance “Stories for Mechanic Bodies” (2025), Agnieszka Polska uses cinematic found-footage materials as a backdrop to reflect on the Story, and its role in shaping the emotional infrastructures of past and present, its evolution, and its uncanny ability to predict its own future.

https://www.modernamuseet.se/stockholm/en/event/performance-stories-mechanic-bodies/#:~:text=In%20her%20new%20lecture%20performance,to%20predict%20its%20own%20future. 

Being a Girl*!? - From Panel Painting to Social Media

October 31, 2025 - April 6, 2026

Lentos Kunstmuseum Linz

What is it that motivates girls nowadays and what role models have been handed down to us from the past? Contemporary art often deals with images of girls in socially motivated contexts: coming of age, self-improvement trends – often in interaction with social media – fluid genders, issues surrounding diversity, interculturalism and inclusion.

Alongside early representational portraits and images of saints, female children and adolescents have appeared throughout the ages as artists’ models or as an expression of the conflict between blossoming life and transience. Organised into nine different thematic sections, the exhibition progresses through several intermediate stages in time towards the era of digital transformation.

Drawing on over 120 exhibits created by international artists, the exhibition attempts to analyse and lay bare the current state of affairs by recalling modes of portrayal that prevailed in earlier times. In taking the initiative, girls show the world who they really are!

https://www.lentos.at/en/exhibitions/maedchen-sein 

In the Lights of Shadows

Opening: November 1, 4 pm

Exhibition: November 3 - December 20, 2025

Forum für Fotografie, Köln
Schönhauser Str. 8
50968 Cologne

Light and shadow are the elemental forces of photography – they tell stories, shape moods, and reveal the unseen. The exhibition In the Lights of Shadows presents an exceptional selection from the SpallArt Collection, exploring the interplay of these two poles as the origin of every photographic narrative.
From classics such as Edward Weston, Ansel Adams, and Berenice Abbott to contemporary voices like Michelle Magdalena Maddox and Liddy Scheffknecht, the show spans more than a century of photographic art. The works reveal how light itself becomes a subject – a carrier of emotion, structure, and time.

Artists:Berenice Abbott, Ansel Adams, Walter Bartsch, Werner Bischof, Josef Breitenbach, Marilyn Bridges, Harry Callahan, Paul Caponigro, W.P.A. Chambers, Lucien Clergue, Ralf Cohen, Josephus Daniel, Harold Eugen Edgerton, Alfred Eisenstaedt, Eliot Elisofon, Walker Evans, Adolf Fassbender, Ralph Gibson, Horst Hahn, Clemens Kalischer, Hannes Kilian, Nikolaus Korab, Maurice M. Loewy & Pierre Henri Puiseux, Michelle Magdalena Maddox, Mary Ellen Mark, Martin H. Miller, Barbara Morgan, Jeff Nixon, Yvonne Oswald, Roland Pleterski, Ugne Pouwell, Vilém Reichmann, Albert Rudomine, Roger Schall, Liddy Scheffknecht, Fritz Simak, Aaron Siskind, Studio Souissi, Edward Steichen, Otto Steinert, Louis Stettner, Josef Sudek, Todd Webb, Sabine Weiss, James Welling, Robert Werling, Brett Weston, Edward Weston, Kim Weston, Minor White and Robert Zahornicky

https://www.sammlung-spallart.at/en/exhibitions/in-the-lights-of-shadows/ 

Vienna Art Week 2025 - Learning Systems

Opening: November 7, 7 pm 

Exhibition: November 7 - November 14 

Funkhaus
Argentinierstraße 30B
1040 Vienna

The 21st edition of VIENNA ART WEEK is dedicated to the theme “Learning Systems” — exploring learning not as mere knowledge acquisition, but as a dynamic process of understanding, unlearning, and rethinking.

Art serves as a medium to investigate how knowledge is created, transmitted, and transformed within history, nature, technology, and society. The festival invites reflection on the systems that shape our understanding of the world — from ecological cycles and artificial intelligence to oral traditions and digital archives.

Since learning is never neutral but always influenced by power, participation, and ideology, the festival also critically examines who has access to knowledge, who controls it, and how knowledge is preserved or erased.

The VIENNA ART WEEK 2025 exhibition will take place in an extraordinary venue:

The former ORF Radio Building on Argentinierstraße in Vienna’s 4th district is an important part of the city’s history. Since the 1930s, it has stood at the intersection of education, exchange, and political influence. This historically significant site is a perfect match for the festival theme LEARNING SYSTEMS.

Curated by Robert Punkenhofer (Artistic Director of VIENNA ART WEEK) and Işın Önol (Co-Curator of VIENNA ART WEEK), the exhibition presents international artists alongside positions from Vienna in a unique setting beyond the classical white cube.

With free admission and guided tours, VIENNA ART WEEK once again seeks to engage a broad audience and make contemporary art as accessible as possible.

Artists: Atıf Akın • Carlos Amorales • Nadav Assor • Fatih Aydoğdu • John Baldessari • Joseph Beuys • Fatma Bucak • Bernhard Cella • Maria José Contreras • Eva Davidova, Danielle McPhatter with EY Intelligent Realities Lab, Vinson Fraley, and Lucie Strecker, APL • Tom Eller • Andreas Greiner • Shilpa Gupta • Miriam Hamann • Hanakam & Schuller • Hrvoje Hiršl • Ashley Hunt • Fatoş İrwen • Richard Jochum • Richard Kaplenig • Ebru Kurbak • Paul Albert Leitner • Jumana Manna • Elisabeth Molin • Amor Muñoz • Antoni Muntadas • Patricia Olynyk & Adam Hogan • Bernd Oppl • Liddy Scheffknecht • Otavio Schipper & Sergio Krakowski • Rodrigo Valenzuela

https://www.viennaartweek.at/en/house-of-learning-systems/ 

"MINERAL AS MUSICAL NOTE" - A PERFORMANCE AT THE NATURAL HISTORY MUSEUM

November 12, 6.30 pm

Naturhistorisches Museum Wien
Maria-Theresien-Platz, 1010 Wien, Österreich

As part of VIENNA ART WEEK, artist Camila Sposati invites to engage with the Mineral Collection of the Natural History Museum Vienna — one of the biggest and most important historic mineral collections in the world.
Minerals—each with its distinct origin, colour, and atomic composition—are interpreted as musical notes. The event features two strikingly different compositions: one by surdo and drum player Thiago Barata, and the other by Volny Hostiou, performing on the Serpent, a rare 16th-century wind instrument.
The result is a bold crossover—where raw physical sound meets mineral stillness and sonic experimentation breathes life into geological form. “Mineral As Musical Note” is a meditation on transformation, vibration, and the latent music embedded in matter.
The artist will give a brief introduction in English.

https://www.viennaartweek.at/en/program/mineral-as-musical-note-eine-performance-im-naturhistorischen-museum/ 

TRAVELS IN SCALE

Exhibition: 21.11.2025 – 18.01.2026

1646
Boekhorststraat 125
2512 CN The Hague, The Netherlands

After New York, Paris, London, Warshaw, Shanghai and Venice, visual artist and film director Agnieszka Polska is coming to The Hague to fill 1646 with her immersive video works and installations. Super excited for coming Winter!

In her work, Agnieszka Polska shuffles different positions and perspectives, exploring the complexities of today’s technologised world. By shifting scale, her artworks turn into almost existential exercises: what first feels overwhelming can become crystal clear up close, or surprisingly simple from a distance.

Through a poetic voice – sometimes blunt, sometimes tender – Polska reflects on the contradictions of our time: our ability to experience normality and love while man-made catastrophes unfold; the tension between mortality, decay, and the indifference that infiltrates daily routines.

Her first solo exhibition in The Netherlands titled Travels in scale places the visitor back in the role of observer. What position do we take, as individuals and as a collective? And how does the way we look shape how we act?

https://1646.nl/program/travels-in-scale-agnieszka-polska/ 

Identities

Opening: July 10

Exhibition: July 11 - October 26

Jitka Hanzlová fled from the Czechoslovak Socialist Republic to Germany in 1982 and went on to study photography in Essen. Her biography forms the backdrop to her work’s central themes: exile, remembrance, and identity. This ALBERTINA exhibition presents ten of her most important series: Rokytnik (1990–1994) is devoted to the artist’s eponymous home village, while Forest (2000–2005) features the woods she knew as a child. Her portrait series in urban environments such as Bewohner (1994–1996) and Female (1997–2000) examine the relationship between individuals and their surroundings.

Hanzlová, born in 1958, numbers among the most internationally renowned women photographers today. She received the European Photography Award in 1995 and the Paris Photo Prize for Contemporary Photography in 2007. The ALBERTINA is the first museum in Austria to feature Hanzlová in a solo show.  

https://www.albertina.at/en/exhibitions/jitka-hanzlova/ 

Antoni Vila Casas Painting Award 2025

Opening: September 22

Exhibition: September 23 - October 26, 2025

Museu Can Framis, Barcelona

The jury of the Antoni Vila Casas Painting Prize 2025 of the Fundació Vila Casas - made up of Bernat Daviu, Claudia Elies, Mariana Draper, Bernat Puigdollers and Montserrat Pascual - has selected 29 finalist works from among the 528 proposals submitted in this edition.

The selected works will be on display in an exhibition at the Museu Can Framis from 23 September to 26 October, and the jury's verdict will be read out at the opening ceremony, Monday 22 September at 7 p.m., when the prize will be awarded to the winning work.

The shortlisted artists are:
Helena Basagañas, Sara Bonache Ríos, Jose Bonell, Pablo Bruera, Pep Camps, Carles Castellví Pau, Cristina Cebrecos, Sulé Duc, Gonzalo Elvira, Ramon Faucón, Mercè Hernández Carbonell, Juvanteny, Michael Lawton, Mercedes Mangrané, Yvan Mas, Morreres, David Ortiz Juan, Diego Pujal, Núria Rion, Martí Roca Balcells, Luis Alberto Romero Monasterio, Marcel Rubio Juliana, Joan Saló, Bego Samit, Alsino Skowronnek, Bego Terradas, Aldo Urbano Pérez, Maria Yelletisch and Laura Zuccaro.

https://www.fundaciovilacasas.com/en/exhibition/antoni-vila-casas-painting-award-2025 

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/

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 

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 

Mark Dion & Dana Sherwood

The Garden of Earthly Delights and A Sentimental Education

March 16 – November 3, 2025

The Armour-Stiner Octagon House
45 West Clinton Avenue
Irvington, New York

Artists Mark Dion and Dana Sherwood often take inspiration from the literature, visual arts, and scientific practices of the 19th century, particularly the period’s fascination with natural history. Indeed, these subjects are a frequent focus of the artists’ critical and often mischievous work. Similarly rooted in the artistic styles and scientific thought of the 19th century, the unique architecture and interiors of The Armour-Stiner Octagon House provide a rich environment for the artists’ interventions.

Perhaps better known for their individual artistic practices, Dion and Sherwood are frequent collaborators. One such collaboration, on view in the Collections Room of The Octagon House, is the series Confectionary Wonders. Building on the history of architectural follies and fanciful structures, as well as the excesses of lavish 19th century desert forms, the series is made up of a collection of colorful gelatin-like desserts. These visually delightful sculptures appear enticing – until a closer look at the sweets reveals the insect corpses embedded within them. Each of the decadent confections seems to have attracted flies, beetles, moths and butterflies to a sticky grave.

On the walls of the Collections Room, amid framed insects and examples of Victorian collecting practices, are a selection of paintings by Dana Sherwood. Encompassing a range of nearly ten years of her practice, the paintings depict scenes of animals, insects, plants, and women interacting with confectionery. In Sherwood’s work, cake symbolizes liminal space – a time outside of ordinary time when anything can happen. It denotes wonder, joy and magic. Several of the works seen here are inspired by Alice’s Adventures in Wonderland by Lewis Carroll, published in the same decade the Octagon House was built. Regarding Alice as a modern update on the myth of Persephone, Sherwood imagines her navigating the underworld, using her curiosity and instinct to lead her through a strange realm where nothing is as it seems.

Around the corner from the Collections Room is a child’s bedroom. Mark Dion has transformed this space into a nursery classroom populated by blackboards, didactic charts, and infographics. While this type of chart was a familiar teaching tool in the 19th century, these new works by Dion have a less than straightforward relationship to information. Many of the works offer satirical commentary about our current culture of corruption and power. The traditional form has been hijacked to provide a critical perspective on systems of knowledge production and the apparatus of “truth.”

While the exhibition is rooted in the period of The Octagon House’s construction and heyday, Dion and Sherwood’s interventions reflect on our current social environment: be that Sherwood’s meditations on the rejuvenating power of our connection to the natural world or Dion’s pessimistic and humorous observations on the culture of corruption.

https://armourstiner.com/visiting-artists/dionsherwood/ 

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 

Genossin Sonne (Comrade Sun)

HMKV Hartware MedienKunstVerein
at the Dortmunder U, Level 3
Leonie-Reygers-Terrasse
Dortmund, 44137
Germany
Hours: Tuesday–Sunday 11am–6pm,
Thursday–Friday 11am–8pm 

The exhibition Genossin Sonne (Comrade Sun) was created in 2024 at the invitation of Milo Rau, artistic director of the Vienna Festival, as a collaboration between the Kunsthalle Wien and the Vienna Festival | Free Republic of Vienna. In 2025, Genossin Sonne will now be presented in an expanded form and in twice the exhibition space at the HMKV Hartware MedienKunstVerein.

Before the term “revolution” was used in the 18th century—under the influence of the Haitian and Caribbean, French and North American revolutions—to describe a “violent overthrow of the existing political or social order,” it was used in astronomy to describe the rotation of celestial bodies.

The essayistic group exhibition Genossin Sonne (Comrade Sun) is dedicated to artistic works and theories that link the cosmos and in particular the sun, the energy supplier for life on earth, with social and political movements. Against the background of the decentring of the human being as a historical subject, we ask to what extent not only the environment on earth but also the cosmos plays a part in historical processes. Is there, as the Soviet cosmists—in particular Alexander L. Chizhevsky in 1924—claimed, a connection between solar storms and terrestrial revolutions? And what speculative, pleasurable considerations can be found in contemporary art and poetry?

The works of international artists focus on the moving image—on cinema, film and video as media of light. But the works in other media also radiate hypnotic, feverish, glowing, threatening affects. Overall, the sun functions on the one hand as a source of life and energy for political struggles and on the other as a warning figure whose sheer mass and lifespan emphasise the brevity of human life on planet Earth. And also: What if it never sets or rises again and time becomes even more unhinged than it already is?

The international group exhibition presents 30 works by 18 artists on two floors of the Dortmunder U (U3 + U6).

Artists: Kobby Adi, Kerstin Brätsch, Colectivo Los Ingrávidos, DISNOVATION.ORG, Ho Rui An, Sonia Leimer, Maha Maamoun, Wolfgang Mattheuer, Otto Piene, Marina Pinsky, Agnieszka Polska, Katharina Sieverding, The Atlas Group, The Otolith Group, Suzanne Treister, Anton Vidokle, Gwenola Wagon and Zhiyuan Yang.

https://www.hmkv.de/exhibition/exhibition-detail/Genossin_Sonne_en.html 

SCIENCE/FICTION – A NON-HISTORY OF PLANTS

Opening: October 3
Exhibition: 4.10.2025 — 18.1.2026

Foto Arsenal Wien 
Arsenal Objekt 19A, 1030 Vienna

What if plants were more intelligent than we think? What if they observe, communicate—perhaps even dream?
A flower—both organic and digital—appears as a hybrid entity. Its technologically shimmering surface oscillates between nature and the artificial, blurring the boundaries between the two. The Book of Flowersby Agnieszka Polska (2023) opens up a new perspective on the relationship between humans, nature, and technology—not as pure fantasy, but as a creative force and a vision of symbiotic coexistence. In a similar spirit, this group exhibition explores the threshold between science, art, and speculative imagination.

FOTO ARSENAL WIEN presents Science/Fiction – A Non-History of Plants: an in-depth exploration of the history of plants in photography and lens-based media, connecting art, technology, and science from the 19th century to the present. Rather than following a linear chronology, the exhibition is structured around two focal points: science and fiction.

Divided into six chapters, the exhibition follows the structure of a science fiction novel: it begins with the concept of a stable, recognizable world and gradually unveils uncertain, unexpected realities. The historic and contemporary works presented transcend the conventional boundaries between fiction and reality, science and art. They break free from rigid categories to capture the complexity of plant life and its profound connections to humanity. Science/Fiction – A Non-History of Plants invites you to explore the plant world through various media—from static to moving images—as well as to learn about the photographic and film techniques behind them, which were initially used for botanical research.

Examples from both science and science fiction reveal new imaginary worlds—perspectives shaped not only by progress and modernity, but also by an engagement with the limitations of our planet. The human point of view is fundamentally questioned, and, at times, entirely abandoned: what unfolds are emancipatory tales that give plants both a place and a voice.

Curator for FOTO ARSENAL WIEN: Mona Schubert
Curators for the MEP: Clothilde Morette and Victoria Aresheva

Artists: Laure Albin Guillot, Anna Atkins, Karl Blossfeldt, Henry Bradbury, Stan Brakhage, Jean Comandon, Gohar Dashti, Agnes Denes, Rebekka Deubner, Elspeth Diederix, Kalev Erickson, Constantin Freiherr von Ettingshausen, Éléonore False, Joan Fontcuberta, Olga Grotova, Ali Kazma, Samir Laghouati-Rashwan, Jochen Lempert, Angelika Loderer, Angelica Mesiti, Friedrich Wilhelm Murnau, Alice Pallot, ThePsycholudicResearchGroup (Margarete Jahrmann, Thomas Wagensommerer), Agnieszka Polska, Max Reichmann, Albert Renger-Patzsch, Almudena Romero, Philippe Roux, Miljohn Ruperto & Ulrik Heltoft, Steve Sekeley & Freddie Francis, Timur Si-Qin, William Henry Fox Talbot, Richard Tepe, Anaïs Tondeur, Edward Weston

ECHO DELAY REVERB - AMERICAN ART, FRANCOPHONE THOUGHT

October 22, 2025 -  Febuary 15, 2026

Palais de Tokyo

The group exhibition “ECHO DELAY REVERB: American Art, Francophone Thought” explores the history of the transatlantic circulation of forms and ideas through the works of some sixty artists, bringing together a wide variety of mediums and a number of new commissions.

It presents how art in the USA catalysed the revolutionary energies of thinkers, activists and poets who transcended genres and profoundly reshaped perspectives on the world, from Simone de Beauvoir, Michel Foucault and Jacques Derrida to Frantz Fanon, Jean Genet, Aimé Césaire, Jacques Lacan, Monique Wittig, Pierre Bourdieu and Edouard Glissant… The reception and translation of their work in the United States led to unexpected forms, creating tools for a critical vision of institutions, both those of art and those of society. Theory here serves as an instrument for challenging social, aesthetic and linguistic norms, opening up new ways of seeing and engaging in the world.

“ECHO DELAY REVERB: American Art, Francophone Thought” offers an original exploration of these significant and often overlooked exchanges. The exhibition features works by several generations of artists, from the 1970s to the present day: some attest to a direct dialogue between theory and practice, others are sometimes subversive tributes, and still others are more allusive correspondences. Key historical artists such as Dan Graham, Hans Haacke, Theresa Hak Kyung Cha, Renée Green, Cindy Sherman, Lorna Simpson and Glenn Ligon feature alongside younger artists such as Tiona Nekkia McClodden,Kameelah Janan Rasheed, Char Jeré and Cici Wu. The exhibition revisits some of the major figures in American art of recent decades from a fresh perspective. Archival materials throughout the exhibition meanwhile highlight individuals, institutions, and publishers that played a crucial role in disseminating these ideas in the United States.

Artists: Allora & Calzadilla, Laurie Anderson, Firelei Báez, Tom Burr, Theresa Hak, Kyung Cha, Paul Chan, Jimmy DeSana, Vivienne Dick, Mark Dion, Torkwase Dyson, Hedi El Kholti, Andrea Fraser, Hal Fischer, Coco Fusco, Charles Gaines, Ellen Gallagher, Andrea Geyer, Felix Gonzalez-Torres, Dan Graham, Renée Green, Adler Guerrier, Hans Haacke, David Hammons, K8 Hardy, Hock E Aye Vi, Edgar Heap of Birds, Sky Hopinka, Juliana Huxtable, Char Jeré, Joan Jonas, Mary Kelly, Mike Kelley, Caroline Kent, Glenn Ligon, James Luna, Tala Madani, Tiona Nekkia, McClodden, Julie Mehretu, Meleko Mokgosi, Wangechi Mutu, Lorraine O’Grady, Pope.L, Walid Raad, Kameelah Janan Rasheed, Martha Rosler, Cameron Rowland, Beatriz Santiago Muñoz, Allan Sekula, Paul Mpagi Sepuya, Cindy Sherman, Amy Sillman, Lorna Simpson, Kiki Smith, Oscar Tuazon, Fred Wilson, Cici Wu, Anicka Yi

Artistic Director : Naomi Beckwith

Curatorial team : James Horton, Amandine Nana & François Piron assisted by Vincent Neveux

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 

Being Vallotton

Opening, September 26, 6.30 pm 

Exhibition: September 27, 2025 – March 1, 2026

Kunst Museum Winterthur | Villa Flora

Beginning with the words “Once upon a time . . . ,” fairy tales tell of faraway eras and evoke a different reality that augments one’s own experience of reality through illusion, making them both disturbing and liberating. This also applies to the “stories” of Bulgarian artist Nedko Solakov, which take shape as delicately washed image-text combinations, often in multipart drawing cycles. Since his participation in the Venice Biennale (2007) and documenta in Kassel (2007 and 2012), Solakov, who was born in 1957 and is based in Sofia, has been considered one of the leading figures in international contemporary art.

Solakov is a talented narrator: his drawings are about everyday occurrences that turn out to be absurd commentaries on human existence. The visual artist challenges seemingly collective truths in his multifaceted work that in addition to drawings also includes paintings and installations. He even reflects on failure as a metaphor for human existence and discovers paradox as the dominant structure in the political courses of the world. His ability to grasp current topics in the form of stories that find a perfect balance between pleasure of narrating a story and ironic twist is a characteristic that makes his work unique—and extremely entertaining.

Being Vallotton, the title of the exhibition at Villa Flora, depicts Solakov as a great admirer of his artistic predecessor. By taking on the role of the older artist, he creates an idiosyncratic new interpretation of the classic artist and incorporates his own work into the overall art-historical context. Nedko Solakov is also a highly unorthodox conceptual artist who sees the world—and the art world—with humor and irony, reinterpreting the masterpieces of the past from a contemporary view—as a magnificent tribute to Félix Vallotton.

Curated by Konrad Bitterli

https://www.kmw.ch/en/exhibition/nedko-solakov/ 

Underground 

Exhibition: 14.10.2025 -  1.3.2026

Musée national Picasso-Paris
5 rue de Thorigny, 75003 Paris

Alongside the exhibition Philip Guston. The Irony of History, the Musée national Picasso-Paris is devoting an exhibition to American artist Raymond Pettibon, with the support of David Zwirner Gallery. Through seventy drawings and around ten fanzines, the exhibition explores the ironic and unsettling universe of this major contemporary artist.

A self-taught artist born in 1957 in Tucson, Arizona, Raymond Pettibon emerged in the late 1970s on the Californian punk-rock scene, designing album covers for the band Black Flag, founded by his brother Greg Ginn. He also began exhibiting and self-publishing his early drawings, which adopted the DIY aesthetic of comics, flyers, and fanzines characteristic of the punk movement. Pettibon’s drawings draw from a wide range of sources, including literature, art history, popular culture, religion, politics, and sports.

Resolutely anti-authoritarian, Pettibon’s work paints a caustic portrait of a nihilistic and violent American society through biting images accompanied by explosive inscriptions. Marked by the end of the hippie dream and the return of conservatism, his work is intentionally disturbing and unruly, relentlessly questioning the American dream—just as Philip Guston, whom Pettibon admires, did in his time. It places visitors in an uncomfortable position, prompting them to reconsider their own values.

https://www.museepicassoparis.fr/en/raymond-pettibon-underground-0 

The Miner’s Dream

Opening: September 19, 6.30 pm in presence of the artist

Exhibition: September 20,2025 - May 5, 2026

The Wallonia-Brussels Federation Museum of Contemporary Arts (MACS) Grand-Hornu, Mons, Belgium

Bulgarian artist Nedko Solakov began his career in the 1980s, after studying mural painting at the Academy of Fine Arts in Sofia, and then training at the Academy of Fine Arts in Antwerp (HISK) in 1986.
He emerged onto the art scene in a tense socio-political context, Bulgaria being at the time under the influence of the Soviet regime. Very early on, he adopted a critical stance towards this regime, an attitude which he has maintained throughout his career by regularly addressing contemporary political and social issues.

Writing and storytelling occupy a central place in his work. Through text, Solakov infuses his works and installations with irony and humour imbued with gentle sarcasm and self-mockery.
A multidisciplinary visual artist, he explores the polysemy of language and ideas, playing with a multiplicity of supports and materials. His visual language, at first appearance naïve, in fact, conceals a complex practice, at once committed, poetic and playful.

With A Cornered Solo Show, Nedko Solakov has, since 2021, been installing his creations in the discreet corners of museums – often neglected passageways such as halls, stairwells or changing rooms. He arranges drawings, paintings, collages and handwritten texts, playing with the walls and their angles to create a form of marginal exhibition, engendering a dialogue of complicity between his work, the place and the visitors. His interventions address current issues – wars, ecology, institutional absurdities, and museum crises – in a tone that mixes sarcasm and personal reflections. By investing these ‘corners’, he transforms the periphery into an introspective, critical space.

For this sixth part of the series, the exhibition The Miner’s Dream is inspired by the stories and hopes that have traversed the Grand-Hornu site.
A Cornered Solo Show #6 evokes the reverie of a miner, his contemplative dream at the top of a mountain, surrounded by his family. This daydream provides him with strength to work and feeds his desire for a peaceful, contemplative existence. This figure embodies both the endless cycle of hard labour and the vital dependence on it to ensure the survival of his family. Like Sisyphus, he exhausts himself tirelessly in a repetitive task, the exit from which seems to be constantly postponed, generating an allegory of work as a necessity, a burden and a driving force of hope.

https://www.mac-s.be/en/exhibitions/nedko-solakov 

MIX & MATCH REDISCOVERING THE COLLECTION

through August 8, 2026

Pinakothek der Moderne, Munich

Marking the 20th anniversary of the Pinakothek der Moderne, the curators of the Sammlung Moderne Kunst have joined heads in rehanging the collection, in a new display titled MIX & MATCH. Characterised by a spirit of curiosity and experimentation, the new hang invites visitors to rediscover the collection in themed galleries and unconventional juxtapositions that transcend epochs, styles, and media.

Key works of painting, sculpture, photography, video and installation art, and printmaking serve as the springboard into topics of vital relevance to 21st-century life, such as community, migration, work, the environment, and conflict and violence. The new hang also illuminates genres and subjects steeped in an art-historical tradition – like the nude, the self-portrait, or the forest, as well as tropes like the grotesque, the spiritual, or the irrational.

The new collection presentation features some 350 works and series spanning 120 years of art history, on view in 25 galleries. True to the idea of mixing and matching, the works were selected as snapshots of specific moments in recent history with the potential to shed light on current urgent debates, offering visionary and unexpected perspectives on the past and the imminent future.

Artists: Herbert Achternbusch, Bas Jan Ader, Etel Adnan, Siegfried Anzinger, Ida Applebroog, Joannis Avramidis, Monika Baer, Lewis Baltz, Georg Baselitz, Bernd & Hilla Becher, Max Beckmann, Laurenz Berges, Benjamin Bergmann, Joseph Beuys, Aenne Biermann, Karl Blossfeldt, Alighiero Boetti, André Butzer, Heinrich Campendonck, Lovis Corinth, David Claerbout, Robert Delaunay, Rineke Dijkstra, Peter Doig, César Domela, Carroll Dunham, Tracey Emin, Dan Flavin, Max Ernst, Omer Fast, Lee Friedlander, Otto Freundlich, Franz Gertsch, Rupprecht Geiger, Carl Grossberg, Katharina Grosse, Andreas Gursky, Hans Hartung, Haubitz + Zoche, Florence Henri, Jenny Holzer, Axel Hütte, Alexej Jawlensky, Asger Jorn, Wassily Kandinsky, On Kawara, Mike Kelley, Ernst Ludwig Kirchner, Paul Klee, Jochen Klein, Oskar Kokoschka, Helmut Kolle, Käthe Kollwitz, Germaine Krull, Marie-Jo Lafontaine, Bo Christian Larsson, Maria Lassnig, Wilhelm Lehmbruck, Eva Leitolf, Zoe Leonard, Carl Lohse, August Macke, René Magritte, Mark Manders, Franz Marc, Henri Matisse, Jonathan Meese, Stephan Melzl, Olaf Metzel, Giorgio Morandi, Otto Mueller, Nicholas Nixon, Henrik Olesen, Martin Parr, Beate Passow, A. R. Penck, Paul Pfeiffer, Pablo Picasso, Adrian Piper, Sigmar Polke, Carl Theodor Protzen, Neo Rauch, Franz Radziwill, Albert Renger-Patzsch, Germaine Richier, Gerhard Richter, August Sander, Christian Schad, Josef Scharl, Oskar Schlemmer, Michael Schmidt, Bernard Schulze, George Segal, Friedrich Seidenstücker, Tschabalala Self, Gino Severini, Renée Sintenis, Thomas Steffl, Norbert Tadeusz, Rosemarie Trockel, Luc Tuymans, Andy Warhol, Jeff Wall, Fritz Winter, Amelie von Wulffen.

https://www.pinakothek-der-moderne.de/en/exhibitions/mix-and-match/ 

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 

Ways of Seeing 

Museum Sztuki, Lodz

Opening: October 17, 6pm 

Exhibition October 18, 2025 - December 21, 2030

Ways of Seeing is the new permanent exhibition of the Muzeum Sztuki in Łódź – a multifaceted narrative about 20th- and 21st-century art and about the museum itself as an institution of artistic experimentation, avant-garde thought, and solidarity. The exhibition opens on 17 October 2025 at ms².

The exhibition focuses on the phenomenon of seeing – both as a biological function and as a cultural and political act. Divided into several thematic chapters, it presents art as a tool of inquiry, posing questions about how and why we look. Among the issues explored are: the relationship between vision and memory, the social contexts of looking, perception as a form of knowledge and a tool of resistance, as well as questions of identity, corporeality, and the sensorial experience of reality.

The title of the exhibition refers to John Berger’s celebrated series Ways of Seeing and Władysław Strzemiński’s Theory of Seeing. Both serve as points of reference grounded in the conviction that looking is never neutral – it is always culturally, historically, and emotionally conditioned.

The exhibition features works by, among others, Katarzyna Kobro, Maria Jarema, Franciszka and Stefan Themerson, Zofia Rydet, Alina Szapocznikow, R.H. Quaytman, Katja Novitskova, Marysia Lewandowska, Frank Bowling, and Zbigniew Libera. The works are not arranged chronologically. Instead, the exhibition guides visitors through chapters titled after selected works on view, such as Description of a Photograph, Multiple Portrait, Wheel of Acceleration, Superobjects, or A Gaze is a Bridge.

An important context for the exhibition is Gifts of Friendship – nearly one hundred works donated to the Muzeum Sztuki by artists from around the world. This act of solidarity recalls the avant-garde roots of the institution, which in 1931 initiated the International Collection of Modern Art through artists’ donations. The 2025 contributions include works by Liam Gillick, Sharon Lockhart, Nikita Kadan, Ghislaine Leung, Kateryna Lysovenko, Goshka Macuga, Wilhelm Sasnal, Jasmina Cibic, IRWIN, and Zuzanna Janin. A selection of these will be on view from October as part of the new permanent exhibition.

The exhibition is accompanied by two publications: an illustrated catalogue with essays by Mieke Bal and Łukasz Zaremba, and an anthology of texts by artists reflecting on vision, perception, and the co-creation of meaning. Like the exhibition itself, these books treat art as a mode of thinking and as a dialogue with reality.

Artists: Jankel Adler, Josef Albers, Lita Albuquerque, Joël Andrianomearisoa, Jean Arp, Alexandra Bachzetsis, Wojciech Bąkowski, Ernst Barlach, Jerzy Bereś, Joseph Beuys, Alicja Bielawska, Cezary Bodzianowski, Marian Bogusz, Włodzimierz Borowski, Pauline Boty, Frank Bowling, Urszula Broll, Marcel Broodthaers, Wojciech Bruszewski, Agnieszka Brzeżańska, Jan Bułhak, James Lee Byars, Luis Camnitzer, Guglielmo Achille Cavellini, Roman Cieślewicz, Le Corbusier, Isabelle Cornaro, Shanti Dave, Cian Dayrit, Terry Dennett, Zbigniew Dłubak, Andrzej Dłużniewski, Benedykt Jerzy Dorys, Stanisław Dróżdż, Sergei Eisenstein, Max Ernst, Wojciech Fangor, Harun Farocki, Stanisław Fijałkowski, Stano Filko, Leonora Fini, Ian Hamilton Finlay, Morgan Fisher, Simone Forti, Marek Gardulski, Józef Gielniak, Teresa Gierzyńska, Liam Gillick, Gorgona, Jean Gorin, Dan Graham, OHO, Marian Grużewski, Milan Grygar, Aneta Grzeszykowska, Barbara Hammer, Karol Hiller, Susan Hiller, Hannah Höch, Nancy Holt, Francisko Infante-Arana, Agata Ingarden, IRWIN, Sanja Iveković, Alain Jacquet, Zuzanna Janin, Jerzy Janisch, Libuše Jarcovjáková, Maria Jarema, Ray Johnson, Birgit Jürgenssen, Zdzisław Jurkiewicz, Wolf Kahlen, Stephen Kaltenbach, Tadeusz Kantor, El Kazovsky, Mary Kelly, Teresa Kelm, Michael Kidner, Paul Klee, Leszek Knaflewski, Krzysztof Knittel, Milan Knížák, Katarzyna Kobro, Stanisław Kolibal, Käthe Kollwitz, Komar & Melamid, Svetlana Kopystiansky, Leon Kossoff, Daniel Kotowski, Tomasz Kowalski, Jarosław Kozłowski, Edward Krasiński, Janina Kraupe-Świderska, Zygmunt Krauze, Aleksander Krzywobłocki, Stanisław Kubicki, Zofia Kulik, Piotr Kurka, Paweł Kwiek, Przemysław Kwiek, Natalia LL, Andrzej Lachowicz, Katalin Ladik, Edward Łazikowski, Fernand Léger, Nadia Léger, Diana Lelonek, Les Levine, Marysia Lewandowska, Jerzy Lewczyński, Zbigniew Libera, Andrzej Łobodziński, Sharon Lockhart, Peter Lowe, Łódź Kaliska, Maria Ewa Łunkiewicz-Rogoyska, Kateryna Lysovenko, Goshka Macuga, Antje Majewski, Jumana Manna, Louis Marcoussis, André Masson, Roberto Matta, Jadwiga Maziarska, Ana Mendieta, Gizela Mickiewicz, Hana Miletić, Małgorzata Mirga-Tas, Andrzej Mitan, Piet Mondrian, Henryk Morel, Teresa Murak, Lada Nakonechna, Maria Nicz-Borowiak, Katja Novitskova, Fortunata Obrąpalska, Paulina Ołowska, Roman Opałka, ORLAN, Hanna Orzechowska, Ahmet Öğüt, Pakui Hardware, Andrzej Partum, Ewa Partum, Andrzej Paruzel, Maria Pinińska-Bereś, Kazimierz Podsadecki, Agnieszka Polska, Cezary Poniatowski, Enrico Prampolini, RH Quaytman, Karol Radziszewski, Joanna Rajkowska, Margaret Raspé, Mykola Ridnyi, Bridget Riley, Józef Robakowski, Aura Rosenberg, Erna Rosenstein, Jerzy Rosołowicz, Zofia Rydet, Andrzej Adam Sadowski, Zorka Ságlová, Fred Sandback, Wilhelm Sasnal, Jadwiga Sawicka, Bogusław Schaeffer, Kurt Seligmann, Michel Seuphor, Ahlam Shibli, Jura Shust, Rudolf Sikora, Janek Simon, Łukasz Skąpski, Christine Smith, Alexis Smith, John Smith, Marek Sobczyk, Judyta Sobel, Jo Spence, Antoni Starczewski, Henryk Stażewski, Michael Stevenson, Mladen Stilinović, Katja Strunz, Władysław Strzemiński, Alina Szapocznikow, Mieczysław Szczuka, Tamás St. Auby, Wacław Szpakowski, Franciszka Themerson, Stefan Themerson, Suzanne Treister, Teresa Tyszkiewicz, Paul Vangelisti, Bernar Venet, Alexej von Jawlensky, Andrzej Wajda, Zbigniew Warpechowski, Marian Warzecha, Ryszard Waśko, Peter Weibel, Mieczysław Wejman, Hendrik Nicolaas Werkman, Aubrey Williams, Stanisław Ignacy Witkiewicz, Marek Włodarski, Ruth Wolf-Rehfeldt, Andrzej Wróblewski, Haegue Yang, Krzysztof Zarębski, Katarina Zdjelar, Liliana Zeic, Teresa Żarnower

Curatorial team: Jakub Gawkowski, Daniel Muzyczuk, Paweł Polit, Katarzyna Różniak-Szabelska, Franciszek Smoręda

https://msl.org.pl/en/ways-seeing 

Read the free dialogue developed around the practice of Camila Sposati and some guiding concepts of her work. 

The conversation between the artist and Andrea Ledra emerged from an invitation to reflect on the concept of resonance. 

Published in PLATFORM GREEN

Take a look at Svea Grasbergers critique on Thomas Lochers latest exhibition at our gallery 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."
Continue reading here.