News

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/ 

Solo exhibition Lenora de Barros

Badischer Kunstverein | 28.2.-11.5.2025
Opening: Thursday, 27.2.2025, 7 pm

The first presentation in 2025 continues the series of exhibitions focusing on female artists from the field of Concrete Poetry. Following projects on Lily Greenham (2024) and Ilse Garnier (2023), we are showing the work of the artist and poet Lenora de Barros (*1953 in São Paulo) for the first time in Germany. She is a representative of Brazilian Concrete Poetry, whose beginnings can be traced to the Gruppe Noigandres in São Paulo in 1952. In Brazil, this movement, which is largely independent of the European context, is known as Arte Concreta. Lenora de Barros is an artist who comes from the generation following the Noigandres and is strongly influenced by them. Her works are characterized by an intimate interplay between the body, language and the self, and in particular by (post) feminist concerns. Other elements of her work include Conceptual Art, Pop Art and Fluxus.

Curated by Alex Balgiu and Anja Casser

https://www.badischer-kunstverein.de/index.php?Direction=Programme&list=Preview&Detail=1023 

Touch Nature

Lentos | 24.01.-18.05.25

Opening 31.1.2025

The multimedia exhibition ​”Touch Nature” showcases international artists and their takes on the devastating political, economic, ecological and humanitarian consequences of the Anthropocene. It becomes quite clear in the process that, in addition to documenting grievances and formulating strategies of resistance, these artists also provide blueprints for utopias. 

The economic exploitation of huge tracts of land, rising levels of soil sealing and the global effects of consumerism are addressed alongside the capitalist manipulation of waste. A series of cooperative ventures, some of which are interdisciplinary in character, results in art projects that deal with the global food situation, the spread of epidemics and the consequences of colonialism, aiming at a change of perspective. The exhibition develops encouraging visions of a new relationship between humanity and nature and of an approach to our environment marked by mindfulness and respect.

The exhibition is based on a series of exhibitions of the same name that were shown in twelve of Austria’s Forums of Culture in Europe and the United States between 2021 and 2024. This allowed Austrian artists to enter into a creative dialogue with artists of the host countries. The show at the Lentos presents a summary of this series of exhibitions and supplements it with international works of art. Its roughly 100 artists present a multinational overview of the current engagement with the climate crisis and the destruction of our environment. It is in the spirit of Alexander von Humboldt, a pioneer of ecological thinking, who famously wrote to Johann Wolfgang von Goethe in 1810: ​“Nature must be felt.”
 

Curator and exhibition concept: Sabine Fellner

Artists: Uli Aigner, Iris Andra­schek, Peter Bartoš, Matei Beje­na­ru, Juli­us von Bis­marck, Van­ja Bučan, Flor­iama Can­dea, Lau­ra Codruța Cer­nea, Adria­na Chiru­ta, Sev­da Chkou­to­va, Lari­sa Crun­țea­nu, Mark Dion, Vero­ni­ka Dirn­ho­fer, Ines Dou­jak, Anna Dumitriu/​Alex May, Lati­fah Ech­akhch, Chris­ti­an Eisen­ber­ger, Tita­nil­la Eisen­hart, Micha­el End­li­cher, İnci Evi­ner, Tho­mas Feu­er­stein, Andrea Fran­co­li­no, Doro­thee Frank/​Ben Fodor, Bir­git Gra­schopf, Nico­la Hackl-Has­lin­ger, Maxi­mi­li­an Hai­da­cher, Jit­ka Hanzlo­vá, Peter Hau­en­schild, Beá­ta Hech­tová, Edgar Honet­schlä­ger, Anaïs Horn, Alfred Hrusch­ka, Bar­ba­ra Anna Husar/​Elmar Bertsch, Göz­de İlk­in, Nona Ines­cu, Fatoş İrw­en, Tobi­as Izsó, Maren Jeleff/​Klaus Pich­ler, Sabi­ne Jeli­nek, Anna Jer­mo­lae­wa, Anne Duk Hee Jor­dan, Johan­na Kan­dl, Eginhartz Kan­ter, Anton Keh­rer, Kit­ty Kino, Auro­ra Kirá­ly, Alex­an­dra Kon­tri­ner, Nina Koželj, David Kran­zel­bin­der, Ele­na Kris­to­for, Hans Kupel­wie­ser, Anto­nio Kut­leša, Chris­tia­ne Löhr, Lin­da Luse, Haru­ko Mae­da, Péter Mátyá­si, Clau­dia März­en­dor­fer, Katha­ri­na Meis­ter, Fer­di­nand Melichar, Kari­na Mend­recz­ky, Syl­vie de Meur­vil­le, Ana Maria Micu, Clai­re Mor­gan, Alo­is Mos­ba­cher, Yvonne Oswald, Moni­ka Pich­ler, Mar­got Pilz, PRINZ­pod, Luisa Rabbia, Julia Reich­mayr, Oli­ver Ress­ler, Hubert Roi­th­ner, Gre­gor Sai­ler, Eli­sa­beth von Sam­sonow, Davor San­vin­cen­ti, Judith Saupper, Hans Scha­bus, Schei­be & Günt­zel, Ramo­na Schne­ken­bur­ger, Gabrie­le Schö­ne, Mar­tin Schrampf, Clau­dia Schu­mann, Marie­lis Sey­ler, Mili­ca Simo­no­vić, Rebec­ca Smith, Paul Spen­dier, Oana Stanciu, Tho­mas Stimm, Mir­cea Suciu, Maria Sza­kats, Adri­enn Újhá­zi, Hana Usui, Dan Vezen­tan, Judith Wag­ner, Man­fred Wakol­bin­ger, Vio­let­ta Wakol­bin­ger, Bet­sy Weis, Nives Widau­er, Eva Yur­ko­vá, Lau­rent Ziegler/​Georg Blaschke

https://www.lentos.at/en/exhibitions/touch-nature 

Videobrasil. Needs No Translation. Four Decades of Video and Performance 

GES-2 House of Culture, Moscow | 12.12.2024-9.2.2025

The exhibition traces the key developments in video art of Latin America and, more broadly, the Global South from 1983 to the present day.

a showcase of young art in a country that was increasingly confident of its place on the cultural map of the world. From the outset, Videobrasil gave a special place to artists and filmmakers from the so-called Global South. A new era was dawning as alternative geopolitical poles emerged to replace the old division of the world into socialist and capitalist camps. The Festival has always been most interested in those places on the world map—South-East Asia, Africa, Eastern Europe—where life changes rapidly, as it does in Latin America. Over time, this interest has led to the emergence of a major institution, Associação Cultural Videobrasil, which is dedicated to the display, archiving, popularisation, and research of non-conventional forms of screen culture.

The exhibition Videobrasil. Needs No Translation marks key milestones in the development of video art through works presented in the Festival programme over the years and today preserved in the Videobrasil Historical Archive. This multi-layered narrative, consisting of four chronological sections, brings together the themes and techniques that artists have employed to respond to key events of the turn of the 20th and 21st centuries. The authors explore the different languages of video and their relationship to performance, engaging in dialogue with the cinematic traditions of different countries and focusing particularly on local narratives—the traumatic experiences of the colonial past and the consequences of socio-political cataclysms that have shaped the identity of the Global South today.

The exhibition showcases the diversity of the formal experiments that have been made possible by developments in technology, from the proliferation of home video cameras, cable television, and clip art in the 1980s and 1990s to the widespread use of computer graphics, image generation, and virtual reality in the last two decades.

Artists: Lenora de Barros, Josefina Cerqueira, Eduardo Climachausk, Otávio Donasci, Paula Garcia, Ayrson Heráclito, Dan Halter, Luciana Magno, Emo de Medeiros, Gustavo Moura, Rosana Paulino, Ana Pi, Letícia Ramos, Nuno Ramos, Eder Santos, Paulo Santos, Walter Silveira, Melati Suryodarmo

Curators: Solange Oliveira Farkas, Alessandra Bergamaschi

https://ges-2.org/en/projects/videobrasil-needs-no-translation

My memory isn´t mine

KRUPA Art Foundation, Wroclaw 
November 23, 2024 – March 2, 2025

www.krupaartfoundation.pl

The exhibition My Memory Isn’t Mine delves into the complex relationship between human memory and media in the digital age, exploring the boundaries between organic and mechanical memory. It examines how memories and memory itself are stored, represented, and communicated through contemporary media, revealing their integrality in both everyday support and potential threats. Central to this exploration are phenomena and traditions of inheritance, focusing on how memories and knowledge are passed down through generations, shaping the spiritual side of collective memory and identity. The works presented in the exhibition question the transmission of information, the inheritance of trauma, fluid definitions of domesticity, and belonging to geographical and ideological territories. They emphasize the importance of mindful archiving of materials, symbols, memories, and experiences in the era of digital communication.

Artitsts: Paweł Baśnik, Radek Brousil, Sirah Foighel Brutmann & Eitan Efrat, Anaïs Chabeur, Ewa Doroszenko, Miłosz Flis, Mariia Lemperk, Gwendolyn Lootens, Mariusz Maślanka, Adam Rouhana, Kristina Sedlerova Villanen, Iza Opiełka, Hussein Shikha, Camila Sposati, Wiktoria, Barbara Żłobińska

Curator: Natalia Barczyńska

https://krupaartfoundation.pl/en/my-memory-isnt-mine/ 

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 

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://www.mutualart.com/Exhibition/Counter-Surveillance--Control--Privacy--/49B34B2C36A18812 

Nós — Arte & Ciência por Mulheres

Sesc Interlagos, São Paulo

August 22., 2024 - March 30., 2025

From August 22, 2024 to March 30, 2025, Sesc Interlagos will host the exhibition "We - Art & Science by Women", which highlights the trajectory of women as producers and maintainers of knowledge in the scientific, intellectual and artistic fields.
The exhibition covers historical scenarios ranging from ancestral wisdom to the growing presence of women in scientific institutions. The narrative reveals women's ongoing struggle for a more equal society, where everyone has full access to political, economic and social rights.
The exhibition features accessibility resources, such as scripts and videos with audio description and video-libras.

"Nós - Arte & Ciência por Mulheres" (We - Art & Science for Women) is organized by Sesc São Paulo, conceived by Estúdio M'Baraká, and has the support of collections from USP's Zoology Museum, the Indian Museum (FUNAI), the Earth Sciences Museum / CPRM, the Butantan Institute and documentation from institutions such as Fiocruz, the National Museum, the Roberto Burle Marx Site and the National Library, among others.

Delirious Toys
September 8, 2024 - February 9, 2025 | Bundeskunsthalle Bonn

For the 2023 art autumn, the US artist Mark Dion has created a work of art from objects in the toy collection of the Stadtmuseum Berlin, which will first be on display at the Museum Nikolaikirche in Berlin. With hundreds of exhibits, his installations not only transcend space and time, but also take a critical look at children's toys themselves.

For the exhibition, Mark Dion spent months researching the collection of around 70,000 objects, one of the largest in Germany. The result is a kind of labyrinth of board games; a pyramid of animals, a circuit with an imaginary race between vehicles of all kinds and other installations. Dolls, military toys and a “poison cabinet” with borderline or cross-border toys are also on display in the exhibition, which is accompanied by a 36-page brochure (included in the admission price).

Since the late 1980s, Mark Dion has been intensively concerned with the question of how knowledge is created and passed on in museums, always with an alert eye for systems of exploitation and oppression. After all, toys, which are mostly designed by adults for children, always convey ideas about people and their world. In dealing with toys, children practise certain role models, and toys are used to teach them specific themes or ideologies.

The project is flanked by the newly developed ELLAH Lab, which aims to continuously integrate artistic engagement and creative learning into visits to the Bundeskunsthalle for young and old.

An exhibition of the Stiftung Stadtmuseum Berlin in cooperation with the Art and Exhibition Hall of the Federal Republic of Germany.

https://www.bundeskunsthalle.de/toys 

New Presentation of the Collection of Contemporary Art

August 10, 2023 - August 31, 2025 | Museum Ludwig Köln

The Mu­se­um Lud­wig col­lec­tion in­cludes the most im­por­tant artists of the twen­ti­eth cen­tu­ry and con­tem­po­rary art. The works of mod­er­nism and art from 1945 to 1970 are ar­ranged chrono­log­i­cal­ly from the up­per­most to the mid­dle floor. The con­tem­po­rary art in the stair­well and on the base­ment lev­el forms the back­bone and foun­da­tion of the mu­se­um, look­ing in­to the past and the fu­ture. At the same time, the col­lec­tion pre­sents the di­verse me­dia and con­cep­tu­al man­i­fes­ta­tions of con­tem­po­rary art, which do not fol­low a firm­ly estab­lished canon and can­not be cat­e­go­rized in­to styles.

Ev­ery two years the Mu­se­um Lud­wig pre­sents a new se­lec­tion of con­tem­po­rary art from its col­lec­tion. This edi­tion, run­n­ing from Au­gust 10, 2023 till Au­gust 31, 2025, will fo­cus on dif­fer­ent con­cepts of time and ways in which artists han­dle the top­ic in their work. Many artists draw at­ten­tion to the fact that art is ex­pe­ri­enced in the pre­sent, while al­so ques­tion­ing me­m­o­ry, re­mem­brance, and his­to­ri­og­ra­phy. The pre­sen­ta­tion is framed by “val­ue of time” as a con­cep­t—a so­cial­ly de­ter­mined val­ue on which ab­s­tract, quan­ti­fi­able time is based.

The start­ing point is Wal­ter Ben­jamin’s haunt­ing im­age from 1940 of the “an­gel of his­to­ry,” with which he de­scribed the re­la­tion­ship be­tween past, pre­sent, and fu­ture. This estab­lished the con­cept of a crit­i­cal his­to­ri­og­ra­phy that orig­i­nates from eco­nom­ic pa­ram­e­ters. Vari­ous facets of this con­cept are re­flect­ed by the ex­hibit­ed works, in which tem­po­ral­i­ty takes ef­fect, the past is re­flect­ed in its re­la­tion­ship to the pre­sent, and fu­ture events are an­ti­ci­pat­ed.

Fea­tured artists: Tho­mas Bayr­le, Alighiero Boet­ti, Frank Bowl­ing, Miri­am Cahn, Mark Dion, Maria Eich­horn, Harun Faroc­ki, Guan Xiao, Wade Guy­ton, Lubai­na Himid, Ull Hohn, Re­bec­ca Horn, Anne Imhof, Boaz Kaiz­man, Car­o­lyn Lazard, Jochen Lem­pert, Pau­line Mʼbarek, Ker­ry James Mar­shall, Park McArthur, Os­car Muril­lo, Fü­sun Onur, Asim­i­na Paradis­sa, Robert Rauschen­berg, Cameron Row­land, Ju­lia Sch­er, An­dreas Schulze, An­dreas Siek­mann, Di­a­mond Stingi­ly, Danh Vo, Lois Wein­berg­er, Haegue Yang

Cu­ra­tor: Bar­bara En­gel­bach

https://www.museum-ludwig.de/en/museum/collection/collection-of-contemporary-art.html