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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
15.3. - 24.8.2025
Uppsala Art Museum, Uppsala

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

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.

www.konstmuseum.uppsala.se

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/ 

Zwischen Stufen, Phasen, Stopps (TUN FÜR TUN)

Eröffnung: 7.3., 18:00
Ausstellung: 7.3. - 27.4.2025
Kunstverein Eisenstadt

Künstler*innnen: Franz Amann, Andreas Fogarasi, Michael Gumhold, Anna Hofbauer, Isa Schmidlehner

Bei derAusstellung Zwischen Stufen, Phasen, Stopps (TUN FÜR TUN) handelt essich um die letzte Präsentation des Kunstvereins Eisenstadt in seinenangestammten und seit 2018 bespielten Räumlichkeiten. Diese Ausstellungthematisiert diese besondere Situation, indem sie Arbeiten versammelt, dieMomente der baulichen Veränderung, des Weiterziehens, aber auch die Qualitäteneiner festgelegten Unterkunft zur Präsentation zeitgenössischer Kunst – ihrerMerkmale, Bedingungen, Rollen und Interessen – ein vorläufig letztes Maladressiert. Es geht hier jedoch nicht um einen Abschluss, sondern um eineUnterbrechung, wie sich auch das ästhetische Zentrum der Ausstellung ausKontrasten und Ambivalenzen zusammensetzt. Die Sequenzen der Entkoppelungräumlicher und zeitlicher Logik lassen den Raum und die Arbeiten darin füreinen Moment außerhalb des Urteils und auf sich selbst gestellt erscheinen.

Gratis Shuttle zur Eröffnung
Wien→Eisenstadt→Wien                        
Abfahrt Wien: 17h, Karlsplatz                                                                      
Rückfahrt Eisenstadt: 20:30h
RSVP office@kunstvereineisenstadt.at

https://www.kunstvereineisenstadt.at/projekt/ausstellungseroffnung-opening-zwischen-stufen-phasen-stopps-tun-fuer-tun

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. 

Lenora de Barros
To See Aloud

28.2. - 11.5.2025
Badischer Kunstverein

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

www.badischer-kunstverein.de

Between Spheres
Art and Science – Works from the Collection of the Central Bank of Hungary (MNB)

25.1. – 11.5.2025
Várkert Bazár – Ybl6 Art Space, Budapest

Artists: Bak Imre, Balázs Nikolett, Bullás József, Csáji Attila, Fajó János, Andreas Fogarasi, Frey Krisztián, Gáspár György, Hantai Simon, Horváth Lóczi Judit, Jovanovics Tamás, Konok Tamás, Kóródi Zsuzsanna, Lantos Ferenc, Major Kamill, Melkovics Tamás, Mengyán András, Nemes Márton, Pintér Dia, Reigl Judit, Szentpétery Ádám, Anthony Vasquez

The interconnection between art and science can be described as a desire to understand the world, which is the motivation behind the exhibition Between Spheres. The interdisciplinary approach does not focus on all disciplines, but rather on the specific disciplines that are typical of the contemporary collection brought to life by the Magyar Nemzeti Bank. Thus, the main nodes are technical engineering, language, computer science, physics, natural sciences, nature and heritage conservation. The exhibition picks up in time where our world-famous Hungarians - László Moholy-Nagy, György Kepes or Marcell Breuer - have made a name for the close relationship between art and science, and focuses on achievements since the 1960s. The exhibition deliberately gives equal space to different generations, including the internationally successful post-modern generation of Hungarian origin, Hungarian neo-avant-garde artists and the current middle generation, as well as young talents.

https://varkertbazar.hu/kiallitasok/szferak-kozott-muveszet-es-tudomany

Touch Nature
24.1. - 18.5.25
Lentos Kunstmuseum Linz

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

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

www.lentos.at

A Cornered Solo Show #5 
Nedko Solakov

17.10.2024 - 29.6.2025
Ludwig Museum Budapest

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)

www.ludwigmuseum.hu

Counter/Surveillance: Control Privacy Agency
13.10.2024 - 19.10.2025
Wende Museum, Culver City, USA

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 

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.

www.mutualart.com

Nós — Arte & Ciência por Mulheres
August 22., 2024 - March 30., 2025
Sesc Interlagos, São Paulo

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.

New Presentation of the Collection of Contemporary Art

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

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

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.

Cu­ra­tor: Bar­bara En­gel­bach

www.museum-ludwig.de