After the first edition, built around sculptures staged to “inhabit” and bring to life the territory of Saint-Paul-de-Vence, the second devoted to the views of a young generation of creators on the village, the third International Biennial of Saint-Paul de Vence has chosen to be inspired by the universe and symbolism of birds. This choice was made by the two curators of this open-air exhibition: Ludovic Delalande and Claire Staebler. Its title does not forget that the poet Jacques Prévert was a resident and a “considerable” passer-by of this village. These are his words “Au hasard des oiseaux” (At the chance of the birds) which invite us to discover, to feel and to meet twenty works of twelve artists who are as many messengers reminding us, more than ever, that it is profitable for the man to live with the light and the beauty of the flight of the birds.
At the invitation of Reiner Michalke, the artistic director of the Monheim Triennale, the curatorial team of Kathrin Jentjens and Frank Schulte has been working on exclusive collaborations with international sound artists since 2020. The works, most of which are site-specific to Monheim am Rhein, are presented for several weeks in public space. Most of the artists have already been to Monheim several times to develop their ideas and test their feasibility.
“What does it mean to be ‘an agent of change’? (…) Over the past nine months, in hundreds of conversations, text messages, Zoom calls and meetings – stated Lesley Lokko – the question of whether exhibitions of this scale — both in terms of carbon and cost — are justified, has surfaced time and again. In May last year, I referred to the exhibition several times as ‘a story’, a narrative unfolding in space. Today, my understanding has changed. An architecture exhibition is both a moment and a process. It borrows its structure and format from art exhibitions, but it differs from art in critical ways which often go unnoticed. Aside from the desire to tell a story, questions of production, resources and representation are central to the way an architecture exhibition comes into the world, yet are rarely acknowledged or discussed. From the outset, it was clear that the essential gesture of The Laboratory of the Future would be ‘change’.”
Sudan, near the Merowe dam. Maher works in a traditional brickyard fed by the waters of the Nile. Every evening, he secretly wanders off into the desert to build a mysterious construction made of mud. While the Sudanese people rise to claim their freedom, his creation starts to take a life of its own…
À bruit secret. Hearing in Art is the fourth in a series of five themed exhibitions at Museum Tinguely dealing in experimental ways with the human senses. Focusing attention on hearing, which plays an important role in multisensory experiences of art, the exhibition offers various immersive and interactive encounters with familiar and less familiar soundscapes. Historical works as well as pieces created specially for the show, by 25 international artists, invite visitors to pay attention to what they are hearing, opening up acoustic fields usually hidden from the human ear. What does the Rhine sound like as it flows through Basel? What’s to be heard beneath the surface of the ocean? Can urban noise or the voices of animals and humans be used to make artworks? How have human activity and climate change altered the sounds of the jungle? Can soundwaves be perceived other than by our ears, and how can acoustic phenomena be visualized? The exhibition includes sculptures, multimedia installations, photographs, works on paper, and paintings dating from the Baroque period to the present day.
Conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi, Director of Sharjah Art Foundation, Sharjah Biennial 15: Thinking Historically in the Present (SB15) reflects on Enwezor’s visionary work, which transformed contemporary art and established an ambitious intellectual project that has influenced the evolution of institutions and biennials around the world.
Hoor Al Qasimi interprets and re-envisions the titular proposal by the late thinker to critically center the past within the contemporary moment. Al Qasimi develops the concept of ‘thinking historically in the present’ by adopting a working methodology that privileges the role of intuition and incidence. Acknowledging the effect Enwezor’s documenta 11 had in transforming her curatorial consciousness, she also builds upon her own long-term relationship with the Biennial, as visitor, artist, curator, and eventually, as director of the Foundation, an institution that came into being as a result of the Biennial, a fact Enwezor appreciably recognized.
The Kochi-Muziris Biennale is an international exhibition of contemporary art being held in Kochi, Kerala every two years. Through the celebration of contemporary art from around the world, The Kochi-Muziris Biennale seeks to invoke the historic cosmopolitan legacy of the modern metropolis of Kochi, and its mythical predecessor, the ancient port of Muziris. In cooperation with the Muziris Heritage Project, The Kochi–Muziris Biennale seeks to link the past with the modern day present.
This 5th edition is curated by the artist and writer Shubigi Rao.
“This edition of the Kochi-Muziris Biennale therefore embodies the joy of experiencing practices of divergent sensibilities, under conditions both joyful and grim. There is optimism even in the darkest absurdity, and this is what leavens the direness of our time. It is in the robustness of humour that we can imagine the possibility of sustained kinship, and remember that we are not isolated in this fight. And that perhaps all that is required for an impossible ideal to exist is for enough people to live, think, and work as if it already does.”
Conceived by curators Sam Bardaouil and Till Fellrath as a “manifesto of fragility”, the Biennale positions fragility at the heart of a generative form of resistance that is emboldened by the past, responsive to the present, and primed for the future.
The ambition of the Geneva Biennale–Sculpture Garden is to establish itself as a major summer artistic event for the region, offering Geneva, its inhabitants and its many national and international visitors an outdoor exhibition of high-caliber during the whole summer period. Initiated and organized by artgenève in collaboration with the MAMCO (Geneva’s contemporary art museum) and the City of Geneva, the Biennale’s third edition is curated by Devrim Baya
© Studio Alice Franchetti
The Antwerp public art collection (Kunst in de Stad) proudly presents a new permanent commission by artist Sammy Baloji. Invited to create a work for Antwerp’s public space, the artist was immediately drawn to the river Scheldt, acknowledging it as the gateway between ‘here’ and ‘there’, the city and the world, but also, more poignantly, between Belgium and Baloji’s native Congo.
Grandhomme & Bennani, SB – Lukasa, 2021
The group exhibition Back of My Hand is based on the way in which different artists work the poetic and political potential of hand, and its relationship with certain dynamics involved in the (in)visibility of images. In this sense, this exhibition presents a series of works in which the hand appears as a mechanism of action, revelation or performativity, aiming to question certain structures of knowledge and historical narrative, and to reflect about a tensioned space between what the image makes visible, and what exists in it in resistance and unintelligibility.
Curated by Sara Castelo Branco
Basma al-Sharif, Deep Sleep, 2014. © Basma al-Sharif
Sammy Baloji’s first solo exhibition in Italy, conceived specifically for the Andito degli Angiolini of Palazzo Pitti, is a new and extended chapter of his ongoing reflection on and dialogue with a series of artefacts and archives dating back to the Kingdom of Kongo.
Photo © Uffizi, Florence
The Exhibition will take place in the Central Pavilion (Giardini) and in the Arsenale, including 213 artists from 58 countries; 180 of these are participating for the first time in the International Exhibition.
Titan 1, 2 & 3, 2022. © Ali Cherri
Thank you to the Jury of the 59th International Art Exhibition of La Biennale di Venezia, comprising Adrienne Edwards (USA), President of the Jury, Lorenzo Giusti (Italy), Julieta González (Mexico), Bonaventure Soh Bejeng Ndikung (Cameroon) and Susanne Pfeffer (Germany).
“A constellation of the most relevant art and ideas of our time, our 2022 exhibition will be the Biennial’s eightieth edition.”
Whitney Biennial 2022: Quiet as It’s Kept is co-organized by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Gabriel Almeida Baroja, Curatorial Project Assistant, and Margaret Kross, former Senior Curatorial Assistant.
Alia Farid, Chibayish, 2022. video still. © Alia Farid
At CAM, Farid presents the video installation At the Time of the Ebb (2019), a poetic meandering through Nowruz Sayadeen, the Fisherman’s New Year festival in Qeshm, a vast island in the Persian Gulf at the mouth of Iran.
Alia Farid: a solo exhibition is co-produced with Kunstinstitut Melly, Rotterdam. The exhibition is organized for the Contemporary Art Museum St. Louis by Misa Jeffereis, Assistant Curator.
Alia Farid, At the Time of the Ebb, 2019. Still © Alia Farid
The artist James Webb starts a radio channel partly ghost story, partly architectural analysis of the area; if you can access the signal, then the message is for you. This untitled radio broadcast forms part of Sånger till Hökarängen (Songs to Hökarängen), a series of interventions in the neighbourhood of Hökarängen produced with Konsthall C.
Curated by Ulrika Flink.
Photo © Johan Österholm
Exhibition and seven acts inspired by the work of American anarchist artist Christopher D’Arcangelo interpreted by personalities of the contemporary international art scene.
Curated by Pierre Bal-Blanc
Exhibition view: ARoS, Aarhus Kunstmuseum, 2021
Ali Cherri, our Artist in Residence, presents work that considers how histories of trauma can be explored through a response to museum and gallery collections. This exhibition, ‘If you prick us, do we not bleed?’ introduces cabinets of curiosity into the heart of the Sainsbury Wing, containing assembled fragments that might look like relics from another collection.
Ali Cherri, Photograph from the series And if you wrong us, shall we not revenge?, 2021.
The Ruttenberg Contemporary Photography Series
Al-Sharif’s newest work, Capital—comprising a two-channel video and a series of banners depicting architectural renderings of proposed urban spaces— (…) hint at the limits of free speech and reveal how the legacies of fascism live on in the present.
Basma Alsharif, Capital, 2021. Video still
“EUROPA, Oxalá” revolves around memorial and postcolonial studies, two interdisciplinary fields in themselves, and offers the opportunity to discover a set of European artists and intellectuals, whose parents are mainly from the ancient colonies of empires overseas.
Curators: António Pinto Ribeiro, Katia Kameli and Aimé Mpane Enkobo.
The exhibition will travel to Fondation Calouste Gulbenkian (Lisboa) from April to July 2022 and to the Musée Royal de l’Afrique Centrale/AfricaMuseum (Tervuren), from Sept. to December 2022.
Image: Untitled, Sammy Baloji, 2018, 41 mortal shells, interior plants; exhibition view: Our World Is Burning, Palais de Tokyo, 2020. Photo © Aurélien Mole
Dir. by. : Sammy Baloji and David N. Bernatchez
Rumba Rules dives into the chaotic life of Kinshasa, filming the Brigade Sarbati orchestra, which whips up Congolese rumba to create mutant music, between tradition and modernity. An energizing flash, filled with life(s) and stories.
For her first institutional presentation in Switzerland, the Kuwaiti Puerto Rican artist crafts a monumental installation of new work, bringing disparate sites in relation to each other so as to imagine a transregionalism that belies national boundaries drawn on land.
Alia Farid, In Lieu of What Is, view from left to right on Jug/Pitcher, Water Bottle, Juglet, Jerrican, Lota, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel
The Listening Academy aims at fostering transdisciplinary discussions on the topic of listening which can positively contribute to a range of contexts and communities. In particular, this edition of the Academy brings together an international group of scholars, researchers and practitioners whose creative and critical expertise are supportive for diversifying what an act or art of listening may be and how it may enable thinking alongside and with the complexities of global experience.
For this landmark tenth edition, QAGOMA’s Asia Pacific Triennial looks to the future of art and the world we inhabit together. It’s rich with stories of how to navigate through time and space, reimagine histories and explore connections to culture and place.
‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10) will include 69 projects with new and recent work by emerging and established artists and collectives, together comprising more than 150 individuals from 30 countries. It includes works of art that are by turn highly personal, deeply political, and full of joy.
In Lieu of What Was, 2019. Exhibition view courtesy Portikus, Francfort. Photo: Diana Pfammatter
The exhibition, designed in co-production with the Pompidou Centre, offers an unprecedented dialogue between its exceptional collections and pieces by Lebanese artists of all generations. Produced in recent years or following the tragic explosions of 4th August 2020, their works are tracing out possible paths to the future, between despair and gentleness, exiles and new anchorages.
Ali Cherri, Staring at a Thousand Splendid Suns, 2021. Photo : Tadzio
Screening of Basma Alsharif’s film in the framework of the Queer Festival for Palestine.
Complete program: CONGRESS OF IDLING PERSONS, Bassem Saad, 2021, 36 min; THE WHITE ELEPHANT, Shuruq Harb, 2018, 12 min and O, PERSECUTED, Basma Alsharif, 2014, 11 min
Basma Alsharif, O, Persecuted, 2014
James Cohan is pleased to present Notes on Exile, the first US gallery exhibition of work by multimedia artist Emeka Ogboh, on view at 48 Walker Street from October 28 through December 18, 2021. This exhibition marks the US premiere of The Way Earthly Things Are Going, 2017, Ogboh’s internationally acclaimed work from documenta 14.
Installation view, Emeka Ogboh, Notes on Exile, James Cohan, 48 Walker Street, 2021
Hungry for Time developed through a collaboration with the Academy’s own expertise while taking the current decolonialism discourse in art and cultural studies into account, thereby opening up a new way of perceiving the art collections. Raqs Media Collective presents a show that apprehends time from the perspective of hunger and desire, the eponymous hunger for time. In eleven scenes this hunger for time is outlined in more detail. The scenes assemble artworks from all three of the historical collections and relate these to contemporary art, including works commissioned especially for the exhibition.
Ali Cherri, The Digger, film still.
Talbot Rice Gallery and Edinburgh Art Festival are pleased to announce that a new sound installation by artist Emeka Ogboh will be unveiled at Edinburgh’s Burns Monument on 29 July 2021. The new public artwork, co-commissioned by Talbot Rice Gallery and Edinburgh Art Festival, is a response to the ongoing theatre surrounding the UK’s departure from the European Union.
The new work is commissioned by Edinburgh Art Festival and Talbot Rice Gallery, which is part of Edinburgh College of Art. Supported by the PLACE Programme, a partnership between Edinburgh Festivals, Scottish Government, City of Edinburgh Council and Creative Scotland. With additional support from Goethe-Institut Glasgow, ifa (Institut für Auslandsbeziehungen), Reid School of Music at Edinburgh College of Art and Museums and Galleries Edinburgh
Que représente le fait de chanter ensemble dans notre société, surtout dans un monde en proie aux pandémies et aux crises, où la musique et l’art en soi ont longtemps été réduits au silence ? Cet été, Ogboh transforme le centre-ville de Francfort en un paysage sonore sur l’eau et sur terre. Au centre de son installation sonore multicanal en trois parties, THIS TOO SHALL PASS, qui s’étend d’une cour près de l’hôtel de ville Römer à l’église Dreikönigskirche en passant par un bateau ressemblant à un radeau sur le Main, se trouve un hymne du même nom composé récemment.
L’œuvre in situ la plus importante d’Emeka Ogboh en Europe à ce jour a été commandée par l’EKHN Stiftung en coopération avec le Kulturfonds RheinMain et rendue possible grâce à l’aide d’autres sponsors.
TTSP studio session. Photo: Adolphus Opara. © Emeka Ogboh, 2021.
The exhibition presents a selection of 60 films bringing into perspective generations, origins, geographies, histories in extremely varied narrative forms. This exhibition, a cartography of time, questions our contemporary world. It is deployed in five successive chapters – five stages – which expose and decline forms of resistance, of “disquiet”.
Basma Alsharif, The story of milk and honey, film still, 2011
Presented to commemorate the centenary of the death of Louis Ducos du Hauron (1837-1920), who invented color photography, the exhibition brings together more than one hundred works by nineteen photographers, authors and artists, around the pioneers William Eggleston, Ernst Haas, Saul Leiter, who, by bringing color photography into the museum in the 1960s and 1970s, allowed it to attain the status of work of art reserved until then for black and white photography.
The installation at In Flanders Fields Museum consists of image, sculpture and sound, and juxtaposes divergent visions – aerial and horizontal, Western and indigenous – in an attempt to explore what connects them. While images reveal man’s impact on nature, from trenches over shell and mine craters to wounded trees, the artist invites his audience to reflect on the current era with its roots in imperialism and colonialism.
Photo © Birger Stichelbaut
Stage director Aristide Tarnagda, himself an author and director of the festival Les Récréâtrales in Ouagadougou (Burkina Faso) where the show was created, invited eight actors from all over Africa, but also from France, to serve Aanza’s lyrical eloquence, to bring the poet’s city to life and experience “the capacity of dreams to rob the world of its misery”. The show, originally designed to be performed outdoors, is recreated here indoors. “Que ta volonté soit Kin”, Éditions Nzoi and Passage(s), libres courts au Tarmac, 2018 (in French).
Atelier Berthier, Paris 17e, as part of the Festival d’Automne à Paris and “Africa 2020” season
This exhibition brings together two artists from the Democratic Republic of Congo (DRC), Sammy Baloji and Bodys Isek Kingelez, whose work shares an exploration of warped colonial legacies alongside visions of future living. Whilst Kingelez makes precise, delicate and detailed models offering imagined propositions for a vibrant cityscape, Baloji draws our eye to people living in the city today and moments of utopia that exist in the day-to-day urban fabric.
This exhibition is part of the Director’s Programme for Glasgow International, Scotland’s largest festival for contemporary art.
Installation view Glasgow International 2021, photo: Matthew Arthur Williams
The exhibition features a video art piece created by Alia Farid as a commission for the Sharjah biennial. To capture the piece, the artist travelled hundreds of kilometres from the tip of the Arabian peninsula all the way to the Iranian Island of Qeshm during the celebration of Nowruz Sayadeen, the “Fisherman’s new year”. On this day all fishing activities —a symbol of the village’s livelihood— stop as a tribute to nature.
Alia Farid, At the Time of the Ebb, video still
Curated by the students of the Master “Critique-essais, écritures de l’art contemporain” (class of 2020-22) of the University of Strasbourg among the works of the collections of the FRAC du Grand Est (FRAC Alsace, FRAC Champagne-Ardenne, 49 Nord 6 Est FRAC Lorraine).
Weaving links between humans, creating alliances with fauna and flora, sowing seeds of ideas to learn to live on a damaged planet, such are the ambitions of the exhibition Nouer le Reste.
Younès Rahmoun, Habba, exhibition view of Nouer le reste, CEAAC, 2021, Photo: R. Görgen
Resident at the Villa Medici in Rome in 2019, he presents the results of his research on the political, religious and commercial exchanges that took place between the Kongo kingdom, Portugal and the Vatican as early as the 16th century. The exhibition brings together two groups of works: a set of drawings and objects made from motifs borrowed from Kongo fabrics, and a selection of tapestries that are part of famous Indian hangings.
Photo © Martin Argyroglo
Novelist, playwright, Congolese visual artist, Sinzo Aanza, 29, knows Kinshasa, alias Kin, like no one else, the violence of his polyphonic nights, streaked with power outages.
Following a blunder by the army, it is up to citizens from a working-class district of Kinshasa to decide how much compensation each of the families of the victims is entitled to. With a lightness of touch, Aristide Tarnagda brings to the stage a caustic debate on the socio-political situation in Congo and its prevailing cynicism.
Coproduced by Festival d’Automne à Paris.
Event organized within the framework of the Africa 2020 Season.
For his first personal exhibition in France / in Marseille, the artist will invest in the Panorama and the Rooftop of the Friche la Belle de Mai with a film, a multi-sensory installation and will develop an artistic event project throughout the summer: dinners inviting different African chefs, crafting beer for the On air events, DJ Sets and radio sessions, publication of a collection of recipes… multiple proposals orchestrated by Emeka Ogboh as part of the Africa Season 2020.
Photo © Thibaut Voisin
The 2021 edition of the Borås Art Biennial presents the work of over 20 Swedish and international artists. The city of Borås, founded by merchants, was once the textile hub of Sweden and has always been identified as a city of trade. The Viskan River that runs through the city bears witness to its industrial past. In more recent times, Borås has become a center for innovation, sustainability, and technology. Deep listening for longing tunes into past and present imaginings of the city—and beyond
James Webb, I do not live in this world alone, but in a thousand worlds (18 openings on another world), 2021. Installation view: Borås Kunstmuseum, Photo © Hendrik Zeitler
Both the Middelheim Museum and the University of Antwerp are situated where the Colonial College was founded in 1920. More than one hundred years later, the Middelheim Museum confronts and examines the traces of the (post)colonial history of the site. It does so by bringing together new historical research with contemporary artistic views. Congoville invites artists to reimagine the Middelheim terrain as a renewed historical and public space.
“Today, as a free and an open air art museum, the Middelheim has the democratic potential to invite diverse visitors to look at colonial and postcolonial history through the eyes of black flâneurs of the world, and to transform Congoville from being a creation of colonial exploitation to a map for a future postcolonial utopia.” (Sandrine Colard)
Sammy Baloji, Untitled (2018) & The Other Memorial (2015). Exhibition view: Middelheim Museum, Antwerp. Photo: Léonard Pongo
The installation, which incorporates an audio witness from the past: Albert Kudjabo, a Congolese soldier who volunteered to fight in 1914 in Belgium, crystallizes various (hi)stories: the continued impact of Belgian colonialism and extractives of natural ressources from the Congo, and the shadow histories of Congolese soldiers enrolled within the Belgian army during Wold War I.
In cooperation with In Flanders Fields Museum in Ypres.
Sammy Baloji, … and to those North Sea waves whispering sunken stories, 2021.
Screenings from 6 to 11pm on site and online (via the gallery’s YouTube account)
With: Wang Shui, Himali Singh Soin, Tania Ximena, Garush Melkonyan, Luiz Roque, Basma Alsharif, Tuan Andrew Nguyen, Yang Fudong, Kandis Williams, Karrabing Film Collective, Laura Huertas Millán, Kiluanji Kia Henda, Fernando Ocaña
Curated by: Samantha Ozer
Basma Alsharif, Ouroboros, 2017, Film still
Bringing together artists from around the world who are attuned to this singular moment in history, The Normal showcases international perspectives, including new ways of working with artists to produce works that respond to the imperatives of sustainability. Crucially, it looks to highlight how our laws, histories and communities are entangled with viruses, ecosystems and each other, foregrounding the role that art plays in envisaging different relationships to worlds that have yet to emerge.
James Webb, There’s No Place Called Home (Edinburgh), 2021. Courtesy Talbot Rice Gallery
A month of free films (by Palestinian women) for a free Palestine, with woks by Jumana Manna, Basma Alsharif, Rosalind Nashashibi, Razan AlSalah, Mahasen Nasser-Eldin, Larissa Sansour, Emily Jacir, Mona Benyamin, Lokman Slim/Monika Borgmann, Pary El-Qalqili, Layaly Badr, Shuruq Harb, Mai Masri & more tbc!
“Dos Instalaciones” present two strong and complex installations with a vibrant spatial presence. Stemming from different political, historical and sentimental contexts, each work highlights a crisis of a failing idea of modernism and the consequences therefore, we have to face nowadays. They remind us of an urgency, fragility and a lack of balance.
Espacio Temporal is an independent exhibition space that aims to create dialogues between contemporary artistic practices from Latin America and the Caribbean with the European context. Espacio Temporal, an initiative of Sofía Lanusse and Iván Argote since 2019, is installed inside Argote’s studio in Pantin.
Image: Alia Farid, In Lieu of What Was, 2019. Installation view © Espacio Temporal
The videos featured in In-Between Days explore themes of isolation, confrontation, and occupation—states of being that have come to set the terms of daily life for many. Several portray solitary or paired figures engaged in moments of struggle, perseverance, or introspection. Some consider ways that historical systems of power are embedded in architecture and the land. Others depict realms of fantasy, offering moments of respite through dreamlike or abstract images.
Ali Cherri, The Digger, 2015. Installation view In-Between-Days, 2021. Photo : David Heald © Solomon R. Guggenheim Museum
Ali Cherri is the second Artist in Residence to be chosen since the launch of the Gallery’s new Modern and Contemporary Programme, following the first appointment of Rosalind Nashashibi in 2019.
The award is a collaboration with the Contemporary Art Society, while the UK Partner Museum for this residency will be the Herbert Art Gallery & Museum, Coventry, marking the Coventry UK City of Culture 2021.
Organized by the Museo Nacional Centro de Arte Reina Sofía, in collaboration with Mathaf: Arab Museum of Modern Art – Qatar Museums and Qatar Foundation
Curated by Manuel Borja-Villel and Abdellah Karroum
Younès Rahmoun, Jabal-Hajar-Turab #9, 2017. Exhibition view: Sharjah Biennial 13, An unpredictable expression of human potential, Beirut Art Center, Beirut. Photo: Marco Pinarelli.
THIS IS NOT AFRICA – UNLEARN WHAT YOU HAVE LEARNED disrupts a conventional and stereotypical western narrative of Africanness. It includes works that in various ways parody, break through, deconstruct or establish new cognitive parameters and forms of expression. By way of exception, ARoS is going to create an art satellite in close collaboration with the ambitious and artistic powerhouse SCCA and Red Clay in Ghana.
Sammy Baloji, Kasala: The Slaughterhouse of Dreams or the First Human, Bende’s Error, Imane Farès, Paris, 2020. Photo © Tadzio
Truth and fiction, and the dissonance between imagined futures and contemporary existence are powerfully interpreted through the photographs of Sammy Baloji and Ade Adekola. Through their work, the exhibition Reframing the Exotic examines the impacts of economic imperialism and globalisation, and the devastating and consequential effects on natural resources, the environment and black communities
Image: exhibition view, Cairns Art Gallery, 2021
Born out of the collaboration between the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech and the National Museum of the History of Immigration in Paris, the exhibition What is forgotten and what remains explores the concept of transmission through the works of eighteen artists from the African continent and its diasporas. It brings together heritage and movement, addressing questions of frontiers and migration, of links between generations, of history and memory on both sides of the Mediterranean and within the African continent. Paintings, weavings, sculptures, videos, installations, performances, some commissioned from artists representative of the vitality of African art, focus equally on exchanges and ruptures, on that which is forgotten, omitted, rendered invisible.
Curated by Meriem Berrada & Isabelle Renard
Image: Sammy Baloji, Retour à l’authenticité, vue de la Pagode du Président Mobutu, N’sele, Kinshasa, 2013. Exhibition view © Palais de la Porte Dorée, Photo Anne Volery
“As lockdown momentarily silenced the cities and stopped traffic, people started to notice nature in different ways. In this conversation with artists James Webb and Tonya McMullan, we explore how their works entangle with birds and bees respectively, thinking about what it means to be aware of, to communicate with, think through, negotiate and live alongside other species.” Talbot Rice Gallery, Edimburgh
Zoom Webinar, Free admission and online booking
James Webb, There’s No Place Called Home (Edinburgh), 2021. Courtesy Talbot Rice Gallery, photo: Sally Jubb
Based on the results of a questionnaire circulated in Reims and beyond, the artist composed a beer whose flavour relates the respondents’ relationship to social and political engagement. This gastronomic creation, produced in collaboration with SHED/Senses Brewing, will be accompanied by a musical intervention by the artist, who uses sound to decipher and reformulate the scores of stories to be rewritten.
Emeka Ogboh at the Cleveland Museum of Art © The Darkroom Co. 2018
The 5th edition of SI’s annual Architecture and Design Series, entitled The Space Between Classrooms, is curated by artist Alia Farid. The exhibition will feature newly commissioned as well as existing works that respond to educational infrastructures, interrogate prescribed learning, and seek to redraw parameters of knowledge.
With works by: Olga Casellas, Marco Abarca, Khalid Al Gharaballi, Alfred Roth, Nuria Montiel, Mohamed Bourouissa, Sofía Olascoaga, Atelier Aziz Alqatami, Gala Porras-Kim, Abdullah Al Mutairi, Jumana Manna, Haig Aivazian, Oscar Murillo, and Cecilia Vicuña
Suna and İnan Kıraç Foundation Pera Museum in Istanbul bids farewell to 2020 with an exhibition highlighting the global crisis under the influence of the pandemic. “Crystal Clear”, curated by Elena Sorokina, brings together the works of twenty artists from different countries and generations who engage with the questions of transparency and opacity, earth and de-growth, and the extractive logic that we have to challenge.
Image: Sammy Baloji, Détail de site d’extraction artisanale #2, 2012, from the series Kolwezi
Villa Médicis — Villa Kujoyama — Casa de Velázquez
Image: Sammy Baloji, Tales of the Copper Cross Garden, Episode 1, Photo © Louise Quignon – Hans Lucas pour le festival ! Viva Villa!
The Rmn – Grand Palais is taking part in the Africa 2020 Season by inviting the artist Sammy Baloji to create two exceptional sculptures for the pedestals of the facade of the Grand Palais, on the Champs-Elysées-Clemenceau side., cur. Chris Deacon.
Image: Sammy Baloji, Johari – Brass Band, 2020. © Collection Grand Palais, photo Didier Plowy
The Kunstmuseum Ravensburg is showing for the first time in Germany the haunting sound and light installation The Way Earthly Things Are Going by Emeka Ogboh which the Nigerian artist conceived for documenta 14 in Athens in 2017.
Image: Emeka Ogboh, The Way Earthly Things Are Going, Kunstmuseum Ravensburg, 2020. Photo © Wynrich Zlomke
James Webb participates in Audiosphere. Sound Experimentation 1980-2020 with a new commissioned work, cur. Francisco López.
The exhibition “looks to cover an historical and cultural void in terms of the recognition, exhibition and analysis of a key part of the recent changes that have taken place in the artistic conception of sound creation.”
Sammy Baloji and Sinzo Aanza are taking part in the collective exhibition Kinshasa, la ville vue par ses artistes contemporains, cur. : Dominique Malaquais, Sébastien Godret, Fiona Meadows, Claude Allemand, and Éric Androa Mindre Kolo.
Cité de l’architecture & du patrimoine, Paris, France — co-produced with MIAM, Sète
Image: Sinzo Aanza, Épreuve d’allégorie, 2017. ph. Gaston Bergeret – Cité de l’architecture et du patrimoine, Paris, 2020.
Ali Cherri participates in the collective exhibition Comme un parfum d’aventure at macLYON, cur. by Marilou Laneuville and Matthieu Lelièvre.
“”With a Hint of Adventure” is an exhibition directly inspired by the recent collective, worldwide experience of confinement, which was imposed more or less simultaneously for health reasons on the majority of people on the planet. Its main thrust is an exploration of the question of travel, whether impeded or imposed, voluntary or provoked, individually or in a group, and the consequences of it for those affected. It takes the form of an investigation across history, drawing on the collections of the Lyon Musée des Beaux-Arts and the Musée d’Art Contemporain (macLYON)”
macLYON, Lyon, France
Image: Ali Cherri, The Flying Machine, 2017. Installation view: MACLyon, 2020 © Photo Blaise Adilon.
“An evening that takes us from Beirut, Lebanon’s Beqaa Valley, Gaza and Jerusalem to Spitsbergen, Iceland, Brittany and the Mojave Desert. Featuring films by artists who look at landscapes from the perspective of recollection and exile, such as Basma Alsharif’s experimental film Ouroboros (2017) and Mira Adoumier’s visual essay Errans (2019)”
The evening is curated by Nat Muller, guest curator of the exhibition “Trembling Landscapes: Between Reality & Fiction”. With an introduction by Lara Khaldi. Followed by a Q&A with Basma Alsharif.
Image: Basma Alsharif, Ouroboros, 2017. Installation view.
Ali Cherri is taking part in the exhibition The Park: Becoming a Body of Water, one of the exhibitions of “Traits d’union.s”, the central program of Manifesta 13 Marseille.
This exhibition will look at the links between nature and culture, between human beings and other living creatures, based on the history of the two museums. The artists involved in this project are Minia Biabiany, Center for Creative Ecologies (collective composed by Isabelle Carbonell, Hannah Meszaros Martin, T. J. Demos), Ali Cherri, Peter Fend, Mathieu Kleyebe Abonnenc, Amy Lien & Enzo Camacho, Reena Spaulings.
Musée des Beaux-Arts and Museum of Natural History, Marseille, France
Image: Ali Cherri, The Gatekeepers, 2020. © Jean Christophe Lett / Manifesta
Ali Cherri participates in the collective exhibition La vie des tables at the Centre d’art contemporain d’Ivry – le Crédac, coproduced by Festival d’Automne à Paris, cur. Claire Le Restif.
“Whether in the kitchen, workshop or office, tables embody the place where intuitions take shape and are sometimes the only place where artists can work. La vie des tables pays tribute to this relationship with the “work table” – a place of refuge, play-area and obligatory passing-place.”
Centre d’art contemporain d’Ivry – le Crédac, Ivry-sur-Seine, France
Image: Ali Cherri, La Mort dans l’âme, 2020, Photo: Marc Domage / le Crédac
Eye presents a group exhibition that explores landscape with some of the Arab world’s most prominent artists who work with film and video. In this exhibition, the participating artists challenge and reshape views of the region by drawing on a host of complex and entangled issues, ranging from geography and conflict to belonging. Including works by Basel Abbas & Ruanne Abou Rahme, Heba Y. Amin, Jananne Al-Ani, Ali Cherri, Joana Hadjithomas & Khalil Joreige, Mohamad Hafeda, Larissa Sansour, Hrair Sarkissian, and Wael Shawky.
Curated by Nat Muller in collaboration with Jaap Guldemond and Marente Bloemheuvel.
Image: Ali Cherri, Trembling Landscapes, 2014. Installation view: Eye Filmmuseum © Studio Hans Wilschut
The exhibition presents works from the MMK collection ranging in date from the early 1960s to the present, including some of the museum’s newest acquisitions.
TOWER MMK, TaunusTurm, Frankfurt am Main
Image: Sammy Baloji, Tales of the Copper Cross Garden: Episode I, 2017, MUSEUM MMK FÜR MODERNE KUNST, photo: Axel Schneider
Sammy Baloji, Mohssin Harraki and Younès Rahmoun are taking part in the exhibition Global(e) Resistance, pour une histoire engagée de la collection contemporaine, de Jonathas de Andrade à Billie Zangewa, cur. by Christine Macel, Alicia Knock and Yung Ma.
The exhibition Global(e) Resistance unveils for the first time the works of more than sixty artists gathered over the last decade, the majority of whom come from the Global South (Africa, Middle East, Asia, Latin America) and aims to examine contemporary strategies of resistance.
Global(e) Resistance also poses theoretical questions that range from the articulation of aesthetics and politics to the very relationship between the museum and politics within the art world.
Musée national d’art moderne/Centre Pompidou, Paris, France
Exhibition view: Global(e) Résistance, Centre Pompidou, Galerie d’art graphique, Galerie du musée, Galerie 0 – Musée, niveau 4, Paris. 29 juillet 2020 – 4 janvier 2021. Crédit photo : Centre Pompidou/Audrey Laurans
Sammy Baloji is taking part in the annual exhibition of the residents of l’Académie de France in Rome, cur. Lorenzo Romito
Image: Sammy Baloji, Mfuba’s extract, 2020, acrylic painting on paper. Installation view: French Academy in Rome – Villa Medici. Photo © Daniele Molajoli. Académie de France à Rome – Villa Médicis
Imane Farès s proud to announce its participation to the 7th edition of Paris Gallery Weekend, the annual highlight of modern and contemporary art in Paris.
Some forty modern and contemporary art galleries warmly invite you to discover their exhibitions around a rich and festive programme that fosters encounters with art world key players. Routes are designed to guide visitors from one gallery to another.
Sammy Baloji is taking part in the collective exhibition “À toi appartient le regard entre et (…) la liaison infinie entre les choses” (“Who Is Gazing?”) at musée du quai Branly – Jacques Chirac, cur. Christine Barthe.
Photography, video, installation: for the first time, the musée du quai Branly – Jacques Chirac is dedicating a major exhibition within its walls to contemporary images in all their forms. In the wake of its residency programme and surveys conducted over the last ten or so years, the exhibition presents twenty-six non-European artists from a variety of backgrounds, both young and emerging talents.
Musée du quai Branly – Jacques Chirac, Paris, France
Photo: Alessandra Bello
James Webb participates in freq_wave: 7 seas, a collaborative, online sound installation conceptualised and curated by Carl Michael von Hausswolff, co-curated by Alonso Vázquez, and supported and commissioned by the TBA21 Academy.
Like a sonic cadavre exquis, each freq_wave is formed from the work of 12 artists invited to compose audio pieces within separate, strict frequency bands. The pieces are made in isolation to one another and are brought together in the environment of an online mixing desk where the audience can perform the 12 compositions simultaneously. For this, the fourth iteration, all the audio has been created with, and in response to the conceptual and auditory dynamics of the Mid-Atlantic Ocean.
Participating artists: Christina Kubisch, Stephen O’Malley, Thierry Charollais, Felix Blume, James Webb, Christine Ödlund, Tim Story, Christopher Chaplin, Mike Harding, Schneider TM, Jacob Kirkegaard, and Kent Tankred.
James Webb is taking part in the outdoor, summer exhibition Konst i Ån, taking place in and around the Norrtälje river, cur. Helén Hedensjö (Norrtälje Konsthall).
One of the pieces is Untitled (duet with one singer missing) which takes Olivier Messiaen’s duet, “La mort du nombre,” and presents it with just one singer. The reduction of the original piece creates a situation where the soprano’s part is primary, and the reading of the song’s dialectical lyrics becomes altered due to the absence of those of the tenor.
The artwork is broadcast along the river, close to Lilla Brogatan, daily on the half hour from 12am to 6pm.
Norrtälje Ån, Sweden
Sammy Baloji is taking part in the 22nd Biennale of Sydney, cur. Brook Andrew.
For his research project at NIRIN, he draws on these earlier works by confronting two operational cultural modes (the kasalaand lukasa) to critically approach the imposition of identity frontiers during the colonial period. Thus, his artistic research aims to capture these pre-colonial political and aesthetic codes and to create narrative devices, including the postcolonial socio-political framework.
Cockatoo Island, Sydney, Australia
Sammy Baloji, Kasala, The Slaughterhouse of Dreams or the First Human, Bende’s Error, 2019. 22nd Biennale of Sydney (2020), Cockatoo Island. Photo: Zan Wimberley.
James Webb is taking part in the collective exhibition Ernest Mancoba — An Artist and His Legacy, cur. Joanna Sandell
Södertälje Konsthall, Södertälje, Sweden
James Webb, Invisibilia, 2018. Photo: Tadzio
Alia Farid’s At the Time of the Ebb is part of the new collections’ display of the Bonnefantenmuseum: Beating around the bush #6: Scenes from the Anthropocene. Since 2014, the Bonnefanten has been presenting its collection in an explorative way in the exhibition programme Beating around the bush. In different episodes, both the fixed values and the ‘quiet reserve’ of the collection are brought into dialogue with new and proposed acquisitions.
Bonnefantenmuseum, Maastricht, The Netherlands
Alia Farid, At the Time of the Ebb, Witte de With Center for Contemporary Art, Rotterdam. Photo: Kristien Daem.
Ali Cherri is taking part in the exhbition “Orientalism, The construction of images of the Near East and of North Africa (1800-1956)” at IVAM, l’Institut Valencià d’Art Modern, cur. Rogelio López Cuenca and Sergio Rubira.
“This exhibition seeks to analyse and question some of those commonplaces in the images that were produced between the time of the Napoleonic campaign in Egypt and Syria (1798-1801) and 1956, the year when Morocco and Tunisia gained their independence. The show highlights the way in which avant-garde movements established relationships with Oriental “exoticism” in their attempt to break away from the canon of tradition.”
Ali Cherri, Hybrids (E), 2018
Alia Farid is taking part in the collective exhibition Glass and Concrete – Manifestations of the Impossible, cur. Friederike Fast
Marta Herford, Museum für Kunst, Architektur, Design, Herford, Germany
Alia Farid, Ma’arad Trablous, 2016, video still. © Alia Farid
Sammy Baloji and Younès Rahmoun are taking part in the collective exhibition “Our World is Burning“, cur. Abdellah Khartoum and Fabien Danesi
The exhibition Our World is Burning offers a fully political view of international contemporary creation seen from the Gulf, where wars and diplomatic tensions have constantly determined the history of the early 21st century. The title explicitly refers to the human disasters generated by the successive conflicts in this region, while bringing in as broadly as possible the ecological catastrophes…
Palais de Tokyo, Paris, France
Younès Rahmoun, Nafas (Breath) and La-Nafas (Non-Breath), 2001. “Our World is Burning”, Palais de Tokyo, 2020. Photo: Aurélien Mole
Alia Farid is taking part in the collective exhibition Never Spoken Again: Rogue Stories of Science and Collections, cur. David Ayala-Alfonso, prod. Independent Curators International (ICI)
MSU Broad, East Lansing, USA
Alia Farid’s first solo exhibition in the Netherlands, cur. by Rosa de Graaf, with a new commission in partnership with The Power Plant Contemporary Art Gallery, Toronto, Canada, and Contemporary Art Museum St. Louis, United States.
Alia Farid, Maske Paske Wi, 2020, two-channel video-loop. Co-commissioned by Witte de With Center for Contemporary Art, The Power Plant Contemporary Art Gallery, and Contemporary Art Museum St. Louis. Installation image: Alia Farid, a solo exhibition at Witte de With Center for Contemporary Art, Rotterdam. Photographer: Kristien Daem.