James Webb’s work is characterized by a poetic sensibility, an exploration of multiple histories, mythologies, places and contexts. Now Liljevalchs welcomes James Webb’s first major solo exhibition in his new hometown of Stockholm – The Moon Will Not Stay Hidden Forever.  

With The Moon Will Not Stay Hidden Forever, Webb takes on Sweden, Stockholm and Liljevalchs with his site-specific interventions and installations. Some of the artworks that visitors will encounter are a Viking sword transformed by a series of personal questions, an ensemble singing an 873-year-old hymn inside R1’s nuclear reactor hall, flags made from a vision of a saint, and the song of an alien bird in the Blue Gate garden.

Out in the garden between Liljevalchs and the Blue Gate, you can hear the song of a brown southern shark, native to Tasmania. Webb’s family was sent to Tasmania as convicts in the early 1900s. It is likely that the artist’s ancestors heard the bird’s song, and by placing the song in Liljevalch’s garden in Webb’s new hometown of Stockholm, a circle of movement through time and space is completed.

On Earth features five artists who use moving images to explore the complex relationships between humans and the natural environment. The film and video works in this exhibition present land as a central figure, introducing themes of temporality, ritual, memory, territory, loss, and birth. Offering critical readings on the often destructive relationship between humankind and the earth, the artists also advance visions for alternative futures. The artworks directly engage with challenging realities, while acknowledging the joy, creativity, and growth that a relationship with land can provide.

Dremless night is Ali Cherri’s first solo exhibition in a French institution. The exhibition features a new video work entitled The Watchman (2023), as well as a series of original sculptures and drawings produced especially for the show. These works relate to symbolic elements and characters from the film, as well as to the geographical and cultural landscape of Cyprus.

Basma al-Sharif is nominated for the AWARE 2024 prize.

Sinzo Aanza nominated for the Future Generation Art Prize.

The “ENVISAGEMENT” exhibition at the Institut Giacometti brings together the works of Lebanese visual artist and video artist Ali Cherri and those of Alberto Giacometti, one of the great masters of modern art. Sharing with Giacometti a particular interest in the representation of the human head, the artist explores the notion of “envisagement”, a term referring both to the action of envisioning something, and to the evocation of the face.

This double meaning finds a particularly striking echo in Giacometti’s sculptures and paintings, where the human face is the motif of a ceaseless search as much as a realization in the making.

This exhibition will unveil new creations by Ali Cherri, most of them specially designed for the show. These new works will resonate with the rich selection of paintings, sculptures and drawings by Alberto Giacometti from the Fondation’s collections.

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.”
Shubigi Rao.

UK’s premiere of Ali Cherri’s new film The Dam, presented alongside the two previous chapters of his Telluric Trilogy, The Disquiet, 2013, and The Digger, 2015.

Screening of Chibayish followed by At The Time of The Ebb.
Chibayish was commissioned by Whitney Museum of American Art on the occasion of Whitney Biennial 2022: Quiet as It’s Kept curated by Adrienne Edwards and David Breslin.

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.

Cur. Nadia Yala Kisukidi and Sara Alonso Gómez; Artistic Director: Sinzo Aanza
Kinshasa, DR Congo

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

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.

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

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.

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.

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.

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.

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.

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

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.

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.

“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.

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.

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.

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.

Sammy Baloji invites Fiston Mwanza Mujila at De Singel, Anvers

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

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.

The two monumental sculptures by Sammy Baloji will be on display on the stage of the Blue Hall until June 2022.

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.

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

“Nothing here does not hear you” is a site specific, sound installation created from research made into the space formerly known as the 1820 Settler’s Monument.

This exhibition supports the liberation of Palestine. The exhibition pays tribute to those who resist.

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.

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”.

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.

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

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.

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.

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.

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.

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.

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

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)

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.

On the themes of memory, restitution and transmission, nine contemporary artists invite us to reflect on the African heritage that has been forcibly uprooted since colonization.

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

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.

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.

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 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

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.

The exhibition will feature a video, Somniculus, a lightbox, Still Life, and a sculpture, Grafting (F).

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

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

“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

Private and public collections: MRAC Occitanie / Frac nouvelle-aquitaine MéCA / Artothèque du lot

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.

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.

Villa Médicis — Villa Kujoyama — Casa de Velázquez

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.

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.

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

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.”

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

“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.

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

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

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.

Other Tales is Sammy Baloji’s first solo exhibition in both Sweden and Denmark, curated by Matteo Lucchetti
Kunsthal Aarhus, Aarhus, Denmark

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

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

Sammy Baloji is taking part in the annual exhibition of the residents of l’Académie de France in Rome, cur. Lorenzo Romito

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

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 22^nd 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

Cinema platform Vdrome is screening Alia Farid’s At the Time of the Ebb (2019), commissioned by Sharjah Art Foundation, with a conversation between the artist and curator Claire Tancons.

Online screening of the artist’s first feature film, with a special introduction
KW Institute for Contemporary Art, Berlin, Germany

James Webb is taking part in the collective exhibition Ernest Mancoba — An Artist and His Legacy, cur. Joanna Sandell
Södertälje Konsthall, Södertälje, Sweden

Ali Cherri’s Petrified/Fragments (I) is part of the new collections’ display of MAC VAL : « Le vent se lève »

MAC VAL, Musée d’art contemporain du Val-de-Marne, Vitry-sur-Seine, France

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

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.”

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

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

Emeka Ogboh is taking part in the exhibition Amuse-bouche. The Taste of Art, cur. Annja Müller-Alsbach
Museum Tinguely, Basel, Switzerland

Other Tales, first personal exhibition of Sammy Baloji in Scandinavia, cur. Matteo Lucchetti
Lunds Konsthall, Lund, Sweden

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.

Sammy Baloji and Emeka Ogboh art taking part in the collective exhibition Tell me about yesterday tomorrow, cur. Nicolaus Schafhausen

Munich Documentation Centre for the History of National Socialism, Munich, Germany