mfc MichÚle Didier | Editor - Gallery, News

RED AND GREEN AND BLUE MORE OR LESS is dedicated to the work of Lawrence Weiner (New York, 1942 – 2021) whose oeuvre is built around the sculptural possibilities of language.

The exhibition highlights the radical position of Weiner, taking as its starting point Weiner's artistic practice of the 1960s and 1970s. This was a time when the prevailing notions of art, the role of the artist and the collector were critically interrogated, as were traditional structures like museums, galleries and art fairs. As an artist and thinker, Weiner represents a key figure both within this period and within the collection of Annick and Anton Herbert.

RED AND GREEN AND BLUE MORE OR LESS shows how Weiner's work can be installed on a wall; can be translated to books, posters or videos; or can be recorded as audio. By bringing about a dialogue between the different presentation forms, visitors are introduced to his multifaceted oeuvre.

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Image: magazine, Avalanche, No. 4, Spring, New York, 1972

Jenny Holzer has long used language as her primary medium, engaging words and phrases as tools for personal and political examination. Her presentation in Room 2 includes drawings, paintings, LED signs, and plaques alongside the monumental installation The Child Room, 1990. Originally commissioned for the US Pavilion at the 44th Venice Biennale, The Child Room combines vertical scrolling LED elements with a custom engraved marble floor featuring an original text by Holzer. This is the first time the work has been on view since 1993.

During the evenings of November 6–9, a 3-channel light projection by Jenny Holzer will be presented in the Water Court. Titled what you love, the new work was made specifically for Glenstone and compiles texts from luminaries such as June Jordan, Anna Świrszczyńska, and Sappho.

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Image: The Child Room, 1990 © 2025 Jenny Holzer, member Artists Rights Society (ARS), New York

74th Arts invites you to attend Where Art Finds a Home

conversations with Artists Residency Founders

Christine Mack, Mack Art Foundation

Sophie Sofer, The Fores Project

Michaela Spiegel, Centre Pompadour, Feminist Laboratory

moderated by Jérôme Sans

Tuesday, October 21, 2025: 17:30 – 18:30

Cocktail dînatoire: 18:30 – 19:30

Casa Tua, J.K. Place Paris, 82 Rue de Lille, 75007 Paris

Please RSVP by clicking HERE

Humour, art and feminism in the 1970s: at LAAC Dunkerque, art is shaking up the rules. And while the big players laugh nervously, the little ones are building something different.

Irreverent collages, poignant videos, punchy slogans... Since the 1960s, feminist artists have taken humour seriously – but never without self-deprecation. They subvert clichés, turn injunctions on their head, parody sexist norms, and poke fun at imposed roles. The exhibition brings together nearly two hundred works and archives that advocate a different form of resistance: through biting irony, joyful absurdity, visual satire—and a great deal of lucidity. 

Martha Wilson exhibits one of her iconic works, Thump.

For Martha Wilson, humour serves to deflate authority: parody, cross-dressing, photography, performance – we laugh, and stereotypes falter. Thump is a perfect demonstration of this.

Curator: Camille Paulhan with Hanna Alkema, assistance Margaux Savignac.

Opening: Saturday, 18 October, 7 p.m. (free admission)

LAAC, Lieu d'Art et Action Contemporaine: 302 Avenue des Bordées, 59140 Dunkerque – Nord – Hauts-de-France. T + 33 3 28 29 56 60

www.musees-dunkerque.eu

@museesdedunkerque

Image: Martha Wilson, Thump, 2016

Elsa Werth has created a “total” or “immersive” installation designed for the Été 78 creative space, combining sounds, visuals, sensations, art, and craftsmanship to enable us to address the passing of time and question it—with a twist, poetry, and humor.

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Visual: Elsa Werth

On October 16, the L Museum is organising a study afternoon in honour of Peter Downsbrough's work. It will be held in the L Museum Auditorium from 2pm to 6pm.

Peter Downsbrough was one of the most remarkable artists of his generation. For over sixty years, he developed a rich and varied body of work, exploring in an original and unique way the relationship between time and space, between language and image. During this day, Peter Downsbrough's work and persona will be honoured through two presentations, a round table discussion and the presentation of some of the artist's works created for his solo exhibition at the Musée L in 2009.

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Photo: Peter Downsbrough, San Francisco, 2005. Photograph, 30.4 × 40.4 cm. Musée L, Louvain-la-Neuve, inv. AM1189

Otras miedos (Other fears) is the title of the exhibition that the University of Navarra Museum is dedicating to Antoni Muntadas, one of the most important contemporary artists of his generation, who has articulated his work as an expression of critical spirit, the media landscape and the intersection of art with various disciplines and methodologies.

The exhibition is organised around a new work, presented to the public for the first time, produced by the Museum as part of its Tender Puentes artist residency programme. Entitled Entre miedos (Among Fears, 2022–2025), it is part of a project, a series of works begun by the artist in 2005, which analyses the ways in which Western societies have positioned fear as one of the main political arguments since the beginning of the 21st century.

Curator: Bartomeu Marí

Save the date: Masterclass with Antoni Muntadas and Bartomeu Marí, curator of the exhibition.

October 15, 2025 at 7pm

Teatro MUN

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2025 Jubilee in Rome, the French Academy in Rome – Villa Medici presents the exhibition SHARED SACRED SITES. The show brings together major works from French, Italian, and Vatican collections placed in dialogue with contemporary creations. From Gentile da Fabriano to Marc Chagall, via Le Corbusier, it seeks to shed light—through works of art—on a sometimes little-known yet very present religious phenomenon in the Mediterranean: sanctuaries shared by worshippers of different religions.

The duo Brognon Rollin is participating in this exhibition with the work The Agreement.

Curators: Dionigi Albera (anthropologist, CNRS), Raphaël Bories (curator, Mucem), Manoël Pénicaud (anthropologist, CNRS / CJB Rabat)

The exhibition is conceived and co-produced by the French Academy in Rome – Villa Medici, the Mucem (Marseille), and the French Embassy to the Holy See – Pious Establishments of France in Rome and Loreto, based on an original exhibition by the Mucem.

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Image: Brognon Rollin, The Agreement, 2015.

John Baldessari (1931-2020) was a giant of contemporary art, whose codes he turned upside down. This autumn, Bozar is offering an essential insight into his work, a must for anyone wanting to grasp the subtleties of the avant-garde in the second half of the 20th century.

This exhibition is one of the first in Europe since his passing. It focuses more specifically on his work during the 1980s, which was also the decade of profound breakthroughs that saw the artist emancipate himself from convention. Known for his assemblages of cropped and colourised photos and films, Baldessari constantly blurred visual boundaries, questioning artistic practice and teaching.

Curated by Rita McBride, Bartomeu Marí, David Platzker

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Image: John Baldessari, Arms and legs (specif, elbows & knees),etc, part (one) : arm and leg (with column) © John Baldessari 2007, Courtesy Estate of John Baldessari © 2025; Courtesy John Baldessari Family Foundation; Sprüth Magers 

Two former gallerists from Cologne, Paul Maenz and Gerd de Vries, have donated around 900 works dating from 1960 to the present day, to the Kupferstichkabinett (Museum of Prints and Drawings) and the Graphische Gesellschaft zu Berlin – Freunde des Kupferstichkabinetts. The two donors' civic engagement is now honoured with the YES TO ALL exhibition.

The exhibition comprises a selection of 200 works, including drawings, sketches, portfolios of estampes, collages, posters, letters and postcards, which encompass the gifts' principal facets.

The tour through the exhibition begins with a section on language-based works of conceptual art from the 1960s and 1970s. This art constituted the starting point for Paul Maenz's and Gerd de Vries' gallery activities in 1970 and is correspondingly well represented by the donation.

Around thirty artists are featured, including Robert Barry with a work on paper, complemented by recent works by Saâdane Afif and Michelangelo Pistoletto.

Concept for the exhibition and catalogue: Dr Jenny Graser, curator of contemporary art 2020–2024, Kupferstichkabinett ‒ Staatliche Museen zu Berlin

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Images: 1. Saâdane Afif, The Speaker's Corners of Hamra street (poster), 2011. 2. Robert Barry, Untitled (Omnidirectional Drawing), 1987© Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz 

The Bourse du Commerce is setting into motion.

In the Passage, dive into the work of On Kawara starting September 10, 2025.

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For ten years, Christian Marclay collected film clips in which doors open or close. In the video installation Doors (2022), he edits them so that actors appear to walk, via an apparently infinite succession of doors, from one space into the next. Each cut occurs precisely at the moment someone passes through a doorway, granting access not only to the next film fragment but also to its new soundscape. Thanks to the virtuoso montage, the work unfolds as an almost labyrinthine odyssey, door after door.

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Image: Christian Marclay, Doors, 2022, collection museum Voorlinden

Both cooking and making art are creative transformation processes. It is therefore not surprising that numerous artists are intensively involved with the preparation of food, work with organic materials, run restaurants and even write food manifestos. The exhibition shows works from 1960 to the present day.

Carsten Höller participates, among other artists, with a provocative work entitled Kinderkotze (Child Vomit), 1992.

The exhibition is a cooperation with the Kunsthalle Nürnberg.

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Image: Carsten Höller Kinderkotze (Child Vomit), 1992. © Carsten Höller. Courtesy of the Artist

Ghislaine Portalis Ambivalences / Jacques Vieille À l'épreuve

Nadine Descendre and Philippe Cazal are pleased to present two works that reflect the major issues of our time. While not contradictory, they are clear evidence that the uncertainties we face today are of all kinds.

Jacques Vieille, sculptor of living things and buildings, subverts the codes of architecture and gardens, the agricultural world, construction and sometimes even industry. Columns, ruins, reed fencing: his materials are humble but highly evocative. A demanding and profound art of sculpture. The antique becomes contemporary.

Ghislaine Portalis, an artist working with textiles, paper and domestic disturbances, explores the codes of femininity, eroticism and violence. Her biting works, entitled ‘black and roses', deconstruct appearances. Between the 18th century, feminism, embroidered objects and booby-trapped installations, she weaves an ambivalent and critical aesthetic. Beauty becomes a weapon.

For more information

Visits by appointment. Contact: artlab.gers@gmail.com

To confirm your visit (alone or accompanied), please provide your contact details and a map will be sent to you.

Image: Ghislaine Portalis, Sainte-Agathe, 2025 (2023), Jacques Vieille, Dix cyprés, 2025 (1986)

The exhibition "Feministische Avantgarde. Werke aus der SAMMLUNG VERBUNG, Wien" shows the radical feminist art movement of the 1970s. The international women artists share a collective consciousness which, for the first time in art history, completely re-evaluates the “image of the woman” and turns to new forms of expression such as photography, performance, film and video. Their works are provocative, poetic and ironic.

Gabriele Schor, founding director of the SAMMLUNG VERBUND, coined the term “feminist avant-garde” for this feminist art movement to emphasize the pioneering work of these artists. The women called for issues such as pregnancy, marriage, the right to abortion, equal pay for equal work and violence against women to be made public. Issues that are still relevant today.

Lynda Benglis and Martha Wilson are among the artists invited to participate in this exhibition. They will be exhibiting the following works:

Lynda Benglis, SELF, 1970-1976 (#3 and #7 from the portfolio of 9 prints will be on display)

Martha Wilson, A portfolio of models, 1974

Curated by Inka Schube 

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Come and travel to the Land of Unicorns!

Set in the humanist environment of the château built by Claude Gouffier (1500-1570), Grand Squire to King Henry II, The Unicorns by Yona Friedman (1923-2019) are a reminder of Renaissance man's interest in the legendary animal.

Part of the décor from the artist's Parisian flat has been reinstalled at Oiron to create a ‘Cabinet of Unicorns', filled with a variety of figures. This opens onto the highest terrace of the château - exceptionally open to visitors - and the immensity of the plain.

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The Guggenheim Museum Bilbao presents the first comprehensive survey in Spain of American artist Barbara Kruger, whose bold, thought-provoking work has captivated audiences for over five decades. This expansive exhibition explores how Kruger harnesses the power of words and images to question the structures that shape our daily lives—identity, desire, truth, and control.

At a time when information is constant and truth feels increasingly unstable, Kruger's work encourages us to slow down, read closely, and think deeply. With wit, urgency, and visual precision, she reminds us that images speak—and so must we.

Curator: Lekha Hileman Waitoller

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In the British series The Invisible Man (1958), physicist Peter Brady accidentally becomes invisible following an experiment. Forced to to bandage his face in order to exist in the eyes of others to use this disappearance as a force force for action. Less visible, but just as active, he opts for a discreet, underground, subterranean form of intervention detached from the spectacular.

This exhibition builds on this idea of a presence in the hollow, echoing the notion of fugitivity developped by poet and thinker Fred Moten. For him, it's not a withdrawal but a refusal to be captured by dominant norms. The fugitive invents forms of collective and improvised lifes from the margins, resisting without revealing themselves. Being invisible sometimes means surviving differently, creating from the shadows, healing from the periphery.

As part of the Invisibles exhibition, Frac Bretagne is presenting, among others, two outstanding works: AA Bronson's Life and Works (2009) in the exhibition room, and Robert Barry's Art Lovers (2006) on the Fonds Wall.

These pieces, from the Fonds Multiples et éditions d'artistes du Frac since 2021, were published by mfc-michèle didier. They illustrate Frac Bretagne's commitment to contemporary art and art publishing.

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Graphic design: Studio deValence.

From 14 June 2025 to 2 February 2026, in an exceptional collaboration with the Musée du Louvre, the Centre Pompidou-Metz will be presenting an unusual exhibition dedicated to the creativity of copyists. Copying was central to the classical tradition. Copying the works of great artists is a tool for learning about the canons, techniques and stories. Absorbing their expertise and adopting their mastery is a pathway to knowledge and artistic creation, from the most academic to the most contemporary.

A number of artists have received the following invitation from the two curators: ‘Imagine a copy of a work of your choosing from the collections of the Musée du Louvre.'

Carsten Höller is one of the participants in this exhibition with a new Pill Clock, pills infused with microscopic residue from Jacques-Louis David's Portrait of Julie Récamier (1800), recovered during its restoration.

Curated by: Donatien Grau, Advisor for Contemporary Programmes at the Musée du Louvre and Chiara Parisi, Director of the Centre Pompidou-Metz

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Image: Carsten Höller, Pill Clock Jacques-Louis David: Portrait of Juliette Récamier, 1800-2025. Gelatine capsules containing solvent-extracted molecules from the fibers of Jacques-Louis David's painting, mechanical drop mechanism, control unit, water dispenser, Dimensions variable (increases over time as capsules accumulate). The image shows a previous work by the artist. Courtesy of the artist / Photo: Attilio Maranzano

Tai Kwun Contemporary presents On Kawara's exhibition Rules of Freedom, Freedom of Rules, featuring the publications I GOT UP, I WENT and I MET, wich made up the Trilogy, as well as ONE MILLION YEARS and I READ, produced and published by mfc-michèle didier.

Curated by Hou Hanru and Ying Kwok, with Jill Angel Chun

Discover the exhibition

Every postcard sent, every date painted, every journey mapped—On Kawara transformed these daily acts into a profound artistic language that speaks across time. His systematic documentation of existence, begun long before our era of digital sharing, uses the tools of his time—postcards, telegrams, calendars, and CDs—to mark his presence and connect with others in ways that remain startlingly relevant today.

On Kawara: Rules of Freedom, Freedom of Rules presents the artist's most iconic series, spanning five decades of work and marking the first institutional solo presentation of his work in the world conceived since his passing 10 years ago. Through distinct systematic approaches epitomised by his renowned Date Paintings, these works fundamentally reshape our understanding of time and existence.

The exhibition Peter Downsbrough - curated by Nicola Mafessoni - is conceived to occupy the entire gallery with wall pieces, sound and video pieces. It was thought of since the very early stages of settantaventidue's project, and is dedicated to an artist particularly dear to the gallery.

"Peter Downsbrough's works ask viewers to resituate themselves in order to make sense of them, and his minimalist approach explores the relationship between language and space, defining the intersections between construction and perception.
His classic Two Pipes exemplify his conceptual approach. Consisting of two simple metal pipes, one of standard length, the other one cut shorter. Positioned outdoors, vertically, parallel to one another, they emphasize the relationship between the objects, their spatial arrangement, and the viewer's perception. The work invites contemplation on how form, space, and the absence of overt narrative can create meaning..."

Curator of the exhibition : Nicola Mafessoni

@settantaventidue

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Laurent Marissal nominated for the Bob Calle Prize for his artist's book! 

We are delighted to announce that Laurent Marissal has been nominated for the prestigious Bob Calle Prize for his book Brecht & Brecht, published in 2022 by Les presses du réel / Al dante.

Portraits in 22 tableaux based on works and words by Bertolt & George Brecht - play fragments from a play, poems, theoretical extracts, interviews, events, comics, scenography, collage, images... This book is a proxemia, measuring the space “separating” the two artists, and underlining their concordance.

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"I thought it might be appropriate to begin these reflections by explaining that Mel Bochner and I were close friends, making this admission “in the interest of full disclosure.” But then I found myself entangled in a familiar trap: Mel would have had little use for the rhetoric of full disclosure, because there really is no such thing. And he would have disparaged the pretense of critical distance as at best a vain conceit that “full disclosure” can only pretend to waive."

> Read the article

Mel Bochner in his studio, Southold, NY, 2022. Photo: Sébastien Pluot.

Le printemps de Paul-Armand

POUR PAUL-ARMAND GETTE, POUR le poète des VOLCANS et du SUC des MUSES

POUR LE POETE DES NOMENCLATURES BOTANIQUES ET FRIVOLES

POUR LE POETE DES BANALITES EXOTIQUES

POUR LE POETE DES JARDINS SECRETS EN TOUS GENRES

Michel Giroud, February 2007

Like flowers and blocks of lava, Paul-Armand Gette's works have appeared in a multitude of places. From May 12, 2025, come and meet the constellation of these works and give yourself a nice present.

Exhibition venues and works displayed

Centre des livres d'artistes

De la perturbation, 1981

85 b/w photographic prints, 5 drawings, 5 photocopied prints, all mounted on sheets measuring

30 x 25 cm, including 1 title page.

Château d'Oiron

Le cabinet d'histoire naturelle, 1993

Permanent installation.

Lieu de Mémoire

La mémoire du souvenir, 2014

Permanent installation.

Musée d'Art moderne et contemporain de Strasbourg

De part et d'autre du fleuve. La pérennité du volcanisme rhénan, 1992

Installation presented as part of the permanent exhibition.

Musée Gassendi-Cairn Foyer d'art contemporain

Paul-Armand Gette et la géologie

Des cheveux de Vénus aux splendeurs de la nuit

Permanent installation dedicated to the works of P.A. Gette.

Centre Pompidou Musée national d'art moderne

Nouvelle contribution à l'étude des lieux restreints, 2025

Update of the piece at the Mnam (1986) and the Guggenheim Soho (1999).

Work located in the restrooms of the Centre Pompidou. 

incognito artclub

Pot-Pourri, 2007-2023 

michèle didier

Nympha Nocturna ssp. Rosea P.A.G., 1995

Cinématographies, 2017

Galerie Satellite

L'actualité du 0 m et ses rapports avec le petit linge, 2022 

Librairie-galerie Mouvements

Paul-Armand Gette, Ephemera

Librairie Yvon Lambert

Ten artists' books published by Yvon Lambert, 2014-2023.

Musée d'Art Moderne de Paris

Totem de lettres, 1965

Work displayed in the Cabinet de peinture by Niele Toroni.

Paul-Armand Gette, O m.

The Mothership is very excited to announce an upcoming show and performance by the Dirty Mirrors, a musical group of visual artists from NYC. Jon Kessler, Bill Komoski, John Miller, Aura Rosenberg and Dan Walworth are among them. They are carrying on a tradition of artists also playing in bands begun in earnest in the late 70s during the punk/no wave period. Back then there was no place in the commercial art world for serious young artists of the post-conceptual generation. In desparation erstwhile visual artists turned to live performances of music and art to get the attention of the audience they had no other access to.

Date: Saturday May 3, 2025 - Opening: 6 pm - Performance: 8 pm

@macpaulmc

The Mothership, 6 Sergeant Richard Quinn Drive – Woodstock, New York 12498

From 1 May 2025, Luma Arles unveils Danse avec les Démons, an exhibition curated by Philippe Parreno, among others. After a resounding success in Basel, the artist is once again transforming the space, combining installations, sounds and emotions in an unprecedented sensory experience.

Philippe Parreno, a master of conceptual and experimental art, is pushing back the boundaries of living art with works that engage in dialogue with the environment and the public. Among the key installations, don't miss Membrane 2 (2024) - a monumental tower where a formless character, embodied by the voice of actress Bae Doona, comes to life through sensors that react to its environment.

In the enchanting setting of the park designed by Bas Smets and the Main Gallery of the Tower, you will also discover works by Pierre Huyghe and Carsten Höller, among other artists.

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The exhibition is organized by LUMA Arles, in partnership with Fondation Beyeler:

At LUMA Arles, the exhibition is organized by Vassilis Oikonomopoulos, Artistic Director, Hans Ulrich Obrist, Senior Advisor at LUMA Arles, Tino Sehgal, Curator, Flora Katz, Curator, and Franny Tachon, Assistant Curator.
At Fondation Beyeler, the exhibition was curated by Sam Keller, Mouna Mekouar, Isabela Mora, Hans Ulrich Obrist, Precious Okoyomon, Philippe Parreno and Tino Sehgal in close collaboration with the participants.

Dear Eneas, when you invited me to show work at The National Exemplar's new location at the Amalgamated Dwellings, I first thought about the space.  Upon entering, you encounter a security guard.  When Aura and I came to see Nate Lowman's painting, the guard didn't know where the gallery was.  Most of the room was dark.  As our eyes adjusted to the dim lighting, we gradually could make out a stage in the back, then Nate's painting.  We asked about it, and the guard exclaimed, "Oh, the toilet paper painting!"

It struck me that "staging" a painting -- or any artwork -- is a rhetorical gesture.  In this case, a podium with a gavel at the front of the stage made this even more apparent.  We went up for a closer view of the painting, now lit by our iPhone flashlights.  Aura noticed a copy of an agenda for a co-op meeting on the podium.

Just a week before, one of my photo students at Barnard College showed me some of the work she was doing for the class, which happened to be photographing empty proscenium arch stages.  I told her this resulted in a frame-within-a-frame constellation, i.e., a kind of bracketing of artifice.  

The notion of theater and installation inevitably recalls Michael Fried's attack on minimal art as "theatrical," i.e., that which "lies between the arts" and is thus supposedly degraded. Subsequent generations of artists, including me, embrace such degradation as a realm of possibility.

Seeing Nate's show also made me think of the audience.  Besides the security guard, Aura and I were the only ones there, yet the presence of a ghost audience lingered on.  What is the power dynamic between those who speak and those who listen?  Given the current global turn to reactionary political regimes (in the United States, the MAGA swerve to fascism), I remembered Thomas Mann's allegory, "Mario and the Magician."  Mann portrayed the magician is a malevolent figure who exerts frightening, irrational control over his audience.  I decided to cast this figure as a child mannequin, in part to underscore the precarity of irrational powers -- precarious because they rest simply on a willingness to believe.

I'll call the child, clad as a magician, "The Totalitarian."  He will appear onstage against a backdrop depicting an imaginary stage.  Before him, I will scatter a deck of playing cards on the floor.  

John.

Dear Eneas, when you invited me to show work at The National Exemplar's new location at the Amalgamated Dwellings, I first thought about the space.  Upon entering, you encounter a security guard.  When Aura and I came to see Nate Lowman's painting, the guard didn't know where the gallery was.  Most of the room was dark.  As our eyes adjusted to the dim lighting, we gradually could make out a stage in the back, then Nate's painting.  We asked about it, and the guard exclaimed, "Oh, the toilet paper painting!"

It struck me that "staging" a painting -- or any artwork -- is a rhetorical gesture.  In this case, a podium with a gavel at the front of the stage made this even more apparent.  We went up for a closer view of the painting, now lit by our iPhone flashlights.  Aura noticed a copy of an agenda for a co-op meeting on the podium.

Just a week before, one of my photo students at Barnard College showed me some of the work she was doing for the class, which happened to be photographing empty proscenium arch stages.  I told her this resulted in a frame-within-a-frame constellation, i.e., a kind of bracketing of artifice.  

The notion of theater and installation inevitably recalls Michael Fried's attack on minimal art as "theatrical," i.e., that which "lies between the arts" and is thus supposedly degraded. Subsequent generations of artists, including me, embrace such degradation as a realm of possibility.

Seeing Nate's show also made me think of the audience.  Besides the security guard, Aura and I were the only ones there, yet the presence of a ghost audience lingered on.  What is the power dynamic between those who speak and those who listen?  Given the current global turn to reactionary political regimes (in the United States, the MAGA swerve to fascism), I remembered Thomas Mann's allegory, "Mario and the Magician."  Mann portrayed the magician is a malevolent figure who exerts frightening, irrational control over his audience.  I decided to cast this figure as a child mannequin, in part to underscore the precarity of irrational powers -- precarious because they rest simply on a willingness to believe.

I'll call the child, clad as a magician, "The Totalitarian."  He will appear onstage against a backdrop depicting an imaginary stage.  Before him, I will scatter a deck of playing cards on the floor.  

John.

As part of Fiesta, the 7th major edition of lille3000, the Centre Pompidou is taking over the Tripostal in Lille with the exhibition "Pom Pom Pidou"! Get ready for a playful and dazzling dive into the utopian spirit of the Centre Pompidou.

Spanning all three levels of the Tripostal, the exhibition draws from the Centre Pompidou's collection and masterpieces to unfold a striking narrative of modern and contemporary art. From the 20th century to today, the creative landscape has been in constant upheaval—shaken, disrupted, and marked by bold shifts and breakthroughs.

Along this chronological itinerary, enhanced by interdisciplinary dialogues (design, architecture, comics), the Centre Pompidou not only presents key works from its collection, but also honours its multi-disciplinary approach with new ideas for visitors. At the heart of the itinerary, visitors are invited to take part in a game designed by the artist Elsa Werth, echoing the game boxes created in the 1960s and 1970s by artists in the Fluxus movement. 

Curated by
Jeanne Brun, Deputy Director in charge of collections at the Centre Pompidou – MNAM;
Jean-Max Colard, Head of the Centre Pompidou Speech Department

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Image: Alain Séchas, Le mannequin, 1985 © Adagp, Paris. Photo: Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. GrandPalaisRmn

John Miller presents a recent iteration of his long-standing photographic project, The Middle of the Day, together with a related video work, Walking in the City, at Abattoir. It is the artist's first exhibition in Cleveland.

Miller came of age on the heels of Conceptual art, and is associated with the Pictures Generation; as such the photographic image remains important to his work across all media as an artist and critic. Societal observation and the role of the artist within it is a familiar subject for Miller

The artist will be present at the opening reception and a text by Michelle Grabner will accompany the exhibition.

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John Miller, Untitled (03-15-23), The Middle of the Day, 2023.

The Sobre About Asia exhibition by Muntadas at the Museo Casa de la Moneda explores representations, narratives, and cultural dynamics related to Asia. Through a critical and multidisciplinary approach, the artist examines the signs, symbols, and spaces that shape the perception of this continent.

Using video, photography, and installation, the exhibition questions the construction of identities and the circulation of images in a globalized world. The Museo Casa de la Moneda becomes a space for observation, where different realities unfold between memory and contemporaneity.

Curator: Agustín Pérez Rubio

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Sesc Pompeia São Paulo presents a new exhibition by Antoni Muntadas, Lugar Público.

In this exhibition, Muntadas (Barcelona, 1942) invites the public to reflect on the limits and transformations of shared spaces. Against a backdrop of increasing privatisation and surveillance, the exhibition occupies the living space of Sesc Pompeia to question urban transformations, such as the rejection of public space and the growing primacy of these environments by the private power of capital, as well as the right of access to collective spaces, which are increasingly rare.

Curator: Diego Matos

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The monumental sculpture Nude Wing (2011), a new arrival in the Mudam Collection, forms part of a string of works by Fiona Banner aka The Vanity Press (1966, Merseyside) in which the British artist appropriates and transforms military aircrafts, or parts of them. Taken from a Tornado combat aircraft, the wing used to create Nude Wing has been polished to such a degree that its immense surface reflects every detail of its surroundings – the space and the visitors within it. It stands vertically, like a monolith rising to the sky. Installed in the Grand Hall, the six-metre-high sculpture interacts with Ieoh Ming Pei's impressive glass and stone structure and the variations of light that suffuse it.

Nude Wing is presented in resonance with the new hanging of the collection.

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Fiona Banner aka The Vanity Press, Nude Wing, 2011. Photo: Jens Ziehe. © Galerie Barbara Thumm

The exhibition 8 projects – From Landscape to Interior explore the intersection of photography, landscape, and interior with 8 compelling portfolios by renowned international photographers. Curated by Jean-Paul Deridder, this one delves into the thoughtful and documentary-driven approach to the medium, showcasing the beauty in overlooked details and the beauty of analogue photography. It celebrates the narrative power of photography—be it in the serene landscapes of Sweden or the intimate interiors of Italy. Dive into a world where precision meets contemplation, and every frame tells a story.

The second edition of Peter Dowsbrough's first photography book, Two Pipes, Fourteen Locations, and 3 images of Longvilliers, will be on display.

Curated by Jean-Paul Deridder

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Claude Closky's work is mainly immaterial. Language is his model to articulate images, text, numbers, and sounds collected in our environment, or made in his studio. Although reluctant to producing objects and spectacular effects, Closky's work still addresses issues about visibility and space appropriation.

In its special issue 18 / March 2025, the art magazine PLACE publishes Claude Closky's work Doomsday Poker.

To discover HERE

Claude Closky, Doomsday Poker, 2025

Le genre idéal. En principe, une tentative d'épuisement. Exhibition of the 2025-2026 collection, new hanging.

The MAC VAL celebrates its 20th anniversary in 2025, marking an essential stage in the history of a museum that has been built around a unique collection of contemporary art, the fruit of more than 40 years of acquisitions.

The new display explores the hierarchy of artistic genres, a theme that originated with the historian André Félibien in 1667. The exhibition explores the five genres - history painting, portraiture, genre scenes, landscape and still life - and takes a fresh look at contemporary art.

The exhibition features works by Brognon Rollin, Claude Closky, Annette Messager and Mathieu Mercier, among others.

Commissioned by Nicolas Surlapierre
Co-curated by Yuan-Chih Cheng, Anaïs Linares, Margaut Segui and the teams at MAC VAL

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Brognon Rollin Salle d'attente. Photo © Aurélien Mole

Teamed, a workshop of the AIAC laboratory, organises a series of conferences open to all. This year's 24/25 cycle is entitled: Art, Economy and Capitalist Realism.

Join us for a talk by EvaBarto, artist and co-founder of La Buse, Ludovic Chemarin©, represented by Damien Beguet, and Laurent Marissal, painter without paint.

Tuesday 18 March 2025, 6pm - Paradox and coherence of artist criticism

If, according to certain theories in sociology, artist criticism refers to the calls for societal change made during the protests of the late 1960s, and which were incorporated by capitalism as part of its redeployment in the 1970s, what is the situation today with regard to the criticisms made by artists of the neo-liberal economy, exploitation, private property and the commodification of art? What strategies do they use to try and escape capitalist recuperation?

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On the face of it, Claude Closky is an artist who dabbles in immateriality. He is at ease with electronic media, and some of the objects he makes, such as books, are not immediately visible. Language is his model for articulating the materials he uses: images, texts, figures and sounds taken from our environment or made in the studio. His work is nonetheless concerned with its material specificity, its degree of visibility, and the way it occupies space.

The group exhibition À côté de la page provides each artist with a small presentation system: table or picture rail; screen + display case; screen + picture rail; screen alone. The idea is simply to continue experimenting with the relationship between writing and its possible supports.

So it's not purely poetic. Nor is it purely plastic. There's drawing, photography, video, printed type, made or found objects, colours, paper, the filmed, the recorded, glass, materials, dances, songs, music, mixes, connections, assemblies, interactivity, arrangements perhaps (or even devices if you like) but, above all, ways of doing things that no longer take too seriously their assignment to one or other practical segment of art, while remaining ‘alongside' - that is, not too far from - the poem.

Michaël Batalla, Director of Cipm

Claude Closky is one of the artists invited to take part in this exhibition.

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Visual : ©Claude Closky, "À côté de la page"

With the exhibition Ce que l'horizon promet, the Fondation Groupe EDF is exploring our relationship with the future, between belief and rationality, uncertainty and control.

In a world of perpetual change, this exhibition questions our perception of the future and our ability to anticipate it. How do we project ourselves into a future that is, by definition, uncertain? What tools, beliefs and disciplines do we use to try and get a clearer picture? How do we assess the risks and opportunities of a career change? Why do we anticipate the consequences of our food choices on our health? Why do we consult our horoscope or trust prediction algorithms?

Surrounded by 26 other artists, Brognon Rollin are delighted to be taking part in this exhibition and will be presenting My Heart Stood Still (Carlos), 2016. White neon, diameter 0.8 mm, 270 x 60 cm. Heart line in the right hand of a young man who is forced to marry.

Curators: Samantha Barroero, independent curator, Nathalie Bazoche, Head of Culture, Fondation Groupe EDF, Gérald Bronner, sociologist, professor at Sorbonne University, Erell Guégan, doctoral student in sociology.

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Graphic design: Nicolas Turki Duchesnay with Marie Faverot. Artwork: Courtesy of Tom Barbagli and Galerie Eva Vautier

Leeum Museum of Art proudly presents Liminal, the first solo exhibition in Asia by the globally renowned artist Pierre Huyghe, who has continuously explored new worlds by breaking away from fixed forms of contemporary art and from its exhibition models. Liminal highlights Pierre Huyghe's artistic exploration over the past decade, including works co-commissioned with Punta della Dogana of the Pinault Collection.

Leen Museum of Art, Seoul. Black Box, Ground Gallery

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Pierre Huyghe, Liminal (still), 2024. Real-time simulation, sound, sensors, film. Courtesy of the artist and Galerie Chantal Crousel, Marian Goodman Gallery, Hauser & Wirth, TARO NASU, Esther Schipper, Anna Lena Films, Paris. © Pierre Huyghe.

Through the eyes of over 40 artists, including Pierre Huyghe, this immersive exhibition explores the richness and fragility of the ocean. Combining art and science, it reveals the environmental and poetic issues surrounding our planet's largest ecosystem.

Pierre Huyghe and the power of the living: a major figure in contemporary art, Pierre Huyghe explores the interactions between humans, animals and artificial intelligence. His sensory and evolutionary approach to the natural world is strikingly echoed in this retrospective of artists who have been on board the Tara schooner for 20 years.

Artistic direction: José-Manuel Gonçalvès and Fondation Tara Océan

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Celebration Park © Pierre Huyghe

It was with great sadness that we learned of the death of Mel Bochner, a pioneer of the conceptual art movement.

Discover here his exhibition Singer Notes at the gallery

This is the second part of the Hubert Renard presentation ahead of the exhibition La Vie illustrée d'Hubert Renard, which will be dedicated to him at the gallery in May 2025.

In this second part, delve into the meticulous work of cross-referencing archives created by Hubert Renard. Between his own documents, Hubert Renard's archives and those of key figures such as Ghislain Mollet-Viéville, Myriam and Jacques Salomon and Jean-Hubert Martin, each discovery tells its own story. Through this research, friends, collectors, art critics and gallery owners come to life, offering a unique vision of ‘the artist in his milieu' (Philippe Cazal). A work of memory and documentation that reconstructs part of Hubert Renard's personal history.

Discover Hubert Renard's work through his presentation.

We look forward to seeing you in May at the gallery for his exhibition and for the third part of his presentation.

Peter Downsbrough (1940-2024) has made vital contributions to PLACE. His powerful minimalist reflection on the role of visual and verbal representation of time and space, as exemplified in a large number of works traveling from sculpture to book, from film to lecture, from photography to wall and room pieces, is a landmark in contemporary art and an outstanding example of the new-found dialogue between art, society and political as well as ethical commitment. We also thank Kaatje Cusse, whose generous support was crucial during the preparation of this homage.

PLACE is an art magazine published by artists. It also welcomes art theorists. The magazine releases a regular issue and four special issues per year.

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Exhibition view with IN/ PLACE/ PROP, 2008 - Musée d'art contemporain Languedoc-Roussillon
Sérignan. March 1 – June 11, 2014 
Photograph: Kaatje Cusse - ©The estate of Peter Downsbrough

Hans Ulrich Obrist Archives – Chapter 4: Gustav Metzger – All of Us Together

For its fourth chapter, the Hans Ulrich Obrist Archives at LUMA Arles presents an exploration of the work of Gustav Metzger, an essential figure for ecology and activism in the arts.

The exhibition brings together the issues that Metzger raised throughout his life and career, through the presentation of archive documents, around ten hours of interviews, and handwritten and printed notes.

The presentation of the archives completes an exhibition that brings together works such as Liquid Crystal Environment and MASS MEDIA: Today and Yesterday. Posters created in tribute to Metzger underline the significance of his work and its importance in addressing the crises of today and tomorrow.

Curated by Hans Ulrich Obrist, Senior Advisor and Arthur Fouray, Archivist and Curator.

LUMA Arles - The Tower
Underground, Level - 3
Galerie du Cerisier, Level-2

Starting from June 30, 2024

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Gustav Metzger
Hans Ulrich Obrist Archives – Chapter 4: Gustav Metzger – All of Us Together © Victor&Simon - Renata Pires

ARTISTS PRINT, the independent fair for artists' books and multiples organised by Jeunesse et Arts Plastiques (JAP), is back at the Maison des Arts in Schaerbeek. It has become a benchmark for the world of micro-publishing in Brussels.

An exhibition of Peter Downsbrough's publications will be held during the fair, on the weekend of 1 and 2 February 2025.

A major figure in contemporary art, Peter Downsbrough (1940 New Jersey - 2024 Brussels) has, since the early 1970s, made books as important a part of his practice as his sculptures, photographs and installations in public spaces.

Associated with major international artistic movements such as minimal art, conceptual art and visual poetry, he settled in Molenbeek in 1989, while exhibiting regularly in the United States and Europe.

Usually working in black and white, and with his characteristic economy of means, he structured the public space, as well as his books and other printed matter, using a succinct vocabulary limited to lines and brief words such as AND, AS, AUTRE, FROM, HERE, IF, LA, OR...

In a recent article in De Witte Raaf, Moritz Kung counted no fewer than 96 artists' books published alone or with the help of a publisher over the course of his career, not counting catalogues and brochures.

Proof that for Peter Downsbrough, the artist's book was a work in its own right.

For more information, click HERE

Starting in 1971, Antoni Muntadas, a native of Barcelona, Spain born in 1942, has made furtive if memorable appearances in New York with arresting video and television-based projects. On Translation: El Aplauso, from 1999, one of his early translation pieces, featured a video installation on three adjacent screens. While violent and gory black-and-white TV images silently filed by on the center screen, including the sight of a mushroom cloud after an atomic bomb explosion, large clapping hands directed toward these images could be seen on the two surrounding screens in color and with loud applause as sound.

By Michèle C. Cone

Discover the whole article HERE

Antoni Muntadas, On translation: La mesa de negociación, 1998. Photohrapher: Sascha Dressler. ©Muntadas.

Philippe Cazal, l'artiste dans son milieu on @franceculture.

A voix nue, by Caroline Broué.

Immerse yourself in the unique world of Philippe Cazal, a leading visual artist, through a series of 5 captivating episodes. Since the 1970s, his work has been resolutely modern, blending politics and poetry, reflection and creativity. From the creation of the UNTEL collective in the 70s to the founding of the magazine PUBLIC in the 80s, Philippe Cazal has always steered clear of the conventions of the institutional art market, favouring experimentation and freedom of expression.

In this series, Caroline Broué explores his career, his commitment and the profound duality of his work, which is both subversive and poetic.

Available in 5 episodes. Click HERE

Alex Hanimann is delighted to be taking part in the new group exhibition at Kunsthalle 8000 in Wädenswil (Switzerland), It Would Be So Nice. He will be exhibiting alongside artists Luigi Archetti, Fürernielsen, Lori Hersberger, Marianne Mueller, Anselm Reyle, Charlie Stein, Beat Streuli and Jorinde Voigt.

For more information, click HERE

Alex Hanimann Conversation Piece ©Alex Hanimann

Philippe Parreno revolutionised the experience of exhibitions. The French artist transforms galleries into choreographed spaces that follow a script, where all artworks are interconnected while a series of unexpected and interdependent events unfold. The exhibition “Voices” elaborates on Parreno's long-term approach to the oscillation of reality and the fluid nature of being. Parreno will transform the spaces of Haus der Kunst into a science fiction landscape in constant flux, where visitors can sense the imminent arrival of something that is not yet present within the galleries. Parreno's new organism acquires its form through temperature shifts, light, moving image, and the language ∂A as its communicating medium within our realm.

Curated by Andrea Lissoni and Lydia Antoniou with Hanns Lennart Wiesner.

For more information, click HERE

In Issue 232 of Witte Raaf, November-December 2024, Moritz Küng pays a warm tribute to the artist Peter Downsbrough.

Discover this article HERE

Notes on Location, 1972; AS THEN, 2024

Ejection Tie Club, 2021 by Brognon Rollin. Series of 7 videos, colour, silent. Variable durations. Produced by BPS22 - Musée d'art de la Province de Hainaut, Charleroi.

For a fighter pilot, the ejection seat is the last resort when death is imminent. Ejecting from an aircraft is a rare and sometimes traumatic event.

Each year, at an induction ceremony, a unique tie is presented to new members, symbolising their second life after ejection and their permanent entry into the Tie Club. The Martin-Baker Ejection Tie Club currently has 7,732 members.

The varying lengths of the videos correspond to the ejection times experienced by each pilot. Some appear as many times as they have escaped death.

This work can be seen in the group exhibition Faits divers - Une hypothèse en 26 lettres, 5 équations et aucune réponse at MAC VAL, Vitry-sur-Seine.

Curator: Nicolas Surlapierre. Associate curator: Vincent Lavoie.

Coordinator: Julien Blanpied, assisted by Marzia Ferri

For more information, click HERE

Photo ©Brognon Rollin.

The exhibition ‘The Cynics Republic' offers a counternarrative of the history of performance and offers the chance to experience an exhibition constructed as a score and that will be renewed on a daily basis over the course of three weeks thanks to the use of dematerialized resources.

The three IKÉA©SERVICES Soustraire, Répliques and Au nom de l'art will be activated during this exhibition.

Curator, essayist : Pierre Bal-Blanc

Coordinator : Coline Davenne

 For more informations, click HERE

This Thursday 24 October 2024 from 7 to 9 pm, a meeting with Jean-Baptiste Farkas at the Librairie du Palais de Tokyo, to mark the release of MANUEL. Des modes d'emploi et des passages à l'acte, just published by Riot.

Three services will be activated for the occasion.

MANUEL continues the work begun in 2004 with the book IKHÉA©SERVICES. 68 pages de passages à l'acte (Zédélé, Brest). It is the fruit of countless collaborations.

Bringing together instructions for use created by Jean-Baptiste Farkas and a number of other people up to 2024, MANUEL is presented as an upgrade of the entire project, revising (‘demolition permit') and enriching (‘feedback') its previous versions. This edition is the most comprehensive version of MANUEL published to date.

Address of the day: Palais de Tokyo, 136 avenue du Président Wilson, 75016 Paris                                                                                                                    

For more information, click HERE

Saâdane Afif featured in group exhibition Cutting the Puppeteer's Strings at Sammlung Philara (Düsseldorf, DE).

The Philara Collection is pleased to present Cutting the Puppeteer's Strings, an extensive group exhibition spanning across 1.700sqm focusing on marionettes and marionette theatre, shadow plays and puppetry, and associated aspects of staging, display and characters in contemporary art - where the traditional craft of puppet theater is currently receiving special attention. The exhibited works pose questions, sometimes in a humorous way, about our possibilities for action at both private and political levels as well as provide approaches for rethinking. At the same time, they shed light on our innermost desires, wishes and feelings. The exhibition brings together works from the Gil Bronner collection, loans and new works created specially for the exhibition, which are complemented by a cooperation with the Marionettentheater in Düsseldorf.

Exhibition curators: Julika Bosch, Hannah Niemeier, Dana M. A. Bulic

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Saâdane Afif, Stereo (DATRARC) (detail), 2010

Courtesy Galerie Mehdi Chouakri, Berlin. Photo: Jan Windszus, Berlin

Vie-ves! Sauvage brings together artists, including Annette Messager, for a bold exploration of instinct, the wild and the collective. The exhibition features powerful, experimental works in photography, video and performance.

You will find works by: Patricia Allio, Bianca Argimón, Anaïs Auger-Mathurin & Louise Thurin, AWARE, Minia Biabiany, Kalice Brun & Eve Pietruschi, Leïla Chaix, Ágnes Dénes, Camille Frasca, Cécile Granier de Cassagnac, GAZE MAGAZINE, Carla Gueye, Suzanne Husky, Charlotte Janis, Laura Lafon, Librairie Vigna, Annette Messager, Noémie Monier, Some of Us, Célia Viale et Alicia Zaton.

For more information, click HERE

Annette Messager, Ma collection de proverbes, 2012

Cycle of visits as part of a partnership between the BF15 and Nomade Land: Saturday October 5, 2.30pm-4.30pm, visit to the work Suite 8 for Saint-Clair.

This visit Suite 8 for Saint-Clair tribute to Peter Downsbrough, who died on Friday August 9, 2024.

He was one of the most remarkable artists of his generation. For over sixty years, he developed a subtle body of work that explored the relationship between time and space, language and image. His unique and varied practice has unfolded through different gestures and mediums: photography, film, publication, model and installation.

Project curator / Perrine Lacroix, artist, director of the BF15

More information HERE + HERE

Friday October 4 from 7.30pm to 8.30pm at the Centre Tignous d'Art Contemporain in Montreuil*: reading of extracts from the book of the same name, to be published by Michèle Didier in 2025, accompanied by a visual presentation.

*As part of the group exhibition En Circuits Courts, curated by Isabelle de Maison Rouge, from September 5 to October 26, 2024.

More information HERE

La Part de l'intime, group show at the Galerie Municipale d'Art Contemporain d'Auvers-sur-Oise, with Laetitia Bourget, Attia Bousbaa, Patricia d'Isola, Hubert Renard, Krissima Poba and Alain Snyers. From September 29 to December 1, 2024, opening on September 28 at 6pm.

Design of the event: Patricia d'Isola

More information HERE

Interface, Dijon, presents Borderline, an exceptional group show featuring 28 artists and 33 works. A foretaste of the 30th anniversary of this venue for contemporary art, which will be celebrated in 2025.

Come and discover the works on show by Claude Closky, Peter Downsbrough, Mathieu Mercier, Claude Rutault and Elsa Werth.

For further information, click HERE

Explore the intriguing world of contemporary art with the exhibition Time Is On My Side at Kunsthalle 8000.

Featuring a unique selection of works by Alex Hanimann, alongside artists such as Tracey Emin, Roman Gysin, Nic Hess, Annamarie Ho, Mickry 3, Bas Princen, Illona Ruegg and Jules Spinatsch. This exhibition delves into themes of time, memory, and the fleeting nature of our experiences.

For more information, click HERE

Alex Hanimann Untitled (Christoph), 2022. Courtesy Telos Foundation & The Artist, 2024 ©

For 15th Gwangju Biennale “Pansori, A Soundscape of the 21st century”, Saâdane Afif presents an in-situ new projet The Pavilion of Eternity. After walking the streets of Yangnim neighborhood, Afif invests in an abandoned police station that resonates with his quest of a transitional space. He names the venue a Pavilion of Eternity, recalling opening and closing verses of Arthur Rimbaud's poem Eternity:

It has been found again.
What? – Eternity.
It is the sea gone
With the sun.

Saâdane Afif invests in the decrepit police station with a radical gesture by using the building as a portal to a work that will take shape through the voice of Pansori singer Sora Kim through a series of concerts.

Pavilion of Eternity :

The Pavilion of the Eternity, 2024, Mixed media, performance program, Dimension variable, in collaboration with Pansori singer and composer Sora Kim and percussionist Eunkyung Gyun, sponsored by l'Institut Français and the Goethe-Institut Korea.

Address: 56, Jejung-ro, Nam-gu, Gwangju, Republic of Korea 

Concerts series by Sora Kim (Voice and composition) & Eunkyun Gyun (Pansori Drum): On September 5th, 7th, 20th, October 4th, 18th, November 8th, 29th

Address: Coton Cloud - 6, Sajik-gil, Nam-gu, Gwangju, Republic of Korea 
Doors open at 18:50, concert starts at 19:00 

Artistic Director : Nicolas Bourriaud

Curatorial team : Barbara Lagié, Kuralay Abdukhalikova, Sophia Park, Jade Barget, Euna Lee

More information HERE

© Photo: Courtesy of Gwangju Biennale 2024

On July 10, 2024, in Paris, Michèle Didier sat down with Michaela Spiegel to discuss her upcoming exhibition at the gallery, Instant Memoir.

We'll also be sharing excerpts from texts by Rubén Gallo, the preface writer of Instant Memoir (Éditions Kehrer, 2023).

Check out this interview on our Instagram.

The exhibition will take place at the gallery from 12 September to 16 November, by appointment only, at 94 boulevard Richard Lenoir, 75011 Paris.

A big thank you to Amélie Korzi for the camera work and Roxane Rabieaux for the editing.

Here is the first part of Hubert Renard's presentation before the exhibition dedicated to him at the gallery in 2025.

In 2021, Hubert Renard had the honour of publishing the Catalogue Raisonné of the work of Hubert Renard with michèle didier. It was a long, demanding and gratifying experience. Diving into Hubert Renard's archives made him realise just how incomplete and contradictory they sometimes were, and prompted him to question the reliability and credibility of archives in general.

Following this work, Hubert Renard embarked on a new project focusing on the search for errors, omissions, absences, deficiencies and gaps in renowned archives, ranging from those of archive producers to those of the Kandinsky Library at the Centre Pompidou.

This project allowed him to move back and forth between fiction and reality and vice versa. For example, identifying an unknown person in a photo who could possibly be Hubert Renard.

Discover Hubert Renard's work through his presentation.

More in January 2025!

It is with great emotion that we announce the death of our friend and eternal artist Peter Downsbrough.

ARTFORUM pays him a heartfelt tribute, click HERE

Photo: Raphael Gaillarde/Gamma-Rapho/Getty Images.

“I have nothing to say and that is politics.” Gustav Metzger

Refugee, survivor, stateless person, carpenter, gardener, anarchist, antiquarian, environmental activist, intellectual, and artist. Gustav Metzger was born in Nuremberg in 1926. One of his earliest memories is of his mother bathing him. At the age of four, he witnessed the Nazi parades. At the age of twelve, in January 1939, he arrived in England on one of the last Jewish Kindertransports. His parents and most of his family were murdered by the Nazis.

Curated by Susanne Pfeffer and Julia Eichler

TOWER - Museum für Moderne Kunst - TaunusTurm, Taunustor 1 - 60310 Frankfurt am Main

> More information HERE

Gustav Metzger, Public Adverts, Cheap Flights, 2005–2009 (detail), Private Collection

From July 20 to October 20, 2024, UCCA Center for Contemporary Art presents Lawrence Weiner: A PURSUIT OF HAPPINESS ASAP, the first major presentation in China of renowned American artist Lawrence Weiner (1942-2021). Curated by Peter Eleey, UCCA Curator-at-Large, in close collaboration with the artist's estate, A PURSUIT OF HAPPINESS ASAP brings Weiner's groundbreaking work back to UCCA seventeen years after the museum commissioned TO ALLOW THE LIGHT for its inaugural exhibition series in 2007.

This exhibition presents almost fifty works that span the entirety of the artist's career, drawn from the almost 1200 he created over more than half a century. Selected drawings, posters, and moving images provide additional context for viewers, whom Weiner referred as the “receivers” of his work. Each piece finds expression in the specific spaces of UCCA's Great Hall, allowing subjective reflection depending on circumstances, relationships, setting, and presentation.

Curated by Peter Eleey

 > More information HERE

Between July 20 and December 30, 2024, the XXIII Cerveira International Art Biennial will be held in Vila Nova de Cerveira (Portugal). This event, dedicated to contemporary artistic production, will feature works by 119 artists from 20 countries, under the theme ‘Are you free'?

To mark its 46th anniversary, the oldest art biennial on the Iberian Peninsula will be inviting artists, thinkers and the general public to reflect on the theme of Freedom.

We are delighted to announce that Antoni Muntadas will be among the artists invited to take part in this prestigious event.

Organised by Helena Mendes and Mafalda Santos, this biennial reinvents the inaugural model of 1978 with exciting new directions.

> More information HERE

Starting from 15 July 2024 the film originated from the exhibition TRACCE / TRACES by American artist Lawrence Weiner is available online. The exhibition took place in the summer of 2020, thanks to a series of aerial banners along the coast, from Ladispoli to Anzio.

Produced by MACRO, TRACCE / TRACES was the first solo show by an artist ever presented in the sky that showed a different work every day, from 16 to 25 August 2020, along the coastline most popular with Romans, offering each viewer the possibility – unexpected, for most – of coming into contact with works of art outside the context in which they are usually displayed and observed.

Director: Pietro Daviddi
Voice: Lawrence Weiner
Production Manager: Carolina De Nicolo'
Sound Design: Vittorio Giampietro
Producer: Tommaso Bertani
Production company: Ring Film
Country of production: Italy
Languages: Italian
Subtitles: Carlotta Pierleoni, Izabela Anna Moren, Chiara Siravo
Runtime: 27'

> More information HERE

GNOMONS 髀, an exhibition of new works by Jay Chung and Q Takeki Maeda at Kunsthaus Glarus, revisits an artistic approach employed in the 1980s and 1990s, most prominently by artists such as Janine Antoni, Felix Gonzalez-Torres, and Roni Horn. Defying clichés of artistic originality, these artists intentionally adopted the formal language of the more established, institutionally recognized artists associated with minimalism. By mimicking “classically ‘straight' aesthetic genres,” they sought, “to infiltrate the exclusive structures of a majoritarian art sphere that was effectively predicated upon their exclusion.”

A brochure featuring an interview with Jay Chung & Q Takeki Maeda by John Beeson will accompany the exhibition.

> More information HERE

A Pile of Stone, 2024. Courtesy the artists.

The Ruin of Exchange presents a selection of John Miller's artwork ranging from 1994 to the present. Miller employs a wide variety of materials and media, making it difficult to pin him down to a particular or artistic style. And yet his work is highly influential, even though its mutability and limiting of personal gestures possibly best express a certain recognizable quality. Because Miller calls into question art's aspirations to transcend its subject matter, this persistent manner of impersonality has become the defining feature of his practice. His work conforms neither to the mocking irony of postmodernism nor the overweening authenticity of modernity. How better to dispassionately portray the real than to minimize these sentiments?

A brochure featuring an interview with John Miller by Melanie Ohnemus will accompany the exhibition.

> More information HERE

John Miller, Domestic Bric-à-Brac, 2023. Courtesy Trautwein Herleth, Berlin and the artist.

From June 15 to August 11 2024, a temporary exhibition labelled cultural olympiad by Paris 2024 will be on show in the rooms of the Château de Montsoreau - Musée d'Art Contemporain.

The content of the exhibition will be drawn from the call for entries opened to artists on 20 April 2024.

This exhibition allows artists living in one of the 203 countries participating in the Olympic Games to compete in one of the ten categories defined in the rules: painting, drawing, poetry, music, video art, sculpture, performance, fiction, installation and photography. An artistic competition that echoes the most demanding of outdoor athletic disciplines.

For this exhibition, each country will be represented by an artist, selected by a committee made up of members of the art world according to predefined rules.

> More informations HERE

50 is a great age... but not necessarily the age of wisdom! On 15 June 2024, Le Parvis turns 50, celebrating 5 decades of creativity in all its forms.

For its part, the centre d'art contemporain, which in 50 years has programmed over 300 exhibitions, will be blowing out the candles with an exhibition in feedback and prospective mode, entitled Future is now, which will invite some fifty artists who exhibited between 1974 and 2024 to return to the scene of the crime!

Le Parvis, one of the first contemporary art institutions to open in France, is also one of the most unusual. And it has to be said that the past 5 decades have done nothing to dampen the enthusiasm of artists and audiences alike for this intriguing venue, located in a shopping centre and part of a national arts scene.

Quite the opposite, in fact, as artists are still particularly inspired by this unusual configuration.

And as the Future is now exhibition shows, they're still so attached to the place that 40, 30 or 20 years later, they'll decide to come back with the same pleasure!

Le Parvis will be presenting, among other works, Saâdane Affif's Vice de forme (Verde Malachite), 2017.

Exhibition curator: Sylvie Froux

> More information HERE

Visual: Alain Séchas, le chat cadeau, 1998 © Alain Séchas, all rights reserved. Photo credit: Alain Alquier.

Artist duo David Brognon and Stéphanie Rollin will discuss key elements of their artistic practice, including their work with local communities which informed the exhibition Templates of Chance, launching at Rua Red on the evening of Friday 7th June. All ages are welcome to attend, though the content is most suitable for adult audiences.

Luxembourg artists Stéphanie Rollin and David Brognon are described as 'Explorers of the abyss'. Since 2006, the collaborative duo have been observing those who exist on the fringes of society. They create modest monuments to people who have fallen by the wayside where addiction and melancholy exist side by side. Their work does not shout; it quietly unfolds.

Over the last 18 months Brognon and Rollin have embedded themselves within the community of Tallaght as part of a residency and new commission for Rua Red. The commission, titled Templates of Chance, engages with the process of recovery from addiction and demonstrates how failure, pushing through, and progression are an essential part of the process.

Artist Talk: Brognon Rollin

8 June 2024

2pm - 3pm

> More information HERE

Philippe Parreno is a prominent figure in French contemporary art and one of the most significant artists working today. He employs a wide range of media including film, sound, sculpture, objects, text and drawing, while maintaining a consistent focus on boundaries between reality, the fictional, and the hypothetical. He also interrogates concepts of art and authorship, collaborating with numerous artists, architects and musicians.

The Pola Museum of Art is pleased to present one of Parreno's largest solo exhibitions in Japan, encompassing his diverse practice ranging from early works of the 1990s to an installation unveiled for the first time, with his well-known film Marilyn among the highlights.

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Philippe Parreno, My Room Is Another Fish Bowl, 2022. Photo © Andrea Rossetti.

Overcoming addiction is a slow and personal process, involving all our strengths and vulnerabilities. Relapse is not a failure, but a necessary part of the long journey towards change.

During a series of conversations with the Drug & Alcohol Task Force in Tallaght, it became clear that people needed a physical symbol for this journey, to visualise and hold in their hand the path they've travelled. These tokens represent victorious moments: 10 years, 5 years, 1 year, 6 months, and perhaps most importantly, the first day—the day of decision and action ("Take the risk or lose the chance").

Five tokens were designed, each stamped with symbolic figures and mantras collected from meetings with those on their journeys to recovery. The lighthouse, the anchor, the mirror... These tokens are now given in exchange for significant personal achievements in Tallaght's communities.

In a video installation, these tokens are entrusted to Rua, a magician and Dubliner who excels in manipulation and deception. With his sleight of hand, he plays with our expectations; the time-charged metal vanishes at his will. When his hands are bound, gravity takes over. Appearing and disappearing from the world, becoming present or fading away.

Anthony Van den Bossche

Curator @maoliosaboyle
Production Manager @joyce.dunne
Senior Technician: Hugh McCarthy
Assistant Technician: Paul Heary
Technical Development: Radek Pater and Agnieszka Kozioł, Eidotech
Videographer @eamo.ie
Photographer @juliette.rowland
Token Design @nynketynagel
Token production: Des Hurley
Essay @marc.donnadieu
Text by @anthony_van_den_bossche
Designers: Rossi McAuley and Jenny Leahy

> More information HERE

stanley brouwn is co-curated by ann goldstein, deputy director and senior curator at large, art institute of chicago, and jordan carter, curator and co-department head, dia art foundation and former art institute of chicago associate curator, modern and contemporary art.

This exhibition is currently on show at the stedelijk museum amsterdam from may 31 to September 1^st, 2024.

> more information here

Jean-Baptiste Farkas, Obéir, collection phase.

From May 25 to June 9, at the Institut français de Tokyo, the exhibition Gewalt: Devenir des résistances à la violence institutionnelle aims to question the political and social function of art as a phenomenon of resistance. It also looks at the role of art in contemporary social movements and revolutionary struggles.

On this occasion, Jean-Baptiste Farkas presents an activation of the Obéir service. To activate this service, participants are asked to anonymously share experiences of obedience that have made them angry or uncomfortable. They are invited to describe these regrettable acts freely and without restraint. Brief descriptions should be sent to an address* in Tokyo. The aim of this activation is to raise public awareness of the different forms of obedience, which we know often hurts us. The documents collected will be displayed during the exhibition and destroyed at the end.

* Institut français de Tokyo – 15 Ichigaya-funagawara-machi, Shinjuku-ku, Tōkyō 162-8415 Pôle artistique

Curator: Alexandre Taalba

More information HERE

This exhibition is supported by Arts Council Tokyo, Nomura Foundation and The Asahi Shimbun Foundation.

Graphic design : Nakashima Rika

Kamera N°9 - Peter Downbrough

Peter Downbrough will be presenting a series of video works, details of which can be found in the link below.

From Friday 17 to Tuesday June 21, 2024 (Sunday closed), 2-6 pm

Where: Labor Neunzehn, Kiefholzst. 19/20 – 12435 Berlin

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© Peter Downsbrough, A Place to Be, 26:46 min, b/w, sound, u-matic, 1977 – Courtesy of argos centre for audiovisual arts

In his extensive and multi-layered oeuvre, John Miller repeatedly counteracts the longings of Western consumer society. With his eclectic approach and his skeptical as well as ironic artistic strategy, he explores the autonomy of the work of art while examining the myth of artistic genius. The result is an intelligent and humorous commentary on identity, economy, culture and socio-political issues constantly questioning established values.

John Miller's program for Videoart at Midnight will feature Tracking (2023), a filmic essay about tracking in various forms, which include hunting, surveillance, and cinema. It juxtaposes these with dream narratives. Augmenting Tracking will be Miller's mannequin videos as well as collaborations with Richard Hoeck and Takuji Kogo.

Date: Friday, May 17, 2024, midnight

Place: BABYLON, big cinema hall, Rosa-Luxemburg-Str. 30, Berlin

Admission free

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John Miller The Trip, 2019 (film still)

This exhibition presents a reimagination of Jenny Holzer's landmark 1989 installation at the Guggenheim. Climbing all six ramps of the Frank Lloyd Wright-designed rotunda to the building's apex, the site-specific installation transforms the building with a display of scrolling texts, featuring selections from her iconic series, such as “Truisms” and “Inflammatory Essays”.

Light Line highlights the incisive use of the written word across time and media in Holzer's practice. In addition to the LED sign, the exhibition features a selection of Holzer's works from the 1970s to the present day, including paintings, works on paper, and stone pieces. From May 16–20, the artist's light projection For the Guggenheim illuminated the building's façade with with a selection of poems and eyewitness accounts that speak to the necessity of peace.

Jenny Holzer: Light Line is organized by Lauren Hinkson, Associate Curator for Collections. Conservation research and treatment of Jenny Holzer's Installation for the Solomon R. Guggenheim Museum is led by Lena Stringari, Deputy Director and Andrew W. Mellon Chief Conservator, and Agathe Jarczyk, Associate Time-Based Media Conservator.

> More information HERE

To coincide with the presentation of Philippe Thomas's work in the contemporary collections of the Musée national d'art moderne (November 23, 2023 - spring 2024, level 4, rooms 21, 21bis and 22), the Bibliothèque Kandinsky is devoting an evening to current research on the artist.

This conference will take place on May 15, 2024, from 6.30 pm to 8.30 pm.

In the reading room of the Bibliothèque Kandinsky.

Free admission, booking essential.

With contributions of Bernard Blistène, Patricia Falguières, Élisabeth Lebovici et Clément Raveu.

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With the support of Estate Philippe Thomas, Claire Burrus and Jan Mot.

michèle didier devoted an exhibition to the work of Philippe Thomas in 2014, Philippe Thomas: AB (1978-1980), curated by Émeline Jaret.

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Les ready-made appartiennent à tout le monde®, La Pétition de principe, 1988, black and white photograph, pedestal table, palm tree, card holder, business cards, pen, guest book, label, dimensions variable, Centre Pompidou, Musée national d'art moderne, dation, 2019, inv.: AM 2019-904. Photo: Daphné Charitos

Art, design, and industry come together in both Krefeld and Dunkirk on the French North Sea coast, which will celebrate the fiftieth anniversary of their town twinning in 2024. They are also the focus of the Kunstmuseen Krefeld and the FRAC Grand Large – Hauts-de-France, one of the Fonds régional d'art contemporain, which has been collecting contemporary art since 1982 and showing it in various locations in the region. In an exchange of collections, a selection of key works of international contemporary art and design from the FRAC collection will “move in” to the former residential buildings Haus Lange Haus Esters. Offsite projects in the urban space of Krefeld and in schools complement the exhibition and create surprising scenographies and participatory situations. The international dialog brings the former residential buildings designed by Ludwig Mies van der Rohe to life and highlights the importance of the dialog between the disciplines of art and design both inside and outside the museum. An exhibition of works from the collection of the Kunstmuseen Krefeld in Dunkirk will be presented at the Frac Grand Large in 2025.

With: Stéphane Calais, Latifa Echakch, Dominique Gonzalez-Foerster, Philippe Parreno, Hella Jongerius, Studio Formafantasma, Rirkrit Tiravanija and many more.

Kunstmuseen Krefeld presents, among other works, Saâdane Afif's L'André, 2008 - 2011, a racing bike repainted in André Cadere's colors

Museum Without Borders is a collaboration and collection exchange between the Kunstmuseen Krefeld and the FRAC Grand Large – Hauts-de-France in Dunkirk.

Curator: Katia Baudin (Director of Kunstmuseen Krefeld)

> More information HERE and HERE

Haus Lange, Ludwig Mies van der Rohe © Photo : Dirk Rose, Kunstmuseen Krefeld

Since the 1960s, Lynn Hershman Leeson has shaped artistic discourses on performance, interactivity, cyborgs, surveillance, artificial intelligence, and biogenetics, paving a path that many generations would follow. She has worked with some of the most significant scientists of our time, bringing art into a complex dialogue with science. As a professor and critic, Hershman Leeson has written extensively on art, media, and politics. Between 1974 and 1978, she commissioned over 300 artists to present artworks in public spaces as part of The Floating Museum, which she founded as a platform for artists excluded from institutions at the time. Alongside her art-making, Hershman Leeson has written and directed six feature films and documentaries, a selection of which will be shown as part of the public program accompanying the exhibition.

Julia Stoschek Foundation: Schanzenstrasse 54, 40549 Düsseldorf

Curator: Lisa Long
Assistant Curator: Line Ajan

For more information, click HERE

Credits: Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984-2019, 1984-2019, six-channel video installation, Courtesy the artist; photograph: Alwin Lay

For decades in the European peripheries we have ignored considerations about our entanglement in the histories of colonialism and de-colonization that shaped the public discourse in both the Global South and the Global North. The East Central European (ECE) and South East European (SEE) states have for the most part not participated directly in colonization efforts and have, through an anti-imperialist stance during different implementations of state socialisms, expressed a declarative anti-colonial position. Nevertheless, the European peripheries, historically subordinated to different empires until the beginning of the 20th century, have been affected by the history of colonialism and coloniality. As a result, they have been part of the global relations created through this history.

Ferenc Gróf has been invited to take part in this exhibition along with ten other artists, and will be presenting his work Our rogue State, 2015. He points out details of historical paintings showing different European states battling the Ottomans within the diacritics used in the expanded Latin alphabet. The text on the poster and the title of the work read Our Rogue State*. The work departs from the contemporary fear of extra-European migrations and right-wing discourses that evoke the Ottoman threat in the changed context of migration caused by deprivation and existential need.

* In the artist‘s words: “The work Our Rogue State interrogates this tradition of fighting the Other, the non-Christian, the invader, the archenemy, omnipresent in European painting. This phrase is a pun on the words “rogue state,” a special US expression from the Reagan era for “non-obedient,” “outlaw” countries that happen to be almost always “non-Latin script-based” cultures.”

Curated by Iva Kovač

> More information HERE

Liminal, an exhibition created by Pierre Huyghe in close collaboration with curator Anne Stenne, presents major new creations alongside works from the last ten years, particularly from the Pinault Collection.

Pierre Huyghe has since long questioned the relation between the human and the non-human, and conceives his works as speculative fictions from which emerge other modalities of world. Fictions, to him, are “vehicles for accessing the possible or the impossible—what could be or could not be.”

Pierre Huyghe transforms Punta della Dogana into a dynamic, sensitive milieu perpetually evolving. The exhibition is a transitory state inhabited by human and non-human creatures and becomes the site of formation of subjectivities that are constantly learning, changing, and hybridizing. Their memories are expanding with information captured from events, both perceptible and imperceptible, that permeate the exhibition.

> More information HERE

UUmwelt, 2018 © Pierre Huyghe - Kamitani Lab / Kyoto University and ATR. Courtesy the artist, Marian Goodman Gallery, Esther Schipper, Hauser & Wirth, Galerie Chantal Crousel, Taro Nasu

Annette Messager, Jenny Holzer and the Guerilla Girls are currently on show in an exhibition entitled Script Girls at the Musée Champollion in Figeac, which is dedicated to the writing of the world.

In a male-dominated society where women's voices have long been confined to the domestic sphere, writing has emerged as a means of transgression and a vehicle for emancipation.

Language is not neutral; it is a means of self-assertion. Writing is thus an important element in the fight for women's rights. The use of the written word in art by women artists is therefore not insignificant, and reflects a number of issues and struggles that go well beyond feminism.

Through the works of 23 artists of different nationalities, including Annette Messager, Sophie Calle, Jenny Holzer, Nil Yalter, Vera Molnar and the Guerilla Girls, the Script Girls exhibition examines the act of writing in the contemporary work of women artists from the 1970s to the present day.

> More information HERE

Agnès Thurnauer, Life-size portrait. Annie Warhol, 2007, (C) ADAGP, Paris, [2024] Photo (C) Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Bertrand Prévost

Carl Andre (1935 – 2024) is one of the best-known sculptors of the Minimal Art movement, which emerged chiefly in the United States in the late 1960s. Between Sculpture and Poetry is Andre's first solo exhibition in a Japanese museum. It makes full of use of its spacious venue to showcase Andre's well-known sculptures made of blocks of wood, plates of metal, and slabs of stone processed to the same size and shape and placed in regular arrangements directly on the floor. In light of the way they act on the space in which they are installed, the artist describes these works using the term “sculpture as place.”

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On 15.02.2024 at 5 pm on the Main Square of Graz, Austria

As part of Ridiculously Yours! Art, Awkwardness and Enthusiasm at Neue Galerie Graz, Saâdane Afif presents the performance Play Opposite or Ubu Roi Disseminated, 2023 on the Main Square of Graz.

Ubu Roi is the first play in a trilogy of burlesque satires in which Alfred Jarry articulates a fierce critique of the power, authority and greed of the bourgeoisie. With their childlike madness and humour, Jarry's plays contradicted the social and cultural conventions of the time and opened the floodgates for the avant-garde aesthetics of the 20th century. A work of revolutionary power, Ubu Roi is considered by many in particular to be a precursor of Dadaism, Surrealism and a master of the absurd.

Curators: Jörg Heiser and Cristina Ricupero

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The M HKA presents a major solo exhibition featuring one of the most influential artists in the United States: Jim Shaw. His idiosyncratic imagery is infused with references from popular American culture. In recent decades, his body of work has increasingly highlighted the growing tension between conservative and progressive ideologies. The Ties That Bind brings to light the core motifs of Shaw's practice, presenting his latest work alongside a selection of earlier works.

Since the late 1970s, Jim Shaw has been developing a complex and exciting body of work that includes photographs, drawings, paintings, sculptures, installations, films, and musical performances. Popular cultural formats such as comics, Hollywood films and caricatures constitute an essential part of his work, as do religion, folk beliefs, leisure culture and amateur arts. His profound critical exploration of the construction of values and beliefs is complemented by an incredibly rich visual imagery. 

Curator: Anne-Claire Schmitz

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Discover the Dream Object Book, produced and published by michèle didier in 2011.

Since the 1990s, Jim Shaw has been drawing the object of his nighttime dreams in the Dream Drawings series that eventually led to the creation of works entitled Dreams Objects. Heterogeneous, this series is a stylistic echo to the work of other artists, as well as to different pieces of furniture, or various objects.

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We are very sad to hear of Carl Andre's death, the Minimalist major artist.
He will remain in our memories.

The Guerrilla Girls will be at the Tate Modern for talks and events during the period of January 23 to 28, 2024.

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As part of its “Hors-les-murs” activities, the Frac Sud – Cité de l'art contemporain and the Bonisson Art Center are organizing the exhibition …Less is more…

The Frac Sud – Cité de l'art contemporain's missions are to support contemporary creation, transmission and mediation for real access to contemporary art for all. Created 40 years ago, it runs a dual program in situ and in the region, intending to offer all audiences the opportunity to discover contemporary art. With more than 1,400 works with more than 650 artists represented, the Frac Sud – Cité de l'art contemporain has remained attentive through its acquisitions to the plurality of forms of artistic research.

The Bonisson Art Center wishes to intervene in the highlighting of works, but also in the development of the artists' careers. It sets itself 3 priority missions: support for contemporary creation, the dissemination of contemporary art in its territory, training of audiences.

This exhibition brings together renowned artists and others who have more recently appeared on the contemporary art circuit. Works by regional, national and international artists intersect, highlighting different mediums such as drawing, painting, photography, sculpture and even installation.

Frac Sud presents, among others, the work of Saâdane Afif Black - 50% grey - White, 2003, a series of 3 monochrome serigraphs.

Exhibition curator: Christian Le Dorze (Director of Bonisson Art Center).

> More information HERE

Visual: Seulgi LEE, U: La parole aux lèvres salivées = mensonge, 2017 © Adagp, Paris, courtesy of the artist and Galerie Jousse Entreprise

Kay Rosen and I have been in conversation for more than thirty years, beginning soon after I first saw her work at Feature Inc. in New York at the end of the 1980s. Our connection ever since has been built around both art and life, and not only because I was born in Indiana in 1965 just a few years before Kay—a native of Corpus Christi, Texas—moved to the Hoosier State to live and work. 1965 also happens to be the year she received her BA in Linguistics, Spanish, and French from Newcomb College of Tulane University. In 1968 she moved north to attend graduate school at Northwestern University to study Linguistics and Spanish. Kay's subsequent decision to move away from linguistics to language-based art making opened the doors to what has become a more than fifty-year career of breaking or tweaking the rules of language, exponentially expanding its territory and meaning and the visual forms that give it shape.

Twenty-five years ago, Connie Butler and I organized Kay's first museum survey, lifeli[k]e, at the Museum of Contemporary Art and Otis College of Art and Design in Los Angeles. Now, as Kay's first survey in a European museum has recently opened, we have added the following exchange to Kay's brilliant legend.

> Read the article

Kay Rosen, Sheep In Wolf's Clothing, 1987/2023. Wall painting, dimensions variable.

Installation view: Kay Rosen: Now and Then, Weserburg Museum for Modern Art, Bremen, Germany, 2023. Photo: Tobias Hübel.

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From 12 January 2024, a luminous gaze will rise up into the sky from Fort Saint-Jean.

Artist duo Brognon Rollin will transform the Fanal tower into a poetic lighthouse, through which they will send a message from Pone to the people of Marseille.

Pone, the iconic beatmaker from the Fonky Family, has been suffering from Charcot's disease since 2015 and is fitted with a computerised ocular calibration technique. With his eyes, he can surf the internet alone and communicate with his friends and family, while the disease paralyses him and deprives him of his voice.

In conversation with him, David Brognon and Stéphanie Rollin captured and archived the movement of his pupils. This digital recording is connected to the Fanal tower. The ancient lighthouse has been brought back to life, faithfully reproducing the movement of Pone's pupils.

Until July, at nightfall or in the early hours of the morning, an extract of their visual conversation will light up the sky and the earth intermittently, a series of silent epiphanies on the scale of the city of Marseille.

Curators:

Hélia Paukner, curator in charge of the Contemporary Art Department, Mucem
Justine Bohbote, curator in charge of the Sport and Health Departement, Mucem

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Brognon Rollin, Le Phare, 2022-2024 (simulation) © Mucem / Brognon Rollin / Julie Cohen

Paul-Armand Guette died at the age of 96.

The gallery's production of Cinématographies, 2017, among others, bears witness to an attempt to classify a body of photographs, the result of meticulous collecting and archiving after observation. His interest in nature, fuelled by his passion for entomology, has shaped his artistic eye, scrutinising natural details as well as their structure and organisation.

Goodbye Paul-Armand.

The ideas of Jacques Lacan are, alongside the work of Roland Barthes, Michel Foucault, Jacques Derrida and Gilles Deleuze, essential for understanding our modernity. While homages and exhibitions have already been dedicated to these intellectual figures, the thought of Lacan has not been dealt with in museums to date, even though he was strongly attached to works of art.

The Centre Pompidou-Metz presents: Lacan, the exhibition. When Art Meets Psychoanalysis, the first exhibition devoted to Jacques Lacan, curated Marie-Laure Bernadac and Bernard Marcadé, art historians, in association with Gérard Wajcman and Paz Corona, psychoanalysts. More than 40 years after the death of the great psychoanalyst, it was natural to envisage an exhibition linked to Lacan's special relationship with art. By resonating with the objects of art he himself indexed or collected, the tributes paid to him by artists, and modern and contemporary works, all can echo the conceptual articulations of his thought.

michèle didier is honoured to see there works by Saâdane Afif; Suzy Lake, Miss Chatelaine, 1973; Annette Messager, Ma collection de proverbes, 1974-2012 and Martha Wilson, Mona/Marcel/Marge, 2014, with whom the gallery works.

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René Magritte, The False Mirror, 1928, oil on canvas, 54 x 80.9 cm
©️ Adagp, Paris, 2023 / Photo ©️ Digital image, The Museum of Modern Art, New York/Scala, Florence

Since the 1970s, Muntadas has continued to question the forms and places of power, architectural codes and stereotypes forged by the media, using videos, posters, installations, photographs, publications, objects, newspaper inserts,...

 In 1994, he was one of the first artists to produce an Internet project on the issue of censorship, The File Room. His thinking and artistic practice are based on investigation and questioning. His approach and attitude are often similar to those of sociologists and anthropologists. His projects (a term he prefers to that of work) are artefacts to be activated.

The artist's presentation of the series La Construction de la peur (in particular the videos On Translation Fear/Miedo and Alphaville e outros 2011), which he began in 2005 and whose critical dimension is highly topical, will be followed by the launch of Muntadas Media Architecture Projects, the latest title from anarchive, with Anne-Marie Duguet as editorial director. This web project, accompanied by a book to be published in 2024, examines five series of projects carried out by Muntadas since 1999, when the first title in the collection, Muntadas Media Architecture Installations, was published by Editions du Centre Pompidou. Each series, On Translation, La Construction de la Peur, About Academia, Asian Protocols and Strategies of Displacement, brings together a number of works that are examined essentially on several levels of the invisible: the emergence of the concept, the process of research and production, and contextual resonance.

Screening and meeting, 13 December 2023, 7-9pm, cinema 2, level -1

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Antoni Muntadas: Fear, Panic, Terror, 2010

Bagageries solidaires are facilities where homeless people can leave and secure their personal belongings. Free of charge, they aim to provide material and psychological assistance, protecting sleeping bags, clothes, documents and souvenirs from loss, damage or theft.

At the crossroads of art and solidarity, Transfo, a cultural space set up in an emergency accommodation centre in Paris's 10th arrondissement, invites visual artist Annette Messager to open our eyes to these "personal belongings", illuminated by images by photographer Nicolas Krief and a report by journalist Isabelle Rey-Lefebvre.

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Affaires personnelles, Transfo-Emmaüs Solidarité, from November 23, 2023 to February 3, 2024

Thierry de Duve in conversation with Saâdane Afif (in French), about his latest book, Duchamp's Telegram, From Beaux-Arts to Art-in-General.

November 23, 2023, at 7 pm. Wiels Auditorium.

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The Weserburg Museum für moderne Kunst is presenting the first institutional solo exhibition of Kay Rosen in Europe. Ever since the 1970s, the American artist (*1943 in Corpus Christi, Texas; lives in New York City and Gary, Indiana) has been using language as artistic material. She is internationally known above all for wall works which render individual words, sentences or series of letters, often in massive dimensions. Coming together here in an impressive manner are minimalist form, aesthetic impact and intelligent contents.

The exhibition in Bremen brings together around 40 works, including several large-format wall works, paintings, drawings, prints and videos. To be seen in addition to exemplary major works is also a new, six-part language picture that was especially developed for the spaces of the museum.

Curator of the exhibition: Ingo Clauß

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A conversation between Martha Wilson and Arlène Berceliot Courtin

On the occasion of Martha Wilson's first major exhibition in France, independent curator Arlène Berceliot Courtin will be talking to the North American artist and performer about her career, from her arrival in New York in the early 1970s to the end of Donald Trump's presidency.

Joliette Biennial - Free admission: Thursday October 26, 2023 from 6.30pm to 8pm

Frac Sud - Cité de l'art contemporain

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To coincide with the "Extremely small particles" exhibition on Art Action, to be held at the Bains du Nord in autumn 2024, FRAC Bourgogne is organising a series of prefiguration events. Two meetings have been organised as part of this programme:

October 24: the meeting with Martha Wilson provided an opportunity to discover the work of this artist, whose work focuses on questions of self-presentation and the representation of the feminine in contemporary society.

October 25: Suzy Lake works in a variety of media: painting, photography and video... As an activist, she is deeply committed to feminism and civil rights. The meeting was an opportunity to discuss these topical issues with her. Suzy Lake's work entered the FRAC Bourgogne collection in 2022.

Le frac Bourgogne - Meetings with Martha Wilson and Suzy Lake - at the Cuisines Ducales, Palais des États des Ducs de Bourgogne - 1, rue Rameau Dijon

To find out more about the conversation we had with Suzy Lake when she was in Paris, visit our Instagram page now.

The exhibition “This Is Me, This Is You” provides a first-time ever look at this collection of internationally significant photographs, that has grown over four decades. Since the beginning of her passion for collecting in the late 1980s, Eva Felten has focused in particular on the depiction of people—a focus that she has consistently continued in recent years, and which makes the collection unique in this form. What unites the photographs is a sensitive view of the individual, of different ways of life, political attitudes, and inner conflicts, revealing a diverse panorama of images in the overall show.

Exhibition curator: Dr. Monika Bayer-Wermuth

Suzy Lake's work, On Stage, is part of Eva Felten's collection and will be exhibited as part of this exhibition.

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In 2014, Lab'Bel, the Bel Group's Artistic Laboratory, launched a series of exceptional collaborations with contemporary artists to create La Vache qui rit® Collector Boxes. These limited editions offered each autumn update and reinvent the links that artists have forged with the brand since its creation in 1921. 

Lab'Bel commissioned American artist Martha Wilson to design the tenth edition. Martha Wilson is without doubt the most important American artist pursuing a social commitment to the democratisation of art as a vehicle for emancipation.

The Martha Wilson Collector's Boxes were previewed from October 17-22, 2023 in Paris, as part of the Paris Internationale.

They are now on sale on our website, while stocks last, by following the link below.

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Seeing the world, dreaming it, between reality and utopia, representing it, taking inspiration from it, describing it or projecting it... UNTEL has developed the possibilities through different media - performance, installation, photography, distribution of brochures... - often in interaction with the public.

By Line Herbert-Arnaud

Continuation of the article from Le Quotidien de l'Art

> https://www.lequotidiendelart.com/articles/24533-untel-what-else.html

For the 40th anniversary of the Frac, the aim is both to rethink the institution's history, written in particular through its collection, and to look towards shared and desirable futures.

The Gunaikeîon exhibition invites a number of curators to write their own narratives based on works from the collection and in encounter with other invited works. Traditionally, the gunaikeîon was the flat in Greek and Roman houses where women spent most of their time, and which was set apart so that they had no direct contact with the street. The aim of this exhibition, on the other hand, is to open up the spaces of the Frac's Réserves and the Fondation Fiminco's Chaufferie to the surrounding neighbourhoods and the sounds of the world. The exhibition will be divided into several chapters, with each of the curators updating the collection in the light of her own obsessions, which are rooted in contemporary society.

Céline Poulin presents Joue ou Perds by Claude Closky. The word «play» indicated on Joue ou Perds by Claude Closky, invites us to throw the dice again and again, with no possibility of winning, like the gift theorised by Marcel Mauss. This section of the exhibition, which can be modified and activated throughout the exhibition, brings together other works from the collection and beyond, exploring the mechanisms of play, pedagogy and transmission…

Curators: Jade Barget, Daisy Lambert, Camille Martin, Céline Poulin & Elsa Vettier

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The Philharmonie offers us a hat trick of genius in 2023! The Musée de la Villette will make a crossroads towards the round ball with an installation around... Zinédine Zidane, the silkiest right foot in history will do artistic footwork at the Philharmonie.

This project, which launches the Olympic program of the hall, will be built around the film Zidane, un portrait du XXIe siècle by Philippe Parreno and Douglas Gordon.

Released in 2006, this feature film was shot during a La Liga match between Real Madrid and Villarreal, with 17 synchronized cameras and shot on Zidane alone, all accompanied by a rock soundtrack composed by Mogwai.

We breathe, we get tired, we get angry with him ... In short, we really play it like Zidane walking through the 17 giant screens suspended, each with its own soundtrack.

How not to have hair with this installation? The film is majestic, intense and dramatic, just like Zizou's flamboyant career, which will end in 2006 on a red, as at the end of this match. Prophetic!

When? From October 5, 2023 to January 7, 2024 

Where? 211 avenue Jean-Jaurès, Paris 19e

Stéphanie and David delve into the fascinating intricacies of "Shadow Ban" and its exclusive protocol. Explore the myriad concepts, ideas, and emotions they sought to express in this captivating masterpiece, first unveiled at the Around Art Fair video exhibition in Brussels.

The duo also shares their unique perspective on time and duration, integral elements in most of their videos.

Immerse yourself in this interview that will pique your curiosity about "Shadow Ban" and, more importantly, its distinctive protocol.

Protocol

“No rule is definitive. Everything is always on the move, everywhere. Our playgrounds are social spaces with shifting, impermanent dimensions. For the duration of a match, the Marseille club Endoume Catalans chooses a shadow as its touchline and light as its playing field.”

Shadow Ban, 2023, colour video, 4K, 63'

You can watch the video interview with the Brognon Rollin duo on our Instagram!

The 2023 Umi Hall project Carl Andre exhibition at the Daegu Art Museum aims to collectively examine the physical essence and poetic implications of the works of sculptor and poet Carl Andre by presenting drawings, sounds and miniature sculptures, as well as representative sculptures by the artist.

As part of the epistemological transition of Minimalism, Carl Andre redefined the mechanism of art production, rejecting the customs of traditional art and focusing exclusively on the absence of external meanings in works and on the physical properties of materials.

The artist has laid and stacked, leaned against the wall and placed on the floor industrial materials that he has not processed manually, such as factory-made bricks, pre-reduced wood or metal, and stone tiles. The works Merrymount (1980), 4th Steel Square (2008) and Belgica Blue Hexacube (1988) are made of wood, steel slabs and limestone respectively, and the physical properties of the materials are fully revealed as time passes.

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The Biennale Son is an event that highlights the growing importance of sound in contemporary art. As a multi-disciplinary event, it seeks to blur the lines that are often too segmented between artistic disciplines that are closer than they appear. The Biennale Son offers visitors the chance to discover installations, sculptural works, two-dimensional works, works in text form, films, performances, concerts and plays. At times, works in which sound is induced in their form or conception become silent.

Three works by Saâdane Afif are part of the Frac Franche-Compté collection and will be presented during the bienniale.

Curators: Christophe Fellay, Jean-Paul Felley, Luc Meier & Sylvie Zavatta

Frac Franche-Compté > more information

Louis Moret Foundation > more information

Farkas defines himself as a daring creator who designs "instructions for use" in different forms, organised into collections. These protocols for action, often tinged with disorder, vandalism and hijacking, generate a tangible experience in the real world. Rather than producing a material art object, these "rituals" aim to generate a state of mind or a shift in our perception of the world.

Farkas's gritty, subtle actions challenge our habits and our relationship with objects. They are part of a non-productivist, even subtractive, logic that explores value in art, often challenging the viewer with elements of destruction, constraint or frustration, while preserving a touch of humour.

For Farkas, art should be a source of questioning that makes behavioural norms problematic, as well as artistic norms themselves. His services, far from being identified as “performances” or "happenings", aspire to conquer the terrain of everyday reality. They emerge as anomalies, creating unexpected events and provoking confrontations. According to the artist, in order to have an indisputable impact in the real world, it is essential to set aside all stylistic effects and allow the work to disperse and infiltrate where it is not expected.

We can't wait to share the video interview with Jean-Baptiste Farkas on Tuesday 5 September on our Instagram!

From 25 August to 10 September 2023, Floating Cinema - Unknown Waters is back. This cultural event takes place in the waters behind the island of Giudecca in the Venice lagoon. For the fourth consecutive year a floating stage visible from its own boat or from a floating platform, hosts a multitude of screenings and performances by international and local authors.

This edition addresses themes such as inhabitation, the relationship between the human and the non-human, and the anthropic impact on ecosystems. Following this line of continuity, with respect to the relationship with the other and the unknown, several authors explore the superhuman and the beyond.

As part of the festival, Antoni Muntadas will be presenting Video is Television? (1989) and On Translation: Celebracions (2009). Over the last 50 years, Muntadas has focused his research on the interconnection between social sciences and mass media.

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Born in 1948, Cazal left his mark on the 1980s with a body of work visually rooted in fashion and advertising. As a true visionary, he has been able to question his era and create works that are always strikingly relevant.

Cazal's work blurs the boundaries between art, politics, economics and poetry, offering a profound reflection on our society.

As a "fausse Compagnie ®", Cazal defies artistic conventions and explores the complex link between art and the market. He deploys a bold marketing strategy by turning himself into a living work of art, creating posters and promotional leaflets that become collectors' items. His name and his work are closely linked, reflecting his unique vision of art.

Through his creations of the 1980s, Cazal offers a critical and free perspective on the art world. By detaching himself from the lens and assessing his place in the art world, he invites reflection: "I was a painter and sculptor when I decided to become an artist".

Come and discover Philippe Cazal's captivating world in our video interview, which will be posted on our Instagram page on Thursday 17 August.

Immerse yourself in his ideas, his humour and his bold vision of art - and even a few anecdotes from his childhood.

Since the 1970s, Muntadas has been exploring the territories of power, whether in urban architecture, the media or culture, revealing rituals, codes and hidden issues. With a multidisciplinary approach, Muntadas uses all the means of expression at his disposal: video, text, photography, sound, poster, book, installation, and much more.

His work questions communication systems and social dynamics, revealing information flows, the relationship between the public and the private, and mechanisms of power.

His commitment to conceptual and multimedia art has enabled him to explore the political and social issues of our time through performance, installation, photography, digital media, books, public art and many other media.

His incisive works highlight the visible and invisible systems of power in a society where mass media, over-consumption and advanced technologies play a central role.

We are delighted to announce that the gallery is continuing its summer video programme on the networks! and will be presenting a video-meeting with Antoni Muntadas on Thursday August 3 on our Instagram.

Stay tuned and don't miss this opportunity to discover the work of Antoni Muntadas, which explores the mechanisms of power and the realities of our contemporary world.

Following a visit to the exhibition Invisible, this workshop offers participants the opportunity to try their hand at photographic photography, and then, on the basis of self-portraits taken live, to intervene using a variety of plastic techniques in order to disguise, filter, and partially or totally modify their appearance.

Workshop: Saturday 29 July 2023 from 2pm to 5pm

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Gonzalez-Casanova was born in Puerto Rico and lives in Marseille. In 2016, she created the artist's book "Home Guard Manual of Camouflage / Manuel de camouflage pour la protection du territoire". Inspired by the camouflage manual written by Roland Penrose for the British Army in 1941, this project explores the mechanisms by which ambitions and fears are transmitted on a collective scale.

This hybrid artist's book combines a functional work and an anthropological study. It presents practical, utopian and absurd advice taken from real military camouflage manuals, government security manuals and scientific studies. Divided into 12 thematic booklets, it covers subjects such as mimicry, bluffing, invisibility and biological terrorism.

To find out more about the fascinating work of Cari Gonzalez-Casanova, the gallery will be publishing a video-meeting on Friday 21 July on our Instagram.

Don't miss this opportunity to discover a captivating conversation with the artist who explores the politics of fear through her artist's book project.

A singular figure in the history of American art since the early 1970s, Wilson is one of the first artists to use her body, alongside Hannah Wilke and Eleanor Antin, to question social representations of the feminine through her performances, videos and photographs.

Her works traces the deconstruction of stereotypes around feminine beauty and a so-called feminine ideal, with one major issue: that of age, and more specifically the question of the invisibility of women in their 70s.

By altering her physical appearance, she challenges the stereotypical identities of a neo-liberal America. A pioneer, her work points towards territories later conquered by other contemporary artists, such as Cindy Sherman or Martha Rosler or feminist philosophers such as Judith Butler.

“In the past decades Wilson has actively explored the power of these comparative works (which are often both funny and harrowing at the same time) and has moved into a series of self images as other people, often political wives—as in The Politics and Performance Art series (which started in the 1970s, and continues up to 2020), where Wilson performs herself on camera as Nancy Reagan, Barbara Bush, Tipper Gore 1. But on occasion, she performs as the powerful man himself (for example, with a neon orange wig and cheap suit in front of Trump Tower, in Martha Does Donald, 2017).

Wilson's body, Wilson's self, Wilson's (self) image—all are laid bare for us to contemplate as they visibly age and take on new masks across the decades. Far from forestalling death, then, Wilson's practice—like the photographic portrait in general—could also be said to mark the inevitability of aging and death (see: Roland Barthes, Camera Lucida [1980]) and the way in which every face is a mask, every image a performance, every body mortal in its self display.”

To discover Martha Wilson's words from her interview in Marseille, check out our Instagram post from 7 July.

1. Extract from the text Martha Wilson's Body/Martha Wilson's Self/Martha Wilson's Image by Amelia Jones, art historian, theorist and critic

Martha Wilson has been a singular personality in the history of American art since the early 1970s. Along with Hannah Wilke and Eleanor Antin, she was one of the first artists to use her own body to question social representations of the feminine, through her performances, videos and photographs. By altering her physical appearance, she challenges the identity stereotypes of a capitalist America. Her pioneering work pointed the way to territories later conquered by other contemporary artists like Cindy Sherman and Martha Rosler, or by feminist philosophers like Judith Butler.

In 976, she founded in New York, she founded Franklin Furnace, an alternative space dedicated to artistic experimentation and the conservation of that avant-garde's artist books, videos, and performances. And in 1978 she formed the “conceptual punk” group Disband, mixing performance and music, with women artists who did not know how to play any instrument (Ilona Granet, Donna Hennes, Ingrid Sischy, Dianne Torr).

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Clad in all-black, their faces obscured by oversized gorilla masks, “Frida Kahlo” and “Käthe Kollwitz” take to the streets as Guerrilla Girls to engage the public in their decades-long battle against discrimination in the art world. Animated sequences and archival footage illustrate the artist-activist collective's fight for equality through posters with bold designs and other creative means.

A must-see HERE

Whether in the stands or on the pitch, sport creates a collective framework in which power relationships are played out and the place of each individual in a group is redefined. With interactive installations featuring a golf course (Temps libre) or supporters (D'autant qu'à plusieurs), Samuel Bianchini gives viewers the chance to take part in the action as well as the performance.

Curator: Marie Ménestrier with the collaboration of Sibylle Roquebert

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Robert Barry: Une Situation is a double retrospective featuring the American artist, Robert Barry. The show was put together by Mathieu Copeland working with the artist.

Visitors will find themselves facing two groups of pieces from the immense body of work produced by Robert Barry, one of the leading lights of Minimalism and a pioneer of Conceptual Art. One is a retrospective of Barry's murals, with seven pieces from 1978 to 2023, while the second retrospective is focused on a group of sound pieces the artist produced between 1976 to 2022.

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In What Way Wham? (White Noise and Other Works, 1996-2023) artist Joseph Grigely explores the visual representation of speech and sound in the form of installations, sculptures, photographs, films, and books.

A native of Western Massachusetts, Grigely was born and raised in East Longmeadow, where at the age of ten he fell down a hill and became completely deaf. At this point, he began a journey that he describes as “watching the world with the sound turned off,” paying close attention to language, communication, and the vagaries of human interaction.

In the mid-1990s Grigely first exhibited his ongoing series, Conversations With the Hearing, composed of notes written during conversations with people who do not know sign language. They are conversations from daily encounters with family, friends, and strangers. These notes are central to the new commission White Noise which consists of two intersecting oval rooms that surround the viewer with thousands of handwritten conversation papers. The rooms, each roughly twenty-five feet across, in the triple-height space of the museum's first-floor gallery showcases three decades of conversational exchanges. The phrase “White Noise” is used by audiologists to describe a noise that occupies a wide bandwidth of random frequencies. For his own White Noise, Grigely provides a visual equivalent of this experience, immersing viewers in the space between speech and writing with floor-to-ceiling notes; one room in shades of white and the other in a cacophony of color.

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Article by Élisabeth Couturier published on February 28 2023 on artpress.com

Paul-Armand Gette in Wonderland

This film about the artist Paul-Armand Gette deals with the subject of the female body, its representation in art, the question of the model and her freedom. Paul-Armand Gette thwarts our visual habits and challenges our judgments and preconceptions. Who better than his models to talk about him, with him, about them?

Directed by Sylvie Boulloud
Running time 61 minutes
Released in cinemas on 24 May 2023

Pierre Escot & Hubert Renard will present their novel Dimensions variables in the format of a performance on Thursday May 11, 2023. Welcome between 6.30 and 8.30 pm. Performance (30 min.) at 7pm.

Dimensions variables is a four-handed novel balanced between visual arts and literature. The contemporary art world is its setting, which it erects between realism and satire. The changes of form within the narrative (poems, diaries, lists, dialogues and songs) and the variations in tone (from farce to dramatic comedy) testify to the desire of the two authors to use all the resources of the Parisian art world, which they have been assiduously - and jovially! - for many years, as visual artists. The characters assert themselves, the plots are woven together and the narrator, with a generous sense of humour, has fun creating encounters in this milieu that is so worried about its appearance. If one can recognise figures and characteristics of the globalised art world, its manias and vanities, the book skilfully avoids institutional criticism or sociological study. It prefers to play with images and symbols. Despite their cumbersome egos, the characters in this contemporary novel, in desperate search of visibility or in impulses to withdraw from public life, in euphoria and excess, or in the urgency of disappearance, are all looking for an answer to this nagging question: What is a successful life?

Text taken from the website of the publisher of the novel, www.artfiction.ch

The Städtische Museen Heilbronn will show a range of artistic exploration of textile materials from the 1920s to the present day. The specific properties of the material not only give rise to a wide range of design possibilities, but also allow fundamental questions of sculptural art to be considered from a new perspective. The Abundance of traditional textile handicraft techniques also opens up diverse paths of creative appropriation. Robert Morris is represented by one of his canonical felt work.

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Moviment opens on a celebration of the Centre Pompidou's works, treasures from the reservesand new acquisitions, exhibited, explained and reactivated by a series of interpretations, debates and readings.

Point, lines and planes
In this first chapter, the exhibition focuses on geometric abstractions.

Maurizio Nannucci

Red Line, 1969

Exploring the relationship between art and language since the 1960s, Maurizio Nannucci began working with neon in 1967, and produced his first luminous his first luminous and scriptural pieces.

At the end of the straight line of a red-tinted glass tube, the letters "red line" appear, thus referring the work to its own description. Tautological and polysemous, this red line is a way for the artist to subvert the conventions of the exhibition while inviting the visitor to question the nature of the work of art.

Work exhibited from Wednesday 3 to Sunday, May 6.
Presentation to the public by the artist on Saturday 6 May at 7pm

Article by Pierre-François Moreau – Les Lettres Françaises – April 2023

Vidéo-projection sur bifteck

En novembre 2021, entre flux et reflux de la pandémie, et d'autres grandes manœuvres aux marches de l'Europe qui nous laissaient alors benoîtement incrédules quant au futur théâtre des opérations, nous étions assez nombreux ce soir-là à la librairie le Monte-en-l'air à être venus écouter Denis Lavant, toujours aussi intense, pour une lecture de Piotr signé Pierre Escot, le monologue intérieur d'un comédien aux prises avec l'omniprésence de son personnage, à la fois héroïque et cruel. Ainsi s'immergeait-on dans les affres de la création, tout en plaisantant sur l'itinéraire formellement oscillant de Planning, un agenda de haïkus dégénérés, et Le Carnet Lambert, du même Pierre Escot, qui circulait sous les manteaux dans des versions plus ou moins approximatives, si bien que tout devenait Carnet Lambert, même Le Carnet Lambert.

Dans cette apparente euphorie, on n'osait pas croire combien les temps qui s'annonçaient allaient être héroïques et cruels. Et tels de bons clients du « Bœuf sur le toit », on préférait tomber le masque chirurgical, boire, rire et, avec une ironie grinçante, moquer les ivresses compulsives des petits Maurice Sachs post conceptuels. C'était un autre temps.

Alors qu'aujourd'hui le printemps vient poindre, et avec lui ses futurs massacres et autres destructions massives du côté de la frontière, les éditions de Lausanne Art&Fiction spécialisées dans les récits d'artistes publient Dimensions variables de Pierre Escot, des exercices de tirs auxquels s'est associé son compère Hubert Renard. Ces « dimensions variables » ne sont pas les calibres des obus performants de chars de combat sur roues ou à chenilles. On est plus proche des Tirs de Niki de Saint Phalle, puisqu'il s'agit d'un recueil art contemporain, d'une satire vivace des beaux jours, du temps où l'on buvait encore à la régalade du champagne chez Perrotin, Templon et Thaddeus Ropac.

Mieux qu'une boule à facettes des temps du disco, ce roman des vanités a la forme d'un inventaire. Chroniques de vernissages, contentions créatrices, poésie des cartels sous œuvres, mails de réclamations et de déclarations sentimentales, billets d'absence, journal de disparition, autopsie d'un fil de fer, remise de prix, notes d'intentions, préface d'une installation, dialogues téléphoniques, dispute homérique, occurrence du réel, liste d'artistes improbables – Marie Beuys, Jean-Claude Picabia, Andy Magritte, Piet Klein, Yves Mondrian, Christine Baudelaire, Mohamed Michon, Benito Munch, Pedro Nietzsche, Raymond Calvino…

À ce bal des riches heures, on flirte, on s'agace, on s'oublie, on se force jusqu'à l'abjection à ne pas voir les réalités du monde. Samantha Cartridge aime montrer ses faux seins, Laetitia Delmas aime ne plus aimer, Jean-Jacques Aillagon a des rendez-vous, François Pinault parle de ses futurs achats, Bernard Blistène commande un Spritz, Giovanna Listo préfère exposer à l'hôpital psychiatrique, Luc vide chaque jour un objet de son appartement, Olga envoie des sms… Pendant qu'Alex regarde une vidéo en avance rapide, d'autres jouent des coudes pour arriver jusqu'au buffet. Personne ne s'attarde devant Ça va chier dans le ventilo, dimensions variables.

In the beginning are landscapes and bodies, landscapes in bodies then, as dreams often like to produce, a tangle of situation, situations that are blurry, pleasant, and sometimes disturbing. Faced with work acting as mirages, the gaze wanders. As a mise en abyme of the insular location of the Fondation on Porquerolles, the exhibition, curated by Jean-Marie Gallais, explores an essential driver of creation, as powerful as it is common: the distancing of reality as to reveal an interiority.

While contemporary art has never been as political or engaged with the world as it is now, a whole section of creation, and particularly in painting, is seemingly breaking away from it in order to offer vertiginous immersions into inner worlds and recesses. What is the significance of this current distancing from reality?

More than 80 works by fifty artists, from private and public collections, including the Carmignac collection, but also new productions, will draw the dotted outlines of an inner island, inviting each visitor to fill in the gaps in their own way.

> Villa Carmignac, Porquerolles Island, April 29, 2023 - November 5, 2023

Lecture on April 27, 2023 at 7pm, Auditorium Michel Laclotte

Michelangelo Pistoletto, a central figure in contemporary art since the 1960s and the birth of the "Arte Povera" movement, is also a leading theoretician of art and contemporary thought. It was therefore only fitting that he should be entrusted with the first edition of the new "Artist's Lessons" series, a counterpoint to the springtime lecture series of the Chaire du Louvre, in which the artist presents to the public in the auditorium his contemporary view of the Louvre, its collections, and its multiple lives, in resonance with his own career and the radical choices he has made in his own creative work for more than 60 years.

Michelangelo Pistoletto returns to the Louvre, ten years after his exhibition, and presents in three talks how the museum has changed his perception, opening up avenues for thinking and living in the present.

In connection with the cycle, a work by Michelangelo Pistoletto has been specially created to be presented under the Pyramid, near the auditorium where his lectures are held.

Claude Rutault first used the term definition/method in 1978, and he put all his work under that generic title from then on, through the definitive change had come as early as 1973. In March of that year, he painted a small canvas the same grey as the wall, which gave rise to his iconic phrase: “a canvas stretched on stretchers and painted the same color as the wall on which it is hung.” From that principle, he developed short, directive texts proposing specific works. They were first called constructions and then definitions/methods, which were later numbered. Each definition/method is a proposition to be actualized, in most cases by an act of painting that conforms to certain parameters controlling the relation of the canvas or canvases to the wall. They are based on the traditions of presentation, the history of art, and the institution of the exhibition. Rutault later extended the principle to include non-painted, repainted, and stacked canvases. A collector, either private or public, must abandon any fetishistic relationship to the work and choose the place and way to actualize it.

Extract from p. 85 and 86 of Claude Rutault The Inventory, Marie-Hélène Breuil, published by Mamco in 2015

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"At the entrance to the Department of Egyptian Antiquities, the Louvre exhibits a work in dialogue with the Fayum mummy portraits, thus questioning, according to the artist's conception of the history of painting, the origin of painting, the "first painter". This work by Claude Rutault integrates in a canvas, the colour of the wall, a portrait of the Fayum that he himself had acquired. Responding to Rodin at the Musée d'Orsay and Marcel Duchamp at the Centre Georges Pompidou, it is the artist's unique perspective that will thus be revealed – a perspective according to which the history of art, like the portrait of the Fayum integrated into his work, is integrated into the contemporary."

Extract from the press kit of February 1st 2023. Curator: Donatien Grau.

"Rodin's Porte de l'Enfer in the Musée d'Orsay's collections fascinated Rutault. The artist first gave thought to a work in the form of a door in 2008, to be created through an assemblage of several definitions/methods updated for the occasion. His notebooks contain jottings and plans bearing witness to the work's evolution, without its finished state ever being finalized. Claude Rutault and Quentin Lefranc, who had worked alongside him for several years, created a model that gave shape to what he had designed la porte de la peinture. The model will be on exhibition at the Musée d'Orsay, dialoguing with Rodin's masterpiece."

Text taken from the museum's website. Curator: François Blanchetière.

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Curator: Michel Gauthier.

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stanley brouwn is curated by Jordan Carter, curator, with Zuna Maza, curatorial assistant.

This presentation coincides with stanley brouwn, the artist's first comprehensive solo exhibition in the United States, on view at the Art Institute of Chicago April 8–July 31, 2023, and is co-curated by Jordan Carter and Ann Goldstein, the Art Institute's deputy director and chair and Dittmer Curator of Modern and Contemporary Art.

The Delta welcomes the new project of the artist duo Brognon Rollin. The installation The Land and the Unfolded Map will be displayed on the top panoramic floor of the Delta and will consist of two new videos never before presented to the public, made by the Franco/Belgian/Luxembourgish duo in California in the autumn of 2022.

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stanley brouwn is co-curated by Ann Goldstein, deputy director and chair and Dittmer Curator, Modern and Contemporary Art, and Jordan Carter, curator at Dia Art Foundation and former Art Institute associate curator, Modern and Contemporary Art.

The exhibition will also be presented at the Hammer Museum, Los Angeles, and Stedelijk Museum Amsterdam. Dates are yet to be determined.

The Art Institute's presentation coincides with another exhibition devoted to stanley brouwn, also curated by Jordan Carter, at Dia Beacon.

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In a historical first, the Vorderasiatisches Museum (Museum of the Ancient Near East) and the Hamburger Bahnhof – Nationalgalerie der Gegenwart (National Gallery of Contemporary Art) join forces on a trans-historical, site-specific presentation by British artist Liam Gillick throughout the halls of the Pergamon Museum. From Babylon's iconic Ishtar Gate to the monumental sculptures of Tell Halaf, Gillick adds layers of sound, light and colour – creating an overlay to evoke connections across periods of the Pergamon Museum.

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Works by Carl Andre, Claude Closky, Peter Downsbrough and Elsa Werth will be presented in the exhibition Trois Collectioneurs #10 at Été 78 in Brussels from April 2 to May 27, 2023!

Opening: Saturday 01/04 from 16h until 20h

Exhibition: 02/04 –> 27/5

Opened every Saturday from 14h until 18h. Saturday 22/4: 9h30 –> 17h.

This exhibition is organized with Valentine Himpens and is dedicated to Herman Daled who took part to the very first edition.

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From April 2 to November 26, 2023, Punta della Dogana presents the thematic exhibition Icons, with works from the Pinault Collection, including On Kawara and Philippe Parreno.

The word “icon” has two meanings: its Greek etymology defines it as an “image” or “likeness”, while it is used to designate a religious painting. The idea of a model, an emblematic figure is more contemporary. The status of the image—its capacity to embody a presence, between appearance and disappearance, shadow and light, to represent a space, to spark emotion, and to become one with the viewers—is at the core of this exhibition, conceived specifically for the Punta della Dogana and the Venetian context, with its rich, uninterrupted dialogue between East and West.

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Fifty works and four large site-specific installations.
More than 60 years of art, almost 90 years of life.

A narrative path, according to the approach of the projects curated by Danilo Eccher and produced by DART – Chiostro del Bramante, complete and fascinating. Certainly not a traditional exhibition but a narrative, an experience that through the iconic works of Michelangelo Pistoletto (Biella, 1933)-from the historic to the most recent,from 1962 to 2023-accompanies an exciting journey inside the poetics and the world, the many worlds, of one of the masters of contemporary art.

An infinity of ways of making art,an infinity of ways of seeing, of changing perspective, of reading reality. At the center a single artist but in his many possibilities of being, of transforming, of depicting and representing himself, of telling. “A collective exhibition of a single artist,” in the words of the curator, because “in diversity I multiplied myself,” as the artist declares. That is why, at the Chiostro del Bramante, Michelangelo Pistoletto is INFINITY: because art is limitless.

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Michael Snow, Wavelength, 1967, 16 mm, colour, sound, 45 min

Screening on 1 March 2023 from 7 to 9 pm, Cinema 2, level -1


Shot in December 1966 in Michael Snow's loft in New York, Wavelength is one of the most commented on so-called "experimental" films of all time. For 45 minutes, a zoom-in movement runs across the room, following the central axis of the scene to approach a photograph of a few waves in black and white. During this movement, at first sight continuous, a series of actions or accidents follow each other. Above all, a sinusoidal sound in crescendo, at first barely perceptible, becomes almost deafening as we approach the conclusion.

The critical literature has made Wavelength the most emblematic work of the reduction of film to a single camera movement - the zoom, precisely.

Guerrilla Girls' exhibition, The Art of Behaving Badly traces the history of their organization through their interventions and Public Service Announcements (PSAs) from 1985-2015.

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Philippe Parreno's reputation has been built on the diversity of his practice which spans a vast range of media including film, sculpture, drawing and performance. Through his multidisciplinary practice, Parreno has created unexpected artworks that question the boundaries between reality and fiction, often blurring the distinction between the two. The artist invites the viewer to radically re-evaluate the nature of reality, memory, and the passage of time, elaborating universes where the aesthetics of social exchanges and situations are prioritized over the creation of art objects.

For Marilyn, the Espace Louis Vuitton München invites you to experience emblematic works from the Collection by Philippe Parreno in various media. Alongside the eponymous video installation Marilyn (2012), the series of drawings In Preparation of Marilyn: “The Quasi Living” (2013) will be shown as well as the video installation The Writer (2007), and the sculpture Untitled (2010). Comprising drawings, sculpture and film, these works typify Parreno's multidisciplinary practice through which he continues his quest to find an ultimate form of communication capable of transcending language.

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As an echo to the exhibition dedicated to Christian Marclay, the Centre Pompidou gives carte blanche to the Swiss-American artist for a concert based on his visual and musical works.

Ephemera, 2009, interpreted by Jacques Demierre
To Be Continued, 2016 et Screen Play, 2005, interpreted by Noël Akchoté, Julien Eil, John Butcher, Luc Mueller, Noelle Reymond / l'ensemBle baBel
No!, 2020, interpreted by Elaine Mitchener
Manga Scroll, 2010, interpreted by Alex ABH Hackett

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An exhibition in partnership with ADIAF (Association for the International Diffusion of French Art)

With works by: Add Fuel, Saâdane Afif, Jean-Michel Alberola, Giulia Andreani, Kader Attia, Marcos Avila Forero, Esmaël Bahrani, Bertille Bak, Éric Baudelaire, Mélanie Berger, Bianca Bondi, Étienne Bossut, Emmanuelle Bousquet, Aline Bouvy, Szabolcs Bozó, David Brognon Et Stéphanie Rollin, Cornel Brudascu, Io Burgard, Damien Cabanes, Miriam Cahn, Michael Ray Charles, Julian Charrière, Grégory Chatonsky, Vajiko Chachkhiani, Delphine Ciavaldini, Claude Closky, Isabelle Cornaro, Jesse Darling, Edith Dekyndt, Hélène Delprat, Nolan Oswald Dennis, Hugo Deverchère, David Douard, Nicolas Dhervillers, Mathilde Denize, Nathalie Djurberg Et Hans Berg, Marlene Dumas, Kenny Dunkan, Hoël Duret, Mimosa Echard, Hans-Peter Feldmann, Esther Ferrer, Gabriel Folli, Bruno Gadenne, Daiga Grantina, Guerilla Girls, Terencio González, Ilona Granet, Juliette Green, Myriam Haddad, Tirdad Hashemi, Paul Heintz, Damien Hirst, My-Lan Hoang-Thuy, Danielle Jacqui, Oda Jaune, Sophie Kitching, Kapwani Kiwanga, Sergey Kononov, Anna Kutera, Lucie Laflorentie, Luc Lapraye, Hanne Lippard, Jonas Lund, Madsaki, Paul Maheke, Benoît Maire, François Mangeol, Teresa Margolles, Randa Maroufi, Rayane Mcirdi, Anita Molinero, Franck Noto, Prune Nourry, Josèfa Ntjam, Estefanía Peñafiel Loaiza, Françoise Pétrovitch, Gloria Petyarre, Grayson Perry, Walter Pfeiffer, Amalia Pica, Benoît Pieron, Joanna Piotrowska, Robin Plus, Julien Primard, Hervé Priou, Enrique Ramirez, Emmanuel Régent, Caroline Reveillaud, Lili Reynaud-Dewar, Carole Rivalin, Mathilde Rosier, Karine Rougier, Elsa Sahal, Ludovic Sauvage, Marta Spagnoli, Pierre Seinturier, Massinissa Selmani, Cindy Sherman, Shimabuku, Kelly Sinnapah Mary, Saule Suleimenova, Claire Tabouret, Ida Tursic & Wilfried Mille, Pierre Vermeulen, Christophe Viart, Oriol Vilanova, Danh Vo, Lois Weinberger, Duncan Wylie, Tim Zdey

Under the bed. In the wardrobe. In the mirror. They come back. Through the backwash of images and the glue of objects, this exhibition lets memories, fears and desires emerge, barely repressed, and here they are again. In the department of horrors and domestic fantasies (this wallpaper moves!!!), we move around as if in a dream or an acid trip. Everyone will be looking for their own fetish.
 
With : Bernard Bazile, Laetitia Badaut Hausmann, Elisabeth Ballet, Abdelkader Benchamma, Linus Bill and Adrien Horni, Jean-François Boclé, Bruno Botella, Andrea Büttner Nina Childress, Anne-Lise Coste, Robert Crumb, Nicolas Deshayes, Dado, Studio GGSV, Anthea Hamilton, Lubaina Himid, Judith Hopf, David Horvitz, Pierre Joseph, Özgür Kar, Cécile Noguès, Nathalie du Pasquier, Jim Shaw, Achraf Touloub, Nora Turato, Caroline Tschumi, Yuhan Wang
 
An exhibition developed by Juliette Pollet, curator at Cnap, with Clément Nouet, director of the Mrac.

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Talk by Saâdane Afif: 26.01.2023, 3:30pm

Exhibition: The Music Chamber
At Palexo, artgenève booth A32, Geneva, Switzerland
Artistic Director: Augustin Maurs
Co-curator: Catherine Othenin-Girard

Concert: Dwarf Lift Dwarf sings Pirates' Who's Who
At Motel Campo, Geneva, Switzerland le 27.01.2023, 10:00pm
Motel Campo, Rte des Jeunes 13, 1227 Carouge, Geneva, Switzerland
Presented by: artgenève/musique & Biennale Son Valais

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From December 15, 2022 to April 30, 2023, the FRAC Champagne-Ardenne hosts The Bonimenteur, an exhibition that, through the works of three artists and collectives, draws a portrait of this curious character. Through a monumental and luminous installation by the designers GRAU, a set of paintings and drawings by the artist Bernhard Martin and a graphic and interactive composition by the graphic design collective Neue Gestaltung, The Bonimenteur takes shape at the FRAC and invites the public to meet him.

Artistic director : Saâdane Afif

Curator Yasmina d'O

With : Grau, Bernard Martin, Neue Gestaltung

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With works by: Stanislas Amand, Babi Badalov, John Baldessari, Bruno Bottela, Anne Bourse, David Burrows, Michel Canteloup, Monster Chetwynd, Claude Closky, Delphine Coindet, Tony Cragg, Jason Dodge, Michel Huelin, François Lancien-Guilberteau, Laurent Lacotte et Pablo Cavero, Seulgi Lee, Jonathan Monk, Maurizio Nannucci, Camila Oliveira Fairclough and Lucy Skaer.

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Samuel Bianchini will be exposed as part of the exhibition Playmode at the Centro Cultural Banco do Brasil.

Playmode aims to open a debate about the importance of recreational culture in the society of the XXIth century. The exhibition invites the visitors to be in an active participation that in order to be faced with a sensorial and conceptual experience.

Curators : Filipe Pais and Patrícia Gouveia

With : Aram Bartholl, Auriea Harvey & Michaël Samyn , Bill Viola, Brad Downey, Brent Watanabe, David OReilly, Filipe Vilas-Boas, Guilherme Meneses, Bobware & Beta Xina Bena, Harun Bena, Harun Farocki, Isamu Noguchi, Jaime Lauriano, Joseph DeLappe, Laura Lima & Marcius Galan, Lucas Pope , Mary Flanagan, !Mediengruppe Bionik, Miltos Manetas, Molleindustria, Nelson Leirner, Pippin Barr, The Pixel Hunt, Priscila Fernandes, Ricardo Barreto & Raquel Fukuda, Shimabuku

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Warhol, People and Things is an extensive exhibition focusing on Andy Warhol and his influence across several generations of photographers, filmmakers, musicians and multi-media artists.

The installation prepared for Casa São Roque consists of slideshows spanning 2019–2022 captured in several cities, including New York, Berlin, Palma, Paris, Copenhagen, Susch, and Łódź. As homage to Warhol, Miller titled his first publication of this series after a quote from The Andy Warhol Diaries: “It was a nice day, in the seventies. I watched people on pogo sticks in the park”.

Curated by Alaina Claire Feldman and Barbara Piwowarska

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Curator : Alexandre Quoi

With works by: Magdalena Abakanowicz, Marina Abramović, Laurie Anderson, Eleanor Antin, Geneviève Asse, Anna-Eva Bergman, Louise Bourgeois, Lisetta Carmi, Sarah Charlesworth, Marieta  Chirulescu, Marinette Cueco, Sari Dienes, Thea Djordjadze, Nathalie Du Pasquier, Gloria Friedmann, Shirley Goldfarb, Nan Goldin, Jan Groover, Guerrilla Girls, Sheila Hicks, Jenny Holzer, Dorothy Ianonne, Kimsooja, Karen Knorr, Alison Knowles, Barbara Kruger, Laura Lamiel, Helen Levitt, Annette Messager, Tania Mouraud, Gina Pane, Sheila Reid, Takako Saito, Valentine Schlegel, Cindy Sherman, Kiki Smith, Jessica Stockholder, Nathalie Talec, Tatiana Trouvé, Jackie Winsor.

Photo : Aurélien Mole

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The exhibition Street Life at the Wilhelm-Hack-Museum takes visitors on a journey through the streets of the classical modernity until present time. As a place of representation, self-staging and communication as well as resistance or protest, the street forms a vital link of various areas of life, social groups and interests. Applied across media and eras, the exhibition displays different artistic appropriations of this dynamic place.

Curated by Dr. Astrid Ihle

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With : Chantal Akerman, Véronique Aubouy, Jérémie Bennequin, Nicolas Boulard, Elina Brotherus, Christophe Fiat, Robert Filliou, Bernard Heidsieck, On Kawara, Bruno Perramant, Allen Ruppersberg.

Curator: Léa Bismuth

Ludovic Chemarin© will present a triptych 120x80cm in lithography during this exhibition at the Atelier Michael Woolworth.

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This exhibition brings together 27 international artists and presents "word paintings and talking pictures". This practice of using letters, words, phrases or punctuation as a plastic vocabulary developed in the 20th century and continues today in the work of many artists, of different generations and across all media.

Curated by : Sylvie Fanchon and Camila Oliveira Fairclough

With : Karina BISCH, Nicolas CHARDON, Eléonore FALSE, Sylvie FANCHON, Claude CLOSKY, Christian ROBERT-TISSOT, Anne-Lise COSTE, Martine ABALLEA, Joshua ABELOW, Gene BEERY, Jean-Luc BLANC, Corentin CANESSON, Jessica DIAMOND, Pierre DI SCIULLO, Chloé DUGIT-GROS, Chad ETTING, Marie GLAIZE, Joseph KOSUTH, Muriel LERAY, Jonathan MARTIN, Raffaella DELLA OLGA, Camila OLIVEIRA FAIRCLOUGH, Walter SWENNEN, Julio VILLANI, Elsa WERTH, Virginie YASSEF, Remy ZAUGG

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This exhibition at le Radar in Bayeux, aims to turn the visitor into a hero by making him or her a curator of the future house-museum of the writer Michel Houellebecq, as it will be seen by the public in 150 years.

This exhibition is part of the SUITE programme initiated by the Centre national des arts plastiques (Cnap) in partnership with the ADAGP.

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Watch the interview of Suzy Lake produced by the Canadian Cultural Center posted on their youtube channel and facebook account on November 9.

Suzy Lake is a photographer, video artist, performer, and a leading artist of the feminist avant-garde of the 1970s. She questions the codes of gender representation through a performative and theatrical practice of self-portraiture.

Until 28 January 2023, the Centre Photographique Marseille is presenting "Learning from Los Angeles", an exhibition co-produced with the École Nationale Supérieure de la Photographie d'Arles to mark the latter's 40th anniversary. It brings together works by Nicolas Giraud, François Bellabas, Olivier Cablat and Marina Gadonneix, which were made around Los Angeles and are based on the following questions:

"How does Los Angeles present itself as a generic model of contemporary society? And how do the forms of the city and what is built there serve as prototypes for the organisation of the post-industrial world?"

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Brognon Rollin is nominated for the 2022 SAM Art Prize with Victoire Inchauspé, Marilou Poncin , Assaf Shoshan, Nefeli Papadimouli Marie Voignier, Julian Charrière, Brodbeck & de Barbuat.

Results on December 7

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Chateau Royal is a hotel that portrays Berlin's social fabric by merging gastronomy with art.

Chateau Royal embraces the ongoing friendships it has with artists by presenting existing as well as commissioned artworks, which are scattered throughout its premises. Over 100 artworks inhabit the rooms of the hotel and in some cases also the restaurant, the bar, the corridors, the stairways or the façade and present themselves in the shape of a painting, sculpture, installation, film/video, photograph, text, sound, light or performance. Discrete or loud, these artworks and artists embody the spirit of a social network with close ties to Berlin as well as the Chateau Royal family.

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In a major presentation of the Mercedes-Benz Art Collection, highlights of the collection, around 150 works from 1910 to the present day, will be exhibited in Stuttgart at the Mercedes-Benz Museum. The spectrum of this exhibition ranges from the southwest German classics Adolf Hölzel, Willi Baumeister and Oskar Schlemmer to young international artists such as Saâdane Afif Cao Fei, Clément Cogitore and Alia Farid.

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Under the name Horizones, the 23rd Pernod Ricard Foundation Prize brings together 6 + 1 artists invited by curator and art critic Clément Dirié. This year, Elsa Werth wins the prize by presenting furtive works with haunting questions about the socio-economic state of our society.

In an open scenography, the exhibition gives pride of place to the universe of each artist without any desire to theme or artificially bring together their practices. Each artist exhibits a set of works emblematic of his or her current research, testifying to the diversity of current contemporary creation.

Exhibition until October 29

With : Hélène Bertin, Timothée Calame, Fabiana Exsouza, Eva Nielsen, Benoît Piéron, Jean-Michel Sanejouand

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Phd thesis presented and defended at University Rennes 2

October 21, 2022 at 2pm

at Salle des Thèses

Building de la Présidence, 7th floor

For ten years, Nicolas Giraud and Bertrand Stofleth crisscrossed a modest but exemplary corner of France, a succession of valleys joining the Loire and Rhône rivers that were one of the cradles of the industrial revolution. La Vallée is the result of this vast photographic project in which each image works like a cross-section of time, bringing together within the frame objects that are distant in time. La Vallée creates a dynamic between the constitutive elements of a landscape, which also bear witness to its history.

With : Elsa Werth, Bianca Bondi, Mégane Brauer, Neïla Czermarkichti, Tirdad Hashemi et Soufia Erfanian, Randa Maroufi, Myriam Mihindou, Sara Sadik, Liv Schulman

An exhibition by Jennifer Flay

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Group show with: Ludovic Chemarin©, Annette Messager, Laurent Montaron, Françoise Petrovitch, Caroline Mesquita, Bruno Peinado, Simone Simon, Sammy Engramer, Christine Safa et Madeleine Roger Lacan, Florence Obrecht, Axel Pahlavi (...)

Commissariat: Mathieu Mercier

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With : Brognon Rollin as godfather and godmother - Andrés Baron - Jérémie Danon - François Dufeil et Charles Dubois - Joël Harder - Atelier collectif Le Houloc - Gabriel Moraes Aquino et Joana Zimmermann - Nefeli Papadimouli - Boryana Petkova et Iskra Blagoeva - Natalia Villanueva Linares - Maha Yammine

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Ridiculously Yours! flirts with the humour of catastrophe, bad taste, the camp approach, B-movie culture, science fiction and horror, but also with immaturity, idiocy, intuition and, of course, passion - not to mention enthusiasm.
An inspiring amusement park of enthusiastic awkwardness with works by numerous important artists: from Pieter Bruegel the Elder to Alfred Jarry and James Ensor, Marcel Duchamp and Francis Picabia, George Grosz and René Magritte, Giorgio de Chirico and Sturtevant, Sigmar Polke and Martin Kippenberger, to numerous contemporary positions of contemporary art such as Paul McCarthy, Nicole Eisenman, Fischli & Weiss, Isa Genzken, Pauline Curnier-Jardin, Kiluanji Kia Henda or Ming Wong.

This exhibition project has been initiated and conceived by Jörg Heiser and Cristina Ricupero.

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With : Benny Nemer, Anne-Charlotte Finel, Julie C. Fortier, Paul Kindersley and Emmanuelle Villard

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For the first time, Kunstmuseum Liechtenstein and the Hilti Art Foundation are presenting a jointly conceived, integrated exhibition.

The focus is on Candida Höfer's photographs, which she has created especially for this show.  Her photographs are juxtaposed in a dialogue with selected artworks from the two collections such as the work of Sâadane Afif.

With : Saâdane Afif, Josef Albers, Polly Apfelbaum, Joseph Beuys, Umberto Boccioni, Bill Bollinger, Nina Canell, Andreas Christen, Gianni Colombo, Edith Dekyndt, Latifa Echakhch, Luciano Fabro, Helmut Federle, Dan Flavin, Lucio Fontana, Günter Fruhtrunk, Gerhard von Graevenitz, Gotthard Graubner, Donald Judd, Kerstin Kartscher, Konrad Klapheck, Julije Knifer, Imi Knoebel, Anna Kołodziejska, Gary Kuehn, Fernand Léger, Barry Le Va, Verena Loewensberg, René Magritte, Kazimir Malevich, Rita McBride, Piet Mondrian, François Morellet, Charlotte Moth, Bruce Nauman, Giulio Paolini, Steven Parrino, Dan Peterman, Emilio Prini, Pamela Rosenkranz, Fred Sandback, Keith Sonnier, Yves Tanguy, André Thomkins, Rosemarie Trockel, Gilberto Zorio.

Curated by : Christiane Meyer-Stoll, Letizia Ragaglia and Uwe Wieczorek.

A production of Kunstmuseum Liechtenstein and the Hilti Art Foundation.

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An Uncertain Pleasure is an exhibition that focuses on multimedia. The title of the exhibition is taken from the eponymous work by Zhang Peili, a pioneer of video art in China, and pays homage to the global, cultural and geographically multifaceted perspectives addressed in the collection, which is unique in its heterogeneity.

The exhibition is divided into 4 thematic divisions, highlighting some of the concepts that are transversally manifested in the collection: socio-political questions, identity politics, the representation and fragmentation of the body, performativity and performance, globalization and diaspora. The title of the exhibition is taken from the eponymous work by Zhang Peili, a pioneer of video art in China, and pays homage to the global, cultural and geographically multifaceted perspectives addressed in the collection, which is unique in its heterogeneity.

Curated by Eugenio Viola

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In 2011, two artists, Damien Beguet and P. Nicolas Ledoux, decided to reactivate the work of the artist Ludovic Chemarin who had ceased his activity a few years earlier. They bought his name and the patrimonial rights of his past creations, then his image, his signature...

In the form of a diary, this biography recounts over 100 key days of the project over ten years. In a precise and distanced way, it documents the daily work of a work in progress. Between anecdotes and work sessions, meetings, openings, trips, this book is both the heart of the Ludovic Chemarin© project and a rare and precious observation on the mechanisms of contemporary creation, its uses as well as its social, cultural and artistic protocols.

Textes by Nathalie Leleu with Damien Beguet, P. Nicolas Ledoux

Until January 28, 2023, L'arc - scène nationale Le Creusot and the Fonds Régional d'Art Contemporain de Besançon are presenting an exhibition of works from the FRAC which highlight the notions of duration, ephemerality, movement and the living. Everything that highlights the crossroads between the so-called plastic and living arts.

Curator : Sylvie Zavatta

With the work of : Saâdane Afif, Marina Abramović, Eric Baudelaire, Neal Beggs, Jean-Christophe Norman, Laurent Tixador, Ulla von Brandeburg, Alex Cecchetti, Compagnie Labkine (Lise Daynac and Valeria Giuga), Manon de BOer, Cyprien Gaillard, Mario García Torres, John Giorno, Július Koller, Micha Laury, Régis Perray, Matthieu Saladin, Shimabuku, Roman Signer et The Play. 

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photo credit : © The Play, Wind : Wandering in the Wind, Sarobetsu, Hokkaido, 1976. Collection Frac Franche-Comté © The Play.

Having a critical text is an essential step in an artist's career. Criticism confronts the artist with an outside viewpoint, places him or her in the history of art, and gives the work a literary dimension. This is why the ADAGP created the Ekphrasis grant in 2020 with AICA France and Le Quotidien de l'Art, which brings together 10 artists and art critics. Each edition consists of 10 grants, each worth €2,000, which finance the writing, translation and publication of the critical text in Le Quotidien de l'Art. Initially, 10 artists were selected by the scholarship jury. A call for projects was then made to the critics of AICA France so that they could offer their pen to the winning artists.

The 10 artist/critic duos for 2022 are

Laurent PERNOT / Aurélie BARNIER
Isabelle FERREIRA / Fabienne BIDEAUD
Jeanne SUSPLUGAS / Patricia BRIGNONE
Simon RIPOLL-HURIER / Aude DE BOURBON PARME
Laure TIBERGHIEN / Nathalie DELBARD
Chloé DUGIT-GROS / Florian GAITE
Alix DELMAS / Véronique GODE
Doe Group / Line HERBERT ARNAUD
Awena COZANNET / Pauline LISOWSKI
Amélie BERRODIER / Vanessa MORISSET

In partnership with Brasserie Demory-Paris, MAD invites artist Elsa Werth to create a MAD beer in collaboration with brewer Frank Trosset.

In limited edition, you can taste it during MAD7.
Launch Friday, September 9 at 9pm at Coutume Café at the FIMINCO Foundation.

The first major survey of Carolee Schneemann's work in the UK, tracing her diverse, transgressive and interdisciplinary expression over six decades.

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Curator: Yasmine d'O.

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Curator: Clément Dirié

Artists: Hélène Bertin, Timothée Calame, Fabiana Ex-Souza, Eva Nielsen, Benoît Piéron, Jean-Michel Sanejouand, Elsa Werth

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Curator: Roland Wäspe

With: John Baldessari, Alighiero Boetti, Jenny Holtzer, Jean-Michel Basquiat, Mel Bochner, Robert Lazzarini, and On Kawara, among others.

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With the participation of: Alighiero Boetti, Brognon Rollin, Valentin Carron, Alicja Kwade, David Lamelas, Miriam Laura Leonardi, Philippe Mayaux, Jonathan Monk, François Morellet, Gianni Motti

Curators: MAH

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PHOTOGRAPHS AND PERFORMANCES OF THE 1970S FROM THE VERBUND COLLECTION, VIENNA

The Rencontres d'Arles is delighted to present, for the first time in France, the exhibition A Feminist Avant-Garde. Photographs and Performances of the 1970s from the Verbund Collection, Vienna, with over 200 works by 71 female artists. The exhibition title refers to “an” Avant-Garde, one containing a multitude of feminist movements, diverse in age, nationality, and culture. Feminisms are also considered in intersectional terms because some of those female artists have experienced, and continue to experience, multiple forms of discrimination, including racism, classism, and gender. The exhibition is divided into five themes: women's reduction to “wife, mother, and housewife”; their resulting feeling of “being locked-up”; the questioning of “dictates of beauty and representations of female bodies”; explorations of “female sexuality”; and debates around “female roles and identities.”

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Upcoming talk at the gallery:



Saturday, July 2 from 3 pm to 5 pm

Annabelle Constant, head of Cultural and Educational Services  - MAM / Musée d'art moderne de Paris
Jean-Baptiste Farkas, artist
 
Annabelle Constant and Jean-Baptiste Farkas will present the aims of the PRACTICES IN REMOVE platform, which studies and practices the notion of minus in all kinds of contexts and repertoires.



Previous talks:
Friday, May 6 from 5 pm to 7 pm
Stéphanie Airaud, conservatrice du patrimoine

Sandra Cattini, responsable de la collection arts décoratifs, design et métiers d'art, Centre national des arts plastiques (Cnap)

Jean-Baptiste Farkas, artiste


Friday, June 24 from 5 pm to 7 pm

Jean-Baptiste Farkas, artist

Camille Paulhan, art critic

Laurence Corbel, teacher researcher, University of Rennes 2

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Curator Alexandre Bohn
(Collection of FRAC Poitou-Charentes)

With: Lawrence Abu Hamdan, Saâdane Afif, Ouassila Arras, Alex Ayed, Sophie Barber, Orian Barki et Meriem Bennani, Étienne Chambaud, Gaëlle Choisne, Rabiya Choudhry, Julien Creuzet, Freya Dooley, David Douard, Charlotte Dualé, Nathanaëlle Herbelin, Florence Jung, LOW PROFILE, Randa Maroufi, Juliette Mock, Nicolas Momeim, Joanna Piotrowska, Sara Sadik, Rosalie Schweiker, Agnès Thurnauer, Julia Wachtel

Curator: Marie Griffay

SHUTTER is the fourth in an ongoing series of medium-centric group exhibitions presented at Touchstones Nelson: Museum of Art and History, curated by Arin Fay, which explore specific medium through as diverse a lens as possible. SHUTTER brings together artists: Dayna Danger, Adad Hannah, Sandra Semchuk/Jerry DesVoignes, Thaddeus Holownia, Althea Thauberger, Suzy Lake and Fred Rosenberg. Before there was SHUTTER there was WORD; LOST THREAD; and THROWN. These group exhibitions are a means of creating a curated and critical discourse w/ artist from across Canada that involve issues of: place/environment, identity politics and other diasporic realities, means and method, craft vs art, urban vs rural, and many other actualities and approaches which pertain to the respective artists involved. The discourse that these group exhibitions foster is centred on the artworks themselves, both in concert and meaningful disconnect, but also through the narrative elements and representative place of artists within the country, within their careers, and through their respective work and perspectives.

Solo show

Curator: Hercules Papaioannou

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Paris Gallery Weekend returns ! For four festive days, 106 Parisian modern and contemporary art galleries will warmly welcome visitors to discover their exhibitions and meet the various actors of the art world.

Exceptional opening of the gallery from 11am to 7pm from Thursday 19th to Saturday 21st May
Special opening of the gallery on Sunday 22 May from 2pm to 6pm

Discover the complete program, the agenda and the itineraries of the weekend on: www.parisgalleryweekend.com

A key figure on the international art scene, winner of the prestigious Praemium Imperiale in 2016, Annette Messager will be taking over the LaM from 11 May to 21 August 2022, for one the most important exhibitions held by a French public institution since her retrospective at the National Museum of Modern Art in 2007. For this new rendezvous, organised as part of the latest edition of lille3000, Utopia, the artist has chosen to present previously unseen works – drawings and installations – in which she proposes her own utopia, in which reality is tricked and taunted thanks to the magic of fiction.

With Barthélémy Antoine-Loeff, Frédéric Gelbseiden, Jean-Benoît Lallemant, Nøne Futbol Club
Curator: Nicolas Rosette

Group show

Curator: Camille Morineau
Associate curator: Camille Anderson

With the works by:
Gianfranco Baruchello, George Brecht, Jean-Marc Bustamante, Michael Buthe, Vlassis Caniaris, Franck Chalendard, Erik Dietman, Helmut Dorner, Elger Esser, Robert Filliou, Günther Förg, Hreinn Friðfinnsson, Pia Fries, Bernard Frize, Jochen Gerz, Rodney Graham, Olaf Holzapfel, Callum Innes, Harald Klingelhöller, Annette Messager, Wilhelm Mundt, Tom Phillips, Pascal Pinaud, Éric Poitevin, Denis Pondruel, Dieter Roth, Thomas Ruff, Anne-Marie Schneider, Thomas Schütte, David Shrigley, Thomas Struth, Hiroshi Sugimoto, Mitja Tušek, Françoise Vergier, James Welling

With: Josef Albers, Martin Barré, André Cadere, Dan Flavin, Ann Veronica Janssens, Imi Knœbel, Kenneth Noland, Claude Rutault, Keith Sonnier, Frank Stella, Anne Truitt and Heimo Zobernig

Curator: Grégory Lang

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Thursday, March 31 at 6:30 pm
With JH Engström, Leigh Ledare and Margot Wallard.
Moderator Simon Baker

With Nobuyoshi Araki, Nan Goldin and René Groebli, Emmet Gowin, Larry Clark, Sally Mann, Leigh Ledare, Hervé Guibert, Alix Cléo Roubaud, JH Engström & Margot Wallard, RongRong&inri, Lin Zhipeng (aka No 223), Hideka Tonomura, Collier Schorr.

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With Brognon Rollin, Aleksandra Chaushova, Claude Closky, Natalie Czech, Cyprien Gaillard, Marine Hugonnier, Sven't Jolle, Olga Kisseleva, Kolkoz, Laura Lamiel, Caroline Le Méhauté, Dominique Leroy, Adrian Melis, Anne Neukamp et Katie Paterson.

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Group show

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In March 2022, Saint-Martin Bookshop* will open an exhibition dedicated to On Kawara, which will present the artist's major works that have been produced as editions and published by mfc-michèle didier.

I Read, 1966–1995/2017
I Got Up, 1968–1979/2008
I Went, 1968–1979/2007
I Met, 1968–1979/2004
One Million Years, 1970–1998/1999

During the exhibition, different sessions of One Million Years reading will take place. Since 1993, and conforming to the artist's wishes, the readings are performed according to a protocol by two voices of opposite tessituras for each performance.

*Saint-Martin Bookshop
Rue de Flandre 114 Vlaamsesteenweg
1000 Brussels, Belgium
+32 (0)487 13 65 72

Exhibition from March 12 to 1 April, 2022
Opening on Saturday, 12th March from 6 to 9pm
Finishing on April 1, from 6 to 9pm

Reading of One Million Years by On Kawara:
Saturday 12/03 at 7pm - 2 persons
Wednesday 16/03 at 2pm - 2 persons
Wednesday 16/03 at 5pm - 2 persons
Wednesday 16/03 at 6pm - 2 persons
Saturday 19/03 at 11am - 2 persons
Wednesday 23/03 at 5pm - 2 persons
Saturday 26/03 at 11am - 2 persons
Wednesday 30/03 at 5pm - 2 persons
Wednesday 30/03 at 7pm - 2 persons
Friday 04/01 at 7pm - 2 persons

Exceptional production of a poster by mfc-michèle didier and Saint-Martin Bookshop in partnership with the One Million Years Foundation. All proceeds from the sale will be donated to the Red Cross for Ukrainian children.

Screening of Yuki Okumura's film, The Man Who
2019, HD video, 116 minutes 15 seconds. A series of interviews conducted by Yuki Okumura in December 2018, and January and February 2019.
This film contains memories, or description of memories of «him», narrated by nine persons. This film will be shown with other works by the artist as an «exhibition within the exhibition».

Special thanks to the One Million Years Foundation, established by the artist On Kawara

Group show
Curated by Romain Jarry

With Ismaïl Bahri, Céleste Boursier-Mougenot, Catherine Contour, Abdessamad El Montassir et Matthieu Guillin, Anne-Charlotte Finel et Voiski, Graham Gussin, Alexander Gutke, Ann Veronica Janssens, Marion Mallet, Robert Morris, Benny Nemer, Giuseppe Penone, Ben Russell, Ulla Von Brandenburg, Apichatpong Weerasethakul

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Now on view

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Louise Bourgeois x Jenny Holzer

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ENTRE DEUX PORTES
64 rue de Namur - 1000 Bruxelles

Exhibition from 02.18 to 04.02, from Tuesday to Saturday, from 11 am to 6 pm
With the support of Uptown design

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Solo exhibition curated by Jane Becker Nelson

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Talk between Jill Gasparina and Claude Closky

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Brognon Rollin is offering all their past and future museum labels for sale in NFT. Each, French and English version, is unique and has the same price than the work described.

I'm All Tomorrow's Broken Hearts NFT collection is now for sale on OpenSea with the support of mfc-michèle didier. Click here to purchase your NFT.

"We are storytellers. Each of our works is a tale to read, contemplate, understand, and share. Each story is a prophecy of the work to come, subsequently transformed into a written description for the visitor on the walls of our exhibitions. The caption itself becomes an artwork, whispered to a friend to guide their visual and intellectual wanderings." Brognon Rollin

The texts are signed by Anthony van den Bossche and the graphic design is by Fred Thouillot. The font of the wall labels is the one used for the packaging of the generic version of Propranolol, a beta blocker prescribed to treat anxiety, PTSD, and heartbreak.

Art Explora is sustainably associating with the Cité internationale des arts to co-construct a new biannual residency program for international artists and researchers. This program offers the possibility for artists and researchers to carry out research and creation work in the heart of Paris, in connection with the French artistic and professional scene.

The first session started in March 2021 with 13 residents.

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Curator: Róna Kopeczky
With ArtLeaks, Jasmina Cibic, Hubert Czerepok, Agnes Denes, Igor Eškinja, Oxana Gourinovitch, Ferenc Gróf, Flo Kasearu, Eva Koťátková | Volodymyr Kuznetsov, Irena Lagator, Olson Lamaj, Marko Mäetamm, Alexander Manuiloff, Dóra Maurer, Raul Meel, Katja Novitskova, Dan Perjovschi, Géza Perneczky, Nada Prlja, Kaisa Puustak, Driton Selmani, Slavs and Tatars, Société Réaliste, Bojan Stojčić, Endre Tót

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With works by Marina Abramovic, Saâdane Afif, Maja Bajevic et Emanuel Licha, Béatrice Balcou, Éric Baudelaire, Neal Beggs et Jean-Christophe Norman et Laurent Tixador, Patrick Bernier et Olive Martin, Davide Bertocchi, Ulla von Brandenburg, Alex Cecchetti, Elisabeth S. Clark, Compagnie Labkine, Lise Daynac & Valeria Giuga, Manon De Boer, Cyprien Gaillard, Mario García Torres, Gerard & Kelly, John Giorno, Anna Holveck, Ann Veronica Janssens, Július Koller, Micha Laury, Xavier Le Roy, Élodie Lesourd, Marie Lund, Angelica Mesiti, Ari Benjamin Meyers, Roman Ondak, Régis Perray, Matthieu Saladin, Shimabuku, Roman Signer, Cally Spooner, The Play, Untel.

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Group exhibition
Curated by Tyler J Stewart,

With artworks by jamilah malika abu-bakare, Adam Basanta, Michèle Pearson Clarke, Marjie Crop Eared Wolf, Maskull Lasserre, Benny Nemer, and Jessica Thompson.

Featured artwork: Marjie Crop Eared Wolf. Niitsi'powahsin Secwepemctsín (detail), 2021-2022. Installation.

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Curators: Peter Weibel, Sarah Donderer and Daria Mille

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A Slower Dawn! Vanishing Points 4.0 – Contemporary reflections on antisemitism and Jewish identity after the fall of the Iron Curtain
Curator Tamás Don
With Kitti Gosztola, Ferenc Gróf, Szabolcs KissPál, Csilla Nagy, Bence György Pálinkás

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With Hélène Bertin, Timothée Calame, Fabiana Ex-Souza, Eva Nielsen, Benoît Piéron, Elsa Werth + Jean-Michel Sanejouand.

Curator Clément Dirié

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La Chaufferie, galerie de la HEAR
5 rue de la Manufacture des Tabacs — Strasbourg
+33 (0)3 69 06 37 77
Vendredi, samedi & dimanche de 14h à 18h
Vernissage le 9/12 à 18h30

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Curators: Dušan Barok, Ivana Rumanová

With Jan Čumlivski, D'epog, Ferenc Gróf, Nadácia Hermit a Centrum pre metamédiá Plasy, Nadácia pre mediálny výskum, Lucia Repašská, Spoločnosť pre nekonvenčnú hudbu (SNEH), Matěj Sýkora, Štúdio erté, Transmusic Comp

The Museum of Contemporary Art Tokyo is pleased to present the first large-scale museum exhibition in Japan of the acclaimed artist Christian Marclay, whose innovative practice lies at the crossroads of art and music.

Christian Marclay (b. 1955) began experimenting with sound in performances using turntables during the late 1970s in New York, and has been an important figure in the avant-garde music scene ever since. Focusing on sound as visual information and on how music is represented, objectified and commodified in modern society, he is recognized as one of the most popular and influential artists who connect contemporary art with music. Marclay works in performance, collage, installation, photography, painting and video, often repurposing a wide range of found media including LP records, CDs, comics, movies, and photographs.

Christian Marclay Translating is the first large-scale solo exhibition of the artist's work in a Japanese museum and aims to introduce his diverse and eclectic practice to audiences. Sampling his oeuvre, it includes early works, influenced by conceptual art and punk music, large-scale installations built from samples of image and sound information, and more recent works that reflect upon the anxieties permeating our contemporary world.

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Curator : Alexandre Quoi

With: Carel Balth, Joseph Beuys, Alighiero Boetti, Christian Boltanski, Troy Brauntuch, Marcel Broodthaers, Victor Burgin, André Cadere, Alan Charlton, Gérard Collin-Thiébaut, Hanne Darboven, Luciano Fabro, Helmut Federle, Hans-Peter Feldmann, Barry Flanagan, Gérard Garouste, John Hilliard, Jannis Kounellis, Bertrand Lavier, Lefevre Jean-Claude, Jean Le Gac, Mario Merz, Annette Messager, Jacques Monory, François Morellet, Yves Oppenheim, Giulio Paolini, Michel Parmentier, Pino Pascali, Michelangelo Pistoletto, Bernard Rancillac, Gerhard Richter, Ulrich Rückriem, Claude Rutault, Fred Sandback, Djamel Tatah, Patrick Tosani, David Tremlett, Lee Ufan, Ger van Elk, Michel Verjux, Jan Vercruysse, Andy Warhol, William Wegman, …

Digitality skews the linearity of time when a computer-generated simulation brings a past environment back to life.

If past exhibitions, that are spatial manifestations of thought processes, are resurrected digitally, history turns into a virtual experience. Chronologies could be reversed, reconstructed, and built anew in a computer-generated space. Meanwhile ephemera become withheld in time due to their digital conservation.

Two art institutions, ZKM | Center for Art and Media Karlsruhe and Centre Pompidou, Paris have committed themselves, within the framework of the project Beyond Matter. Cultural Heritage on the Verge of Virtual Reality, to examining the possibility of exhibition revival through experiential methods of digital and spatial modelling based on the case studies of Les Immatériaux (Centre Pompidou, 1985), and Iconoclash (ZKM | Karlsruhe, 2002). The chosen exhibitions are landmark shows of the past decades. Les Immatériaux and Iconoclash are both complex thought experiments deployed through space. With the aim of exploring the impact of computer-based information and the shaping of digital realities in all fields of knowledge, they experimented with innovative forms of juxtapositions between scientific, technological, and artistic practices. What's more is that they propelled the possibility of the exhibition as a medium and an interface to a sharp level of reflection and creativity.

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Martha Wilson is a unique personality in the history of American art, and one of the first artists to use her body to question social representations of women. Her pioneering work created in the early 1970s can be categorised as conceptual practices with a radical irony. Featuring more than forty works, the Centre Pompidou is the first French institution to dedicate a monographic exhibition to her.

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L'avant-dernière version de la réalité is the first big museum exhibition in Belgium by the artistic duo comprising David Brognon and Stéphanie Rollin. Bringing together existing work with new creations produced exclusively for the BPS22, the exhibition is a perspective of their work over the past 15 years. It allows us to appreciate the uniqueness and consistency of their approach and their definitive conceptual world.

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Samuel Bianchini's (2007-2020) interactive installation niform lends itself to multiple reflections. In a dark room, the spectator sees the projection of a blurry image, which becomes increasingly sharper as the viewer approaches it, but only for the shape of the spectator's body. When the spectator stands half a meter away from the image, what is revealed is a fragment of a group portrait of life-sized, reposing French riot policemen in full gear.

Contemporary spectators often feel bewildered by the continuous alternation of images that besiege them. The roles here are reversed: it is the spectator's own performativity, positioning and distance that define how much of the image becomes clear. Besides, niform stems from the word uniform, with the omission of the letter u, indicating that the audience is a crucial factor for the completion of the work. Interactive and participatory viewing are essential here: no one is able to see the whole picture alone. Likewise, if the viewer approaches close enough to see clearly, they will still miss the larger picture. The human forms, even when visible, appear suspended in a space lacking any perspective. The viewer is invited to examine the perception of the representation as an intrinsically elliptical process, in which immobility consolidates a restrictive point of view. Besides, can one, at any given moment, perceive much more from the fragment of reality surrounding him? niform asks the viewer to realize that the image becomes visible only thanks to their own position and stance. And even this may not be enough, since it is not the spectator the one selecting the image or the algorithm that regulates how the image is increasingly coming into focus.

Another aspect of niform's group portrayal of men serving with French law enforcement is that it serves as a reflection on power itself: invisible at first, but becoming discernible at close distance, it is just a limit beyond which one's vision is thwarted. But can real power be easily displayed, or is this a representation that will always tend to be elusive? Meanwhile, in yet another interesting reversal, it is the citizens inspecting the images of police officers. Bianchini, an experimental artist, theorist and researcher of new media, invites us to reflect on the rapidly evolving imaging technology, not as anodyne sensationalism, but as a matter of political thought, in which one investigates and challenges, immersed in a postmodern, 21st century platonic cave of shadows. niform allows us to ponder on the degree of freedom contemporary citizens have, at a time when the digital image-world appears omnipotent, suggesting, in a staged version of sousveillance*, that the police is not beyond observation or accountability, even in our bleak era of “total security”.

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With works by Béatrice Balcou, Marion Baruch, Stanley Brouwn, Andre Cadere, Kapwani Kiwanga, Sol LeWitt, François Morellet, robert morris, Yvonne Rainer

Curated by Beatrice Gross

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With works by: Kai Althoff, Deborah Barrett, Georg Baselitz, Joseph Beuys, Manuel Álvarez Bravo, Deborah Barrett, Cecily Brown, George Condo, William Copley, Carrol Dunham, Nicole Eisenman, General Idea, Robert Gober, Guerrilla Girls, Rachel Harrison, Jörg Immendorff, Rashid Johnson, Ray Johnson, Anselm Keifer, Martin Kippenberger, W. Imi Knoebel, Barbara Kruger, Robert Kushner, Maria Lassnig, Glenn Ligon, Robert Longo, Sol LeWitt, Paul McCarthy, Carlos Mérida, Dan Miller, Ulrike Müller, Matt Mullican, Gabriel Orozco, Raymond Pettibone, Sigmar Polke, Arnulf Rainer, Gerhard Richter, Allen Ruppersberg, Peter Saul, Thomas Schütte, Nancy Spero, Rosemarie Trockel, Germán Venegas, Danh Vo, Kara Walker, Lawrence Weiner, and Nahum B. Zenil.

Hessel Museum of Art
Bard College
Annandale-on-Hudson
NY 12504-5000

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"Do women have to be naked to get into the Met. Museum?"

The Guerrilla Girls emerged in New York in 1985 as an anonymous artists' collective dedicated to feminist activism. Known for using gorilla masks to cover their faces, the group's members take on the names of deceased women artists like Frida Kahlo, Eva Hesse, Paula Modersohn-Becker, Käthe Kollwitz, Gertrude Stein and Georgia O'Keeffe, thereby concealing their true identities from the world and promoting the achievements of those women.

In its more than 35 years of existence, the collective has produced countless posters, books, stickers, drawing projects, graphic publications and magazines about sexism and discrimination against women in the visual arts, film and culture in general. Portfolio Compleat includes this entire repertoire, where they appropriate the visual language of advertising and marketing to communicate their messages in a clear, direct way.

Curator: Yolanda Torrubia.

In 1917, a work entitled Fountain, consisting of an upturned urinal signed R. Mutt, was submitted to the first exhibition of the Society of Independent Artists of New York. Under this pseudonym, Marcel Duchamp tested the limits of the exhibition's admission policy, supposedly open to any proposal and inspired by the motto of the Salon des Indépendants in Paris: ‘no jury, no prizes'. By selecting an ordinary object, a found object, Duchamp sought to destroy the notion of the singularity of the object of art. Fountain was rejected, just as Nu descendant un escalier (N°2) [Nude descending a staircase (No. 2)] had been rejected by the Salon des Indépendants in Paris in 1912. Duchamp then decided to orchestrate the Fountain's presentation through a publication in The Blind Man, a magazine of which he was a co-founder. The original work disappeared and was never found again. Therefore, it is from a reproduction (a photograph by Alfred Stieglitz) accompanied by an anonymous commentary (‘The Richard Mutt Case') that Fountain enters the history of art. Since then, Duchamp's Fountain has generated countless comments and has become one of the most influential works of art of the twentieth century.

Saâdane Afif has turned the printed dissemination of Fountain into a monumental project. The Fountain Archives consists of three elements: the first, the ‘active' part of the project, consists of the pages of publications, books, catalogues and magazines that reproduce a photograph of this iconic piece. The pages, taken from the collection of publications that the artist has been collecting since 2008, are torn out, framed and inventoried, creating a new readymade from one of the earliest and certainly the most iconic readymades in the history of art.

The second, the ‘passive' part of the project, which Afif also calls the ‘mould', is the library with the books from which the pages were taken. The shelves create an archive around Duchamp's readymade, from which the common initiator has been removed: an archive without its object. This presentation of the library – complete for the first time in the installation at the Fundació Antoni Tàpies – by depriving the publications of their usual function, also gives it a sculptural character.

The third element, called Fountain Archives (Augmented), integrates the pages of publications with the comments generated over the years by Saâdane Afif's work, illustrated with a reproduction of Fountain; the archive within the archive, in a kind of mise en abyme. These publications point to an evolution in the development and perception of The Fountain Archives as a work of art.

Appropriating inventory methodologies and playing with traditional museographic codes, Afif questions the production system, the status of the work of art, its reproducibility and the infinite field of its interpretations, as well as his formidable ability to produce narratives.

True to his way of doing things since 2004, Saâdane Afif has also commissioned several cultural producers to write lyrics based on Fountain for this project. A selection of these songs is part of the exhibition.

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Paris Gallery Weekend takes place in about 125 galleries the 3, 4, 5, 6 June 2021.
Free and open to all from 11am to 6pm! Access to the galleries will be in accordance with health regulations.

With works by Giuseppe Arcimboldo, Ulisse Aldrovandi, Francis Bacon, Enrico Baj, Hans Bellmer, Lynda Benglis, Cezary Bodzianowski, Alighiero Boetti, Denis Boutemie, René Boyvin, Giovanni Battista Bracelli, Kerstin Brätsch, Victor Brauner, Glenn Brown, Cadavres exquis [Yves Tanguy, André Masson] [Yves Tanguy, Marcel Duhamel, Max Morise, André Breton] [Koo Jeong A, Ian Cheng, Philippe Parreno] [Marlene Dumas, Virgil Abloh, Rem Koolhaas] [Alex Israel, Norman M. Klein, Henry Taylor] [Paul McCarthy, Luchita Hurtado, Patrick Staff] [Tobias Rehberger, Rirkrit Tiravanija, Mathias Augustyniak] [Peter Saville, Liam Gillick, Philippe Parreno] [Yu Hong, Liu Xiaodong, Liu Wa], Miriam Cahn, Fernando et Humberto Campana, Maurizio Cattelan, Jake & Dinos Chapman, Giorgio de Chirico, Gregorio Comanini, Gustave Courbet, Roberto Cuoghi, David Czupryn, Daft Punk, Salvador Dalí, Otto Dix, Enrico Donati, Marcel Duchamp, Albrecht Du?rer, Carl August Ehrensvärd, James Ensor, Max Ernst, Hans-Peter Feldmann, Lavinia Fontana, Llyn Foulkes, Daniel Fröschl, Giambologna, Gilbert & George, Felix Gonzàlez-Torres, Grandville, Francesco Guardi, Cornelis Norbertus Gysbrechts, Heide Hatry, Robert Heinecken, Hannah Höch, Pierre Huyghe, Rashid Johnson, Christoph Jamnitzer, Ewa Juszkiewicz, Tetsumi Kudo, Claude Lalanne, Nicolas II de Larmessin, Zoe Leonard, Roy Lichtenstein, Giovan Paolo Lomazzo, Ghérasim Luca, Maître du Bacchus, Maître lombard du Custode dell’orto, Maître strasbourgeois des Quatre Saisons, Maître de la Tête de satyre (Paolo Giovio), René Magritte, Man Ray, Alberto Martini, Matthäus Merian, Mario Merz, Marisa Merz, Annette Messager, Tomio Miki, Patrick Neu, M/M (Paris), Tim Noble & Sue Webster, Luigi Ontani, Meret Oppenheim, Bernard Palissy, Peintre d’Herculanum, Peintre du Plafond au bestiaire, Peintre de Pompéi, Francis Picabia, Pablo Picasso, Louis Poyet, Markus Raetz, André Raffray, Antonio Rasio, Auguste Rodin, Medardo Rosso, Ed Ruscha, Niki de Saint Phalle, Chéri Samba, Alberto Savinio, Iris Schieferstein, Arnold Schönberg, Cindy Sherman, Penny Slinger, Il Sodoma, Daniel Spoerri, Cally Spooner, Jacopo Strada, Jan Švankmajer, Alina Szapocznikow, Wolfgang Tillmans, Jean Tinguely, Toyen, Rosemarie Trockel, Francesco Zucchi.

In 1977, critic Douglas Crimp coined the term the "Picture Generation", which encompasses figures like Cindy Sherman, Louise Lawler, Richard Prince and Sherrie Levine. In their work, the photographic image is no longer merely a result but a stage in a critical process involving actions like appropriation, staging, reframing and quotation. For Martha Wilson, a leading figure of feminist art in the United States, and for French artist Michel Journiac, photography became a weapon in the struggle against the stereotypes that it had helped establish in other contexts. In the form of photographic installations rather than autonomous images, these works are a kind of experiment, allowing the spectator to investigate different interpretations of the images. Michel Journiac, Louise Lawler, Richard Prince, Sherrie Levine, Cindy Sherman and Martha Wilson move away from the use of photography as a simple record of reality. For them, the photographic image is no longer just a form of evidence or proof of reality. Freed from its shackles, it can now be used to create forms of fiction, challenging notions of identity, and raising new questions about art, gender and identity.

With works by Jean-Michel Basquiat, Jean-Charles Blais, Jonathan Borofsky, Robert Combas, Federico Guzmán, Louis Jammes, On Kawara, Anselm Kiefer, Joseph Kosuth, Louise Lawler, Loïc Le Groumellec, Sol LeWitt, Kay Rosen

Curators: Sylvie Boulanger, Keren Detton, Lucy Hofbauer

The architecture of survival provides food for thought to Yona Friedman on our fundamental needs in an ecosystem subjected to the rarefaction of resources. Born in 1923 in Hungary, he had started studying architecture in Budapest when WWII erupted. As a refugee in Romania, he lived in camps for the displaced before finally settling in Israel where he lived in a kibbutz and returned to architecture. It was in these conditions that he developed his original approach to habitat based on user experiences. In 1957, he founded the Mobile Architecture Study Group (Groupe d'Étude d'Architecture Mobile – GEAM) and promoted the use of flexible structures made of prefabricated elements. His ideas caught the attention of leading figures including Le Corbusier and Jean Prouvé, who invited him to move to France. From then on he relentlessly transmitted his ideas throughout the most renowned universities in both Europe and the United States and wrote profusely, publishing over 500 articles and books. 

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Curator: Jean-Paul Blanchet

With works by: Pilar Albarracìn, Aranthell, Damien Berthier, Liu Bolin, Louise Bossut, Nicolas Boulard, Mireille Blanc, Thomas Broomé, Patrice Carré, Jeanne Chopy & Robin Tornambe, Claude Closky, Clément Collet-Billon, Claire Dantzer, Denis Darzacq, Arnaud Dezoteux, Sandra Foltz, Ana González Sola, Elsa Guillaume, Joseph Grigely, Marie Hamel, Hesse Romier, Clémence Joly, Jan Kopp, Enora Lalet, Joachim Lapôtre, Marc Lathuillière, Thomas Lévy-Lasne , Pablo Lobato, Charlie Malgat, Aurélie Mathigot, Chloé Mazlo & Bérengère Henin, Mathieu Mercier, Yao Metsoko, Lucy + Jorge Orta, Rostand Pokam, Pôle-Fromage, Babeth Rambault, Olivier Richon, Gregg Segal Photography, Fabien Souche, Stéphane Soulié, Jeanne Susplugas.

Abbaye St André
Centre d'art contemporain
Place du Bûcher
19250 Meymac
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Picture: Nicolas Boulard, Golden Cheese Camembert, 2017

With works by Lida Abdul, Marwa Arsanios, Roy Dib, Mounir Fatmi, E. García, Jorge García, Juan Genovés, Leo Gestel, Patricia Gómez & Mª Jesús González, Petrit Halilaj, Peter Halley, Mestre de la conquesta de Mallorca, Muntadas, M. Muntaner, Daniela Ortiz, Tommaso Realfonso, José Vila Coll, Wolf Vostell, Kemang Wa Lehulere.

Fundació Es Baluard Museu d'Art Modern i Contemporani de Palma
Plac?a de la Porta de Santa Catalina, 10 - 07012 Palma

"The projects by Antoni Muntadas (Barcelona, 1942) include multimedia installations, photographs, publications, performances and urban interventions, and they represent one of the most important contributions to international conceptual art practices. The artist is also a touchstone in the use of video and the new technologies in Spanish art from the early 1970s. His oeuvre addresses topics related to politics, social issues and communication, always with one foot in anthropology, sociology and cultural history.

In The Empty City, Bilbao and its current urban plan, as well as its historical context, are the point of departure for a broader inquiry into public space and architecture. Curated by Guadalupe Echevarria, the outcome is a project comprised of several components, as is common in Muntadas' works. "

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Ludovic Chemarin© and Nicolas Giraud nominated for the Prix Bob Calle du livre d'artiste 2020 with Indefinite Expansion and Kentia.

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Michèle Didier, le livre comme œuvre d'art

Read the interview

Solo Show - Pierre Beloüin Deep In The Wood
Extended until November 28th, 2022

Guests : Ludovic Chemarin©, Cocktail Designers, Nurse With Wound, Charles Vourrial, Chicaloyoh, Hifiklub, Florie Laroche, Lune Apache

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To mark the reopening of the Frac site in Carquefou after having been closed for over a year for major work on its collections, the Frac des Pays de la Loire French Regional Collection of Contemporary Art is hosting an exhibition project by artist Claude Closky, entitled X.

"When Laurence Gateau invited me to create an exhibition based on the Frac des Pays de la Loire collection, I designed a project revolving around temporal rhythms, using works from the collection, which I supplemented with pieces loaned from other artists, some of whom are already featured in the Frac and others who are not. What all of these works have in common is the fact that they look at the course of everyday life, the effect of time on work, or that they adopt a specific timeline in their modes of display. The viewing systems implemented throughout the exhibition, from November to June, will give visitors the chance to explore two forms of temporal pace in the work: the portrayal of the passage of time and the time required to accomplish the artistic act. The installation layout of the works will itself be conditioned by the length of the exhibition, thus allowing each work to have its own rhythm. The sequential parts of a series or individual components of a work will always be presented separately: one a day, one a week, one a month, and so on. This method of displaying each element in turn will highlight the actual duration of the time spent working. And in this staggered arrangement, each piece will carry the same value as the ensemble. This approach seeks to shed light on how the works are streamed over time rather than their spatial occupation, focusing attention on the actual moment of experience as much as on its occurrence. It gives the installation layout a performative dimension. In addition, the exhibition will present original works, editions and reproductions of works in equal measure. This equilibrium is a way of setting time before space, and also of relegating to the background an object's tangible expression and rarity. The title X ("multiplication" and "choice") gives shape to the spatial aspect of the exhibition display."

Claude Closky

With works by Eduardo Arroyo, Marion Baruch, Stéphane Calais, René Caussanel, Nicolas Chardon, Nina Childress, Cocktail Designers, Isabelle Cornaro, Robert Crumb, Sophie Crumb, Dado, Raymond Depardon, Patrick Des Gachons, Daniel Dezeuze, Hervé Di Rosa, Erik Dietman, Dubois & Sanaoui, Mimosa Echard, Gudmundur Gudmundsson Erró, Roland Flexner, Joan Fontcuberta Villa, Helgi Fridjonsson, Gérard Fromanger, Carsten Höller, Michael Just, Frédéric Khodja, Renée Levi, Didier Marcel, Allan McCollum, Jean Messagier, Piet Moget, Vera Molnar, Nicolas Momein, François Morellet, Olivier Mosset, Matt Mullican, Aurelie Nemours, Gérald Panighi, Maud Peauït, Bruno Peinado, Stéphane Pencréac’h, Guillaume Pinard, Alain Séchas, Lucy Skaer, Matias Spescha, Lucie Stahl, Peter Stämpfli, Jessica Stockholder, Jeanne Susplugas, Claire Tenu, Roland Topor, Niels Trannois, Sarah Tritz, Tatiana Trouvé, James Turrell, Emmanuel Van Der Meulen, Claude Viallat, Jessica Warboys, Fischli Peter & Weiss David, Tursic Ida & Mille Wilfried, Jacob El Hanani

Curator Jill Gasparina

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Mel Bochner was invited to create the seventh Collector Box for "La Vache qui rit" after Hans- Peter Feldmann, Thomas Bayrle, Jonathan Monk, Wim Delvoye, Karin Sander and Daniel Buren.

LabBel is a laboratory of ideas and innovation that aims to support and contribute to the development of contemporary artistic creation.

Reflecting the values upheld by the Bel Group and its host company Unibel, under whose initiative LabBel was created in the spring of 2010. The laboratory's activities consist of two main poles: the development of a contemporary art collection and the production of exhibitions and artistic events both in France and abroad.

Each July, the selection of works is being rearranged, according to a different key word. While some pieces simply move to new positions within the space, most return to storage. Works from the depot are frequently hung next to recent acquisitions. In this, Erika Hoffmann creates new relationships in unexpected contexts and sets out to recognize unexpected meaning between works of distinct generations and mediums.

Sammlung Hoffmann
Sophienstraße 21
2. Hof, Aufgang C
10178 Berlin, Germany
http://sammlung-hoffmann.de