Gianni Manhattan Gianni
Manhattan
BARBARA KAPUSTA IS PART OF ‘LO(L)–EMBODIED LANGUAGE’ AT KUNSTHAUS HAMBURG
Lo(l)–Embodied Language
12.03.22—01.05.22

Opening 11.03.22

Gerry Bibby, Thomas Hirschhorn, Christiane Sun Kim & Thomas Mader, Nontsikelelo Mutiti, Barbara Kapusta, Katja Pilipenko, Émilie Pitoiset, Nora Turato

If you want to understand the present, you have to learn its language. If you follow the changes in the media landscape or confront the political and economic challenges of an increasingly globalized world, it quickly becomes clear that the familiar vocabulary no longer adequately captures the new realities. In view of the enormous speed of the digital transformation and its far-reaching consequences, a turning point is emerging with a formative influence on our coexistence and our communication behavior.
   The group exhibition Lo(l) – Embodied Language combines different artistic approaches in large-scale text and video installations and examines how language, writing, images and sounds permeate our living and working worlds. In this way, both the latest developments in information and communication technology and their accompanying challenges and opportunities are discussed in a multi-layered way.

Curated by Anna Nowak

> Kunsthaus Hamburg
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Lo(l)–Embodied Language
12.03.22—01.05.22

Opening 11.03.22

Gerry Bibby, Thomas Hirschhorn, Christiane Sun Kim & Thomas Mader, Nontsikelelo Mutiti, Barbara Kapusta, Katja Pilipenko, Émilie Pitoiset, Nora Turato

If you want to understand the present, you have to learn its language. If you follow the changes in the media landscape or confront the political and economic challenges of an increasingly globalized world, it quickly becomes clear that the familiar vocabulary no longer adequately captures the new realities. In view of the enormous speed of the digital transformation and its far-reaching consequences, a turning point is emerging with a formative influence on our coexistence and our communication behavior.
   The group exhibition Lo(l) – Embodied Language combines different artistic approaches in large-scale text and video installations and examines how language, writing, images and sounds permeate our living and working worlds. In this way, both the latest developments in information and communication technology and their accompanying challenges and opportunities are discussed in a multi-layered way.

Curated by Anna Nowak

> Kunsthaus Hamburg
SEBASTIAN JEFFORD IS PART OF ‘DES CHAMPS DE FRAISES POUR L'ÉTERNITÉ’ AT LA GALERIE CAC NOISY–LE–SEC
Des champs de fraises pour l'éternité2
Linus Bill + Adrien Horni, Ann Craven, Alex Frost, Sebastian Jefford, Bernard Jeufroy, Sister Corita Kent, Pentti Monkkonen, Travess Smalley, Sue Tompkins, Sarah Tritz
Curated by It’s Our Playground (Camille Le Houezec & Jocelyn Villemont)

22.01.22—02.04.22

This exhibition offers respite from the economic, ecological, political and social crises we are experiencing. In this space, withdrawal takes the form of a mental escape, which, once effected, allows us to understand reality from new angles.
   The title is clearly a reference to the Beatles’ song, "Strawberry Fields Forever", recorded in 1967. Starting from his childhood and the notion of nostalgia – Strawberry Field was a children’s home he played near as a child – John Lennon created an abstract, introspective song about each individual’s vision of the world. Translated into French, the title is somehow even more poetic, immersing us in a totally subjective, hallucinatory universe.

> Website La Galerie CAC Noisy-le-sec
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Des champs de fraises pour l'éternité2
Linus Bill + Adrien Horni, Ann Craven, Alex Frost, Sebastian Jefford, Bernard Jeufroy, Sister Corita Kent, Pentti Monkkonen, Travess Smalley, Sue Tompkins, Sarah Tritz
Curated by It’s Our Playground (Camille Le Houezec & Jocelyn Villemont)

22.01.22—02.04.22

This exhibition offers respite from the economic, ecological, political and social crises we are experiencing. In this space, withdrawal takes the form of a mental escape, which, once effected, allows us to understand reality from new angles.
   The title is clearly a reference to the Beatles’ song, "Strawberry Fields Forever", recorded in 1967. Starting from his childhood and the notion of nostalgia – Strawberry Field was a children’s home he played near as a child – John Lennon created an abstract, introspective song about each individual’s vision of the world. Translated into French, the title is somehow even more poetic, immersing us in a totally subjective, hallucinatory universe.

> Website La Galerie CAC Noisy-le-sec
BARBARA KAPUSTA & OLIVA HEARNE—READING TOGETHER
Barbara Kapusta and Oliva Hearne have compiled and annotated an incomplete reading list for brand new life magazine on and around the family, the body, and the technologies connected to it, care, labor and communality. Shared reading becomes common writing and creates leaks in our respective artistic and curatorial practices, asking how can we assist each other through the violence of a patriarchal and neoliberal capitalist understanding of the family, care, education, and health, as we have increasingly experienced it over the past year?

> Brand New Life Magazine
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Barbara Kapusta and Oliva Hearne have compiled and annotated an incomplete reading list for brand new life magazine on and around the family, the body, and the technologies connected to it, care, labor and communality. Shared reading becomes common writing and creates leaks in our respective artistic and curatorial practices, asking how can we assist each other through the violence of a patriarchal and neoliberal capitalist understanding of the family, care, education, and health, as we have increasingly experienced it over the past year?

> Brand New Life Magazine
BARBARA KAPUSTA AND STEPH HOLL–TRIEU IN CONVERSATION
Screening of Barbara Kapustas video installation The Leaking Bodies Series and a conversation between Barbara Kapusta and Steph Holl-Trieu.
   Gianni Manhattan is very happy to invite you to a screening of Barbara Kapustas video installation The Leaking Bodies and a conversation between Barbara Kapusta and Steph Holl-Trieu.
   Kapusta’s immersive three-channel video installation The Leaking Bodies and her most recent acrylic glass works seek to describe the effects of environmental, social and emotional stress, the increasing toxicity of landscapes, political instability and how our relationship to these events work in, and on, our bodies.
   Both Kapusta and Holl-Trieu are interested in technology, theoryfiction writing and speculative worldbuilding.
   The conversation will be held in English.
   You can register for the screening and conversation below. The zoom link will be sent out shortly before the event.

> Register here
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Screening of Barbara Kapustas video installation The Leaking Bodies Series and a conversation between Barbara Kapusta and Steph Holl-Trieu.
   Gianni Manhattan is very happy to invite you to a screening of Barbara Kapustas video installation The Leaking Bodies and a conversation between Barbara Kapusta and Steph Holl-Trieu.
   Kapusta’s immersive three-channel video installation The Leaking Bodies and her most recent acrylic glass works seek to describe the effects of environmental, social and emotional stress, the increasing toxicity of landscapes, political instability and how our relationship to these events work in, and on, our bodies.
   Both Kapusta and Holl-Trieu are interested in technology, theoryfiction writing and speculative worldbuilding.
   The conversation will be held in English.
   You can register for the screening and conversation below. The zoom link will be sent out shortly before the event.

> Register here
BARBARA KAPUSTA IS THE WINNER OF THE 40TH OTTO MAUER PRIZE
Gianni Manhattan is pleased to announce that Barbara Kapusta has been awarded the 40th Otto Mauer Prize.
   A central element in Barbara Kapusta's (* 1983, Lower Austria) objects, films, video installations and text-based works is the connection of the body with materiality and language. “In my films and video installations, performances, and object and text-related works, I speak about utopias of community, of bodies and figures. Utopias that spring from my fiction and our reality at the same time. I am concerned with the question of how fiction can initiate an alternative world in the sense of social blueprints and which standardization and politicization processes are necessary in order for them to become part of our reality. ” - Barbara Kapusta
   From February 5 to March 16, 2021, Otto Mauer Prize winner Barbara Kapusta will present selected works in the Jesuitenfoyer, Bäckerstraße 18, 1010 Vienna. The opening will take place on Thursday, February 4, 2021 at 7.30 pm.
   Barbara Kapusta's solo show The Leaking Bodies Series will open at the gallery on December 5, 2020.

> Otto Mauer Prize
Gianni Manhattan is pleased to announce that Barbara Kapusta has been awarded the 40th Otto Mauer Prize.
   A central element in Barbara Kapusta's (* 1983, Lower Austria) objects, films, video installations and text-based works is the connection of the body with materiality and language. “In my films and video installations, performances, and object and text-related works, I speak about utopias of community, of bodies and figures. Utopias that spring from my fiction and our reality at the same time. I am concerned with the question of how fiction can initiate an alternative world in the sense of social blueprints and which standardization and politicization processes are necessary in order for them to become part of our reality. ” - Barbara Kapusta
   From February 5 to March 16, 2021, Otto Mauer Prize winner Barbara Kapusta will present selected works in the Jesuitenfoyer, Bäckerstraße 18, 1010 Vienna. The opening will take place on Thursday, February 4, 2021 at 7.30 pm.
   Barbara Kapusta's solo show The Leaking Bodies Series will open at the gallery on December 5, 2020.

> Otto Mauer Prize
FEMINIST AGAINST FAMILY—BARBARA KAPUSTA, ROSE–ANNE GUSH AND SOPHIE LEWIS AT MUMOK CINEMA
Noncommercial pregnancy is a capitalist hinterland. Commercial surrogacy is capitalist industry. This screening departs from the call to abolish the family at the heart of Sophie Lewis’s Full Surrogacy Now: Feminism against Family (2019). It includes video and animation works that question the politics of gender, the labor of gestation, parenthood, childhood, and property relations. By invoking possibilities of familial relations beyond their bourgeois, patriarchal, and heteronormative forms, these works explore ways of living that suggest a commitment to transformed kinship and structures of support and care that include solidarity.

11.11.20, 19:00
MUMOK Vienna

Unfortunately, due to the current closure of the mumok museum, the program cannot take place at mumok cinema as planned. The program will be available on the mumok website for 48 hours:

11.11.20, 19:00 until 13.11.20, 19:00

> MUMOK Cinema
Screenshot 2022 03 10 At 161955
Noncommercial pregnancy is a capitalist hinterland. Commercial surrogacy is capitalist industry. This screening departs from the call to abolish the family at the heart of Sophie Lewis’s Full Surrogacy Now: Feminism against Family (2019). It includes video and animation works that question the politics of gender, the labor of gestation, parenthood, childhood, and property relations. By invoking possibilities of familial relations beyond their bourgeois, patriarchal, and heteronormative forms, these works explore ways of living that suggest a commitment to transformed kinship and structures of support and care that include solidarity.

11.11.20, 19:00
MUMOK Vienna

Unfortunately, due to the current closure of the mumok museum, the program cannot take place at mumok cinema as planned. The program will be available on the mumok website for 48 hours:

11.11.20, 19:00 until 13.11.20, 19:00

> MUMOK Cinema
MARINA FAUST AT MUSEUM DER MODERNE, SALZBURG
26.09.20—14.02.21
Museum der Moderne Rupertinum, Salzburg

Marina Faust (1950 Vienna, AT―Paris, FR and Vienna, AT) is the 17th winner of the Otto Breicha Prize for Artistic Photography awarded since 1983 at the Museum der Moderne Salzburg. In memory of probably the most important sponsor of contemporary photography in Austria, the prize is donated every two years by the Breicha family.
   The work of Marina Faust is multifaceted and extends over more than 40 years. It is characterized by the combination of applied fields of work in fashion, architecture and free artistic interpretations, especially in the field of extended portrait studies.
   The exhibition will feature compilations from the artist's own collection and archive that will be recreated, modified and reactivated by Marina Faust, revising her view of image formats and materials. In addition a series of videos and installations will highlight the broad spectrum of her work.
   The exhibition is accompanied by a catalogue.

> Museum der Moderne
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26.09.20—14.02.21
Museum der Moderne Rupertinum, Salzburg

Marina Faust (1950 Vienna, AT―Paris, FR and Vienna, AT) is the 17th winner of the Otto Breicha Prize for Artistic Photography awarded since 1983 at the Museum der Moderne Salzburg. In memory of probably the most important sponsor of contemporary photography in Austria, the prize is donated every two years by the Breicha family.
   The work of Marina Faust is multifaceted and extends over more than 40 years. It is characterized by the combination of applied fields of work in fashion, architecture and free artistic interpretations, especially in the field of extended portrait studies.
   The exhibition will feature compilations from the artist's own collection and archive that will be recreated, modified and reactivated by Marina Faust, revising her view of image formats and materials. In addition a series of videos and installations will highlight the broad spectrum of her work.
   The exhibition is accompanied by a catalogue.

> Museum der Moderne
BARBARA KAPUSTA IS PART OF TONGUE ON TONGUE, CURATED BY PROLOGUE COLLECTIVE
05.12.19—21.12.19

Opening at Galerie Allen 04.12.19
& Cité Internationale des Arts, Montmartre 06.12.19

Tongue on Tongue, nos salives dans ton oreille was born out of the following questions : what if we allowed ourselves to conceive the future? What future/s and what language/s would write them? What system/s of exchange could we (re)invent to trace the paths of our common future to bring about new ways of being together?
   More and more, the probability of dystopic futures weighs heavy upon us. Never before have ecosystemic concerns been felt on such a global scale. Terms such as eco-anxiety, eco-paralysis or solastalgia – the state of powerlessness and distress caused by the upheaval of an ecosystem – proliferate. The future has become debilitating. Yet, it is neither a fact nor a fatality, “the single, predictable, fixed future that the trend modelling proposes does not actually exist. Instead, what is out there is a multitude of possible futures (...). Knowing this means we have the power to imagine and create the futures that we choose (...).”[1] as such, it might be said that the future does not exist except as a consequence of decisions and actions in the present – here, the present is no longer tense but a compositional tool. Performance, as it manifests in the exhibition, is the rewriting of the future in the present and is revealed as much through social, political and economic bodies as those of flesh and sweat, reiteratively defining object and subject relations. Performance, as an artistic language, a language of composition, of the real and of speculation, is anchored in the contemporary yet operates outside of linear chronologies. It allows the creation and encounter of multiple bodies, slipping through the interstices of individual and collective narratives in order to revise the foundations of a society under construction. The writing of the future therefore plays out in the here and now, through strength of will and imagination.
 Tongue on Tongue speaks to the meeting of bodies and languages. The exhibition traces the social dimension of linguistic exchange, surpassing the frame of verbal language as predominant mode of interaction between human beings. Central operator of all social processes, language serves to name, represent and perform as “mediator in the formation of objects; it is, in a sense, the perfect mediator, the most important and valuable instrument in the quest and construction of a true world of objects”[2] and of relations. Presented in both art spaces and public space, the works of the invited artists propose a moment and place to re-conceive futurities collectively based upon a radical recomposition of the present. The works suggest diverse points of view on current modes and systems of exchange, formulating hypotheses which interrogate our presence as well as positions of agency and authorship in the world. Far from privileging one register of language over another, the exhibition articulates different forms of languages as performative tools to imagine new formations of collectivity, solidarity, emancipation, and engagement. Through performance, of varying temporalities, evolutive and interactive installation, the artists explore diverse contemporaneities, their logics and relations, corrupting and deviating from them as an invitation to (re)take possession of the future – neither utopia or dystopia but decidedly plural. From words anchored deep inside the body, to the use of social space, technological tools, alterity, biological and social spheres and everyday life, these are elements which can be seen as languages revealing our ways of thinking, being and acting. The exhibition gives body to language, as much as it conceives of it as itself an active body, modelled by the social, and its relationship to the Other, always-already steeped in the corporal, nos salives dans ton oreille.

> Prologue Collective
183726 Davidhorwitz X Prologue
05.12.19—21.12.19

Opening at Galerie Allen 04.12.19
& Cité Internationale des Arts, Montmartre 06.12.19

Tongue on Tongue, nos salives dans ton oreille was born out of the following questions : what if we allowed ourselves to conceive the future? What future/s and what language/s would write them? What system/s of exchange could we (re)invent to trace the paths of our common future to bring about new ways of being together?
   More and more, the probability of dystopic futures weighs heavy upon us. Never before have ecosystemic concerns been felt on such a global scale. Terms such as eco-anxiety, eco-paralysis or solastalgia – the state of powerlessness and distress caused by the upheaval of an ecosystem – proliferate. The future has become debilitating. Yet, it is neither a fact nor a fatality, “the single, predictable, fixed future that the trend modelling proposes does not actually exist. Instead, what is out there is a multitude of possible futures (...). Knowing this means we have the power to imagine and create the futures that we choose (...).”[1] as such, it might be said that the future does not exist except as a consequence of decisions and actions in the present – here, the present is no longer tense but a compositional tool. Performance, as it manifests in the exhibition, is the rewriting of the future in the present and is revealed as much through social, political and economic bodies as those of flesh and sweat, reiteratively defining object and subject relations. Performance, as an artistic language, a language of composition, of the real and of speculation, is anchored in the contemporary yet operates outside of linear chronologies. It allows the creation and encounter of multiple bodies, slipping through the interstices of individual and collective narratives in order to revise the foundations of a society under construction. The writing of the future therefore plays out in the here and now, through strength of will and imagination.
 Tongue on Tongue speaks to the meeting of bodies and languages. The exhibition traces the social dimension of linguistic exchange, surpassing the frame of verbal language as predominant mode of interaction between human beings. Central operator of all social processes, language serves to name, represent and perform as “mediator in the formation of objects; it is, in a sense, the perfect mediator, the most important and valuable instrument in the quest and construction of a true world of objects”[2] and of relations. Presented in both art spaces and public space, the works of the invited artists propose a moment and place to re-conceive futurities collectively based upon a radical recomposition of the present. The works suggest diverse points of view on current modes and systems of exchange, formulating hypotheses which interrogate our presence as well as positions of agency and authorship in the world. Far from privileging one register of language over another, the exhibition articulates different forms of languages as performative tools to imagine new formations of collectivity, solidarity, emancipation, and engagement. Through performance, of varying temporalities, evolutive and interactive installation, the artists explore diverse contemporaneities, their logics and relations, corrupting and deviating from them as an invitation to (re)take possession of the future – neither utopia or dystopia but decidedly plural. From words anchored deep inside the body, to the use of social space, technological tools, alterity, biological and social spheres and everyday life, these are elements which can be seen as languages revealing our ways of thinking, being and acting. The exhibition gives body to language, as much as it conceives of it as itself an active body, modelled by the social, and its relationship to the Other, always-already steeped in the corporal, nos salives dans ton oreille.

> Prologue Collective
THE 10 BEST BOOTHS AT FIAC—ARTSY
Barbara Kapusta's and Zsófia Kertesztes' presentation at FIAC was named among the 10 best booths.

> The 10 Best Booths at FIAC – Artsy
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Barbara Kapusta's and Zsófia Kertesztes' presentation at FIAC was named among the 10 best booths.

> The 10 Best Booths at FIAC – Artsy
BARBARA KAPUSTA ‘DANGEROUS BODIES’ AT KUNSTRAUM LONDON
Opening 11.10.19, 18:30—21:00

Exhibition 12.10.19—16.11.19

Dangerous Bodies narratives a multitude of characters from within a techno-humanity era. These disembodied entities are coming to terms with their own being. Kapusta’s protagonist(s) are one and are many, they are parts obscuring the centre, the partial body that speaks for a whole that cannot or does not want to be imagined as one. They speak simultaneously to the viewer, their language teetering between threat and caress, they address political and social urgencies that are distilled out of an observation of the contemporary social and political fabric. Kapusta’s protagonists ask how to imagine future societies, what tools or thought experiments we have left or have to invent to fully imagine an otherness.
   Kapusta’s new publication titled Dangerous Bodies will be released in connection with the exhibition, bringing together her recent writing (designed by Sabo Day).

> Kunstraum London
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Opening 11.10.19, 18:30—21:00

Exhibition 12.10.19—16.11.19

Dangerous Bodies narratives a multitude of characters from within a techno-humanity era. These disembodied entities are coming to terms with their own being. Kapusta’s protagonist(s) are one and are many, they are parts obscuring the centre, the partial body that speaks for a whole that cannot or does not want to be imagined as one. They speak simultaneously to the viewer, their language teetering between threat and caress, they address political and social urgencies that are distilled out of an observation of the contemporary social and political fabric. Kapusta’s protagonists ask how to imagine future societies, what tools or thought experiments we have left or have to invent to fully imagine an otherness.
   Kapusta’s new publication titled Dangerous Bodies will be released in connection with the exhibition, bringing together her recent writing (designed by Sabo Day).

> Kunstraum London
SEBASTIAN JEFFORD IS PART OF ‘GUBBINAL’ AT PROJECT NATIVE INFORMANT, LONDON
With Adam Gordon, Alan Miller, Andrew Stahl, Clementine Bruno, Derek Jarman, Jennifer Packer, Marley Freeman, Sean Steadman, Sebastian Jefford, Stanislava Kovalcikova, Tenant of Culture, Vincent Fecteau.
Co-curated with Sean Steadman

Exhibition 27.09.19—02.11.19

GUBBINAL considers two opposing stances. The cosmic, foundational and mysterious at loggerheads with lassitude and retreat. Wallace Stevens, who favours a Heraclitus-type balance in his work, is drawing out the playing field produced by the imagination’s friction with abnegation.
   Stevens recognises the redemptive power of the imagination. He presents it as a portal of hyper-connectivity and openness, one that dissolves the bondage of nihilism and scientism. In many ways GUBBINAL is making a case for arts sceptical aptitude, a re-evaluation of the common sense thinking which inhibits the world from becoming radically mixed up and groundless. Stevens’ ‘strange flower the sun’ and ‘animal eye’ oppose a worldview calcified for the sake of utility and taxonomy. His imagery is mysterious, scalable and open.
   According to Socrates, ‘wonder is the feeling of the philosopher, and philosophy begins in wonder'. Stevens poetry aligns with Socrates; it possesses humility through reflection on the qualitative aspects of experience. This is concurrent with painting, which Stevens loved, particularly Klee and Cézanne. Painting manifests rather than argues, what Francis Bacon liked to call ‘fact’.
   All of the exhibited artists in their different ways relate to this spirit of inquiry, and their ability to produce worlds and at the same time give the feeling of interiority. Sebastian Jefford’s bulbous foam skins, puckered and clipped together on volumetric supports, are like artefacts from the nanoscale, blown up for inspection. Jennifer Packer’s phantasms, faces agog, dissolve into spandrels and roots. All the works are uniquely chimerical, slippery and ponderous, and focus on the imagination.
   Project Native Informant and Sean Steadman thanks the participation of the artists and the support of Amanda Wilkinson, The Perimeter, Greengrassi, Karma, Chapter NY, Corvi-Mora, Gianni Manhattan and the Estate of Alan Miller | Jake Miller.

> Project Native Informant
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With Adam Gordon, Alan Miller, Andrew Stahl, Clementine Bruno, Derek Jarman, Jennifer Packer, Marley Freeman, Sean Steadman, Sebastian Jefford, Stanislava Kovalcikova, Tenant of Culture, Vincent Fecteau.
Co-curated with Sean Steadman

Exhibition 27.09.19—02.11.19

GUBBINAL considers two opposing stances. The cosmic, foundational and mysterious at loggerheads with lassitude and retreat. Wallace Stevens, who favours a Heraclitus-type balance in his work, is drawing out the playing field produced by the imagination’s friction with abnegation.
   Stevens recognises the redemptive power of the imagination. He presents it as a portal of hyper-connectivity and openness, one that dissolves the bondage of nihilism and scientism. In many ways GUBBINAL is making a case for arts sceptical aptitude, a re-evaluation of the common sense thinking which inhibits the world from becoming radically mixed up and groundless. Stevens’ ‘strange flower the sun’ and ‘animal eye’ oppose a worldview calcified for the sake of utility and taxonomy. His imagery is mysterious, scalable and open.
   According to Socrates, ‘wonder is the feeling of the philosopher, and philosophy begins in wonder'. Stevens poetry aligns with Socrates; it possesses humility through reflection on the qualitative aspects of experience. This is concurrent with painting, which Stevens loved, particularly Klee and Cézanne. Painting manifests rather than argues, what Francis Bacon liked to call ‘fact’.
   All of the exhibited artists in their different ways relate to this spirit of inquiry, and their ability to produce worlds and at the same time give the feeling of interiority. Sebastian Jefford’s bulbous foam skins, puckered and clipped together on volumetric supports, are like artefacts from the nanoscale, blown up for inspection. Jennifer Packer’s phantasms, faces agog, dissolve into spandrels and roots. All the works are uniquely chimerical, slippery and ponderous, and focus on the imagination.
   Project Native Informant and Sean Steadman thanks the participation of the artists and the support of Amanda Wilkinson, The Perimeter, Greengrassi, Karma, Chapter NY, Corvi-Mora, Gianni Manhattan and the Estate of Alan Miller | Jake Miller.

> Project Native Informant
ZSÓFIA KERESZTES IN ‘LIQUID BODIES’ AT COLLECTION PHILARA
Vanessa Conte, Stefanie Heinze, Zsófia Kersztes
06.09.19—10.10.19

The exhibition Liquid Bodies combines the artistic positions of Vanessa Conte, Stefanie Heinze, and Zsófia Keresztes. They are based on a dynamic, transformative, associative, feminist approach to the negotiation of bodies and objects.
   The fluidity of genders has been a social issue for centuries and stands for the permanent renegotiation of relationships, one's sexuality, and one's identity. The exchange of power, forms of punishment, and disciplining of bodies discussed in this exhibition marks the body as a material and venue for socio-cultural contexts. The discourse and politicization of, in this case, the female body and the vulnerability of the human form in general call for a dynamic approach that is far removed from conditioning categories.

> Collection Philara
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Vanessa Conte, Stefanie Heinze, Zsófia Kersztes
06.09.19—10.10.19

The exhibition Liquid Bodies combines the artistic positions of Vanessa Conte, Stefanie Heinze, and Zsófia Keresztes. They are based on a dynamic, transformative, associative, feminist approach to the negotiation of bodies and objects.
   The fluidity of genders has been a social issue for centuries and stands for the permanent renegotiation of relationships, one's sexuality, and one's identity. The exchange of power, forms of punishment, and disciplining of bodies discussed in this exhibition marks the body as a material and venue for socio-cultural contexts. The discourse and politicization of, in this case, the female body and the vulnerability of the human form in general call for a dynamic approach that is far removed from conditioning categories.

> Collection Philara
BARBARA KAPUSTA IS PART OF MONDAY GELATO, KARLSRUHE
25.05.19, 17:00—20:00

Samantha Bohatsch & Barbara Kapusta

Monday Gelato presents current artistic positions of performance in Karlsruhe and invites to evaluate together what performance can achieve in the face of the ambivalences of today’s realities.
   New social, political and technological phenomena have led to the emergence of very different life worlds, which often contradict each other. Different performance formats illuminate lines of conflict, such as between body and language, queerness and care work, or emotion and digitality, to sense, oppose, and find forms of expression for them.
   Together with artists from Karlsruhe, Berlin, Vienna and Frankfurt, and elsewhere, Monday Gelato is a temporary place of mutual exchange on different Saturdays in May, June and July.

Curated by BENEDIKT SEERIEDER

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25.05.19, 17:00—20:00

Samantha Bohatsch & Barbara Kapusta

Monday Gelato presents current artistic positions of performance in Karlsruhe and invites to evaluate together what performance can achieve in the face of the ambivalences of today’s realities.
   New social, political and technological phenomena have led to the emergence of very different life worlds, which often contradict each other. Different performance formats illuminate lines of conflict, such as between body and language, queerness and care work, or emotion and digitality, to sense, oppose, and find forms of expression for them.
   Together with artists from Karlsruhe, Berlin, Vienna and Frankfurt, and elsewhere, Monday Gelato is a temporary place of mutual exchange on different Saturdays in May, June and July.

Curated by BENEDIKT SEERIEDER

SEBASTIAN JEFFORD AND ZSÓFIA KERESZTES ARE PART OF THE 15TH LYON BIENNALE
Cette première édition de Jeune création internationale s’inscrit à la fois dans la continuité de la manifestation Rendez-vous qui l’a précédée et qu’elle remplace, mais aussi dans une dynamique encore plus proche de l’exposition centrale de la 15e Biennale d’art contemporain de Lyon, Là où les eaux se mêlent.
   Pour cette édition, les commissaires de la 15e Biennale d’art contemporain de Lyon sont invités à proposer cinq jeunes artistes internationaux en complément des cinq artistes résidant en Région Auvergne-Rhône-Alpes choisis par les institutions co-organisatrices : la Biennale de Lyon, l’École nationale supérieure des beaux-arts de Lyon, l’Institut d’art contemporain, Villeurbanne/Rhône-Alpes et le macLYON. Croisements de territoires, mise en commun de réseaux, ouverture aux différents publics, cette complémentarité institutionnelle est exceptionnelle en France et à l’international et donne aux jeunes artistes, dont l’oeuvre est encore peu connue, une visibilité accrue.
   Conçue en 2002 par le macLYON et l’École nationale supérieure des beaux-arts de Lyon, ensuite rejoints par l’Institut d’art contemporain, Villeurbanne/Rhône-Alpes, puis intégrée à la Biennale de Lyon, la manifestation Rendez-vous s’est attachée, dans un premier temps, . soutenir les jeunes artistes alors en difficulté à leur sortie des écoles. Tremplin pour la création, cette manifestation a pris de l’ampleur en tissant des liens avec d’autres commissaires de biennales et triennales, les invitant à participer au choix des artistes mais aussi à recevoir la manifestation sur différentes scènes actives (Shanghai, Le Cap, Singapour, Pékin, La Havane…). Si cette nouvelle édition intitulée Jeune création internationale s’ancre plus encore dans la Biennale de Lyon en invitant les curateurs du Palais de Tokyo à participer à la sélection, elle s’inscrit également dans la thématique retenue, celle de la notion de paysage. Ce sera donc une confrontation de propositions artistiques issues d’une scène émergente locale et internationale, en lien direct avec l’exposition principale, qui constituera le volet « jeune création » de cette Biennale.

> Lyon Biennale
1556370901 Qnqcs0Nrfdau
Cette première édition de Jeune création internationale s’inscrit à la fois dans la continuité de la manifestation Rendez-vous qui l’a précédée et qu’elle remplace, mais aussi dans une dynamique encore plus proche de l’exposition centrale de la 15e Biennale d’art contemporain de Lyon, Là où les eaux se mêlent.
   Pour cette édition, les commissaires de la 15e Biennale d’art contemporain de Lyon sont invités à proposer cinq jeunes artistes internationaux en complément des cinq artistes résidant en Région Auvergne-Rhône-Alpes choisis par les institutions co-organisatrices : la Biennale de Lyon, l’École nationale supérieure des beaux-arts de Lyon, l’Institut d’art contemporain, Villeurbanne/Rhône-Alpes et le macLYON. Croisements de territoires, mise en commun de réseaux, ouverture aux différents publics, cette complémentarité institutionnelle est exceptionnelle en France et à l’international et donne aux jeunes artistes, dont l’oeuvre est encore peu connue, une visibilité accrue.
   Conçue en 2002 par le macLYON et l’École nationale supérieure des beaux-arts de Lyon, ensuite rejoints par l’Institut d’art contemporain, Villeurbanne/Rhône-Alpes, puis intégrée à la Biennale de Lyon, la manifestation Rendez-vous s’est attachée, dans un premier temps, . soutenir les jeunes artistes alors en difficulté à leur sortie des écoles. Tremplin pour la création, cette manifestation a pris de l’ampleur en tissant des liens avec d’autres commissaires de biennales et triennales, les invitant à participer au choix des artistes mais aussi à recevoir la manifestation sur différentes scènes actives (Shanghai, Le Cap, Singapour, Pékin, La Havane…). Si cette nouvelle édition intitulée Jeune création internationale s’ancre plus encore dans la Biennale de Lyon en invitant les curateurs du Palais de Tokyo à participer à la sélection, elle s’inscrit également dans la thématique retenue, celle de la notion de paysage. Ce sera donc une confrontation de propositions artistiques issues d’une scène émergente locale et internationale, en lien direct avec l’exposition principale, qui constituera le volet « jeune création » de cette Biennale.

> Lyon Biennale
SIMON MATHERS IS PART OF ‘SOFIA MISOLA, SIMON MATHERS, PATRICK H JONES’ AT DREAMTIGERS
Preview 02.05.19, 18:00—20:00

125 Charing Cross Road
London

1556370517 Dwl3Cjsfqtbg 200129
Preview 02.05.19, 18:00—20:00

125 Charing Cross Road
London

BARBARA KAPUSTA IS PART OF HYSTERICAL MINING AT KUNSTHALLE WIEN
Hysterical Mining
Kunsthalle Wien

Opening 28.05.19
Exhibition 29.05.19—06.10.19

The exhibition analyzes the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity, and ways of living. It draws on radical feminist and ecofeminist theories from the 1970s until now that criticized and revised the nexus tying new technologies and techno-science to patriarchal ideas. Its agenda is both intellectual and political. The works of the artists included in the show go beyond critique to think and enact other kinds of knowledge, skills, and bodily practices regarding the use as well as production of (new) technologies.
   Artists (amongst others): Trisha Baga, Louise Drulhe, Veronika Eberhart, Judith Fegerl, Fabien Giraud & Raphaël Siboni, Katrin Hornek, Barbara Kapusta, Marlene Maier, Pratchaya Phinthong, Marlies Pöschl, Delphine Reist, Tabita Rézaire
   Curators: Anne Faucheret, Vanessa Joan Müller

> Kunsthalle Wien
1554990306 Ldapoioxvrl 361893
Hysterical Mining
Kunsthalle Wien

Opening 28.05.19
Exhibition 29.05.19—06.10.19

The exhibition analyzes the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity, and ways of living. It draws on radical feminist and ecofeminist theories from the 1970s until now that criticized and revised the nexus tying new technologies and techno-science to patriarchal ideas. Its agenda is both intellectual and political. The works of the artists included in the show go beyond critique to think and enact other kinds of knowledge, skills, and bodily practices regarding the use as well as production of (new) technologies.
   Artists (amongst others): Trisha Baga, Louise Drulhe, Veronika Eberhart, Judith Fegerl, Fabien Giraud & Raphaël Siboni, Katrin Hornek, Barbara Kapusta, Marlene Maier, Pratchaya Phinthong, Marlies Pöschl, Delphine Reist, Tabita Rézaire
   Curators: Anne Faucheret, Vanessa Joan Müller

> Kunsthalle Wien
MARINA FAUST IS PART OF CONVERSATION & COCKTAIL MARTIN MARGIELA AT ARTCURIAL, PARIS
Sur une idée originale de Christophe Brunnquell, ancien directeur artistique du magazine Purple et en présence de Kristina de Coninck, mannequin & artiste, Marina Faust, artiste & photographe, Kanako B. Koga, styliste, et Hideo Hashiura, collectionneur

04.03.19
Conversation à 18:30
Cocktail à partir de 19:30

Artcurial
7 Rond-Point des Champs Elysées
75008 Paris

> Artcurial
1551630042 Qk54Enevc9Fd
Sur une idée originale de Christophe Brunnquell, ancien directeur artistique du magazine Purple et en présence de Kristina de Coninck, mannequin & artiste, Marina Faust, artiste & photographe, Kanako B. Koga, styliste, et Hideo Hashiura, collectionneur

04.03.19
Conversation à 18:30
Cocktail à partir de 19:30

Artcurial
7 Rond-Point des Champs Elysées
75008 Paris

> Artcurial
MARINA FAUST IS THE WINNER OF THE 17TH OTTO BREICHA–PRIZE FOR ARTISTIC PHOTOGRAPHY
The 17th Otto Breicha-Prize for Artistic Photography—Museum der Moderne Salzburg goes to Marina Faust.

The Museum der Moderne Salzburg has given out an award for fine art photography since 1983, which has been funded by the Breicha family since 2007 and subsequently being billed as “Otto Breicha-Prize for Artistic Photography―Museum der Moderne Salzburg”. It honors an artist born or residing in Austria who has made significant contributions to fine art photography. The 17th recipient is the artist Marina Faust. The prize is endowed with 5,000 euros and linked to a solo exhibition of the prizewinner in 2020 at the Museum der Moderne Salzburg at its Rupertinum venue. In addition, a catalog will be published.

> Museum der Moderne Salzburg
1551718956 Cum2U7Cwms1F
The 17th Otto Breicha-Prize for Artistic Photography—Museum der Moderne Salzburg goes to Marina Faust.

The Museum der Moderne Salzburg has given out an award for fine art photography since 1983, which has been funded by the Breicha family since 2007 and subsequently being billed as “Otto Breicha-Prize for Artistic Photography―Museum der Moderne Salzburg”. It honors an artist born or residing in Austria who has made significant contributions to fine art photography. The 17th recipient is the artist Marina Faust. The prize is endowed with 5,000 euros and linked to a solo exhibition of the prizewinner in 2020 at the Museum der Moderne Salzburg at its Rupertinum venue. In addition, a catalog will be published.

> Museum der Moderne Salzburg
BARBARA KAPUSTA IN MUNDANE
Barbara Kapusta is part of the group show Mundane at Eugster, Belgarde.

Opening 07.03.19, 19:00

Ksenija Jovišević, Barbara Kapusta, Driton Selmani, Jelena Pantelić, Julija Zaharijević

Curated by Natalija Paunić

> Eugster
1551459368 Nsqwnz2Gg90S
Barbara Kapusta is part of the group show Mundane at Eugster, Belgarde.

Opening 07.03.19, 19:00

Ksenija Jovišević, Barbara Kapusta, Driton Selmani, Jelena Pantelić, Julija Zaharijević

Curated by Natalija Paunić

> Eugster
GIANNI MANHATTAN IS PART OF FOAF WARSAW 2019
Hosted by BWA Warszawa

Friend of a Friend | Warsaw
06.04.19—07.04.19

Guest galleries:

Bureau, New York
Emalin, London
Gianni Manhattan, Vienna
Gregor Staiger, Zurich
Kristina Kite, Los Angeles
LC Queisser, Tbilisi
Mujin-To Production, Tokyo
Nuno Centeno, Porto
Park View / Paul Soto, Los Angeles / Brussels
Pinksummer, Genoa
Schiefe Zähne, Berlin
Temnikova & Kasela, Tallinn
The Box, Los Angeles
The Sunday Painter, London
Union Pacific, London

1551460239 Xl0Zkgwyy1Z
Hosted by BWA Warszawa

Friend of a Friend | Warsaw
06.04.19—07.04.19

Guest galleries:

Bureau, New York
Emalin, London
Gianni Manhattan, Vienna
Gregor Staiger, Zurich
Kristina Kite, Los Angeles
LC Queisser, Tbilisi
Mujin-To Production, Tokyo
Nuno Centeno, Porto
Park View / Paul Soto, Los Angeles / Brussels
Pinksummer, Genoa
Schiefe Zähne, Berlin
Temnikova & Kasela, Tallinn
The Box, Los Angeles
The Sunday Painter, London
Union Pacific, London

PASTORAL LOVE, CURATED BY NILS ALIX–TABELING, AT LUCAS HIRSCH
Johnston Sheard, Tai Shani, Tiziana La Melia, Kinke Kooi, Justin Fitzpatrick, Nils Alix-Tabeling

With a screening of Maria Lassnig's film ‘Iris’ and a reading by Tiziana La Melia on the opening night.

Curated by Nils Alix-Tabeling

09.03.19—10.05.19
Opening 08.03.19, 19:00—22:00

Lucas Hirsch
Birkenstrasse 92
40233 Düsseldor

> Lucas Hirsch
1551460279 5W2Ymujxn7Hp
Johnston Sheard, Tai Shani, Tiziana La Melia, Kinke Kooi, Justin Fitzpatrick, Nils Alix-Tabeling

With a screening of Maria Lassnig's film ‘Iris’ and a reading by Tiziana La Melia on the opening night.

Curated by Nils Alix-Tabeling

09.03.19—10.05.19
Opening 08.03.19, 19:00—22:00

Lucas Hirsch
Birkenstrasse 92
40233 Düsseldor

> Lucas Hirsch
BARBARA KAPUSTA AND LUCIA ELENA PRUSA ARE PART OF ON THE NEW AT 21ER HAUS
What are young artists who live and work in Vienna interested in? What subjects are in the air, what strategies do they use? The exhibition On the New. Young Scenes in Vienna is conceived as a stroll through local art communities: it brings together 18 individual artistic approaches as well as 12 independent exhibition spaces. In this show, specifically produced works are juxtaposed with specially arranged exhibitions within the exhibition; artistic and curatorial formats combine to create a dynamic entity that will change over the course of the show.

Opening 28.02.19
Exhibiton 01.03.19—02.06.19

> 21er Haus
1551459526 Rragrhczhax7 295208
What are young artists who live and work in Vienna interested in? What subjects are in the air, what strategies do they use? The exhibition On the New. Young Scenes in Vienna is conceived as a stroll through local art communities: it brings together 18 individual artistic approaches as well as 12 independent exhibition spaces. In this show, specifically produced works are juxtaposed with specially arranged exhibitions within the exhibition; artistic and curatorial formats combine to create a dynamic entity that will change over the course of the show.

Opening 28.02.19
Exhibiton 01.03.19—02.06.19

> 21er Haus
NILS ALIX–TABELING ‘LE BÉTYLE D’AIL’ AT KUNSTRAUM, LONDON
Nils Alix-Tabeling
Le Bétyle d’Ail

Performances: 17.01.19, 19:30 & 18.01.19, 19:30
Exhibition 19.01.19—16.02.19

Kunstraum's 2019 year-programme will conceive the exhibition space as a rehearsal room, a site of contingent activities which fluctuate between live events and static exhibitions. We begin the year with Nils Alix Tabeling's Le Bétyle d’Ail – Merging the format of an operetta with that of traditional Japanese Kabuki theatre, the piece salutes queer authors like Sidonie Gabrielle Colette and Paul Verlaine in a grotesque and macabre celebration of the human body in its glorious grossness and chthonic drives toward their inner cavities, seen as spaces of merging together and organic conversations.

> Kunstraum London
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Nils Alix-Tabeling
Le Bétyle d’Ail

Performances: 17.01.19, 19:30 & 18.01.19, 19:30
Exhibition 19.01.19—16.02.19

Kunstraum's 2019 year-programme will conceive the exhibition space as a rehearsal room, a site of contingent activities which fluctuate between live events and static exhibitions. We begin the year with Nils Alix Tabeling's Le Bétyle d’Ail – Merging the format of an operetta with that of traditional Japanese Kabuki theatre, the piece salutes queer authors like Sidonie Gabrielle Colette and Paul Verlaine in a grotesque and macabre celebration of the human body in its glorious grossness and chthonic drives toward their inner cavities, seen as spaces of merging together and organic conversations.

> Kunstraum London
NILS ALIX–TABELING AT NEUER ESSENER KUNSTVEREIN
Nils Alix-Tabeling is part of PRATI BAGNATI DEL MONTE ANALOGO

01.12.18—03.02.19

Nils Alix-Tabeling, Felicia Atkinson, 
Abel Auer, Christiane Blattmann, Robert Brambora, 
Peter Fend, Sami Schlichting and Markus Selg

> Neuer Essener Kunstverein
1543672788 Maartuuwdpnn
Nils Alix-Tabeling is part of PRATI BAGNATI DEL MONTE ANALOGO

01.12.18—03.02.19

Nils Alix-Tabeling, Felicia Atkinson, 
Abel Auer, Christiane Blattmann, Robert Brambora, 
Peter Fend, Sami Schlichting and Markus Selg

> Neuer Essener Kunstverein
CONTEMPORARY ART SOCIETY LONDON / ZSÓFIA KERESZTES
Contemporary Art Society recommends Zsófia Keresztes as an "Artist to Watch".
   "With a surface of glossy mosaic tiles, the sculptures at Zsófia Keresztes’s current show at Gianni Manhattan in Vienna have an uncanny ‘fleshiness’ to them. Statuesque and grotesque, sci-fi and kinky, they look as if they are just about to wriggle away.
   The body is an essential element in Keresztes’s practice, where she draws parallels between its organic form and the constantly evolving nature of the internet. Keresztes is interested in bringing together the physical and the digital, the real and the fictional, the actual world and our endless surreal journeys online."

Read more using the link below.

> Contemporary Arts Society
1543581288 T4Xjomhldur
Contemporary Art Society recommends Zsófia Keresztes as an "Artist to Watch".
   "With a surface of glossy mosaic tiles, the sculptures at Zsófia Keresztes’s current show at Gianni Manhattan in Vienna have an uncanny ‘fleshiness’ to them. Statuesque and grotesque, sci-fi and kinky, they look as if they are just about to wriggle away.
   The body is an essential element in Keresztes’s practice, where she draws parallels between its organic form and the constantly evolving nature of the internet. Keresztes is interested in bringing together the physical and the digital, the real and the fictional, the actual world and our endless surreal journeys online."

Read more using the link below.

> Contemporary Arts Society
BARBARA KAPUSTA IS PART OF ‘JANE FONDA’ AT PINA, VIENNA
With works by Oscar Enberg, Barbara Kapusta and Sydney Shen

Invited by Franziska Sophie Wildförster

Opening 13.11.18, 19:00
Exhibition 14.11.18—10.12.18

Pina
Große Neugasse 44
1040 Wien, AT

> Pina
1541520299 S2I3Edvz5Nig
With works by Oscar Enberg, Barbara Kapusta and Sydney Shen

Invited by Franziska Sophie Wildförster

Opening 13.11.18, 19:00
Exhibition 14.11.18—10.12.18

Pina
Große Neugasse 44
1040 Wien, AT

> Pina
BARBARA KAPUSTA IS PART OF ‘BLAZING WORLD’ AT MUMOK, VIENNA
MUMOK

07.11.18, 19:00

The title for this evening is taken from the first-ever novel to be called science fiction, written by Margaret Cavendish in the seventeenth century. In spite of its setting in a royal court, this book takes an explicitly feminist stance. The narrator is a young woman who is crowned queen of a planet named “The Blazing World.” Apart from numerous events, Cavendish describes the heroine’s motivation as a pacifist who believes in inclusion, and who uses her reign to combat sexual discrimination. In the context of this unique story, this program features films by women artists who use the genre of science fiction and many different methods and materialities to address the themes of body politics, transsexuality, the body, queer feminism, and solidarity.

PROGRAM
Barbara Kapusta, Empathic Creatures, 2018, 7 min
Joan Jonas, Double Lunar Dogs, 1984, 25 min
Lynn Hershman Leeson, Seduction of a Cyborg, 1994, 6 min
Doireann O’Malley, Prototypes (Part I: Quantum leaps in trans semiotics through psychedelic snail serum), 2017, 35 min

Presented by Cathrin Mayer, followed by a conversation with Barbara Kapusta

> MUMOK
MUMOK

07.11.18, 19:00

The title for this evening is taken from the first-ever novel to be called science fiction, written by Margaret Cavendish in the seventeenth century. In spite of its setting in a royal court, this book takes an explicitly feminist stance. The narrator is a young woman who is crowned queen of a planet named “The Blazing World.” Apart from numerous events, Cavendish describes the heroine’s motivation as a pacifist who believes in inclusion, and who uses her reign to combat sexual discrimination. In the context of this unique story, this program features films by women artists who use the genre of science fiction and many different methods and materialities to address the themes of body politics, transsexuality, the body, queer feminism, and solidarity.

PROGRAM
Barbara Kapusta, Empathic Creatures, 2018, 7 min
Joan Jonas, Double Lunar Dogs, 1984, 25 min
Lynn Hershman Leeson, Seduction of a Cyborg, 1994, 6 min
Doireann O’Malley, Prototypes (Part I: Quantum leaps in trans semiotics through psychedelic snail serum), 2017, 35 min

Presented by Cathrin Mayer, followed by a conversation with Barbara Kapusta

> MUMOK
ZSÓFIA KERESZTES AT GHMP, PRAGUE
Éntomos: Hulačová – Keresztes – Janoušek
Curated by Sandra Baborovská

21.01.18—03.03.19

Colloredo-Mansfeld Palace, 3rd floor

The exhibition will present two young sculptors who can be described as rising Central-European stars – the Czech artist Anna Hulačová (b. 1984) and her Hungarian coeval Zsófie Keresztes (b. 1985). They both develop on the Surrealist tendencies which climaxed in the 1930s and, simultaneously, on the apprehension and the omnipresent threat of the destruction of humanity in result of human behavior. This is why they selected František Janoušek (1890–1943), the leading Czech Surrealist, as their “guest”. Prague City Gallery holds his illustrations to Maeterlinck’s book The Life of the Bee of 1935. The exhibition title refers to the Greek notion of “éntomos”, which later gave the name “éntoma” to insect. The two artists see the omen of the human catastrophe in today’s ecological crisis, witnessing the gradual extinction of bees and other insects.

> G HMP
1540378079 W3K4Ih2Jdwco
Éntomos: Hulačová – Keresztes – Janoušek
Curated by Sandra Baborovská

21.01.18—03.03.19

Colloredo-Mansfeld Palace, 3rd floor

The exhibition will present two young sculptors who can be described as rising Central-European stars – the Czech artist Anna Hulačová (b. 1984) and her Hungarian coeval Zsófie Keresztes (b. 1985). They both develop on the Surrealist tendencies which climaxed in the 1930s and, simultaneously, on the apprehension and the omnipresent threat of the destruction of humanity in result of human behavior. This is why they selected František Janoušek (1890–1943), the leading Czech Surrealist, as their “guest”. Prague City Gallery holds his illustrations to Maeterlinck’s book The Life of the Bee of 1935. The exhibition title refers to the Greek notion of “éntomos”, which later gave the name “éntoma” to insect. The two artists see the omen of the human catastrophe in today’s ecological crisis, witnessing the gradual extinction of bees and other insects.

> G HMP
ZSÓFIA KERESZTES IS PART OF L‘ESPRIT SOURTERRAIN AT DOMAINE POMMERY
L‘Esprit Souterrain

Opening 13.09.18
Exhibition 14.09.18—20.06.19

Domaine Pommery

1535914250 Tku4Bzxrzatc
L‘Esprit Souterrain

Opening 13.09.18
Exhibition 14.09.18—20.06.19

Domaine Pommery

SIMON MATHERS AT AQBAR, LONDON
Opening 22.09.18

The garages on Ellsworth St.
Garage 18
Bethnal Green
London, UK

1535223199 Vbvg9Ndm7Mc 912098
Opening 22.09.18

The garages on Ellsworth St.
Garage 18
Bethnal Green
London, UK

BARBARA KAPUSTA AT VIS HAMBURG
"We meet in order to rest, to recover, to linger, and to reclaim; to restore the possibility of breaking up, to be with one another, to quarrel and to reconcile. We form unions and alliances to make this place by playing."

Barbara Kapusta
We Make the Place by Playing

Opening 24.08.18, 19:00
Reading 20:30

Exhibition 25.08.18—02.09.18

> VIS Hamburg
1534921339 3Oj53Xuwtmb
"We meet in order to rest, to recover, to linger, and to reclaim; to restore the possibility of breaking up, to be with one another, to quarrel and to reconcile. We form unions and alliances to make this place by playing."

Barbara Kapusta
We Make the Place by Playing

Opening 24.08.18, 19:00
Reading 20:30

Exhibition 25.08.18—02.09.18

> VIS Hamburg
SEBASTIAN JEFFORD IS PART OF YOUNG LONDON 2018 AT V22
22.09.18—04.11.18, 12:00—18:00

V22 Silvertown Studios

Young London returns for the fourth instalment in the series, with an ambitious expanded format that extends the duration, reach and support of previous years.

Curated by Rowan Geddis, Young London 2018 continues V22’s plan for regular large-scale exhibitions of some of London’s most talented and exciting emerging artists. Young London 2018 will present both new and recent works, many being commissioned and/or site-specific.

Hannah Bays, Appau Jnr Boakye-Yiadom, Stewart Cliff, John Costi, Diego Delas, Jacob Farrell, Justin Fitzpatrick, Carl Gent, Duncan Gibbs, Last Yearz Interesting Negro, Sebastian Jefford, Andrew Miller, Benjamin Orlow, Luke Overin, Mathew Parkin, Harriet Rickard, Leonor Serrano Rivas, Eleanor Sikorski, Isabelle ZhiZhi Southwood and Freddy Tuppen

> V22
1534921511 Lw2Xn9Iscro
22.09.18—04.11.18, 12:00—18:00

V22 Silvertown Studios

Young London returns for the fourth instalment in the series, with an ambitious expanded format that extends the duration, reach and support of previous years.

Curated by Rowan Geddis, Young London 2018 continues V22’s plan for regular large-scale exhibitions of some of London’s most talented and exciting emerging artists. Young London 2018 will present both new and recent works, many being commissioned and/or site-specific.

Hannah Bays, Appau Jnr Boakye-Yiadom, Stewart Cliff, John Costi, Diego Delas, Jacob Farrell, Justin Fitzpatrick, Carl Gent, Duncan Gibbs, Last Yearz Interesting Negro, Sebastian Jefford, Andrew Miller, Benjamin Orlow, Luke Overin, Mathew Parkin, Harriet Rickard, Leonor Serrano Rivas, Eleanor Sikorski, Isabelle ZhiZhi Southwood and Freddy Tuppen

> V22
SIMON MATHERS IS PART OF ‘REAL MONSTERS’ AT CLAGES, COLOGNE
AHHHHH! REAL MONSTERS!
Curated by Lena Albers and Haris Giannouras

With ARBIT CITY GROUP, JUAN PÉREZ AGIRREGOIKOA, COSIMA VON BONIN, WALKER BRENGEL, OLIVER HUSAIN, SIMON MATHERS, CLAUS RICHTER, FRANCES SCHOLZ, PHILIPP TIMISCHL, BERNHARD WALTER

Opening 07.09.18, 18:00—22:00
Exhibition 08.09.18—20.10.18

> Marietta Clages
1534921788 3Knucoagugc
AHHHHH! REAL MONSTERS!
Curated by Lena Albers and Haris Giannouras

With ARBIT CITY GROUP, JUAN PÉREZ AGIRREGOIKOA, COSIMA VON BONIN, WALKER BRENGEL, OLIVER HUSAIN, SIMON MATHERS, CLAUS RICHTER, FRANCES SCHOLZ, PHILIPP TIMISCHL, BERNHARD WALTER

Opening 07.09.18, 18:00—22:00
Exhibition 08.09.18—20.10.18

> Marietta Clages
ARTNET—ZSÓFIA KERESZTES IS ONE OF THE 5 OUTSTANDING ARTISTS AT LISTE
5 Standout Young Artists to Discover at Liste 2018

Here are the rising stars of Liste founder Peter Bläuer’s valedictory fair.

"The Budapest-based artist Zsófia Keresztes is disturbed by the concept of digital anthropopgagy, which describes a modern phenomenon whereby the digital and corporal realism of life have begun to eat into each other, morphing symbiotically (or cannibalistically) into some strange new hybrid. In her art, this disturbance gives rise to totemic sculptures that she makes to visualize the binary life form that’s gestating, and—meticulously handmade from cut-glass mosaic, à la Niki de Saint-Phalle—they imagine a gloopy, tribal, self-wounding specter that isn’t all that optimistic. Its head impaled upon two spears, one sculpture at Liste looks positively bummed out, its multicolored nylon hair spilling down with unenjoyed vanity..."

> 5 Standout Young Artists to Discover at Liste 2018–Artnet
1529081223 Hqcsndzb1D 798083
5 Standout Young Artists to Discover at Liste 2018

Here are the rising stars of Liste founder Peter Bläuer’s valedictory fair.

"The Budapest-based artist Zsófia Keresztes is disturbed by the concept of digital anthropopgagy, which describes a modern phenomenon whereby the digital and corporal realism of life have begun to eat into each other, morphing symbiotically (or cannibalistically) into some strange new hybrid. In her art, this disturbance gives rise to totemic sculptures that she makes to visualize the binary life form that’s gestating, and—meticulously handmade from cut-glass mosaic, à la Niki de Saint-Phalle—they imagine a gloopy, tribal, self-wounding specter that isn’t all that optimistic. Its head impaled upon two spears, one sculpture at Liste looks positively bummed out, its multicolored nylon hair spilling down with unenjoyed vanity..."

> 5 Standout Young Artists to Discover at Liste 2018–Artnet
MARINA FAUST IN ‘CLASS REUNION’ AT MUMOK VIENNA
Class Reunion

Works from the Gaby and Wilhelm Schürmann Collection

MUMOK, Vienna

23.06.18—11.11.18

> MUMOK
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Class Reunion

Works from the Gaby and Wilhelm Schürmann Collection

MUMOK, Vienna

23.06.18—11.11.18

> MUMOK
BARBARA KAPUSTA IS PART OF ‘VICE VERSA: OUR EARTH IS THEIR MOON, OUR MOON IS THEIR EARTH’
m3 festival/ Art in Space

Exhibition 09.06.18—30.09.18

Opening 08.06.18, 18:00—22.00

CAMP, Vyšehradská 51, Prague 2, Czech Republic

Kunsthalle Praha
Historical city centre
Prague
Czech Republic

Participating artists: Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72, Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, David Maljkovic, Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, Lisa Reitmeier, Sofie Thorsen
   Curated by Significant Other: Laura Amann & Jen Kratochvil
Organized by Studio Bubec

> Festival m3
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m3 festival/ Art in Space

Exhibition 09.06.18—30.09.18

Opening 08.06.18, 18:00—22.00

CAMP, Vyšehradská 51, Prague 2, Czech Republic

Kunsthalle Praha
Historical city centre
Prague
Czech Republic

Participating artists: Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72, Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, David Maljkovic, Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, Lisa Reitmeier, Sofie Thorsen
   Curated by Significant Other: Laura Amann & Jen Kratochvil
Organized by Studio Bubec

> Festival m3
ZSÓFIA KERESZTES IS PART OF ORIENT
Zsófia Keresztes is part of ORIENT, curated by Michail Novotny.

Opening dates:

Kim_, Riga 21.04.18—27.05.18
Bozar, Brussels 20.06.18—19.08.18
Bunkier Sztuki 22.09.18—16.12.18

> Kim Riga
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Zsófia Keresztes is part of ORIENT, curated by Michail Novotny.

Opening dates:

Kim_, Riga 21.04.18—27.05.18
Bozar, Brussels 20.06.18—19.08.18
Bunkier Sztuki 22.09.18—16.12.18

> Kim Riga
NILS ALIX-TABELING—LE BÉTYLE D’AIL, HOSTED BY KOMPLOT
The Bétyle d’Ail is a new performance by Nils Alix-Tabeling, produced and curated by Komplot. The performance, inspired by Marcel Aymé’s novel ‘La Vouivre’, borrows from the visual language of an Operetta to display a love relationship between a mythical creature from French pagan folklore, and a macabre sculpture of a fallen medieval soldier. Both characters compose together one body, the rotten soldier is merging with the slithery creature, digested by her, her dress forms her lair and her lair is composed of his reorganised body parts. In this way the living-dead and the immortal fairy can engage in a lighthearted conversation on the parameters of their mutual immortality, while witnessing their merging. The operetta will unfold the thematics of sexuality, desire and frivolity, seen here as as positive and critical notion opposed to dogmatism. The play salutes queer authors like Colette and Verlaine in a grotesque and macabre celebration of the human body in its glorious grossness and chthonic drives toward the inner cavities, seen as spaces of merging together and organic conversations.

Realised with the support of FWB and City of Brussels and the participation of Andrea Baglione

> Facebook event
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The Bétyle d’Ail is a new performance by Nils Alix-Tabeling, produced and curated by Komplot. The performance, inspired by Marcel Aymé’s novel ‘La Vouivre’, borrows from the visual language of an Operetta to display a love relationship between a mythical creature from French pagan folklore, and a macabre sculpture of a fallen medieval soldier. Both characters compose together one body, the rotten soldier is merging with the slithery creature, digested by her, her dress forms her lair and her lair is composed of his reorganised body parts. In this way the living-dead and the immortal fairy can engage in a lighthearted conversation on the parameters of their mutual immortality, while witnessing their merging. The operetta will unfold the thematics of sexuality, desire and frivolity, seen here as as positive and critical notion opposed to dogmatism. The play salutes queer authors like Colette and Verlaine in a grotesque and macabre celebration of the human body in its glorious grossness and chthonic drives toward the inner cavities, seen as spaces of merging together and organic conversations.

Realised with the support of FWB and City of Brussels and the participation of Andrea Baglione

> Facebook event
GIANNI MANHATTAN AT LISTE 2018
Gianni Manhattan is pleased to annouce our first participation at Liste Basel with a solo presentation by Zsófia Keresztes.

> Exhibitor list: Liste 2018
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Gianni Manhattan is pleased to annouce our first participation at Liste Basel with a solo presentation by Zsófia Keresztes.

> Exhibitor list: Liste 2018
ZSÓFIA KERESZTES AT KARLIN STUDIOS, PRAGUE
Zsófia Keresztes - Facing Enemies, Melting Opposites
Curated by Domenico de Chirio

Opening 21.02.18, 18:00
Exhibition 22.02.18—15.04.18

> Karlin Studios
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Zsófia Keresztes - Facing Enemies, Melting Opposites
Curated by Domenico de Chirio

Opening 21.02.18, 18:00
Exhibition 22.02.18—15.04.18

> Karlin Studios
BARBARA KAPUSTA ‘EMPATHIC CREATURES’ AT ASHLEY BERLIN
Empathic Creatures is the first solo show by Austrian artist Barbara Kapusta in Germany. The artist presents a new series of works including a film, sculptures and a text that emanate from the artist’s interest in female science fiction and the correspondence between the body and speech. Empathic Creatures describes a post-apocalyptic scenario, which is inhabited by four characters deeply in need for exchange after the exhaustion and collapse of a political system, while at the same time struggling with the evolution of this new community.

> Ashley Berlin
Empathic Creatures is the first solo show by Austrian artist Barbara Kapusta in Germany. The artist presents a new series of works including a film, sculptures and a text that emanate from the artist’s interest in female science fiction and the correspondence between the body and speech. Empathic Creatures describes a post-apocalyptic scenario, which is inhabited by four characters deeply in need for exchange after the exhaustion and collapse of a political system, while at the same time struggling with the evolution of this new community.

> Ashley Berlin
SIMON MATHERS ‘BAD BUTTER’ AT LYLES & KING, NEW YORK
Lyles & King is pleased to present Bad Butter, an exhibition of a new paintings by British artist Simon Mathers, on view January 12 – February 11, 2018. Bad Butter and the imagery of Mathers’ paintings stem from the artist’s reflection on the food and dairy industry with its various emulsions offering a metaphor for paint. Mathers describes the transition from the natural phase of dairy production, which involves nurturing, to the synthetic phase, which involves chemistry, as alchemy. In particular, a northern Renaissance pastoral scene, with a working clock ensconced in the painted clocktower, triggered Mathers’ thinking about practicality, and process and looking as duration.

> Lyles & King
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Lyles & King is pleased to present Bad Butter, an exhibition of a new paintings by British artist Simon Mathers, on view January 12 – February 11, 2018. Bad Butter and the imagery of Mathers’ paintings stem from the artist’s reflection on the food and dairy industry with its various emulsions offering a metaphor for paint. Mathers describes the transition from the natural phase of dairy production, which involves nurturing, to the synthetic phase, which involves chemistry, as alchemy. In particular, a northern Renaissance pastoral scene, with a working clock ensconced in the painted clocktower, triggered Mathers’ thinking about practicality, and process and looking as duration.

> Lyles & King
ZSÓFIA KERESZTES WAS AWARDED THE ESTERHÀZY CONTEMPORARY ART PRIZE 2017
Congratulations to Zsófia Keresztes, who was awarded the prestigious Esterhàzy Contemporary Art Prize 2017.
   The Esterhazy Art Prize is one of the most important independent art prizes in Hungary and it is awarded every two years since 2009. The focus is on the artistic medium of painting with its adjacent varieties. The aim of the prize is both the promotion of contemporary art and international dialogue.

> Index Hungary
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Congratulations to Zsófia Keresztes, who was awarded the prestigious Esterhàzy Contemporary Art Prize 2017.
   The Esterhazy Art Prize is one of the most important independent art prizes in Hungary and it is awarded every two years since 2009. The focus is on the artistic medium of painting with its adjacent varieties. The aim of the prize is both the promotion of contemporary art and international dialogue.

> Index Hungary
GIANNI MANHATTAN NOW REPRESENTS ZSÓFIA KERESZTES
Gianni Manhattan is pleased to announce the representation of Zsófia Keresztes.

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Gianni Manhattan is pleased to announce the representation of Zsófia Keresztes.

GIANNI MANHATTAN FOUNDER LAURA WINDHAGER ON CONTEMPORARY ART GALLERIES
Interview with Laura Windhager, founder of the gallery Gianni Manhattan in Vienna.
   Laura Windhager’s ambition for her newly opened gallery Gianni Manhattan is motivated by an interest in joining forces and collaborating by sharing resources and knowledge with others in the burgeoning art scene in Vienna. In the past two years many new project spaces and galleries have opened and the times seem right for new ideas.

> Contemporary Art Galleries
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Interview with Laura Windhager, founder of the gallery Gianni Manhattan in Vienna.
   Laura Windhager’s ambition for her newly opened gallery Gianni Manhattan is motivated by an interest in joining forces and collaborating by sharing resources and knowledge with others in the burgeoning art scene in Vienna. In the past two years many new project spaces and galleries have opened and the times seem right for new ideas.

> Contemporary Art Galleries
GIANNI MANHATTAN IN SLEEK MAGAZINE
Sleek Magazine included Gianni Manhattan as one of the 5 noteworthy booths to see at Paris Internationale and FIAC 2017.

> Sleek Magazine
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Sleek Magazine included Gianni Manhattan as one of the 5 noteworthy booths to see at Paris Internationale and FIAC 2017.

> Sleek Magazine
ARTSY—YOUNG GALLERIES FIND A WELCOME ALTERNATIVE TO MAJOR ART FAIRS IN PARIS INTERNATIONALE
Artsy's coverage of Paris Internationale 2017 features a short quote of director Laura Windhager as well as images of Nils Alix-Tabeling's and Matthieu Haberard's works.

By Anna Louie Sussman

> Artsy
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Artsy's coverage of Paris Internationale 2017 features a short quote of director Laura Windhager as well as images of Nils Alix-Tabeling's and Matthieu Haberard's works.

By Anna Louie Sussman

> Artsy
FIAC ET INTERNATIONALE—LE GRAND RÉCAP DES FOIRES PARISIENNES
La Foire Internationale d'Art Contemporain (FIAC) bat son plein à Paris, qui devient l'espace d'une semaine l'épicentre du monde de l'art. Visite guidée et décryptage.

By Ingrid Luquet-Gad

> LesInRocks
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La Foire Internationale d'Art Contemporain (FIAC) bat son plein à Paris, qui devient l'espace d'une semaine l'épicentre du monde de l'art. Visite guidée et décryptage.

By Ingrid Luquet-Gad

> LesInRocks
EXHIBITION & READING BY BARBARA KAPUSTA AT THE AUSTRIAN CULTURAL FORUM, TOKYO
In early 2017 Barbara Kapusta released her publication "The 8 and the Fist", a compendium of poems named after her newest piece, a long poem accompanying a set of porcelain objects in the shapes of eights and fists. At the same time, in line of her practice that combines and writing, video and sculpture mixed with performance, the book transformed into Companion Forms, a performative reading by the artist in the exhibition space.
   Empathic Creatures, as well as her previous works is the result of Barbara Kapustas interest in finding forms of representation in contradiction to dualistic normative relationships and the attempt to adopt a transformative perspective on "body issues". Since the characters are characterized by the interlacing of linguistic signs and bodies, physical expression is simultaneously a linguistic one. This eliminates a hierarchical relationship between the language (intellect) and the body (matter).
(Cathrin Mayer)
   The evening will be accompanied by a reading of Barbara Kapustas unpublished poem "Empathic Creatures".

11.10.17, 19:00—21:00
Cultural Forum of the Austrian Embassy Tokyo

Registration required.

> Register here
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In early 2017 Barbara Kapusta released her publication "The 8 and the Fist", a compendium of poems named after her newest piece, a long poem accompanying a set of porcelain objects in the shapes of eights and fists. At the same time, in line of her practice that combines and writing, video and sculpture mixed with performance, the book transformed into Companion Forms, a performative reading by the artist in the exhibition space.
   Empathic Creatures, as well as her previous works is the result of Barbara Kapustas interest in finding forms of representation in contradiction to dualistic normative relationships and the attempt to adopt a transformative perspective on "body issues". Since the characters are characterized by the interlacing of linguistic signs and bodies, physical expression is simultaneously a linguistic one. This eliminates a hierarchical relationship between the language (intellect) and the body (matter).
(Cathrin Mayer)
   The evening will be accompanied by a reading of Barbara Kapustas unpublished poem "Empathic Creatures".

11.10.17, 19:00—21:00
Cultural Forum of the Austrian Embassy Tokyo

Registration required.

> Register here
NILS ALIX–TABELING IS PART OF THE MONS MENSAE SOUND PAVILION IN LONDON
Mons Mensae Pavilion

29.09.17—01.10.17, 12:00—18:00

The Mons Mensae Pavilion will follow a constellation of sites that are marked across South East London. The sites are chosen in reference to the Mons Mensae constellation, one of the only constellations not to have a figurative counterpart or mythological history. The Pavilion acts as a landing site for a series of soundscape works by artists: Alex Padfield, Samuel Nicolle, Poppy Moroney, Nils Alix Tabeling, Rebecca Jagoe and James Sturkey.
   Over the course of the weekend the Pavilion will move to three different locations:
Friday: Burgess Park (St Georges Way)
Saturday: Peckham Rye Park (Colyton Road)
Sunday: Telegraph Hill Park (Aspinall Road)

The Mons Mensae Pavilion is curated by artist Jack O'Brien as part of the Art Licks Weekend 2017.

> Art Licks Weekend
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Mons Mensae Pavilion

29.09.17—01.10.17, 12:00—18:00

The Mons Mensae Pavilion will follow a constellation of sites that are marked across South East London. The sites are chosen in reference to the Mons Mensae constellation, one of the only constellations not to have a figurative counterpart or mythological history. The Pavilion acts as a landing site for a series of soundscape works by artists: Alex Padfield, Samuel Nicolle, Poppy Moroney, Nils Alix Tabeling, Rebecca Jagoe and James Sturkey.
   Over the course of the weekend the Pavilion will move to three different locations:
Friday: Burgess Park (St Georges Way)
Saturday: Peckham Rye Park (Colyton Road)
Sunday: Telegraph Hill Park (Aspinall Road)

The Mons Mensae Pavilion is curated by artist Jack O'Brien as part of the Art Licks Weekend 2017.

> Art Licks Weekend
GIANNI MANHATTAN NOW REPRESENTS SIMON MATHERS
GIANNI MANHATTAN is pleased to now officially represent Simon Mathers.

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GIANNI MANHATTAN is pleased to now officially represent Simon Mathers.

PARIS INTERNATIONALE 2017
Gianni Manhattan is will be part of Paris Internationale 2017 with a presentation by Nils Alix-Tabeling and Matthieu Haberard.

Exhibition 18.10.17—22.10.17
Preview 17.10.17

> Paris Internationale
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Gianni Manhattan is will be part of Paris Internationale 2017 with a presentation by Nils Alix-Tabeling and Matthieu Haberard.

Exhibition 18.10.17—22.10.17
Preview 17.10.17

> Paris Internationale
MATTHIEU HABERARD IS PART OF ‘NOS OMBRES DEVANT NOUS’ AT FONDATION RICARD
Opening 06.06.17
Exhibition 07.07.17—15.07.17

Fondation d'entreprise Ricard is pleased to present the group show Nos ombres devant nous, curated by Basalte.
   With Timothée Chalazonitis, Matthieu Haberard, Nathanaëlle Herbelin, Vladimir Hermand, Mahalia Köhnke-Jehl, Nid Gâté, Lucie Planty, Cécile Serres and Radouan Zeghidour

> Fondation Ricard
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Opening 06.06.17
Exhibition 07.07.17—15.07.17

Fondation d'entreprise Ricard is pleased to present the group show Nos ombres devant nous, curated by Basalte.
   With Timothée Chalazonitis, Matthieu Haberard, Nathanaëlle Herbelin, Vladimir Hermand, Mahalia Köhnke-Jehl, Nid Gâté, Lucie Planty, Cécile Serres and Radouan Zeghidour

> Fondation Ricard
INSTRUCTIONS FOR HAPPINESS, WITH WORKS BY BARBARA KAPUSTA, OPENS AT 21ER HAUS, VIENNA
Opening 07.07.17
Exhibition 08.07.17—05.11.17

Instructions for happiness – an absurd promise? An exhibition at the 21er Haus sets out to explore this subjective, elusive feeling and scrutinizes conceptions of happiness.
   Instructions for Happiness is dedicated to the personal pursuit of happiness. Using behavioural guidelines, the works of participating artists invite responses to simulated situations through the use of objects or by interacting with others – or simply provoke the processes of thought.

Curated by Severin Dünser and Olympia Tzortzi

> 21er Haus
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Opening 07.07.17
Exhibition 08.07.17—05.11.17

Instructions for happiness – an absurd promise? An exhibition at the 21er Haus sets out to explore this subjective, elusive feeling and scrutinizes conceptions of happiness.
   Instructions for Happiness is dedicated to the personal pursuit of happiness. Using behavioural guidelines, the works of participating artists invite responses to simulated situations through the use of objects or by interacting with others – or simply provoke the processes of thought.

Curated by Severin Dünser and Olympia Tzortzi

> 21er Haus
JOHNSTON SHEARD & NILS ALIX–TABELING / HOW CAN YOU LOVE ME KNOWING THAT I COULD NEVER LOVE YOU? (PART ONE)
Kunstraum London

17.06.17, 19:00

In Johnston Sheard's seance of humming tongues serenading to piano and pedal steel guitar, singers attempt to transmit interminable emotions across the tabernacle of dead flowers and perfumes which divide the known from the unknown realms. Nils Alix-Tabeling responds from the realm of the unknown, his film depicting a hypothetical sphere of fairytale archetypes, in which protagonists struggle to become human through a narrative of disappearance and teleportation.

> Kunstraum London
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Kunstraum London

17.06.17, 19:00

In Johnston Sheard's seance of humming tongues serenading to piano and pedal steel guitar, singers attempt to transmit interminable emotions across the tabernacle of dead flowers and perfumes which divide the known from the unknown realms. Nils Alix-Tabeling responds from the realm of the unknown, his film depicting a hypothetical sphere of fairytale archetypes, in which protagonists struggle to become human through a narrative of disappearance and teleportation.

> Kunstraum London
NILS ALIX–TABELING IS PART OF MESHES OF THE AFTERNOON AT ROMAN ROAD, LONDON
Private View 06.06.17, 18:00—21:00
Exhibition 07.06.17—20.08.17

Roman Road is pleased to present Meshes of the Afternoon, a group exhibition curated by Attilia Fattori Franchini. Taking inspiration from Maya Deren’s iconic work Meshes of the Afternoon (1943), the eponymous exhibition invites a group of international artists to reinterpret the symbology of the film and its associative power to reflect on femininity, dream state, trauma and desire.
   Participating Artists: Nils Alix-Tabeling, Chelsea Culprit, Maria Gorodeckaya, Hanne Lippard, Gina Pane

> Roman Road–Meshes of the Afternoon
Meshes Of The Afternoon Installation View Roman Road London 07 June 20 August 2017 Courtesy Of Roman Road And The Artists Ollie Hammick 2 948X711
Private View 06.06.17, 18:00—21:00
Exhibition 07.06.17—20.08.17

Roman Road is pleased to present Meshes of the Afternoon, a group exhibition curated by Attilia Fattori Franchini. Taking inspiration from Maya Deren’s iconic work Meshes of the Afternoon (1943), the eponymous exhibition invites a group of international artists to reinterpret the symbology of the film and its associative power to reflect on femininity, dream state, trauma and desire.
   Participating Artists: Nils Alix-Tabeling, Chelsea Culprit, Maria Gorodeckaya, Hanne Lippard, Gina Pane

> Roman Road–Meshes of the Afternoon
GALLERISTS OLIVER CROY AND LAURA WINDHAGER IN CONVERSATION WITH SPIKE ART MAGAZINE
Gianni Manhattan's founder and director Laura Windhager in dialogue with curator and writer Franziska Sophie Wildförster and gallerist Oliver Croy about Vienna, its potential as an art capital and future outlooks.

> Spike Art Magazine
1503912341 Wesdfuhclxcn
Gianni Manhattan's founder and director Laura Windhager in dialogue with curator and writer Franziska Sophie Wildförster and gallerist Oliver Croy about Vienna, its potential as an art capital and future outlooks.

> Spike Art Magazine
MATTHIEU HABERARD IS PART OF THE FELICITÀ SHOW AT BEAUX ARTS PARIS
Les Beaux-Arts de Paris présentent l’exposition annuelle des jeunes artistes ayant obtenu le diplôme national supérieur d’arts plastiques (Dnsap) avec les félicitations ou une mention du jury.
   Avec : Dorian Bauer, Sarah Belhadjali, Jean-Charles Bureau, Côme Clérino, Célia Coëtte, Claudio Coltorti, Paul Descoings, Marie Dupuis, Clara Fontaine, Matthieu Haberard, Qin Han et Yuyan Wang, Nathanaëlle Herbelin, Vladimir Hermand, Mahalia Köhnke-Jehl, Alexandre Lenoir, Estrid Lutz & Émile Mold, Adrien Maes, Johanna Monnier, Chloé Mossessian, Pierre Pauze, Lucie Planty, Alicia Renaudin, Sophie Rézard de Wouves, Caroline Reveillaud, Blaise Schwartz, Lucile Sénéchal-Parfait, Alexander Sebag, Cécile Serres, Nefeli Papadimouli, Tatiana Pozzo di Borgo, Raphaël Sitbon, Arthur Tiar, Laure Tiberghien et Radouan Zeghidour.
   Commissaire: Joan Ayrton, présidente du jury, artiste et enseignante; Sarah Troche, théoricienne de l’esthétique et de la philosophie de l’art; Richard Fauguet, artiste; Karim Ghaddab critique d’art, membre de l’Aica; Marielle Paul, artiste.
   À l’occasion de la Nuit des Musées 2017, l’exposition sera ouverte samedi 20 mai jusqu’à minuit. Un programme de performances sera proposé.

Exposition 20 mai – 14 juillet
Ouvert du mardi au dimanche, de 13 h à 19 h
Palais des Beaux-Arts, Quai Malaquais

> Beaux Arts Paris
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Les Beaux-Arts de Paris présentent l’exposition annuelle des jeunes artistes ayant obtenu le diplôme national supérieur d’arts plastiques (Dnsap) avec les félicitations ou une mention du jury.
   Avec : Dorian Bauer, Sarah Belhadjali, Jean-Charles Bureau, Côme Clérino, Célia Coëtte, Claudio Coltorti, Paul Descoings, Marie Dupuis, Clara Fontaine, Matthieu Haberard, Qin Han et Yuyan Wang, Nathanaëlle Herbelin, Vladimir Hermand, Mahalia Köhnke-Jehl, Alexandre Lenoir, Estrid Lutz & Émile Mold, Adrien Maes, Johanna Monnier, Chloé Mossessian, Pierre Pauze, Lucie Planty, Alicia Renaudin, Sophie Rézard de Wouves, Caroline Reveillaud, Blaise Schwartz, Lucile Sénéchal-Parfait, Alexander Sebag, Cécile Serres, Nefeli Papadimouli, Tatiana Pozzo di Borgo, Raphaël Sitbon, Arthur Tiar, Laure Tiberghien et Radouan Zeghidour.
   Commissaire: Joan Ayrton, présidente du jury, artiste et enseignante; Sarah Troche, théoricienne de l’esthétique et de la philosophie de l’art; Richard Fauguet, artiste; Karim Ghaddab critique d’art, membre de l’Aica; Marielle Paul, artiste.
   À l’occasion de la Nuit des Musées 2017, l’exposition sera ouverte samedi 20 mai jusqu’à minuit. Un programme de performances sera proposé.

Exposition 20 mai – 14 juillet
Ouvert du mardi au dimanche, de 13 h à 19 h
Palais des Beaux-Arts, Quai Malaquais

> Beaux Arts Paris
GIANNI MANHATTAN IN ARTFORUM DIARY
Kate Sutton writes about Vienna's up and coming art scene.

> Artforum Diary
Article05 1064X
Kate Sutton writes about Vienna's up and coming art scene.

> Artforum Diary
NILS ALIX-TABELING IN HYPOKEIMENON—EN DESSOUS DU SANG AT GALERIE NADINE FERONT
20.04.17—20.05.17

Galerie Nadine Feront, Brussels

During the course of Art Brussels, Nils Alix-Tabeling will be curating the group show 'Hypokeimenon - En Dessous du Sang at Galerie Nadine Feront'. Included in the show are works by Alix-Tabeling, Aline Bouvy, Emeline Depas, Nicolas Deshayes, Justin Fitzpatrick, Anna Hulakova, Motoko Ishibashi, Rebecca Jagoe and Birgit Jürgenssen.

> Galerie Nadine Feront
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20.04.17—20.05.17

Galerie Nadine Feront, Brussels

During the course of Art Brussels, Nils Alix-Tabeling will be curating the group show 'Hypokeimenon - En Dessous du Sang at Galerie Nadine Feront'. Included in the show are works by Alix-Tabeling, Aline Bouvy, Emeline Depas, Nicolas Deshayes, Justin Fitzpatrick, Anna Hulakova, Motoko Ishibashi, Rebecca Jagoe and Birgit Jürgenssen.

> Galerie Nadine Feront
BARBARA KAPUSTA IS HOSTING A WORKSHOP ON THE POETIC AT KUNSTHALLE VIENNA
Barbara Kapusta is hosting workshops for young women ages 19 to 24.

Dates:

24.03.17, 15:00—17:00
25.03.17, 11:00—13:00
18.04.17, 11:00—13:00

Often we lack the words to express what one wishes to say because of the limits of language. Poetry addresses those limits and shows that language is much more than the formulation of correct grammar and spelling.
   During two three-day workshops, you have the opportunity to explore the poetic and the joy of writing, experimenting with tone, and talking with artist Barbara Kapusta. Create your own texts on topics you are interested in, and follow the motto „Diversity rules!“ Join us, and bring in your ideas!
   Participation is free, but registration required: vermittlung@kunsthallewien.at

> Kunsthalle Wien
1489934646 Vanz0Skvcglt
Barbara Kapusta is hosting workshops for young women ages 19 to 24.

Dates:

24.03.17, 15:00—17:00
25.03.17, 11:00—13:00
18.04.17, 11:00—13:00

Often we lack the words to express what one wishes to say because of the limits of language. Poetry addresses those limits and shows that language is much more than the formulation of correct grammar and spelling.
   During two three-day workshops, you have the opportunity to explore the poetic and the joy of writing, experimenting with tone, and talking with artist Barbara Kapusta. Create your own texts on topics you are interested in, and follow the motto „Diversity rules!“ Join us, and bring in your ideas!
   Participation is free, but registration required: vermittlung@kunsthallewien.at

> Kunsthalle Wien
BARBARA KAPUSTA AT KW BERLIN
On March 16, 8-11 pm Barbara Kapusta will host an evening at Bob's Pogo Bar, located at the KW Berlin. Her performance will include a poetry reading, two playlists by Anna Barfuss, Chra and G.Rizo (Hezekina Pollutina), a book and some Companion Forms.
   Due to very limited capacity, please RSVP for each event. Free entrance for KW Lovers* and KW Friends. 5€ for non-members for each event, paid at the door.

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On March 16, 8-11 pm Barbara Kapusta will host an evening at Bob's Pogo Bar, located at the KW Berlin. Her performance will include a poetry reading, two playlists by Anna Barfuss, Chra and G.Rizo (Hezekina Pollutina), a book and some Companion Forms.
   Due to very limited capacity, please RSVP for each event. Free entrance for KW Lovers* and KW Friends. 5€ for non-members for each event, paid at the door.

BOOK PRESENTATION OF BARBARA KAPUSTA’S PUBLICATION, THE 8 AND THE FIST AT SECESSION, VIENNA
Book presentation with Barbara Kapusta
Secession, Vienna

09.03.17, 19:00

The publication 'The 8 and the Fist' brings together the most important texts and poems of Barbara Kapusta’s artistic work. Barbara Kapusta is concerned with verbal and non-verbal language and the communication between persons and things. Her work explores the relationship between the material character of objects and the physical existence of the observer. The texts contained in The Fist and the 8 – Poem of U, The Bracket and The O, The O and the Zero, and The Things' Poem – were written between 2014 and 2016. The 8 and the Fist is part of the installation work of the same name, which was shown at Gianni Manhattan in Vienna from January 21 to March 4 2017.
   The book was designed by Swiss graphic designer Sabo Day. Each of the texts received the same amount of pages, regardless of the actual length of the text. This resulted in an irregular number of empty pages between the poems, thus utilising the physical space between them as a form of flat organization. The title font was co-designed by Barbara Kapusta and Sabo Day and bears the name Punch.
   Barbara Kapusta regularly publishes her writing, for example in Black Pages #68 or J.Tischer, Pin, ed. by Manuela Ammer, 2014, Sternberg Press. She is co-editor of several publications including Dinge und Dialoge, 2016, Vienna/Berlin.

Published by Gianni Manhattan, Vienna 2017

> Barbara Kapusta: The 8 and the Fist Book presentation
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Book presentation with Barbara Kapusta
Secession, Vienna

09.03.17, 19:00

The publication 'The 8 and the Fist' brings together the most important texts and poems of Barbara Kapusta’s artistic work. Barbara Kapusta is concerned with verbal and non-verbal language and the communication between persons and things. Her work explores the relationship between the material character of objects and the physical existence of the observer. The texts contained in The Fist and the 8 – Poem of U, The Bracket and The O, The O and the Zero, and The Things' Poem – were written between 2014 and 2016. The 8 and the Fist is part of the installation work of the same name, which was shown at Gianni Manhattan in Vienna from January 21 to March 4 2017.
   The book was designed by Swiss graphic designer Sabo Day. Each of the texts received the same amount of pages, regardless of the actual length of the text. This resulted in an irregular number of empty pages between the poems, thus utilising the physical space between them as a form of flat organization. The title font was co-designed by Barbara Kapusta and Sabo Day and bears the name Punch.
   Barbara Kapusta regularly publishes her writing, for example in Black Pages #68 or J.Tischer, Pin, ed. by Manuela Ammer, 2014, Sternberg Press. She is co-editor of several publications including Dinge und Dialoge, 2016, Vienna/Berlin.

Published by Gianni Manhattan, Vienna 2017

> Barbara Kapusta: The 8 and the Fist Book presentation
BARBARA KAPUSTA IS PART OF THE GROUP SHOW, HOW FAR TO OPEN UP? AT FORUM STADTPARK, GRAZ
Forum Stadtpark, Graz

18.02.17—25.02.17

Curated by Florentine Muhry and Cathrin Mayer

With: Alizee Lenox, Anna Barfuss, Ashley Hans Scheirl, Barbara Kapusta, Battle-ax, Carola Dertnig, Dan Vogt, Evelyn Plaschg, Fabian Leitgeb, Franz Amann, Gina Folly, Hanne Lippard, Judith Goddard, Kamilla Bischof, Katharina Hölzl, Laura Hinrichsmeyer, Liesl Raff, Loreta Lamargese, Lukas Kaufmann, Michaela Schweighofer, Paul Bonnet, Philipp Köster, Philipp Timischl, Rita Sobral Campos, Rosa Rendl, Samantha Bohatsch, Victoria Langmann

Performances during the opening by, Alizee Lenox, Anna Barfuss, Barbara Kapusta, Battle-ax

This exhibition, with its programmatic title How far to open up?, deals with the catalysts for stories. The bits of narration at issue here are based on moments characterized by longing, desire, obsession, and the projections resulting therefrom. Such mental states are frequently of an indeterminate nature and have something ephemeral to them. Their forms and origins reach beyond our understanding, and they always remain intimate. How far can a person go with his or her personal yearnings? How much can we, vulnerable as we are, reveal of ourselves—and how far can an artist take this in her or his work? How far can a work move within its medium, and when can it transcend its format? This first complex of questions lead us to a second one, pertaining to this exhibition’s format and structure: How far can an exhibition go?

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Forum Stadtpark, Graz

18.02.17—25.02.17

Curated by Florentine Muhry and Cathrin Mayer

With: Alizee Lenox, Anna Barfuss, Ashley Hans Scheirl, Barbara Kapusta, Battle-ax, Carola Dertnig, Dan Vogt, Evelyn Plaschg, Fabian Leitgeb, Franz Amann, Gina Folly, Hanne Lippard, Judith Goddard, Kamilla Bischof, Katharina Hölzl, Laura Hinrichsmeyer, Liesl Raff, Loreta Lamargese, Lukas Kaufmann, Michaela Schweighofer, Paul Bonnet, Philipp Köster, Philipp Timischl, Rita Sobral Campos, Rosa Rendl, Samantha Bohatsch, Victoria Langmann

Performances during the opening by, Alizee Lenox, Anna Barfuss, Barbara Kapusta, Battle-ax

This exhibition, with its programmatic title How far to open up?, deals with the catalysts for stories. The bits of narration at issue here are based on moments characterized by longing, desire, obsession, and the projections resulting therefrom. Such mental states are frequently of an indeterminate nature and have something ephemeral to them. Their forms and origins reach beyond our understanding, and they always remain intimate. How far can a person go with his or her personal yearnings? How much can we, vulnerable as we are, reveal of ourselves—and how far can an artist take this in her or his work? How far can a work move within its medium, and when can it transcend its format? This first complex of questions lead us to a second one, pertaining to this exhibition’s format and structure: How far can an exhibition go?

NILS ALIX–TABELING IS PART OF THE BLOODY CHAMBER AT THE KOPPEL PROJECT, LONDON
The Koppel Project, 93 Baker St.

Lucia Quevedo, Nils Alix-Tabeling, Justin Fitzpatrick

08.02.17—18.03.17

"A long, a winding corridor, as if I were in the viscera of the castle; and this corridor led to a door of worm-eaten oak, low, round-topped; barred with black iron… The key slid into the new lock as easily as a hot knife into butter… If I found some traces of his heart in a file marked: Personal, perhaps, here, in his subterranean privacy, I might find a little of his soul. It was the consciousness of the possibility of such a discovery, if its possible strangeness, that kept me for a moment motionless, before, in the foolhardiness of my already subtly tainted innocence, I turned the key and the door slowly creaked back…" Angela Carter, 'The Bloody Chamber'
   ‘The Bloody Chamber’ is the title of a collection of re-imagined fairy tales by Angela Carter. The eponymous story, based on the tale of Bluebeard, has a prohibition at the centre of the narrative: the protagonist can go anywhere she wishes in her new husband’s castle, with the exception of one room. When she finally opens this door, the Bloody Chamber reveals itself in a grotesque scene of mutilated corpses and viscera. Hidden within the gilded perfection of the castle, it is a grisly remainder. 'The Bloody Chamber', like much of Carter’s writing, interrogates the fluidity of sexuality, the zones of influence between humanity and animality, and the constant metaphorical potential in living bodies and the architecture and landscape that surrounds them.
   Artists Lucia Quevedo, Nils Alix-Tabeling and Justin Fitzpatrick explore these themes through artworks that are housed deep within the confines of the vault.

> The Bloody Chamber
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The Koppel Project, 93 Baker St.

Lucia Quevedo, Nils Alix-Tabeling, Justin Fitzpatrick

08.02.17—18.03.17

"A long, a winding corridor, as if I were in the viscera of the castle; and this corridor led to a door of worm-eaten oak, low, round-topped; barred with black iron… The key slid into the new lock as easily as a hot knife into butter… If I found some traces of his heart in a file marked: Personal, perhaps, here, in his subterranean privacy, I might find a little of his soul. It was the consciousness of the possibility of such a discovery, if its possible strangeness, that kept me for a moment motionless, before, in the foolhardiness of my already subtly tainted innocence, I turned the key and the door slowly creaked back…" Angela Carter, 'The Bloody Chamber'
   ‘The Bloody Chamber’ is the title of a collection of re-imagined fairy tales by Angela Carter. The eponymous story, based on the tale of Bluebeard, has a prohibition at the centre of the narrative: the protagonist can go anywhere she wishes in her new husband’s castle, with the exception of one room. When she finally opens this door, the Bloody Chamber reveals itself in a grotesque scene of mutilated corpses and viscera. Hidden within the gilded perfection of the castle, it is a grisly remainder. 'The Bloody Chamber', like much of Carter’s writing, interrogates the fluidity of sexuality, the zones of influence between humanity and animality, and the constant metaphorical potential in living bodies and the architecture and landscape that surrounds them.
   Artists Lucia Quevedo, Nils Alix-Tabeling and Justin Fitzpatrick explore these themes through artworks that are housed deep within the confines of the vault.

> The Bloody Chamber
LAURA WINDHAGER OPENS GIANNI MANHATTAN
We are pleased to announce that Laura Windhager has opened her own gallery GIANNI MANHATTAN in Vienna. Laura Windhager has previously worked for both institutional and commercial spaces. Laura Windhager is a Goldsmiths alumni. Laura Windhager will be the founding director of GIANNI MANHATTAN.

> Follow GIANNI MANHATTAN on Instagram
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We are pleased to announce that Laura Windhager has opened her own gallery GIANNI MANHATTAN in Vienna. Laura Windhager has previously worked for both institutional and commercial spaces. Laura Windhager is a Goldsmiths alumni. Laura Windhager will be the founding director of GIANNI MANHATTAN.

> Follow GIANNI MANHATTAN on Instagram