A moth circles a light source. Its flight seems unpredictable, yet inescapable, as if following an invisible law. Between attraction and destruction, orientation and disorientation, a movement unfolds that feels both familiar and mysterious.

Zishi Han takes this nocturnal scene as the starting point for his first institutional solo exhibition, FATAL ATTRACTION, at the Overbeck-Gesellschaft. The exhibition is a sensual, yet conceptual exploration of light—as promise and threat, as the engine of desire and the instrument of control.

At its heart is the figure of the moth—a creature magically drawn to light, even though it cannot escape it. In Han's artistic practice, the moth becomes a metaphor for human impulses: the striving for visibility, the pleasure of observation, the fatal attachment to power.

In a dense spatial installation of video, sculpture, and sound, Han interweaves nocturnal observations from Lübeck's green spaces with questions of desire, queerness, and diasporic experience. Light here is not understood as mere illumination, but as a social, political, and erotic field—as a cage, as a sacrament, as a site of self-knowledge and the knowledge of others.

The camera remains motionless, the images oscillating between delicate observation and hypnotic fixation. Each scene acts like a small stage on which desire and vulnerability, distance and intimacy, are simultaneously negotiated. The fluttering of wings under the cold glare of a streetlamp becomes a masochistic performance: the human urge for light, for enlightenment, and for the violence inherent in visibility itself. FATAL ATTRACTION is not only a study of the relationship between light and living beings, but also an allegory of the modern gaze: a gaze that controls but also seduces, that fixes and yet remains trapped itself.

Han's works unfold a quiet tension between fascination and resistance, between the desire to see and the fear of being seen. They tell of an existence in the in-between space—of bodies that are simultaneously object and subject of desire, of a light that both beguiles and consumes.

Curated by Paula Kommoss
OPENING
Saturday, May 16
2–4 p.m., Soft Opening

The Musée d'Art Moderne de Paris presents for the first time in a French museum an exhibition devoted to three Estonian artists whose work spans from the middle of the 20th century to the present day: Olga Terri (1916 – 2011), Anu Põder (1947 – 2013) and Kris Lemsalu (born in 1985).

The exhibition showcases the richness and vitality of the Estonian art scene through the eyes of these three artists from different generations. Each in their own way, they reflect a moment in the creation of this country with its fascinating yet turbulent history.
Marked by its experience caught between European and Russian spheres of influence, Estonia has managed to preserve a unique, vibrant, and dynamic culture, from which the works presented here emerge.

The treatment of the human body acts as a common thread between the work of the three creative artists: a body sometimes abandoned, fragmented, augmented, transformed, exuberant or combative.

Anu Põder, the central artist of the exhibition (1947–2013),
is one of the great rediscoveries in art history in recent years. Through some fifteen works, the exhibition unfolds the singular world of this artist whose practice developed outside the academic constraints of her time. The materials used by Anu Põder reflect the precariousness of her situation under the Soviet regime, as well as revealing the upheavals in Estonian society following the country's independence (burlap, plastic, soap, aluminum foil, etc.). The artist's body is often present in the negative space of her vulnerable, fragile sculptures, which refuse to be confined to traditional modes of representation.

The idea of managing an artist’s posthumous legacy often conjures an image of blue-chip gallery previews, sweeping museum retrospectives, and seven-figure secondary-market sales. Mega gallery Hauser and Wirth is a prime example of how the upper echelons of the art market have made estate management into big business—roughly a third of the gallery’s 100-plus artist roster is estates. Yet a growing share of estate work today is unfolding far from that rarefied tier.

Simian presents Emotional Terrains of Change, a group show organised by the independent curator Fabian Flückiger in dialogue with Simian. Against a backdrop of global unrest and fading post-war promises of progress, prosperity, and peace, the group exhibition Emotional Terrains of Change turns its focus to how humans, as individuals and societies, navigate transformation. Drawing inspiration from the writings of Johannes V. Jensen and Octavia E. Butler, the exhibition proposes to consider change not only as inevitable, but also as a potentially powerful source of agency. The large-scale works in the exhibition investigate shifts in body and psyche brought about by technological developments, climate change, and political upheaval. At the core are emotional responses to changing social dynamics; the inner experience amidst external disruption. Offering a fragmented yet resonant portrait of the present, Emotional Terrains of Change calls upon the power of collective imagination to nurture emotional resilience and to re-envision the future with a renewed sense of human depth and possibility. The exhibition is supported by Ny Carlsberg Foundation, Danish Arts Council, Grosserer L.F. Foghts fund and Lithuanian Council for Culture.
with Leda Bourgogne, Rafik Greiss, Pakui Hardware, Rindon Johnson, Amitai Romm, Bjarke Hvass Kure

The group exhibition Behind Eyes takes place as part of a collaboration with BIENALSUR, the International Biennale of Contemporary Art in Latin America. Since its founding in 2016 by the Universidad Nacional de Tres de Febrero (UNTREF) in Buenos Aires, BIENALSUR has connected institutions and artists worldwide, promoted diversity, and emphasized global perspectives. The biennale simultaneously spans over 32 cities in 16 countries, bringing together more than 350 artists and curators from five continents.

The exhibition is dedicated to the space behind our closed eyes and refers to this year’s exploration of the “eye” at Kunstverein Bielefeld. The institution’s annual program is part of a five-year curatorial project, which, similar to the chapters of a book, focuses on one sense organ each year to raise questions relevant to our present.

This year’s exhibitions are perceived as “schools of seeing,” not only examining what is visible but also exploring the collective efficacy of invisible processes.

The exhibition Behind Eyes turns the view inward, focusing on the space behind our closed eyes, where images arise before they take form.

In a time when the visible dominates—through screens, surveillance, or the constant need for evidence—the exhibition Behind Eyes sets a counterpoint: a practice of inner seeing.

Behind Eyes brings together international artistic positions that interrogate the act of seeing in diverse ways, encouraging reflection on visual narrative structures and prevailing systems of representation, and understanding seeing as an aesthetic, media-theoretical, social, and political practice.

CHI ESCE ENTRA

In the heart of Rome, a building rich with a century of cultural history but now abandoned for thirty years is about to lose the traces of its past uses. How can art play a role in preserving what risks disappearing from collective memory?

The Bibliotheca Hertziana – Max Planck Institute for Art History hosts “Chi esce entra. A Tribute Exhibition to a Disappearing Building”, an unprecedented site-specific project curated by Simon Würsten Marin with over 20 Italian and international artists: Vincenzo Agnetti, Louise Bourgeois, Francesca Cornacchini, Jesse Darling, Eva Fàbregas, Tarik Hayward, margaretha jüngling, Thomas Julier, Tarik Kiswanson, Corrado Levi, Paul Maheke, Marie Matusz, Mónica Mays, Hana Miletić, Effe Minelli, Lulù Nuti, Francesca Pionati and Tommaso Arnaldi, Aurélien Potier, Hannah Quinlan & Rosie Hastings, Prem Sahib, Davide Stucchi, Gregory Sugnaux, Ian Waelder, Rachel Whiteread.

Photography: Enrico Fontolan/BHMPI

Valentin Noujaïm at MoMA, 22.09.2025:
„French-Lebanese filmmaker Valentin Noujaïm joins us to present his La Défense trilogy—screening in all three parts for the first time—which unfolds like a series of enigmatic Greek tragedies across Paris’s brutalist La Défense business district. Constructed atop razed shantytowns and farmlands in the 1960s, it becomes a site for Noujaïm to reflect more broadly on the histories of France’s othered minorities who have been effaced or otherwise neglected by state structures.
Blending documentary, narrative, and genre throughout, the films freely course through past, present, and disquieting futures. Pacific Club is an elegy to the titular nightclub, which operated in the basement level of La Défense and became the city’s first nightlife venue to cater to Arab patrons, most of whom were children of immigrants from the nearby suburbs. Through oral history, the film honors Pacific Club as a haven to a marginalized generation in the 1980s amid the heroin and AIDS epidemics and the electoral rise of the anti-immigrant National Front. To Exist Under Permanent Suspicion, the trilogy’s second chapter, stars Kayije Kagame (of Alice Diop’s Saint Omer) as a Black businesswoman promoting a new skyscraper from her own steely office tower—until a neo-noir fugue awakens fantasies of revolt and destruction inside of her. The final volume, Demons to Diamonds, stages the starkest vision of alienation to take hold of the glassy skyline, portraying a society on the brink of collapse rocked by surveillance and paranoia during an uncanny wave of suicides. While Noujaïm’s work mines the shadows of the city for stories of tenderness and resistance, the trilogy also makes a case that “destruction may be the only chance for rebirth.” As Denis Lavant, the ghostly antihero of Demons to Diamonds, proclaims, “I’m destroying the Pantheon, so that everything can begin anew.”
The screening will be followed by a conversation with Noujaïm, moderated by Sophie Cavoulacos, associate curator in the Department of Film.“

Image: To Exist Under Permanent Suspicion. 2024. France. Directed by Valentin Noujaïm. Courtesy the artist and Oyster Films.

The exhibition with the shortlisted artists will open at Traklhaus on May 15, 2025 and run until July 5, 2025.

The Ceramics Prize of the Province of Salzburg has existed since 1989 and has been awarded throughout Austria since 1993. This year it will be awarded for the 12th time. Artists who were born in Austria or have lived in Austria for at least five years are eligible to take part in this unique award in the field of ceramics in Austria.

In a preliminary round, the jury, consisting of Julie Hayward, Michele Pagel and Charlotte Wiesmann, selected 11 artists whose works will be shown in the candidate exhibition. In a second meeting, which will then take place at the exhibition in the Traklhaus, the jury will decide who will be nominated for this award.

image: Laurence Sturla, Went To Country (Southsayer), 2024. Overfired ceramic, ceramic slurry, steel, salt; 110 x 50 x 28 cm

Anu Põder is part of „Arte Povera – A New Chapter“ at EMMA Espoo Museum of Modern Art, Finland. The exhibition explores how especially women artists have worked in the spirit of the Arte Povera movement from the 1960s to the present. 

Works by Anu Põder will be on display 9.4.–7.9.2025.


photo: Paula Virta / EMMA – Espoo Museum of Modern Art

“Défaillance désir” (Defect Desire) was Aurélien Potier’s first institutional solo exhibition. The Marseille-based artist produced the works in situ during his four-month residency at MO.CO., assembling them into a site-responsive installation of precarious, intimate landscapes. Touching on such themes as uncertainty and disorientation primarily through the medium of sculpture, his work also incorporates drawing, performative elements, and (though not in this presentation) writing.

BPA// Exhibition 2023
Amid the Alien Corn
25.11.23–07.01.24

KW Institute for Contemporary Art and BPA// Berlin program for artists are pleased to present the BPA// Exhibition 2023, featuring works that second year BPA// participants produced over the course of their working period with the program. The exhibition takes place on two floors of KW’s front house, and allows for the individual positions as well as for cross-references to be explored.
The exhibition is accompanied by a set of essays: each artist has invited an author of their choice to reflect on their work. The bundled essays will be on sale in KW’s bookshop. In addition, a public program of tours offers a deeper engagement in the artists’ practices.

Artists: Johannes Büttner (in collaboration with Julian Vogel), Grayson Earle, Heyon Han, Sebastian Jefford, Ida Lawrence, Maness, Simone Miné Koza, Bassem Saad, Tian Guoxin, Jasmin Werner

Refusing to be content with a single, fixed expression or to be confined by a single artistic movement, the French-American artist Louise Bourgeois (1911–2010) explored a variety of styles and techniques that few artists can rival. The exhibition "Imaginary Conversations" stages encounters between Bourgeois and other artists. Some of these encounters took place during Bourgeois’s almost century-long life, while others occur across time and space. This is the first major presentation of Bourgeois’s art in Norway in over twenty years.

Works from her entire career are presented, from her paintings and prints from the 1940s to the Cells she created in her final decades. “Imaginary Conversations” also allows you to experience artworks by over fifty other artists, including Edvard Munch, Marie Laurencin, Pablo Picasso, Alberto Giacometti, Arshile Gorky, Louise Nevelson, Senga Nengudi, Alina Szapocznikow, Seni Awa Camara, Nan Goldin, Robert Gober, and Rosemarie Trockel. Many of the works are being shown in Norway for the first time ever.

The Exhibition contrasts the conventional practice of collection display with a model that allows the Academy’s historical art collections – the Paintings Gallery, the Graphic Collection and the Plaster Cast Collection – to enter into conversation with contemporary works. It draws on these three rich collections, plucking out only a selection of the many possible pictorial programmes, typologies and allegorical formulas in order to loosely interweave these with works from other periods.

The exhibition takes a digressive tour through art history from the 15th century to the present day, as reflected in the art collections of the Academy of Fine Arts. In the process, it addresses 17th-century theories of pictorial representation, such as this of Samuel van Hoogstraten, as well as considerations from present- day media theory that arise from technological transformation, exploring how this has been reflected in image generation and the associated theoretical debate since time immemorial.

In addition to these themes, the exhibition showcases the metaphor of the seascape and its territorial-political representation – the ship and the sea. The period on the cusp of courtly and bourgeois concepts of society, the implications of proto-industrialisation for class relations and living conditions play a key role here along with related ambiguous figures of exclusion and status satires. Nudes and depictions of Mary come into play, as do the contrasting poles of the Dionysian and Apollonian or Gothic transcendence.

Typologies, fluid transitions and subject constitutions are displayed and put up for discussion on a stage replete with surprising correlations and radical juxtapositions in a spirit of viewing art through the prism of “family resemblances” and correspondences or connections despite all the historical conditioning produced and established over the centuries.

The exhibition’s title comes from a commingling of E.A. Poe’s detective story The Purloined Letter about a stolen letter that goes unnoticed in plain sight and Honoré de Balzac’s novella The Unknown Masterpiece (“Le Chef-d’oeuvre inconnu”), which explores the imagination and the limits of representability: “The aim of art is not to copy nature, but to express it!” old Master Frenhofer proclaims in the novella. Moreover, the novella features figures such as Peter Paul Rubens, Nicolas Poussin and François Porbus, all of whom play a role in the collection of the Paintings Gallery. Both stories deal with the issues of representation, appropriation, mimesis and (optical) deception, as well as with the definition of “mastery” when it comes to grasping reality, albeit in the opposite sense of excessive imitation and failure in representation

Works by Willem van Aelst, Ludolf Backhuysen, Cornelis Bega, Hieronymus Bosch, Sandro Botticelli, Dirk Bouts, Richard Brakenburgh, Jan Brueghel the Elder, Jacques Callot, Daniel Chodowiecki, Joos van Cleve, Lucas Cranach the Elder, Gaspard de Crayer, Albert Paris Gütersloh, Samuel van Hoogstraten, Jan van Huysum, Johann Baptist von Lampi the Younger, Meister der Katharinenlegende, Martin van Meytens, Philips Angel van Middelburg, Adriaen van Ostade, Rembrandt, Peter Paul Rubens, Jakob van Ruisdael, Rachel Ruysch, Roelant Savery, David Teniers the Younger, Anna Dorothea Therbusch, Wigerus Virtringa, Simone de Vlieger and numerous other historical works from all three collections as well as contemporary works by Martin Beck, Anna-Sophie Berger/Teak Ramos, Marcel Broodthaers, Lili Dujourie, VALIE EXPORT, Rodney Graham, Ulrike Grossarth, Marcello Maloberti, Willem Oorebeek, Jeroen de Rijke/Willem de Rooij, Klaus Scherübel, Allan Sekula, Paul Sietsema, Laurence Sturla etc.

Curator: Sabine Folie

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.

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.

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

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.

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).

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.

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.

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

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.

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

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

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

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

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.

Opening 22.09.18

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

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

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..."

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

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

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

Opening 21.02.18, 18:00
Exhibition 22.02.18—15.04.18

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.

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

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

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

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.

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

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

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

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

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.

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.

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?

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.