Short film festival about loss, grief, and death.
Organized by the Mourning School, a curatorial project on grief, death, loss, and mourning,
that is active in Stockholm and beyond.
17-19 June 2022
School in Common
Johannesfredsvägen 26, Lgh 1
168 68, Bromma
Give and Take. Images upon Images
Ausstellung im Rahmen von Currency – Triennale der Photographie Hamburg
Give and Take illustrates processes of exchange and appropriation of pictorial material in contemporary photography based on a selection of twenty artistic positions. Images circulate and migrate these days across diverse geographical, cultural and social boundaries. One and the same photograph may appear in myriad contexts, multiplying its impact exponentially. This makes it nearly impossible to control all the meanings that may be assigned to images we release into the world. In this »give and take«, artists appropriate images from a variety of fields as they explore the mechanisms behind the production of realities and identities. The material on view ranges from early picture archives, historical film footage and museum collections to classic print media as well as digital images on social media and in image search engines. The artists respond in their photographs, video works and installations to images that originated in another time or were developed for a different purpose, retrieving them in order to examine them in the light of the present day. The show features primarily works on loan that come from galleries or directly from the artists from America and Europe, supplemented by exhibits from the collection of the Hamburger Kunsthalle. As if in an archive, the main themes are organised into »folders«: archive & algorithm, profile & identity, fact & fiction, protest & dissemination and canon & violence.
Eröffnung Freitag, den 20. Mai 2022, um 19 Uhr
Abundant Futures: Works from the TBA21
Abundant Futures is a daring attempt to imagine worldmaking and ecological futures from the condition of abundance and fullness. The exhibition places a wealth of artistic visions into conversation, gesturing at the multiplicity of worlds humans and nonhumans cohabit from the principles of life itself: proliferation, inventiveness, beauty, and relationality. It creates spaces for a social, ecological, and artistic reserve capable of altering human interaction with the planet and allowing new forms of conviviality to emerge. Shaping abundant futures means supporting already existing worlding practices and learning from them. It means reorganizing work fairly, redistributing what is available across vast differences, giving up what is possible to promote more life, and decreasing our productivity and wastefulness for the benefit of the commons. In these ecologically desperate days, embracing the multiple ways of being in the world means not only experiencing but also enacting abundance.
Thyssen-Bornemisza Art Contemporary Collection
Opening festivities on April, 1 and 2, 2022
Stichting Nationaal Museum van Wereldculturen
1092 CK Amsterdam
Juli 2021 – 6 Juni 2022
DREAMS OF FREEDOM. ROMANCE IN RUSSIA AND GERMANY
The installation Woman to Go is shown at the Tretyakov Gallery. An exchange of the Dresden State Art Collections with Russia’s largest museum of national art.
State Tretyakov Gallery
Lavrushinsky lane 12, Moskau
Opening April 22, 2021
Magazin / Kultur-Mitte
Conversation with Vanessa Gravenor, published on 02.03.2021, in Kultur Mitte
The Videoart at Midnight Artists’ Cookbook
The Videoart at Midnight Artists’ Cookbook – Book Launch
Sunday, September 20, 2020, 4 – 6 pm
Alte Jakobstraße 124-128
The exhibition Transitions is part of the series Ortsgespräche, an initiative of the Donation Hoffmann Collection in cooperation with the Staatliche Kunstsammlung, Dresden.
Kaisitz 3, 01665 Käbschütztal
Schule als Kunstform. Schule als down-to-earth der Kunst
A panel discussion organized by Avtonomi Akadimia about learning and teaching as an art form – with participants who themselves practice teaching as an art form, initiate schools, and take a collaborative and learning position as artists. Joulia Strauss in conversation with Brandon LaBelle, Marina Naprushkina, Mathilde ter Heijne, September 4, 2020, at 7 pm.
This panel discussion is part of:
Down to Earth, Climate, art, discourse unplugged
Where can we land? Taking Bruno Latour’s eponymous essay on climate change as a starting point, the multi-disciplinary project “Down to Earth” examines a system, in which our own actions have continually meshed with those of many other agencies: “the Earth with its thousand folds”. What can we observe and what happens, if we apply the proposals in Latour’s book to exhibition practice: by questioning and renewing the standard practices of our operating systems, by disclosing our emissions, consumption levels and by keeping them as low as possible? The four-week unplugged program “Down to Earth” at the Gropius Bau will bring together artists and experts in sustainability, and present visual art, live work, talks, workshops and spontaneous interventions on other forms of being—in the Latourian sense—worldly and grounded. Without electricity, loudspeakers, videos, screens, air travel or spotlights, but with daylight, heat, recycled materials, unplugged music, dance, exhibits on the themes of the ocean, Gaia, puddles, the living earth, a sawn-up Porsche and modern rituals, in the spirit of Latour, Margulis, Lovelock and the Shipibo. August 13–September 13, 2020
Martin Gropius Bau
Affected Words; Singing Signs
Language defines what is human. Our specific system of symbolic communication makes it possible to name the world, to exchange concepts, ideas and feelings as well as to provide, obscure or encode information. In the digital era, new technological tools have brought about a profound change in the way information, thoughts and emotions modulate communication and affect the way we think and comprehend reality. How has this emotion-oriented form of language created a fabricated reality and downgraded the importance of facts as the foundation of social and political debate in the construction of opinion and truth? Affected Words takes a critical look at how digital technology is being used to reproduce and disseminate power structures and calls for its emancipation, for critical resistance and self-determination on the part of individuals and the community. Curated and presented by María Morata.
The Voice as Performance, Act and Body, Valie Export, 2007, 11 min; Lament, Song for Transitions, Mathilde ter Heijne, 2014, 7 min ; Global Windshield, The Musical, Momu & No Es, 2018, 19 min; We Are the World, as performed by the Hong Kong Federation of Trade Unions Choirs, Samson Young, 2017, 5 min; Le jour a vaincu la nuit, Jean-Gabriel Périot, 2013, 28 min.
Xcèntric el cinema del CCCB, Barcelona
5 March 2020, 19.30
Time Present; Photography from the Deutsche Bank Collection
It is a journey through time in several respects. Encompassing over 60 works, Time Present at the PalaisPopulaire unfolds a panorama of contemporary photographic art. The exhibition presents a broad spectrum of international photography collected by Deutsche Bank over the course of four decades. Alongside well-known names such as Hiroshi Sugimoto, Gerhard Richter, and Mathilde ter Heijne, new acquisitions for the collection by Gauri Gill and Viviane Sassen will be on view.
Unter den Linden 5, 10117 Berlin
20.6.2020 – 8.2.2021
Women Make History; Solidarity as a Means of Action
Much has been written on the subject of feminist solidarity, as a formative value that provides the political subject with a secure base from which to promote social struggles in various arenas. The concept of “solidarity,” in its various meanings, has served in recent years as a framework for discussions in the feminist community. The call for solidarity is based upon the demand to dismantle supposedly competition in relations between women. The need for change is based on the understanding that such competition expresses an essentially patriarchal belief, according to which power and control of resources can only be achieved by joining a powerful figure, that is, a man. Fundamental to this belief is the masculine identification.
Renowned feminist thinker Adrienne Rich defines competition between women as “internalizing the values of the colonizer.” Its meaning is that women place themselves beneath men, ignoring the qualities that they may themselves bring to the socio-political situation. The result is the acceptance of competitiveness, or the “polygamous condition,” as natural and unavoidable. The “polygamous condition” weakens women’s solidarity by means of a “divide and conquer” strategy. In the words of feminist activist and theoretician Bell Hooks: “We are taught that women are ‘natural’ enemies, that solidarity will never exist between us because we cannot, should not, and do not bond with one another […] We must unlearn [these lessons] if we are to build a sustained feminist movement. We must learn the true meaning and value of Sisterhood.”
Haifa Museum of Art
26 Shabbetai Levi Street
Haifa, 3304331, Israel
22.12.19 – 20.06.20
Opening: Saturday, 21.12.19, 20:00
Curator: Svetlana Reingold
How beautiful you are!
In various forms of artistic expression, the exhibition examines the concept of beauty in the art world
and directs its focus towards art and artists in equal measure.
How beautiful you are! does not treat beauty as an evaluative category but instead takes the term as the point of departure for experiments,
commenting upon it from various perspectives: architectural designs by AAS Gonzalez Haase, sportswear by Sandra Dresp and a promotional by Sorgen International. Included in the painterly positions are works by Martin Eder, Norbert Bisky, Jens Heller and Frank Nitsche, among others.
Multiple-media works by Nik Nowak and Jonny Star encounter body-related, performative works by Yvon Chabrovski and Kirstin Burckhardt as well as sculptural works by Vera Kox and Albert Weis.
In accordance with the tradition of the legendary Bar Kosmetiksalon Babette, How beautiful you are! envisions itself as a network exhibition in which a multiplicity of artistic positions gives rise to the characteristic energetic charge. The exhibition is being curated by Maik Schierloh
Kosmetiksalon Babette zu Gast
KINDL – Centre for Contemporary Art
23. Februar – 8. März 2020
Atopia. Migration, Heritage, and Placelessnes
Works from the Thyssen-Bornemisza Art Contemporary Collection
Curated by Daniela Zyman
FIESP–Centro Cultural in Sao Paulo, Brazil
Opening: February 28, 2020.
Trouble Diaries: Failure is the mother of success
The series of “Trouble Diaries” brings into account another perspective in the way in which artists employ strategies of performance while also appropriating traditional genres, to reveal how the female body becomes a political subject when exposed as a critical weapon. The core concept for these artists, whose work centers on the body, can be traced to Judith Butler who declared that gender is a cultural construct. Your body does not belong to oneself, but is subject to public scrutiny, and your personal diary becomes part of a public agenda
Magic Media – Media Magic
Since the 1970s, Wulf Herzogenrath, Akademie member and long-time director of Kunsthalle Bremen, has made a decisive contribution as an art historian and curator to the establishment of video art in Germany. His archive, which is in part held by the Akademie der Künste and in part privately owned, not only contains highlights from video art, but also reflects the entire range of artistic production and thus the history of video art from its beginnings in the 1960s to the present day. In the Magic Media – Media Magic exhibition, the Akademie der Künste will show artistic and documentary film material, documents, sketches, photographs and artist guest books from the curator’s collection by Vito Acconci, Klaus vom Bruch, John Cage, peter campus, Lutz Dammbeck, Mathilde ter Heijne, Rebecca Horn, Joan Jonas, Bjørn Melhus, Marcel Odenbach, Nam June Paik, Ulrike Rosenbach, Bill Viola and Raphaela Vogel, among others, as well as on Kölner Projekt’74 and documenta 6.
Akademie der Künste
Pariser Platz 4, 10117 Berlin
12 September – 13 October 2019, Tue – Sun, 11 am to 7 pm
LAMENTO I – Mourning and Tears
The history of human civilizations is marked by traumatic experiences of loss, which have produced a great variety of cultural coping forms and strategies. Natural disasters, accidents, wars, epidemics and old age confront us with our inevitable finiteness. In a time in which the superhuman seems feasible, the confrontation with death confronts us with our transience, which overwhelms us with the loss of a human being and leaves us with the painful feeling of grief. The heterogeneity of the ways of coping with loss and the strategies for dealing with it show, on the one hand, that grief seems to be a universal feeling, but is embodied in a variety of ways and finds its individual expression. People suffer from loss experiences and seek successful coping strategies to escape grief.
In the exhibition LAMENTO I – Mourning and Tears, the Museum für Sepulkralkultur dedicates itself to a selection of international, contemporary works of art, the collective and individual experience of mourning experienced and felt as a consequence of a traumatic experience of loss. The artistic works are developed and exhibited in the context and in correspondence with the collection of the Museum für Sepulkralkultur.
Museum für Sepulkralkultur
34117 Kassel, Germany
16 November 2019 to 15 March 2020
Opening on Friday, 15 November 2019, at 19.30 hrs
WOMEN IN FILM & PHOTOGRAPHY 2019; REMEDY FOR RAGE
In recent years, communities across the world have responded to enduring social, gender, racial and economic inequality through collective actions such as #Metoo, the Occupy movement and Black Lives Matter. At the heart of it, such movements are often fueled by anger and frustration at an ostensible lack of political will or means to effect systemic change.
The fifth edition of Women in Film and Photography seeks to explore how rage against discrimination, repression and injustice can be channeled into a force for awareness, action and change through art.
The women image-makers featured in this programme have created works that speak to local and international concerns, disrupting hegemonic narratives by surfacing stories of marginalised communities and invisible figures of history. Through these works, the programme aims to celebrate, enrich and underline the necessity of diverse voices and representation.
Objectifs Chapel & Lower Galleries
155 Middle Road, Singapore 188977
2 Oct to 17 Nov 2019
BERLIN INTERVIEWS BUCHPRÄSENTATION
The journalists Birgit Rieger and Claudia Wahjudi have held talks with 16 artists who have moved to Berlin from different countries at different times. From the British Fluxus pioneer Ann Noël, who came 40 years ago, to the young performance artist Dachil Sado, who fled Iraq, the sculptor Monica Bonvicini from Venice, who met coal stoves in West Berlin, to the Sound artist Emeka Ogboh from Lagos, who brews a special Berlin beer. In the book, they report on challenges, impositions, coincidences and opportunities in a city that has changed so rapidly in the 30 years since the fall of the Berlin Wall as no other.
August 15, 2019, 7pm
mit Ann Noël, Mathilde ter Heijne, Birgit Rieger und Claudia Wahjudi
Moderation: Melanie Roumiguière, Berliner Künstlerprogramm des DAAD
daadgalerie, Oranienstraße 161, 10969 Berlin, 19:00