Provisional artist list: João Maria Gusmão + Pedro Paiva, Sven Johne, Mark Lewis,
Melvin Moti, João Penalva, Philippe Parreno, Raphaël Zarka

Curated by Lauren Wetmore, Curatorial Reasearch Fellow

Screenings: 10.6.21 and 11.6.21, 15h to 18h
Online: 12.6.21 to 19.9.21

Uematsu’s multidisciplinary practice strives to illuminate the invisible relationships between objects and the spaces they inhabit. For more than five decades the artist has carried out the terms of a rigorous manifesto that spotlights the de-familiarization of space and draws his viewers’ attention to the interplay of such natural forces as gravity, tension and material attraction through media including photography, drawing and sculptural installation.

Huanca’s two-dimensional painting practice is fundamentally linked to the performative elements of her oeuvre. Photographs of her performers’ decorated bodies are blown up and transposed to canvas, where they are re-worked with paint. Gesture is enlarged and amplified; the soundlessness of her performances reverberates across her abstract compositions. Featuring new work by Donna Huanca, the group exhibition Carnivalesca at the Kunstverein in Hamburg explores the meaning of carnival and how it has shaped contemporary painting.

Living a secluded life far removed from the art scene, Emma Kunz (1892 – 1963) exemplified an expanded concept of art, rejecting the idea of art versus non-art and instead opened it up to a wide range of aspects - research, medicine, natural history and the supernatural, the magical, the visionary. Kunz based her drawings on questions that she drew on graph paper with the use of a pendulum. The exhibition includes around sixty of these drawings, many of which are being shown for the first time. 14 contemporary artists were invited to respond to drawings by Kunz. The work of Mai-Thu Perret plays a key role here, as she takes a drawing represented in the collection as an occasion for formal reduction, abstraction and transformation into the medium of light.

The exhibition Que horas são que horas: uma galeria de histórias is the result of an invitation made by the Galeria Municipal do Porto to three curators to reflect upon the historical landscape of Porto’s art galleries – inscribed between the apparent post-WWII cultural opening and the retraction of the cultural sector after the recent economic crisis. Looking at this time period enables us to understand the many different sides of the civitas, and the transformative complicities that exist between the city’s artists, cultural agents and audiences that shape it.

Simon Lee Gallery is pleased to introduce Doris, an artist-run magazine edited by British painter Rachel Howard!

In advance of The Kitchen’s 50^th anniversary in 2021, artists and Kitchen Board Members Wade Guyton and Jacqueline Humphries have curated an exhibition of over fourty donated works. Proceeds from the sale of these works will help make possible essential renovations to The Kitchen-allowing the organisation to remain in the building where it has resided since 1986.

Heimo Zobernig, Academy of Fine Arts in Vienna, has been appointed honorary doctor of Malmö Faculty of Fine and Performing Arts 2021.

Winter Light brings together artworks that take inspiration from light, colour and the poetics of space. Featuring more than 15 artworks and new commissions, the exhibition is installed across the Southbank Centre’s buildings and along the riverfront.

DecameronTV gets spooky with a series of “Halloween Specials,” bringing together five artists whose practices both commemorate and complicate the spirit of the Allhallowtide season. The artists use ghosts, monsters, costumes and the uncanny as strategies to remember the faithful and unfaithful departed, disinterring themes of family, colonialism, camp, and terror. Participating artists include Charlie Mai, Kembra Pfahler, Marnie Weber, Bri Williams, and Kandis Williams.

Glasgow-based artist France-Lise McGurn is the latest guest on DRAF Broadcasts: Podcast, talking about Art Deco painter Tamara de Lempicka’s drawing Sur La Plage, made circa 1926 when de Lempicka lived in Paris and was a prominent member of the art scene between the two world wars. This work from the David Roberts Collection becomes the basis for a conversation that touches on the female nude, Madonna videos and cigarette packets.

Merlin Carpenter’s solo exhibition, archive élastique, takes as its point of departure the Synagogue de Delme’s location, the road running through the village, on which numerous trucks and wide loads circulate. As the Synagogue is located at the roadside, the artist had proposed to transform the exhibition space into a warehouse or archival storage space, in which one finds thousands of boxes, awaiting transportation. Right in front of the synagogue entrance is a forklift, parked and ready to load the pallets into lorries for hypothetical delivery. But since no forklift of this kind can enter the exhibition space, the vehicle is doomed to wait outside.

Prelude: Melancholy of the Future brings together works by artists associated with MDD, either in the past or the future. The exhibition – the last at MDD before the museum’s renovations, until summer 2021 - considers the current challenge of anticipating on a future while the past itself is under scrutiny.

Known for her multi-disciplinary practice that engages installation, performance, sculpture, ceramics and textiles, Mai-Thu Perret derives inspiration from a range of twentieth-century avant-garde and radical art movements, including Dada, Constructivism and Bauhaus design. Occupying two floors of Le Portique, Mai-Thu’s solo exhibition Les Étangs is a presentation of new ceramics, patchworks and paper lanterns. Ten large ceramic pieces, evoking leaves of waterlilies, line the floor of the Portico, transforming the space into a vast imaginary body of water.

Lydia Yee is Chief Curator at Whitechapel Gallery, where she recently curated Radical Figures: Painting in the New Millennium (2020) and Is This Tomorrow? (2019) and oversaw commissions by Ulla von Brandenburg (2018) and Leonor Antunes (2017). Yee has previously held positions in the UK and US as Curator at Barbican Art Gallery and Senior Curator at the Bronx Museum of the Arts. She was also co-curator of Frieze Talks (2018–19) and British Art Show 8 (2015–16).

Merlin Carpenter’s “Paint-It-Yourself” display is to be seen as a systematic production and delectation of the materiality of a surface liberated from representation. It suggests that the tension of the painting process is already present when all is on view are eight primed canvases and a box placed in the middle of the room full of ready-to-use oil paint tubes.

This fall, Magazzino Italian Art opens a special exhibition examining the formal, conceptual, and procedural affinities in the work of Mel Bochner, Alighiero Boetti, and Lucio Fontana. Curated by Bochner in collaboration with Magazzino, the exhibition marks the first presentation to consider the American artist’s extensive, yet overlooked, engagement with the practices of Fontana and Boetti, as well as with Italian art at large. Bochner Boetti Fontana offers, through the artist’s perspective, a number of resonances between his work and that of the Italian and Italian-Argentine artists: an exploration of systems, language, and materials; and a sense of irony and humor, often and especially shared by Arte Povera and Conceptualism, as all these works opened the work of art onto the space of display. 

RED LIGHT presents a selection of works from the Norlinda and José Lima Art Collection, having as a common point the approach to sexuality, unfolded in multiple topics, both presented in a counterpoint complement and in a jarring confrontation: the representation of the body, male and female nudity , eroticism, fantasy, desire and pain, object and subject, pleasure and domination, the places of female representation, the male gaze, voyeurism, exhibitionism and self-representation in art.

Curated by Bronia Iwańczak

The multiple sources which McGurn refers to in the initial stages of her work most recently include films of the 70s and 80s, fashion illustration, advertising, pop stars and glamour photography. The generic features of the figures, accentuated by their repetition across the wall paintings, conveys a sense of intimacy or familiarity open to multiple readings. She also is inspired by people she encounters, studying their movements, mannerisms and hand gestures.

Busan Biennale 2020 examines the city and tries to expand the various spectrums of a metropolitan through artistic expressions. At Busan Biennale 2020, ten fiction writers and one poet were invited to write on the characteristics of the city of Busan as a conceptual basis for selecting the artists, each responding through new commissions and existing works within the context of the exhibition. The authors—which represent different generations, genres, and writing styles—have each created and written fictional layers around and about the city, some with direct reference to Busan, others through indirect and ephemeral urban tales involving the locale. Mixing past, present, and future, the artists and writers involved in Words at an Exhibition — an exhibition in ten chapters and five poems use Busan as a backdrop in ways that create a narrative that simultaneously combines reality, history, and imagination through experiences of contemporary fiction, a focus on soundscapes and film works, as well as paintings, photographs, sculptures, and site-specific installations.

Simon Lee Gallery presents a special project in collaboration with Vasily Klyukin. Throughout his practice, which spans architecture, design, literature and sculpture, Klyukin has sought to eternalise the intangible. The Russian-born, Monaco-based artist is concerned with humanity and the natural world: patterns and systems found within nature, as well as human emotion and memory.

The Zënza Sëida Cultural Association and the Biennale Gherdëina are proud to announce the inauguration of the 7th edition of the Biennale Gherdëina on Saturday, August 8th, 2020 across the public space of Ortisei, Val Gardena, in the picturesque landscape of the Dolomites, the celebrated UNESCO Heritage Site.

Curated by Ana Rito and Hugo Barata

When applied to the curatorial situation, the concept of the constellation accounts for the dynamic definition of the relations formed between all those involved. On the one hand, it denotes the different contexts in which each obtained their previous meaning and function (which then change as a result of this transfer from other times and places into the specific new encounter). On the other hand, it implies that those involved and their participation are also characterized by temporalities of their own—historicity, sequence, duration, timing, rhythm—creating a corresponding dynamic in their interrelations.