Exhibitions & Events

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In the Peaceful Dome | Bluecoat, Liverpool

The final exhibition of the year is themed around transformation and continuity, time and time travel, and the intersection of the past and the future. It takes the idea of a continually evolving building that has a symbiotic relationship to place (Liverpool, but also the world – the local and the global), a long engagement with art, and a dynamic relationship to audience. The show will attempt to trace within this accumulation of history a continuum across time as culture shifts and the building itself undergoes profound change.

Through a combination of new commissions by invited artists, existing art – including loans of historic works from collections – and archival material, the exhibition will set up ‘conversations’ between different exhibits that will reveal and look afresh at Bluecoat, the art it has presented and the debates it has generated, reinvigorating them for today by finding contemporary resonances. It will throw up questions about how the past informs the future and how art and arts venues might adopt a more civic role.

Including works by Roderick Bisson, Sean Borodale, Fanny Calder, Edward Carter Preston, Julia Carter Preston, Dan Coopey, Philip Courtenay & Yellow House, John Davies, Jacob Epstein, Edgar Grosvenor, The Grantchester Pottery, Janet Hodgson, Nathan Jones & Scott Spencer, Juniper Press, Sumuyya Khader, Donald Lynch, Joanne Masding, Syd Merrills, Grace Ndiritu, Uriel Orlow, William C. Penn, Jo Stockham, and Edmund Tan

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Theatrum Botanicum: The Memory of Trees | Parc Saint Léger, France

Solo show, curated by Catherine Pavlovic.

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Stealing from the West | Academy of World Arts, Cologne

Curated by Ekaterina Degot, David Riff, Aneta Rostkowska, including works by Lawrence Abu Hamdan, Yuri Albert, Kader Attia, Younes Baba-Ali, Ines Doujak, Tom Gould, Ramon Haze, Uriel Orlow, Gosha Rubchinskiy, and Ulay.

Cultural appropriation has recently become the subject of heated debate. What was not long ago considered a purely aesthetic, vaguely postmodern, individualistic device of free, playful translation and citation of texts from “other” cultures is suddenly revealed in its frightening political-economic dimension of exploitation and profit. A white dominant majority takes everything it likes to the detriment of indigenous voices, people of color, and others who are culturally and politically oppressed.

We, however, want to turn to another side of this story overshadowed by current discussions: the strategy of cultural counter-appropriation used by the underprivileged, in postcolonial Africa or in the Europe of migrants, as well as by those on the margins of Europe in the former socialist world. The thieves, counterfeiters, and resistant appropriators in the exhibition show that “stealing from the West” and faking its glossy products is not proof of belatedness. Instead, it is a potent tool of cultural resistance and an instrument of postcolonial retaliation. It is also a strategy to demonstrate that “white high culture,” paid for by the lives of millions of slaves and colonial subjects, is common property and belongs to all.

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7th Moscow International Biennale of Contemporary Art | New State Tretyakov Gallery, Moscow

7th Moscow International Biennale of Contemporary Art entitled Clouds⇄Forests is a proposition at a time of crisis to instigate the establishment of new relationships in our world. This proposition will be proposed by the artists and creators called ”Creative Tribes”, who gather in different sites all over the world, do not feel restricted to the notion of nation state and also surmount the dichotomy between globalism and localism. Curated by Yuko Hasegawa, including works by 52 artists from 25 countries.

Karikis+Orlow, Sounds from Beneath, 2010

The Materiality of the Invisible | Bureau Europa, Maastricht

On August 29, 2017, Van Eyck, Marres and Bureau Europe will open the exhibition The Materiality of the Invisible. Distributed by the participating institutions, 35 artists show the actuality of archeology for contemporary art and architecture.

The Materiality of the Invisible also sees contemporary art as a form of archeology: new and strange worlds are exposed by spitting in reality and underlying layers of our social, social and political reality. In discoveries, stories and installations, artists bring possible versions of the past and the future, in which the present is peeled into layers. Thus, they offer us new insights into our own reality and also make them visible what lives in the imagination.

The exhibition includes works from Lida Abdul, Sema Bekirovic, Rosella Biscotti, Marinus Boezem, Lonnie van Brummelen & Siebren de Haan, Mikhail Karikis & Uriel Orlow, Daniel Knorr, Jeroen Kooijmans, Irene, Kopelman, Guiseppe Licari, Chaim van Luit, Mark Manders, Alice Miceli, RAAF , Raewyn Martyn, Stephanie Saade, Fernando Sanchez Castillo, Oscar Santillan, Daniel Silver, Studio Ossidiana, Marjan Teeuwen, Leonid Tsetkov, Maarten Vanden Eynde, Roy Villevoye & Jan Dietvorst, Matthew C. Wilson, Martin Westwood and Joey Bryniarska.

--Uriel Orlow, Lessepsian Mutants

Summer of Love | Art Space Pythagorion, Samos

The exhibition borrows its title from the sociocultural phenomenon that took place fifty years ago in the summer of 1967. While in Europe 1968 might have more of a legendary status due to the student uprisings in Paris and the Prague ‘Spring’, 1967 was in many ways a more seminal year in terms of geopolitical, cultural and intellectual developments. It was the year of the Six-Day War, which irrevocably changed the landscape in the Middle East; the effects of this are still being felt today. In Greece it was the year that marked the beginning of the seven-year military dictatorship. Ironically, it was also the year that the UK applied for EEC membership. In the US, 1967 also saw the first major political protests by young people against the war in Vietnam. At the same time the outburst of new popular and subcultural music was also one of the defining features of the ‘Summer of Love’.

The exhibition Summer of Love will reflect on the unlikely liaison of love and politics, connecting the summer of 1967 to the world in 2017, where the idea of love – at least in intellectual but also political circles – is dismissed as naïve and sentimental. It is a mystery why, since love is one of the most potent – and complex – forces of human life. The exhibition Summer of Love will draw on these ideas and weave a web of cultural and historic reference points in order to link the ideas of fifty years ago to the present European crisis point, and perhaps inspire us to imagine a way out of the current political impasse. It is an opportune moment to do this. Fifty years have gone by; the postwar baby boomers are ageing and dying, and their youthful ideals have largely died out. We might ask: what went wrong, when and why? What lessons can we learn? Should we rethink these ideals? Can we learn from the experiences and disappointments of the generation of 1967? In a world that rapidly seems regressing, it is time for checks and balances in order to learn from history and to avoid making the same mistakes again.

Including works by Nicolas Kozakis, Raoul Vaneigem, Johan Grimponprez, Mikhail Karikis, Mäetamm, Uriel Orlow, and Marge Monko.

Curated by Katerina Gregos

 

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Propositions for a Stage: 24 Frames of a Beautiful Heaven | Institute of Contemporary Arts, Singapore

Propositions for a stage: 24 frames of a beautiful heaven looks to the limits of time and the possibilities for time’s staging. Here the idea of ‘staging’ refers both to artists’ use of performance and questions of time as haunting, as stasis, as a looping repetition. This experience of time is most familiar to us through its presentation in forms of theatre and, most particularly, film, where the mechanical structure of analogue film suggests the idea of both continuous and discontinuous temporalities. The stage, set and scene provide us with a space-time apart from the everyday: a speculative world. If we think of the filmstrip as a series of discrete frames that might be chopped up, rearranged and layered then time might not always run forward but instead be characterised by stops and breaks where the past leaks into the present and the future.

Curated by Dr. Bridget Crone, including works by Amanda Beech, Zach Blas, Rabih Mroué, Uriel Orlow and Ming Wong.

--Uriel Orlow, Veilleurs d'images

Document Bilingue | Mucem, Marseille

Following the residencies and preparatory workshops that began in 2015, artists and researchers are presenting an unprecedented rousing of the Mucem’s collections through Bilingual document: a dual exhibition presented at Fort SaintJean and the Centre for Conservation and Resources, featuring a sound walk that links the two sites, as well as a book.

The Mucem houses in its reserves the collections from the former Musée National des Arts et Traditions Populaires, created in 1937 by Georges Henri Rivière. Artisanal or preindustrial vestiges of a bygone era, the objects assembled here are the bounty of methodical collections conducted during field surveys, enriched by objects acquired since the opening of the museum. The question of the dual nature of the object, split between popular art and scientific discourse, was at the heart of Rivière’s project. But what about these collections now dormant in the Mucem’s reserves? An uneasy feeling seizes visitors at the sight of these curious and sometimes obsolete time capsules. While a few objects may be called upon for a specific exhibition, how can we mobiliser the collection in a more general way within the framework of a museum of civilisation? How can we activate a document, even make it perform, by reflecting its bilingual nature: an object with an aesthetic or poetic status, while also testifying to its ethnographic value? Could art be, paradoxically, the way of reviving these trophies?

Including works by Jean-François Chougnet, Yo Barrada, Omar Berrada and M’barek Bouhchichi, Jean-Roch Bouiller, Marie-Charlotte Calafat, Erik Bullot, Sabrina Grassi, Yaël Kreplak, Franck Leibovici, Florent Molle, Uriel Orlow, Abril Padilla and Pascal Riviale.

Curated by Sabrina Grassi and Guest Curator Erik Bullot

The Crown against Mafavuke

Histories and Afrofictions | Michaelis Galleries, Cape Town

Curated by Lucy Steeds and Nkule Mabaso, including works by Alain Resnais & Chris Marker, Elizabeth Price, Fatou Kandé Senghor, George Hoellering, Irina Venzher & Leonid Makhnatch, Philip Haas, The Otololith Group, Uriel Orlow, William Greaves, and William Klein

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VIDEOEX Festival | Zürich

VIDEOEX is the only festival in Switzerland that explicitly devotes itself to experimental film and video production and presents it in a cinematographic framework.
For nine days VIDEOEX presents refreshing, uncompromising, great, ingeniously simple and exhilaratingly complex experimental films and videos: works beyond the conventional narrative cinema.

Festival Director Patrick Huber

© Uriel Orlow 2017