Exhibitions & Events

Uriel_Orlow Showroom

There past the borders of nowhere | John Hansard Gallery, Southampton

John Hansard Gallery’s presents an evening of artist’s films in partnership with Southampton Film Week.

14. November 2017 | 7-9pm | FREE, booking required

Book your place HERE

The following films will be shown:

Shezad Dawood, Trailer, (2011), 15’00”
Uriel Orlow, Muthi (2016-17), 17’00”
Imogen Stidworthy, Barrabackslarrabang (2010), 9’13”
David Blandy, Child of the Atom (2011), 14’00”
Rosalind Nashashibi, Vivian’s Garden (2017), 29’50”

The Position of the Researcher | MuCEM, Marseilles

The Position of the Researcher | Undisciplined meetings: arts and social sciences.

Marseille: November 8, 9 & 10, 2017

MuCEM and the Center of the Vieille Charité
Free admission, registration recommended: i2mp@mucem.org

The ethical or political positioning of a researcher is built through his working methods. In the human and social sciences, these methods are so many ways of doing within discourse. They mobilize a series of gestures and operations that also concern artistic research. It is on these shared gestures that we wish to bring the dialogue between scientific research and artistic practices.

We start from the common part of the materiality of the research work – the confrontation with the materials, the archives and the testimonies – to stimulate a dialogue around the gestures of the collection, the methods of investigation, the forms of writing and, exposure. To accept that these are not only translations of results, but themselves constituting theoretical and artistic projects, is to open a space for exchanges between the arts and the social sciences. 

Our approach consists more in decompartmentalizing discourse than in questioning the specificity of our respective researches. The challenge is to think of research outside the disciplinary boundaries in order to constitute a laboratory of reflexivity and innovation offering to each other the possibility of shifting its gaze on its objects and its practices.

“To find the continuous narrative: white space, potential and counterfactual stories.”

One way of refusing the necessary character of the state of affairs is, for historians, to imagine from what has been initiated but not developed in history what could have been the future of these past unfulfilled. It is possible to write another story from undeveloped futures – a fictitious, counterfactual history, but offering resources to action, apart from the evidence of the present. These experiences of writing in history, sometimes practiced in anthropology, can then meet artistic experiences of narrative. This will allow us to question the artistic uses of the document and the archive, the status of fiction and the regimes of truthfulness.

Speakers: Quentin Deluermoz and Pierre Singaravélou (historians), Vincent Meessen (artist), Uriel Orlow (artist).

10. November, 2017 | MuCEM Auditorium

9.30am – 1pm

These meetings are co-organized by the Museum of Civilizations of Europe and the Mediterranean (MuCEM), the Norbert Elias Center (EHESS Marseille) and the Marseille-Mediterranean School of Art and Design (ESADMM) in the framework of the research program “Bureau des Positions” , in partnership with the Cinema Network of art colleges.

HD video with sound, 28' (Photo: Austin Malema)

What Plants Were Called Before They Had a Name | PAV Parco Arte Vivente, Turin

As Michel Foucault says, “the theory of natural history can not be dissociated from that of language.” In any culture, naming things means dominating them, as in law, the legal act of naming is an exclusive prerogative of the person who has power over it. This solo exhibition take shape from the artist’s research between Europe and South Africa. European colonialism was preceded and flanked by important botanical expeditions. The aim was to explore and classify the new territories and their natural resources, thus paving the way for employment and exploitation. Through films, photographs, installations and sound projects, the artist outlines a scenario that focuses on the idea of ​​the botanical world as a stage for complex and articulate political dynamics.

Curated by Marco Scotini


Mondialisation de la Santé | Le Polygone Etoilé

An interdisciplinary thematic school of research entitled ”  Globalization of health: knowledge, practices and policies ” will take place in Marseille from 23 to 27 October 2017.

The term global health is now used by very diverse actors, from universities to industry to foundations, its polysemy is therefore equal to its ubiquity insofar as it denotes both the ” emergence, especially in the United States and Great Britain, of a real field of research and action than processes of the flow of goods, capital, people, knowledge and policies, all of which long term, even though the last thirty years have introduced enough breakthroughs so that we can talk about a new regime of the inter- and transnational government of health.

A screening of the Mafavuke film cycle will take place on 26 October at Le Polygone Etoilé cinema. The films include: The Crown against Mafavuke; Imbibizo Ka Mavafuke (Mafavuke’s Tribunal); Muthi, and will be shown in the presence of the director, Uriel Orlow

Le Polygone Etoilé, 1 rue François Massabo, 13002 Marseille.

Thursday, October 26, 2017, 7 pm


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


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

Solo show, curated by Catherine Pavlovic.


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.


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


© Uriel Orlow 2017