Landscape of the Imagination
curated by James Putnam, Koen Vanmechelem and Michael Vandebril
A wordl for a feminist democracy
A biennale initiated by FRAC Centre Val de Loire, who invited about 50 female artists and architects.
La tendresse subversive
solo show
A Moment before the world
First edition of the biennial of Contemporary Art in Rabat, this biennial is exclusively showing female artists.
curator Abdelkader Damani
Ad Infinitum
exhibition located at the Arsenale, calle Cardena #51 - entree Corrales y Apodaca - Old Havana City
curated by Magda Gonzales-Morra
collateral event of the 13th Havana Biennale
Inhabiting the Mediterranean
Curated by Pedro Azara & Coordinated by Marta Arroyo Planelles
with
Herbert List, Anna Marín, Camille Henrot, Ali Cherri, Ursula Schulz-Dornburg, Marwan Rechmaoui, Rayyane Tabet, Susan Hefuna, Zarina Hashmi, Dora García, Le Corbusier, Ismaïl Bahri, Joan Hernández Pijuan, Juan Muñoz, Hrair Sarkissian, Sergi Aguilar, Gabriele Basilico, Abbas Kiarostami, Taysir Batniji, Jordi Colomer, José Manuel Ballester, Juan Uslé, Marie Menken, Maria Lai, Tonino Casula, Albert García-Alzórriz, Dieter Roth and Richard Hamilton, Till Roeskens, Massinissa Selmani, Anne-Marie Filaire, Mohammed Al-Hawajri, Majd Abdel Hamid, Khaled Jarrar, Rami Farah, Randa Mirza, Anila Rubiku, Kader Attia, Martin Parr, Vasantha Yogananthan, Julia Schulz-Dornburg, Carlos Spottorno, Corinne Silva, Yazan Khalili, Efrat Shvily.
No place like home
curator Adina Kamien-Kazhdan, the Israel Museum
more information
Drawing Biennale
curators Mary Doyle & Kate Macfarlane
No place like home
In celebration of Dada?s 100th anniversary in 2016 and the centennial of Duchamp?s Fountain in 2017, the exhibition examines how artists have incorporated commonplace household items into their work, removing them from the context of the home in ways that subvert the mundane experiences of daily life.
exhibition curated by Adina Kamien-Kazhdan
The Pleasure of Love
Curated by David Elliott, this 56th October Salon will concentrate on what role emotion plays in contemporary art and how it may be framed in ways that are neither banal nor kitsch. This may include the not-so-simple pleasures of love, humor, horror and any other perspectives that art may bring to bear on the fragility of human experience and life which, in itself, may have a transient or long-lasting impact.
The Pleasure of Love, the 56th October Salon, will be composed of around 60 artists from Serbia, the Balkan region and the world at large chosen directly by the Artistic Director and from an open submission. The Salon will take place in Belgrade City Museum and in Cultural Center of Belgrade (Art gallery, Artget gallery and Podroom gallery)
T'Ain't Nobody's Business if I Do
Anila Rubiku who is featuring her new work about chains and their collective meaning as universal signifiers; for the enigma of love, loss and longing. Rubiku has married lyrics from the American blues songbook to her sculpture, silk screens, charcoal works.
Between the pessimism of the intellect and the optimism of the will
The title of the main exhibition* is inspired by an aphorism invoked by the Marxist thinker and politician Antonio Gramsci in the Prison notebooks written between 1929 and 1935. Gramsci wrote : "the challenge of modernity is to live without illusions and without becoming disillusionned (...) I'm pessimist because of intelligence, but an optimist because of will".
The exhibition takes Gramsci's aphorism as a point of departure to reflect on the current crisis that governs much of the Mediterranean region, the geographic focus of the Biennale.
*Between the Pessimism of the Intellect and the Optimism of the Will"
Main exhibition curated by Katerina Gregos
Under Erasure
Contemporary art is rife with erasures. Erasures are visible in it, present as themselves in various ways. The subject of the works in the exhibition is what was once a covert stage in the process of creation. Unlike observing works whose wholeness and meaning depend on hidden parts, the current gaze is focused on the contradictory presence of the erased and on the erased/visible relationship as a signification factor.
