On the moment of change there is always a new threshold of imagination is a research-based experimental project, which intends to develop, introduce, and integrate a new curatorial perspective into the institutional framework, exhibition programming and organisational structure of Artspace, Aotearoa New Zealand. The project will include the exhibit of art works, staging of performances, and events that will operate as references for the abstraction, conception and perception of change.
Shows & Exhibitions
For his exhibition at Kunsthalle Wien Karlsplatz Tony Conrad develops further his ongoing concerns with power structures—here in particular those surrounding notions of confinement, and transparency—both in terms of social constructs and those imposed by the various media he employs. Among the works in this exhibition, Conrad will recreate a jail cell—complete with cot, toilet and sink—that will also serve as an object that a video will be both projected on to and through.
Until March 8, 2015 the National Gallery of Canada presents Shine a Light: Canadian Biennial 2014. The exhibition celebrates the commitment of the Gallery to contemporary Canadian art. This is the third Canadian biennial exhibition since 2010. It highlights an exemplary selection of acquisitions made over the last two years to the Gallery’s Contemporary, Indigenous and Photographs collections.
The Portland2014 Biennial, organized by Disjecta Contemporary Art Center, opened on March 8 in Portland, Oregon. This biennial departs from the previous two editions by naming a non-regional curator, Los Angeles-based Amanda Hunt, to lead the project. Portland2014 features new and commissioned works by fifteen artists whose compelling practices are shaping the contemporary arts landscape of the region.
Paradise on the ground floor, purgatory in the middle and hell at the top: In The Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists, the MMK Museum für Moderne Kunst Frankfurt am Main serves as a stage for Dante's Divine Comedy on 4,500 square metres of exhibition space. The epos from the 14th century forms the foundation for the exhibition conceived by curator Simon Njami and realized in collaboration with the MMK. The presentation will travel subsequently to further venues worldwide.
This May, Independent Curators International (ICI), in collaboration with Zoma Contemporary Art Center (ZCAC), produces the Curatorial Intensive in Addis Ababa, Ethiopia. This one-week professional development program offers curators the opportunity to explore art production and international connections currently developing in Ethiopia, while discussing among colleagues, the concepts, logistics, and challenges of organising exhibitions globally.
FOLLY: Art after Architecture brings together Irish and international contemporary artists whose work has been inspired by iconic modernist architecture. Many of the artists are concerned with ideas of representation and interpretation, as well as the history and space of the specific modernist structures they explore. From Eileen Gray's seminal E1027 to Mies Van der Rohe's restored Farnsworth House, Paul Rudolph's demolished residences to Walter Gropius's imagined Chicago Tribune Tower, the buildings referenced in FOLLY have had a mixed collection of fates.
With the exhibition project Sacré 101—An Exhibition Based on The Rite of Spring, the Migros Museum für Gegenwartskunst traces the interplay between dance and the visual arts in a sustained engagement with Igor Stravinsky's ballet Le Sacre du printemps (The Rite of Spring). The work features revolutionary music and choreography, and its premiere in Paris one hundred and one years ago is regarded as one of modernism's great breakthrough moments.
Richard Artschwager! features over 135 works spanning six decades, including sculptures, paintings, drawings, photographs, and prints. Often associated with Pop, Minimalism, and Conceptual art, his work never fit neatly into any of these categories. His artistic practice consistently explored questions regarding his own visual and physical engagement with the world; his objects straddle the line between illusion and reality.
The Leonard & Bina Ellen Art Gallery presents the first exhibition to examine the video and performance work of Montreal artist Olivia Boudreau. Since 2004, Olivia Boudreau has combined video and performance in works that exist through duration and repetition. Her practice, focusing mainly on the body (her own until 2009) carrying out everyday actions or maintaining a pose (on all fours, sitting in an armchair) in a register of excess, puts to the test not only the body but also visitor experience and his or her faculty of perception.
