Category: news

Ulla von Brandenburg’s multifaceted and multi-layered work is characterised by a multimedia practice that finds its characteristic expression in expansive, site-specific installations. The forms of expression and methods of theatre are an important starting point: the artist creates stage-like settings from architectural set pieces and curtains, in which films, drawings, sculptural objects and textile works enter into a complex interplay with dance, performance and song. The boundaries between inside and outside, reality and illusion become blurred. The cultural-historical and philosophical currents of modernism form the frame of reference for von Brandenburg’s works. Diverse references to literature and art history, circus, anthropology and spiritualism, among others, create a dense associative cosmos. Embedded in a loose narrative, her works reflect fundamental conditions of human existence and social coexistence, be it the relationship between the individual and the group or the constitutive significance of role-playing games and rituals.

The exhibition at the Wilhelm-Hack-Museum presents a comprehensive overview of current works from the last five years. In addition, a new work has been created by the artist especially for the presentation in Ludwigshafen, focussing on her examination of the traditions of geometric abstraction. The interplay of body and space, movement and perception is an essential component of Ulla von Brandenburg’s artistic strategy; in this sense, the artist transforms the exhibition space with colours and fabrics into an immersive course that leads visitors into fantastic, sensually tangible spaces of experience and allows them to become part of the staging.

Ulla von Brandenburg, born in Karlsruhe in 1974, lives and works near Paris and in Karlsruhe. From 1995 to 1998, she studied scenography and media art at the University of Arts and Design in Karlsruhe, and from 1998 to 2004, fine art at the University of Fine Arts in Hamburg. Ulla von Brandenburg has been a professor of painting and graphic art at the Academy of Fine Arts Karlsruhe since 2016.

Curator: Dr. Astrid Ihle

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Flesh Flowers assembles the work of over seventy artists and more than two hundred pieces from the Tony and Elham Salamé Collection. Borrowing its title from one of Miriam Cahn’s works in the collection, the exhibition delves into the complex intersections of bodies and paint, with a particular focus on the work of women artists in the collection.

This show marks the tenth anniversary of the inauguration of the Aïshti Foundation exhibition space in Beirut, and it is the first major presentation since the Foundation’s programs were interrupted by the recent war.

The works in the exhibition combine abstraction and figuration to complicate relationships between form and content, medium and meaning, subjectivity and otherness. In an era saturated with digital images and disembodied data, these artists simultaneously reassert and question the physical materiality of painting. Each artist approaches the canvas as a site of intense negotiation: between the raw immediacy of the gestural mark and the emergence of recognizable forms; between the tangible presence of the body and its fractured representation in a hyper-mediated society. Screens, pixels, vectors, and networks intersect with anatomies, stains, traces, and fluids in an intense conflation of the carnal with the digital. Abstraction gives way to fleeting suggestions of flesh, or conversely, figurative elements dissolve into fields of pure color, texture, and information.

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Summer News / Noticias de Verano is a bilingual book by Tania Pérez Córdova with three carefully edited texts that create a unique, mesmerizing narrative with the power to transcend any chronological linearity and specificity. Pérez Córdova stages a collective reading from this book as part of the closing celebrations for Viaje a la luna.

Summer News / Noticias de Verano is a project that began in 2019 during Tania Pérez Córdova’s residency on the island of Favignana in Sicily, Italy. It emerged as a response to the generalised feeling of paralysis in the face of world events, and a more personal meditative focus on the passage of time. During the month Pérez Córdova was on the island, she compiled and transcribed all the news she found in local and international media, stripping them of all specificity. In this way, the events were transformed into a collection of micro-stories—tragic, terrifying, and comical—that framed the passage of time normally destined for artistic production. The text also functioned as a reflection on the capacity for intervention in the face of the horror and injustices we witness as readers, which contrast with everyday life. Similarly, Federico García Lorca (the focus of the exhibition on view) understood the power of language.

In 2022/2023, as part of the artist’s solo exhibition Generalización at the Museo Tamayo in Mexico City, Pérez Córdova decided to once again collect the news stories framed by the exhibition’s duration, as a way of acknowledging the world’s events unfolding outside the protected walls of a contemporary art exhibition. And once again, for the second iteration of Generalización at the Sculpture Center in New York City, the artist began a new period of collection and transcription that culminated in a new section of the text.

Summer News / Noticias de Verano is co-published by Juan de la Cosa (John of the Thing) and the Wattis Institute.

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Images : Pierre-Olivier Arnaud & Nick Oberthaler
Set de table #5, No Center Can Cut (Neuchâtel Edit), 2025
Impressions sur papier | C-print

Vue d’exposition | Installation view: No Center, CAN Centre d’art Neuchâtel, 04.10–21.12.2025. Photo: Sebastian Verdon

No Center is part of the CAN’s 30th anniversary program and focuses on the notion of “center” embedded in the very term art center. By questioning the legitimacy of this term, the CAN team and the participating artists attempt an institutional self-critique and invite reflections on accessibility and the professionalization of art, on the criteria for selecting artists, and on the exhibition as a space for conviviality.

This exhibition is supported by: City of Neuchâtel, Republic and Canton of Neuchâtel, Loterie Romande, Fondation Philanthropique Famille Sandoz, Ernst & Olga Gubler-Hablützel Foundation, Cultural Foundation of the Banque Cantonale Neuchâteloise, Fondation Casino de Neuchâtel, Department of Culture of the Canton of Basel-Stadt, Österreichisches Kulturforum Bern, and Pro Helvetia – Swiss Arts Council.

With Pierre-Olivier Arnaud & Nick Oberthaler, Julien Berberat, Caroline Bourrit & Emilie Guenat, Giulia Essyad, Evasure, General Æsthetics, Lola Gonzàlez, François Jaques, La Bibliothèque des Ready-Mades, Noemi Pfister, Mathias C Pfund & Sarah Wéry, Colin Raynal, Matthias Sohr, Stirnimann-Stojanovic

Opening 03.10.25, 6pm
Davide-Christelle Sanvee, Salle noire, performance
Sami Galbi, concert
BByoda & Nelly Hello, after party

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Photo: Chloé Vaz

For his exhibition À travers l’évolution, nous voyageons (Through Evolution, We Travel), Andrew Lewis takes over the curved wall of the art library. Twenty-three works, mainly large-format oil paintings and charcoal drawings, can be viewed as a journey through space and time.

The common thread running through the exhibition, as is often the case in Andrew Lewis’s work, is evolution, approached on different scales: that of an era, a lifetime or a part of existence. Evolution, in the historical sense, allows him to analyse changes in the social status of individuals.

Andrew Lewis creates an original synthesis: transposing into painting and drawing calm and hieratic characters interacting with time, which itself is evolving.

Two temporalities thus run through the works presented: that of scientific discoveries that allow humanity to change its point of view, and that of cultural and social evolution, which is more sensitive.
Epochs collide, offering anachronistic temporal variations. Different technical developments and the advent of progress meet social developments. The universe becomes a
multiple and disturbing space-time.

Despite their mysterious nature, halfway between reality and science fiction, Andrew Lewis’s works are like time machines. In an enigmatic visual narrative, his works evoke historical moments of transition.

The exhibition was produced in partnership with the Art : Concept gallery, Paris.

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Over the past 10 years, the Estrine Museum’s collection has grown by around 350 works of painting, sculpture, ceramics, engraving, and drawing. This dynamism is largely due to the generosity of artists, artists’ families, and patrons who have chosen to support the museum by entrusting it with their works.

A significant portion of these acquisitions is devoted to female artists who have too often been overlooked in art history, whom the museum has long promoted, as with the Lena Vandrey donation from Mina Noubadji-Huttenlocher and that of Alexandre Galperine for works by Christine Boumeester and Evelyne Cail, to which are added contemporary artists such as Mireille Blanc and Nina Childress.

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Hippocampus, site-specific exhibition in Kortrijk by Elders collectief.

23 analogue slides 6 x 7 cm.
2 Götschmann 8585 AV projectors
Bässgen dissolve controller

Display module designed by Kris Kimpe and Geert Goiris, produced by Elders collectief.

The seventh exhibition curated by ELDERS Collectief opens on Saturday, September 13, in a historic industrial setting that has played a fundamental role in Kortrijk’s economic and creative history. For Hippocampus, ELDERS selected both emerging talent and established artists from Belgium and abroad.

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Through simple material transformations Tania Pérez Córdova creates works that speak to their own history and memory. A fence into a fence 7 is one of a series of works where the artist takes a used metal object, melts it down, and recasts it into its own form, preserving its shape while altering its essence. Through this act of undoing and remaking, the object loses its original function and becomes a fragile, contemplative form—quietly evoking impermanence and the shifting value we assign to familiar things.

This exhibition of the Colección Jumex includes recent acquisitions and works which have not previously been presented at Museo Jumex. Pieces from the 1970s to the present are brought together around conceptions time including scientific and belief systems, lifespans and momentary events, growth and decay. Tactility is common thread among the works, suggesting our register of time is felt rather than observed.

Artists: Marcela Astorga, Ana Bidart, Walead Beshty, Heidi Bucher, Peter Buggenhout, Miriam Cahn, Lara Favaretto, Hans-Peter Feldmann, Dan Graham, Phillip Lai, Abigail Lane, Juan Carlos León, Rafael Lozano-Hemmer, Teresa Margolles, Yeni Mao, Gordon Matta-Clark, Rivane Neuenschwander, Paolo Nimer Pjota, Berenice Olmedo, Frida Orupabo, Tania Pérez Córdova, Landon Ross, Bárbara Sánchez-Kane, Gabriel Rico, Gary Simmons, Álvaro Urbano.

Exhibition organized by Museo Jumex. Curated by Kit Hammonds, chief curator and Natalia Vargas, curatorial assistant.

CAT PEOPLE. DES ARTISTES ET DES CHATS

Adel Abdessemed, M’barka Amor, Amber Andrews, Sophia Balagamwala, Sarah Nefissa Belhadjali, Pierre Bellot, Marcel Broodthaers, Nina Childress, Ann Craven, Oli Epp, Gerrit Frohne-Brinkmann, Claire Guetta, Charles Hascoët, Andy Holden, Armand Jalut, Laurent Le Deunff, Louise Luc Kheloui, Rayane Mcirdi, Damir Očko, Alain Séchas, Mayura Torii, Yves Trémorin, Sarah Tritz

Deliberately ironic, this exhibition is intended as an a priori seductive reflection of our world, presenting the work of artists inspired by the feline figure. “Cat People” – whose title refers to Jacques Tourneur’s 1942 film – attempts to illustrate this relationship, described by Jacques Derrida in terms of what the animal reveals about the human. How do we project ourselves, how do we approach the other through the domestic figure of the cat? Cats reassure us – hence the upsurge in videos of cute little cats on social networks – but they can also worry us, symbolically reflecting the ills that plague our Western societies in crisis.
The exhibition “Cat People. Des artistes et des chats” tackles this complex link that binds us to cats through various thematic entries such as anthropomorphism, the stray cat, animal ergonomics and kitsch….

Curator: Marc Bembekoff

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