Caroline Achaintre, M.A.Z.E., 2023. Photo: Courtesy the artist & von Bartha. Photo: Angus Mill

Moments of transformation, shifts between forms of being and ambiguity form the thematic framework for this two-person exhibition by Caroline Achaintre and Raphael Sbrzesny. The Cast brings together multifaceted characters rich in associations that not only question our embeddedness in the world but transcend reality at the same time in highly imaginative ways. Hybrid beings and forms populate Caroline Achaintre’s sensual tapestries, ceramics, and watercolors. In playing with our longing for identification, the seemingly animate objects evoke various associations. Central to Raphael Sbrzesny’s work is the question of how stories are inscribed in the body. The artist creates wearable sculptures that can be activated as instruments in performances, enabling an exploration of the body, social roles, and societal issues through music. Although the artists employ different approaches and contrasting materials such as steel and wool, they share a focus on the body, identity, and performativity. Moreover, their fascination with carnival rituals and the temporary, extraordinary states they evoke serve as a unifying element.

Caroline Achaintre (b. 1969 Toulouse, lives and works in London and Halle) initially trained as a metalsmith before studying fine art at the BURG Giebichenstein in Halle and in London at Chelsea College of Art and Goldsmiths College. Selected solo exhibitions of the artist have been presented at: VISUAL, Carlow, Ireland; Neues Museum, Nuremberg; Kunsthaus Centre d’art Pasquart, Biel; CAPC musée d’art contemporain, Bordeaux; MO.CO Montpellier Contemporain; Belvedere 21, Vienna; and Tate Britain, London. Her works have also been shown in group exhibitions at the Palais de Tokyo, Paris; Kunsthalle Basel; and the Baltic Triennale. Caroline Achaintre has held a professorship for textile art at the BURG Giebichenstein since 2019.

Raphael Sbrzesny (b. 1985 in Oberndorf a. N., lives and works in Berlin) studied fine art, sculpture, new music, classical percussion, experimental music theater and theory in Stuttgart, Munich, Bern, and Paris. Raphael Sbrzesny’s works have been presented nationally and internationally in renowned institutions including the Maxim Gorki Theater, Berlin; Staatsgalerie, Stuttgart; Staatliche Kunsthalle, Baden-Baden; Center for Art and Media, Karlsruhe; HAUS DER KUNST, Munich; ECLAT Festival New Music, Stuttgart; KW Institute for Contemporary Art, Berlin; Kunsthalle, Düsseldorf; and Haus am Waldsee, Berlin. From 2018 to 2023 he was Professor for Creation and Interpretation with a focus on sound, performance, and concept at the Bremen University of the Arts. What Remained of the Second Body, a comprehensive publication on Sbrzesny’s work, was published in 2024 by Buchhandlung Walther und Franz König, Cologne.

The exhibition is generously supported by VR-Stiftung der Volksbanken und Raiffeisenbanken in Norddeutschland, Volksbank eG Oldenburg-Land Delmenhorst, Niedersächsisches Ministerium für Wissenschaft und Kultur, Oldenburgische Landschaft and Karin und Uwe Hollweg Stiftung.

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The Bass Museum of Art announces a new exhibition as part of the 2024-2025 fall season, Ulla von Brandenburg: In Dialogue, on view September 4, 2024 through July 6, 2025.

Ulla von Brandenburg, the German-born artist based in Paris, engages with idiosyncratic moments and overlooked figures from the histories of art and culture. Her exhibitions and projects draw a wide range of subjects, including occultism, psychoanalysis, modernist architecture and Hollywood cinema, into contemporary contexts.

Ulla von Brandenburg: In Dialogue is a presentation of von Brandenburg’s work paired with The Bass’s recently acquired ceramic mural by the Lebanese-American artist Etel Adnan (1925–2021). A leading figure in contemporary Arab American visual art and literature, Adnan created rich, geometric fields of color in her paintings and drawings, some translated into large-scale murals and tapestries that reflect the artist’s enduring interest in architecture and the built environment. Comparatively, von Brandenburg’s multifaceted practice combines film, textiles, drawings, watercolors and sound into immersive exhibition scenarios where the different art forms harmonize into a cohesive whole (or Gesamtkunstwerk). 

Ulla von Brandenburg: In Dialogue explores this cross-generational engagement with geometric abstraction—its interplay of circles, squares and triangles—evident in both Adnan’s mural and von Brandenburg’s practice, and staged alongside the rich history of the Russian-French artist Sonia Delaunay. Here, Adnan’s lyrical abstract mural (Untitled, 2023), at 14 × 21 feet, serves as both a protagonist and theatrical backdrop in von Brandenburg’s exhibition scenography. The works interweave through the language of abstraction and the artists’ shared interests in the social and spatial environment.

Ulla von Brandenburg: In Dialogue is organized by James Voorhies, The Bass Chief Curator, and Claudia Mattos, Associate Curator of New Media Art. This exhibition is supported by Etant donnés, a program of Villa Albertine.

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Kate Newby, Hours in wind (detail), 2024, cast glass, hot-worked glass, bronze, salvaged rope, commissioned by the Museum of Contemporary Art Australia with support from Lead Patrons Ginny and Leslie Green, 2024, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Zan Wimberley

Kate Newby’s Loti Smorgon Sculpture Terrace Commission, Hours in wind (2024) is a three-part installation inspired by the site of the MCA and Warrane/Sydney Cove.

Hours in wind unfolds across three locations at the MCA: the entrance, a space on Level 2 and the Loti Smorgon Sculpture Terrace on Level 4. Made from locally sourced and recycled shipping and sailing ropes, cast bronze, and cast and hand-blown glass, Newby’s installation navigates thresholds between interior and exterior space. It captures a sense of place and the constantly changing conditions of the harbour, including unpredictable weather patterns and the shifting light.

Newby was born in 1979 in Tāmaki Makaurau Auckland, Aotearoa New Zealand and is currently based in Texas, US. She is known for sculptures and installations made from materials including glass and ceramics, as well as site-responsive works and architectural interventions. Attentive to natural phenomena such as light, wind and other weather conditions, Newby often blurs distinctions between public and private, and interior and exterior space in her works.

The 2024 Loti Smorgon Sculpture Terrace Commission is generously supported by Lead Patrons Ginny and Leslie Green.

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Nina Childress, Peintre et sculpteur, 2015. Huile sur toile, encadré / Oil on canvas, framed. 73 × 92 cm (28 ¾ × 36 ¼ inches)
Richard Fauguet, Formical blues part II, 2020. Assise de chaise en formica, encre sur bois / Formica chair seat, ink on wood, 32 × 37 × 4,2 cm (12 ⅝ × 14 ⅝ × 1 ⅝ inches)

MIAM-Hervé Di Rosa continues its work of exploring art territories that are too often ignored. Who are these painters who had a moment of popular glory before falling into oblivion, these artists of undeniable success, yet relegated to the shadows of history?

BEAUBADUGLY – The Other History of Painting will present the original paintings of these artists on the margins of the common imagination and taste, who sometimes sold thousands of reproductions of their works in supermarkets, and whose posters are familiar to us all.

On the first floor of the museum, Colette Barbier and Nina Childress – associate curators for this part of the exhibition – will offer us conceptual, ironic, playful, admiring and offbeat responses from contemporary artists of different generations and origins.

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On view on Arte.tv until July 31, 2025

Le Parvis, which in 50 years has programmed over 300 exhibitions, will be blowing out its candles with a feed-back and forward-looking exhibition entitled Future is now, inviting some 50 artists who exhibited between 1974 and 2024 to return to the site.

Le Parvis is one of the first contemporary art institutions in France, and also one of the most atypical. And it has to be said that the past 5 decades have not diminished the enthusiasm of artists and audiences alike for this intriguing venue, located in a shopping mall and integrated into a national arts scene.

With: Martine Aballéa – Saâdane Afif – Atelier Van Lieshout – Nils Alix-Tabeling – John M. Armleder – Virginie Barré – Berdaguer & Péjus – Michel Blazy – Bianca Bondi – Céleste Boursier-Mougenot – Xavier Boussiron – Ulla von Brandenburg – Nina Childress – Claude Closky – Delphine Coindet – Caroline Corbasson – Alain Declercq – Damien Deroubaix – Erik Dietman – Mounir Fatmi – Daniel Firman – Dora Garcia – Marco Godinho – Laurent Grasso – Josep Grau-Garriga – Joël Hubaut – Fabrice Hyber – Pierre Joseph – Kapawani Kiwanga – Arnaud Labelle-Rojoux – Bertrand Lavier – Ange Leccia – Jacques Lizène –  Philippe Mayaux – Caroline Mesquita – Tania Mouraud – Philippe Quesne – Philippe Ramette – Lionel Sabatté – Bruno Schmeltz – Franck Scurti – Alain Séchas – Djamel Tatah – Barthélémy Toguo – Niek Van de Steeg – Xavier Veilhan – Jean-Luc Verna – Jacques Vieille – Gisèle Vienne – Jérôme Zonder

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Ulla von Brandenburg, Zelt, 2024. Verschiedene Textilien, Seil, Holzbänke, variable Maße. Installationsansicht „Wir legten Hände in das Wasser“, Altes Kurhaus Bad Kösen, Naumburg, 2024. Foto: Stark Shakupa / Ulla von Brandenburg, Zelt, 2024. Fabrics, rope, wooden benches, variable dimensions. Installation view „Wir legten Hände in das Wasser“, Altes Kurhaus Bad Kösen, Naumburg, 2024. Photo: Stark Shakupa

We put our hands in the water is the debut dieDAS art initiative. The exhibition is a cooperative project realized by the academy, curator Daniel Marzona, and the city of Naumburg, and intends to promote and spread the cultural and social values of the academy beyond Saaleck.

We put our hands in the water features work by artists Ulla von Brandenburg and Olaf Holzapfel.

Ulla von Brandenburg’s large-format fabric panels will transform the rooms into vibrant, stage-like settings reminiscent of dreamlike worlds. The artist describes her works as “spatial stagings” that bring together folklore, songs, theater, dance, and architecture to explore both the individual as well as the dynamics and functioning of community and society between chaos and regularity. In this way, von Brandenburg’s pieces formally examine aspects of the theatrical within the visual arts and conjure up delicate moments between utopia and reality, leaving the gap open for new perspectives and the previously unthought-of.

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Kate Newby, anything, anything, 2024. Clay (“Lumière”), glas, 2 lines, each 500cm x 25 cm. Produced with the support of Rairies Montrieux, France. Exhibition view anything, anything, Klosterruine Berlin 2024, Photo: Robert Hamacher

Kate Newby’s exhibition “anything, anything” addresses the Klosterruine Berlin as a place of permanent change, drawing on the processual and allowing the outside world to become a part of it. Through subtle and expansive interventions into existing structures, the artist draws attention to often overlooked details in everyday life. In doing so, she gives preference to direct experience and establishes a relationship with the built space and its lived environment.

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Julien Audebert, La nuit du monde (Marie-Lise), 2023. Tirs au pistolet, huile sur cuivre, encadré / Gun shots, oil on copper, framed. 40 × 40 cm (15 ¾ × 15 ¾ inches)
Richard Fauguet, Sans titre (table de ping pong), 2000-04. Table de ping-pong, tige en inox, balles de ping-pong. dimensions variables. Edition of 3
Exposition “Tirs.Cibles.Impacts”, 2024, Galerie Marcel-Duchamp de l’Ecole des Beaux-Arts de Châteauroux/FR

The exhibition Tirs.Cibles.Impacts. highlights the notions of shot, target and impact through paintings, sculptures, photographs, installations, drawings and videos, presented in the great nave of the Cordeliers convent.

It brings together 14 internationally renowned contemporary artists: Marina Abramović & Ulay, Julien Audebert, Philippe Cognée, Gérard Deschamps, Noël Dolla, Richard Fauguet, Chantal Fontvieille, Jacques Monory, Jean Pierre Raynaud, Sylvie Réno, André Robillard, Niki de Saint-Phalle, John Tremblay and Stéphane Vigny.

Michel Blazy, La Cantine, 2023 © CIAPV

The former Chamet vacation center in Faux-la-Montagne, Creuse, France, has been abandoned since the late 2000s.
In 2018, it was taken over by a group of independent researchers who set up create and build a place for research and study.
In 2019, the group calls on CIAPV to accompany them in the commissioning of a work that questions the takeover of civilizational sites by new forms of life.

Chosen to respond to this commission, artist Michel Blazy is developing La Cantine, a garden of anticipation in the site’s former refectory. He treats the ruin as a living being in its own time, observing its movements and exchanges with other species. It becomes a new nurturing environment without human domination, a space of symbiosis and reconciliation between artifact and organic, between human, plant and animal.

Commissioned as part of the Nouveaux commanditaires program,
Lac du Chamet, Plateau de Millevaches.
Sponsors: Center for Forest Research and Study.
With the support of Fondation Daniel et Nina Carasso Foundation, the Fondation de France and the volunteers who participated in the production of the work.

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