Figures of care since medieval times, patients and diseases, touching and being touched, the infinitely small… Fascinating themes evoked by this exhibition as transversal as it is philosophical.
Futher information to come.
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Through the figures of emblematic spies, from Mata Hari to Carrie Mathison, and from OSS117 to Edward Snowden, this exhibition explores a new history of the relationship between cinema and espionage. It establishes as a starting point a mirror game between the two disciplines, practices par excellence involving capture, simulacrum and dissimulation.
The exhibition will travel to the CaixaForum in Madrid (from October 29, 2023 to June 29, 2023) and in Barcelona (from March 31, 2023 to November 29, 2024).
‘Warning Graphic Content’, brings together all of Jeremy Deller’s print and poster works from 1993-2021.
Kunsthalle Praha is a brand-new art space on Prague’s cultural map. Founded by The Pudil Family Foundation as a non-governmental organisation and non-profit platform, its aim is to connect the Czech and international art scenes.
Further information to come.
The Villa Datris continues to explore ancestral knowledge revisited by contemporary creation.
From May 27 to November 1, 2022, the Foundation explores the art of ceramic sculpture by bringing together more than 130 works by 100 historical, contemporary and emerging French and international artists.
In 2004, Pommery became the first Champagne house to open the doors of its estate and its Gallo-Roman chalk pits to contemporary artists.
This unique underground site, steeped in history, has become a place of exchange and creation between renowned contemporary artists from all over the world, working under the direction of curators whose creativity is constantly renewed.
Further information to come.
Caroline Achaintre, Twobuns, 2018. Ceramics, 43 × 27 cm (16 ⅞ × 10 ⅝ inches). Courtesy de l’artiste et Art : Concept, Paris. Photo Claire Dorn 
Caroline Achaintre, Puff E, 2020. Ceramic/porcelain. 30 × 38 × 9 cm (11 ¾ × 15 × 3 ½ inches). Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud 
Caroline Achaintre, Hadrian, 2020. Ceramic/terracotta. 29 × 51 × 11 cm (11 ⅜ × 20 ⅛ × 4 ⅜ inches)Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud 
Caroline Achaintre, Politesse, 2019. Ceramic. 37 × 52 × 7 cm (14 ⅝ × 20 ½ × 2 ¾ inches), Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud 
Caroline Achaintre, Augustus, 2021. Ceramic/porcelain. 56 × 24 × 5 cm (22 × 9 ½ × 2 inches), Courtesy de l’artiste et Art : Concept, Paris. Photo Romain Darnaud
Contre-Nature (Against Nature) is an exhibition inhabited by insolent, hybrid shapes made of clay and enamel, such grotesque creatures compose a luxuriant, original, mysterious, troubling, or even hallucinatory world.
Nature is artifice, and artifice becomes nature in order to decategorize scales and values, as well as to reverse commonplaces regarding sculpture and the ceramic tradition. The works gathered concern ceramics less as folklore than as modeling and alchemy, technique, and magic. Water, earth, and fire are the essential, unrivaled components of these new worlds: « What we call against nature is in fact against custom. » (Montaigne)
Carbonate of Copper features international and Texas-based visual artists and scholars who work in varied media to examine questions of circuitry, flow, foundation, and cultural inheritance, particularly in relation to infrastructure, the environment, and geological time. The exhibition sits in company with the award-winning poem and forthcoming volume Carbonate of Copper by Houston-based writer Roberto Tejada. Featured artists include Gwenneth Boelens, Anna Mayer, Kate Newby, George Smith, Josie Ann Teets, and Roberto Tejada.
The use of the poem is one of a conductive thread, establishing a unique counter-response to the writing’s exploration of vibrant matter – objects alive in their complex interrelationships, entanglements, and tendency for open-ended change. In the poem and exhibition, labor and extractive processes are positioned in contrast to our everyday experience of being used, of using, of residue, squandering, of constraint, of rebuilding, and preservation.
The artwork in Carbonate of Copper evokes deeper thought by requiring closer contemplation of material and process. Artpace alumni artist Kate Newby’s installation, I love you poems (2018-2022), for example, investigates the way material interventions are made in response to a site’s particular temporal, physical, and geographical conditions.
Jennifer Teets told Artpace, “Carbonate of Copper considers what we inherit and its inextricable connection to socio-environmental shifts in Texas and at large. The exhibition is a transdisciplinary experiment focusing on the cross-pollination of the visual arts and humanities, with unpublished and rare works by both writers and artists. Dr. Tejada’s conversation with Dr. Cecilia Balli will undoubtedly be an important public forum to share thinking around material culture and border politics in the now.”
“From rural raves in Castlemorton to anti-nuclear protests at Greenham Common, this exhibition presents a radical view of the British landscape in art.”
Adam McEwen is part of the exhibition Le songe d’Ulysse at Villa Carmignac, Villa Carmignac, Ile de Porquerolles, from 30 April 2022 to 16 October 2022
Adam McEwen places his work at the intersection of popular culture and personal mythologies. One of those stories that stagnate under the surface and refuse to disappear is here printed on sponge.
Guest curator: Francesco Stocchi (Boijmans van Beuningen Museum)