FULL CIRCLE by STINE DEJA at FLORIT/FLORIT curated by ZÉ ORTIGÃO [from 20250117 to 20250228]

[YYYYMMDD SUBMISSIONS]

In “Full Circle”, Stine Deja turns her attention to the very essence of technological change. How do technologies shape us, and how do we, in turn, shape them? From the earliest tools to the most complex artificial intelligences, the story of human civilization is one of coevolution with its instruments. Fire, one of the most pivotal of these innovations, altered not only the material conditions of human life but also its very biology. Fire cooked our food, extended our days, and became the foundation of ritual, industry, and warfare. Historian Stephen J. Pyne, in The Pyrocene, identifies humans as “unique fire creatures,” shaped by their ability to control and harness combustion. He observes: “We used fire to remake ourselves, and then we and fire remade Earth.” Fire demanded care—it had to be tended, sheltered, fed—mirroring the very way we now nurture and maintain our digital infrastructures. The mastery of fire set humanity on an irreversible course, but with every technological leap, there emerges a question: Do we control our tools, or do they control us?”

[Text: Zé Ortigão]

#yyyymmddsubmissions #yyyymmddcontemporary #stinedeja #floritflorit #contemporaryart #artecontemporanea #artcontemporain #palma

[Photo: Juan David Cortés]
AS IN HEAVEN, SO ON EARTH by RITA CALDO at GALERIA MUNICIPAL DO PORTO curated by PATRÍCIA COELHO [from 20241026 to 20250303]

[YYYYMMDD SELECTED]

As in heaven, so on earth invites us to wander and discover Rita Caldo’s visual universe, where different sculptural compositions inhabit a maze-like, strange and magical microcosm. These various characters, who follow her delusions in non-linear narratives, are now presented in an exhibition format, transforming the white cube into a box of dreams.
 
Rita Caldo’s artistic practice explores how space and figuration create an imaginary place. Using hand sewing and small-scale ceramic painting, the artist presents masks, sculptures and other figurative distortions. With references to circus spectacle and the aesthetics of exaggeration, the exhibition reflects on the linguistic abyss that exists between the world we know and the one we fantasize about.

[Text: Patrícia Coelho]

Follow the link in our bio #linkinbio to find all images, the full version of the text and additional links on www.yyyymmdd.de ❤️

#yyyymmddselected #yyyymmddcontemporary #ritacaldo #galeriamunicipaldoporto #contemporaryart #artecontemporanea #artcontemporain #porto #oporto

[Photos: Dinis Santos/Galeria Municipal do Porto]
CANDIDATE SCREENING METHODS by SOIL THORNTON at PROGETTO [from 20240713 to 20250131]

[YYYYMMDD SUBMISSIONS]

1.
186,282 miles per second enabling 24 frames per second revoked, OR, Digital Rights Management (DRM) mirroring a rapid eye movement (REM) frame, 2024
archival pigment prints framed in 24 parts
each 67 x 42 cm

2.
chromosomal discrepancy bridge, 2024
photochromic lens uv transitional material over stained wood construction fabricated by Falegnameria D'Oria with urinal screen brackets collaboratively designed and produced by Jamie Sneider and inox projects C.V.M. srI
137 x 508 x 12 cm

[Text: Progetto]

#yyyymmddsubmissions #yyyymmddcontemporary #soilthornton #progetto #contemporaryart #artecontemporanea #artcontemporain #lecce

[Photos: Simon Veres] [Images courtesy of the artist; Progetto, Lecce; Galerie Neu, Berlin; Maxwell Graham, New York]
ONE EITHER LOVES ONESELF OR KNOWS ONESELF by PRECIOUS OKOYOMON at KUNSTHAUS BREGENZ [from 20250201 to 20250525]

[YYYYMMDD SELECTED]

Precious Okoyomon’s works traverse art, poetry, and performance. They investigate identity, colonial history, spirituality, and people’s relationship to things and the living environment. Intimate personal questions are linked with political and social issues.

Even before the pandemic, Okoyomon was invited to exhibit at Kunsthaus Bregenz — the youngest artist in the institution’s history, then just twenty-seven years old. Okoyomon gained the attention of a broad public with installations that incorporate materials such as soil, plants, and animals. At the Venice Biennale in 2022, the artist transformed the hall of the Arsenale into a lush, rampant ecosystem. Expansive sculptures, densely growing climbing plants, and small watercourses set in a tropical atmosphere created an experiential space that linked the processes of nature with afro-futuristic visions — and at the same time addressed the migration history of plants as well as their displacement.

For Kunsthaus Bregenz, several new works have been developed that investigate diverse themes. […]

[Text: Kunsthaus Bregenz]

Follow the link in our bio #linkinbio to find all images, the full version of the text and additional links on www.yyyymmdd.de ❤️

#yyyymmddselected #yyyymmddcontemporary #preciousokoyomon #kunsthausbregenz #contemporaryart #artecontemporanea #artcontemporain #bregenz

[Photos: Markus Tretter]
HAP STUDIO-PROGRAMME // EXHIBITION with works by JAMES GREGORY ATKINSON, ŽIVA DRVARIČ, SHAUN MOTSI, LUKAS MÜLLER, IVAN MURZIN, DENNIS SIERING, JOANA TISCHKAU and FRANZISKA WILDT at BASIS E.V curated by LUKAS PICARD [from 20241129 to 20250216] [Photo: Jens Gerber]

[YYYYMMDD SUBMISSIONS]

[…] The aim of the exhibition is to provide a brief overview of the diverse artistic approaches of the HAP artists and to enable the artists to present their own formal languages and research that have been consolidated over the years. It is evident that all their positions are concerned with crucial and existential issues of our time. From confrontations with the advancing climate catastrophe in the Capitalocene to the reappraisal of suppressed chapters of Greece’s history. From the recognition of and reflection on the history of Black Germans to the empathetic observation of commonplace moments and personal biographies. The intentionally heterogeneous nature of the themes explored is the strength of this exhibition, as it reflects the diversity of the art scene in Frankfurt, Hesse, and Germany as a whole. […]

[Text: Lukas Picard]

#yyyymmddsubmissions #yyyymmddcontemporary #jamesgregoryatkinson #živadrvarič #shaunmotsi #lukasmüller #ivanmurzin #dennissiering #joanatischkau #franziskawildt #hapstudioprogrammeexhibition #basisfrankfurt #contemporaryart #artecontemporanea #artcontemporain #frankfurt

[Photos: Katrin Binner / Nathalie Zimmermann / Jens Gerber]
STRONG ALGORITHM - WEAK AURA by RICARDO MELI at J11 OFFSPACE curated by LORENZ FISCHER [from 20241205 to 20250115]

[YYYYMMDD SUBMISSIONS]

Esoterics say that if you photograph a person in a certain way, it is possible to capture their aura on film. Colloquially, an aura is a presence, or simply a vibe. An aura is like punk or porn; you know it when you see it, except you can’t see it because it’s a ghostly shell. Walter Benjamin claimed that the aura of an artwork is all about its inaccessibility, authenticity, and uniqueness. But the real controversy in his essay* is about how, what he calls aura, starts to rot away
because of technical reproducibility. That was almost a century ago. This year, Aura was chosen as the youth word of the year (German: Jugendwort des Jahres), an annual publication which reviews trends in German youth language.

Ricardo Meli presents strange, serially produced apparatuses and cables, scattered in the room like they are part of an abandoned experimental lab. This ambiguity creates a new visual and aesthetic reference system through deduction. In doing so, the aura of the artworks is not deconstructed, but rather repeatedly constructed and instrumentalized. The occult algorithm of Meli’s exhibition stays a secret but reveals to us its outcome.

[Text: Tobias Bärtsch]

#yyyymmddsubmissions #yyyymmddcontemporary #ricardomeli #j11offspace #contemporaryart #artecontemporanea #artcontemporain #bern

[Photos: Luca Klett]
LOWER LEVEL HIDDEN ROOMS by EVITA VASILJEVA and SAULI SIRVIÖ at SIC [from 20241130 to 20250119]

[YYYYMMDD SUBMISSIONS]

A table, a chair, a clock, and a light walk into a gallery.
The curator looks up and says, ”What is this? An art installation?”
The clock replies, ”No, we’re just killing time.”
The light flickers and adds, ”And brightening up the mood!”
The chair grins, ”I just needed a place to sit this one out.”
The table shrugs, ”Well, someone’s gotta hold things together “

[Text: SIC]

#yyyymmddsubmissions #yyyymmddcontemporary #evitavasiljeva #saulisirviö #sic #sicspace#contemporaryart #artecontemporanea #artcontemporain #helsinki

[Photos: SIC]
DEGENERATIVE KNOWLEDGE PRODUCTION by MADELEINE ANDERSSON at O—OVERGADEN [from 20241123 to 20250126]

[YYYYMMDD SUBMISSIONS]

Uncovering absurdities of human technologies and their following truisms, Madeleine Andersson’s visual signature is sped-up, research-led storytelling in entrancing moving images. For O—Overgaden, Andersson has created a major new video installation centering on how electricity has been used as a metaphor and means to objectify and optimize, control and not least classify the human brain as dumb, intelligent, or dead. A focal point in Andersson’s new anti-establishment query is the Harvard Medical School committee on brain death, whose 1968 report, which defined irreversible coma through the detection of electric impulses, officially moved the formal diagnosis of death from the heart to the brain, thus setting off a new cultural paradigm. From early 18th-century electrical experiments, Victorian electromedicine, and 20th-century electroshock therapy, through to today’s AI brain, Andersson paves an unorthodox route into a shocking understanding of how electricity has been a hit-or-miss tool in manipulating our understanding of the human mind.

[Text: O—Overgaden]

#yyyymmddsubmissions #yyyymmddcontemporary #madeleineandersson #overgaden #contemporaryart #artecontemporanea #artcontemporain #copenhagen

[Photos: David Stjernholm]