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"Healing The Museum is a mid career-survey looking at Grace Ndiritu’s diverse practice over the last twenty years.
This multi-layered exhibition project encompasses performance, film, shamanism, social actions, publications, textile work and collection research. The artist seeks to re-energise the museum space and to make it – and by extension society in general – more ethical. In this remarkable exhibition, Ndiritu will take visitors on a holistic journey through the museum spaces and address themes such as protest, ecology, inclusion and sexuality. The journey ends at an architectural structure designed by the artist, ‘The Temple’. This will house a critical collection display and function as a spiritual space for encounter, transition and healing."
S.M.A.K., Ghent, 1.April 23 - 1O.Sep 23
11.02.23—07.05.23
Cet hiver, 𝕒𝕣𝕘𝕠𝕤 présente Oriana, la première exposition personnelle en Belgique de l'artiste portoricaine Beatriz Santiago Muñoz. La présentation consiste en une seule installation audiovisuelle multicanaux déployée dans les espaces d’ⓐⓡⓖⓞⓢ.
Oriana s'inspire du roman Les Guérillères de l'autrice féministe Monique Wittig, paru en 1969. Dans ce texte expérimental de Wittig, les rôles de genre hétéronormatifs sont écartés au profit de l'utilisation d'une grammaire nouvellement créée qui remet en question les arrangements binaires conventionnels. La réinterprétation libre et méthodique des Guérillères par Santiago Muñoz transpose les remarquables inventions linguistiques de Wittig dans une structure filmique tout aussi peu conventionnelle.
"The interdisciplinary artist Sonia Delaunay (1885, Odessa–1979, Paris) early merged her ambitions in painting and design while creating an artistic framework for life in collaboration with other visionaries. „Sonia Delaunay introduces living art into the everyday“ stated an advertisement for Delaunay’s fashion and interior design workshop in 1926. As a sought-after universal artist, she designed textiles, fashion and interiors and turned her name into an internationally successful brand. Maison Sonia is dedicated to the artist’s role as a mediator between artistic innovation and the beauty of everyday life, as a designer, an entrepreneur and a passionate observer of modern life."
Kunstmuseen Krefeld, until Feb 26, 2023
Only one week left to experience this wonderfull mind-blowing VR installation in BOZAR !
To the Moon is a VR installation artwork created by artists Laurie Anderson and Hsin-Chien Huang to commemorate the 50th anniversary of the moon landing. It uses images and tropes from Greek mythology, literature, science, sci fi movies and politics to create an imaginary and fabulous new moon. You are shot out from earth, walking on the surface of the moon, gliding through space debris, and flying through DNA skeletons.
The work is inspired by an old Chinese legend, telling the story of a painter who made a huge vertical landscape painting of a mountain with groves of pine trees, waterfalls, tiny hikers, thatched bamboo huts and fishermen casting their nets in the sea far below. The painting took many years to make and when the painter finally finished it, he walked into it. This is also the aim of To the Moon: literally walking into a work of art.
The exhibition covers the entire trajectory of Weems (since the beginning of the 1980s) in a montage that combines the chronological approach with the conceptual.
L’exposition aborde l’œuvre de Fabienne Verdier de manière inédite et en regard des tableaux des grands maîtres du Musée Unterlinden. Elle témoigne de la rencontre de l’artiste entre 2019 et 2022 avec les chefs-d’œuvre du musée, dont le Retable d’Issenheim (1512-1516).
Envisagée en deux temps, l’exposition montre d’abord une sélection de tableaux significatifs de l’artiste, peints entre 2006 et 2018, en dialogue avec un choix d’œuvres d’art ancien et moderne. Elle se poursuit dans la salle d’exposition de l’Ackerhof, présentant l’installation monumentale Rainbows (76 toiles) et le Grand Vortex d’Unterlinden (polyptyque). Réalisée dans le contexte de la pandémie de 2020, Fabienne Verdier y compare notre fin de vie à celle des étoiles : figurant l’aura lumineuse produite par la disparition des astres, elle y aborde la représentation de la mort comme une énergie transmise aux vivants.
Fabienne Verdier – Le chant des étoiles 01.10.22 – 27.03.2023 Musée Unterlinden - Colmar
"It’s high time a woman won Sight and Sound’s all-time vote, and Jeanne Dielman’s ascension to the No 1 spot is exhilarating.
Sight and Sound magazine has announced the result of its latest decennial Greatest Film of All Time critics’ poll and Chantal Akerman’s radically austere, disturbing and brilliant 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is in with a bullet at No 1. This is the eerily unsettling and mesmeric three-hour-plus account of a single mother’s apparently banal life in real-time long takes, which progressively disclose an awful secret."
Abakanowicz’s enormous textile works – in which giant creations evoke bodies, sex and domesticity – are undeniably powerful
Fun Feminism est né d’une conversation entre Senam Okudzeto et Claudia Müller. Les artistes se sont rapprochées du Kunstmuseum Basel avec la proposition d’examiner la collection au travers d'un prisme féministe mais tout en combattant le stéréotype d'un féminisme triste, et donc en mettant l’accent sur la joie, l'humour et l’irrévérence.
L’exposition présente des oeuvres exceptionnelles et rarement montrées de la collection, datant de la fin des années 1960 aux années 1990, avec des sous-textes féministes, ainsi que des oeuvres plus récentes d’artistes contemporains.
Kunstmuseum Basel, 24.09.22 - 19.03.23
"Sensuelles, fragiles, provocatrices, épouses et/ou prostituées, émancipées ou soumises : nombreuses furent les femmes dans l'oeuvre de Jean-Luc Godard."
A Feminist Avant-Garde: Photographs and Performances of the 1970s from the Verbund Collection, Vienna, curated by Gabriele Schor, constitutes the main exhibition of the 53rd Rencontres d’Arles. It continues the photography festival’s dedication to address its gender and racial imbalance,
"How have women artists used photography as a tool of resistance? Our Selves: Photographs by Women Artists from Helen Kornblum reframes restrictive notions of womanhood, exploring the connections between photography, feminism, civil rights, Indigenous sovereignty, and queer liberation. “Society consumes both the good girl and the bad girl,” wrote artist Silvia Kolbowski in 1984. “But somewhere between those two polarities, space must be made for criticality.” Spanning more than 100 years of photography, the works in this exhibition range from Frances Benjamin Johnston’s early documentary photographs of racially segregated education in turn-of-the-century United States, to a contemporary portrait by Chemehuevi artist Cara Romero that celebrates the specificity of Indigenous art forms. A tribute to the generosity of collector Helen Kornblum, Our Selves features women’s contributions to a diversity of practices, including portraiture, photojournalism, social documentary, avant-garde experimentation, advertising, and performance. As we continue to reckon with equity and diversity, Our Selves invites viewers to meditate on the artist Carrie Mae Weems’s evocative question: “In one way or another, my work endlessly explodes the limits of tradition. I’m determined to find new models to live by. Aren’t you?”
MoMA, through Oct 10, 2022
Anderson insists that she doesn’t consider herself a political artist, but her retrospective, The Weather reveals that her artistic choices are entangled with her politics.
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Les musées semblent porter davantage d’intérêt aux artistes féminines, jusqu’alors peu représentées lors d'expositions.
Half the contemporary artists will be women, with works by Kudzanai-Violet Hwami, Bridget Riley and Tracey Emin
"Jusqu’au 16 avril 2023, Marseille accueille Ghada Amer pour sa première rétrospective en France. Figure majeure des enjeux post-coloniaux et féministes dans la création contemporaine, cette artiste franco-américano-égyptienne n’a pratiquement pas été présente sur la scène artistique française entre 2000 et son exposition au Centre de Création contemporaine Olivier Debré à Tours en 2018."
Jusqu'au 8 janvier à Londres, le Barbican Centre consacre une exposition historique et fascinante à l'artiste américaine et pionnière de l'art de la performance Carolee Schneemann, décédée en 2019.
"Pour sa restitution de résidence, Magali Baribeau-Marchand propose une performance expérimentale participative qui repose sur l'image du canari dans la mine.
Du mercredi 14 au mercredi 21 décembre 2022, l'artiste québécoise occupe l'un des espaces commerciaux de Rive Gauche (Passage de la Bourse, 14, Charleroi) et invite les passants à se confier à son canari et devenir ainsi acteurs d'une performance artistique. Dans la frénésie des achats de fin d'année, Magali offre une pause au public, un moment d'échanges seul à seul avec un oiseau."
Here’s everything you need to know about the film that a poll of critics crowned the greatest film ever made, including why it’s important and where you can watch.
Making Modernism is the first major UK exhibition devoted to pioneering women working in Germany in the early 1900s: Paula Modersohn-Becker, Kӓthe Kollwitz, Gabriele Münter and Marianne Werefkin.
The exhibition reframes subjects such as self-portraiture, still-life, the female body, depictions of childhood, landscapes and urban scenes through the experiences and perspectives of these ground-breaking artists who – although less familiar than their male counterparts, such as Wassily Kandinsky – were no less central to the development of radical new approaches to art in Europe.
Royal Academy of Arts, London, 12 Nov. 2022 - 12 Febr. 2023
Recently, some major galleries have signed high-profile women, many of whom launched artistic careers long before the industry cared
"In this ground-breaking exhibition, Otobong Nkanga interweaves a variety of different artistic forms, such as installations, sculptures, drawings, tapestries and poetry. On the ground floor and in the imposing wooden attic of the St John's Hospital, she creates a dialogue between her own works of art (some new and some pre-existing) and works of art she has selected from the collection of Musea Brugge. At the same time, she also wishes to create a parallel dialogue with visitors, with the historic St. John’s Hospital, and with the city of Bruges. Otobong Nkanga creates an environment where visitors can come to rest. A place for contemplation and relaxation, through connection with her art."
“Women at War” is an exhibition of works by twelve Ukrainian women artists who have lived through the current conflict and its precipitating events. Curated by Monika Fabijanska for Fridman Gallery, the show takes us inside the psyches of a group of artists who have learned to live with what a 2018 exhibition of contemporary Ukrainian art in Budapest termed a state of “Permanent Revolution.”
“Women at War” was on view at Fridman Gallery, 169 Bowery, New York.
L’exposition personnelle de Berlinde De Bruyckere cet été au MO.CO. est à ce jour la plus ambitieuse présentation de son œuvre en France.
Conçue en étroite collaboration avec l’artiste, l’exposition rassemble une cinquantaine d’œuvres réalisées entre 1999 et 2022, et six nouvelles œuvres produites spécialement pour le projet montpellierain. Explorant tous ses médiums de prédilection (sculptures, installations, dessins, aquarelles et collages), elle investit l’ensemble des espaces.
Si le martyre, la rédemption, la métamorphose, thèmes connus du travail de Berlinde De Bruyckere, seront essentiels dans l’exposition du MO.CO., celle-ci s’attachera également à des aspects moins soulignés, tels que l’érotisme ou les relations et hybridations de l’humain, du végétal et de l’animal, ainsi que les notions de travail et d’exploitation.
Berlinde De Bruyckere - Piller | Ekphrasis
MO.CO Montpellier, du 18 juin au 2 octobre 2022
"In this ground-breaking exhibition, Otobong Nkanga interweaves a variety of different artistic forms, such as installations, sculptures, drawings, tapestries and poetry. On the ground floor and in the imposing wooden attic of the St John's Hospital, she creates a dialogue between her own works of art (some new and some pre-existing) and works of art she has selected from the collection of Musea Brugge. At the same time, she also wishes to create a parallel dialogue with visitors, with the historic St. John’s Hospital, and with the city of Bruges. Otobong Nkanga creates an environment where visitors can come to rest. A place for contemplation and relaxation, through connection with her art."
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