Entrelacs (duo show with Victor Man)
Centre d'édition contemporaine, Geneva
18 May - 15 September 2018
For his exhibition at the CEC, Victor Man invites Navid Nuur not so much to create a common work but rather to establish a dialog and to underline a certain kinship between their artistic practices: their use of traditional and handcrafted techniques – watercolour for the one and ceramics for the other –, their common references to materials that bear strong symbolic and poetic meaning – minerals, water, fire –, their personal and artistic background, but also their ties to childhood, to memory and perhaps to nostalgia. A shared way of revisiting the significant initiatory stages that rendered this duo possible and natural, offering an installation alternating the watercolors of Victor Man and the ceramics of Navid Nuur.
Centre d'édition contemporaine, Geneva
Darren Almond, Raymond Hains, Joan Mitchell, Navid Nuur, Ida Tursic & Wilfried Mille et al.
Painting the Night (group show)
Centre Pompidou-Metz, Metz
13 October 2018 - 15 April 2019
The topic of night has infiltrated current debates concerning society (should we open shops at night or preserve that time for sleep?), the environment (how can we limit night light pollution which prevents us from seeing the stars and impacts natural life?), politics (the French “Nuit Debout” movement, clandestine nightly border crossings), science (we are constantly furthering our knowledge of the phenomenon).
Night-time, and the many questions it prompts, has haunted artists particularly since the late 19th century. Thanks to such ground-breaking discoveries as electrification and lighting, psychoanalysis and the advent of the space age the night has evolved, transforming us in turn: theories have consequently been completely reviewed changing our relationship to the night-tide.
From 13 October 2018 to 15 April 2019, Centre Pompidou-Metz is hosting an important exhibition featuring the night in modern and contemporary painting along with a catalogue and a wealth of associated events.
A prominent source of inspiration in the history of art, the night continues to offer a rich field of investigation. Revisiting such a vast topic spawns numerous profound interrogations on our condition and our place in the Universe and the role Art could play.
Though at first the idea might seem paradoxical, Painting the Night (Peindre la nuit in french) is in fact heavy with meaning. The title is voluntarily ambiguous for night painting could either mean representing the night or painting at night. Painting the dark or in the dark, a choice has to be made either to improve one’s night vision or on the contrary to abandon seeing altogether. Indeed it is at night that we can, both physically and symbolically, at last “disconnect from the world”— a typically modern aspiration. Actually, twilight would be a perfect metaphor for the elusive boundary between figuration and abstraction.
With a focus on the perception of night rather than its iconography, the exhibition intends to be, in fact, a nocturnal experience: as visitors weave their way in they become night-owls, the heady atmosphere of nightlife takes its hold teasing the senses, stirring the inner self inducing cosmic vertigo. One steps into the exhibition as one would step out into the night.
In keeping with the spirit of Centre Pompidou-Metz exhibitions, this show is not limited exclusively to paintings, though these are central, for parallels and resonances are established with, for instance, music and literature, as well as video and photography. The event groups about a hundred artists and historical figures (Winslow Homer, Francis Bacon, Anna-Eva Bergman, Louise Bourgeois, Brassaï, Helen Frankenthaler, Paul Klee, Lee Krasner, Henri Michaux, Joan Mitchell, Amédée Ozenfant, etc.) and contemporary artists (Etel Adnan, Charbel-joseph H. Boutros, Ann Craven, Peter Doig, Jennifer Douzenel, Rodney Graham, Martin Kippenberger, Paul Kneale, Olaf Nicolai, Gerhard Richter, etc.) as well as a number of spectacular installations, some of which were created especially for the project (Harold Ancart, Raphaël Dallaporta, Spencer Finch, Daisuke Yokota, Navid Nuur, etc.).
Centre Pompidou-Metz, Metz
RESISTANCE (group show)
27 September 2018 - 27 January 2019
Within the scope of 2018, year of protest, the City of Brussels celebrates the fiftieth anniversary of 1968, a period marked by disruptions and multiple challenges but that remains emblematic for arts and society alike. On the occasion of the ambitious project entitled RESISTANCE, CENTRALE for contemporary arts fullfils its mission as public arts centre and focuses on the ways in which art used and pursued the many society and political challenges that rocked the past half-century.
Using a thematic approach, the exhibition studies how contestation and resistance fall within a body of artworks. Instigating a dialogue between historical works from 1968 and contemporary pieces by Belgian and international artists, the show reflects on the huge gateway that opened during that era and that remains connected to contemporary art.
From 1968 to 2018, some artists chose to resist the diktats of the art world and to point the flaws that jeopardize the very foundations of our media-hungry societies. Paradoxically, art drew all its strength from the many resistances and protests imprinted in these art works…
The exhibition sheds light on works stemming from a practice of relations broadened to the world, which use unconventional materials and media and that are all animated by a burning desire for action at the heart of the community. A practice founded on firm beliefs that converge with major collective issues such as personal freedom, feminism, globalisation, the environment.
At the core of the show, the role of artists unfurls as the key player of a revolutionary thought, somewhere between resistance and protest.
True Luxury... Art acquisitions 2012-2018 (group show)
Stedelijk Museum, Amsterdam
22 September 2018 - 3 March 2019
Films, videos, installations, paintings, sculptures and works on paper are featured, by artists like Bell & Frick, General Idea, Magali Reus, Erik van Lieshout, Arthur Jafa, Tony Oursler, Ed Atkins, Meschac Gaba, Helen Marten, Han Schuil, and Fiona Tan. Almost a third of the selected pieces were gifted by artists, private collectors, and international and Dutch galleries.
With this exhibition, the museum underlines the increasing importance of private donations to the collection. The Stedelijk has traditionally received large numbers of artworks gifted by artists. Many of the purchased pieces were possible thanks to the generosity of funds such as the Rembrandt Association, Mondriaan Fund, BankGiro Loterij, Young Stedelijk and Stedelijk Circle. Some of the works were purchased jointly with fellow institutions in the Netherlands and beyond, a phenomenon that is gaining in popularity, as is the increasing number of collegial loans. The Stedelijk’s new acquisition of Imitation of Life (35 mm film, 2013) by Mathias Poledna, for example, goes on view for the first time in a presentation at the Centraal Museum, Utrecht in September.
The title of the exhibition at the Stedelijk is taken from the installation Echte luxe is niets kopen / True Luxury is Not to Shop by the Dutch artist Erik van Lieshout, who gifted the work to the museum in 2016. It is an ironic reference to the reality that, in a time of shrinking museum budgets and skyrocketing prices on the international art market, collections rely on magnanimous donors to expand their holdings. Although the exhibition spotlights recent acquisitions, several clear thematic threads leap out, such as an engagement with new technology, digital culture and the repercussions of globalization. Among the show’s highpoints is the space-filling installation by Erik van Lieshout, the imposing video installations of Arthur Jafa and the donation of the archive of the former Canadian artist collective General Idea, including their graphic work, mail art, multiples, invitations and publications.
Stedelijk Museum, Amsterdam
CHARIVARI (group show)
15 September - 16 December 2018
In the framework of the 'baroque year' 2018, the city of Oudenaarde is organizing an ambitious exhibition in their museum around Adriaen Brouwer, one of the most important and to this day unjustly unknown artists of the 17th century. Adriaen Brouwer (1605-1638) was probably born in Oudenaarde as the son of a cardboard painter of tapestries. As a transitional figure, he builds a bridge between the 16th-century Bruegel tradition and the landscape and genre scenes of the 17th century. Within architecturally dynamic, dramatic settings Brouwer introduces all sorts of characters that show the most diverse emotions and moods. Contemporaries picked up his virtuoso work: none other than Rubens and Rembrandt had works by this painter in their own collection.
We aim to offer an answer to this exhibition by bringing together a group of about 20 contemporary artists under the title CHARIVARI. We are inspired by the artistic heritage of a figure like Adriaen Brouwer with an oeuvre that shows a critical, often moralizing but always humorous look at society: obscure figures who smoke, drink, fight and gamble in a pub, a father who changes the diaper of his son, a farmer who grips a scantily clad woman. It is striking to note that the rich bourgeoisie 'ordered' these kinds of scenes to 'decorate' their homes. The quality of this work is indisputable, precisely because of its stubbornness, its game of attraction and repulsion and the enormous formal and psychological dynamics. Brouwer shares with us his view on a society that does not seem so dissimilar from ours today.
With the artists we have selected, we find an equally critical voice, but also a healthy sense of irony and sarcasm. CHARIVARI must become a ‘people’s court’, a ritual that brings together a group of people to mock or punish social norms or behavior that have been violated. According to historiography, a charivari was usually accompanied by a procession, supported by a gigantic racket, cheeky shouts, kettle music, ironic plays and songs.
Moreover, we have chosen artists who thematize and question their own position as an artist: what is their place within society, within the art world? Brouwer also portrayed himself as a drinking brother in one of his most famous scenes.
The location offered to us to set up this exhibition presents us with an interesting challenge: the Pamelekerk, situated on the banks of the Scheldt that flows right through the heart of the city. The church is still relatively active in use by the community, but is being reserved for our project. Next to this, we connect the locations of the church and the museum by occupying the café 'Adriaen Brouwer' on the central ‘Markt’ of Oudenaarde, which should become a meeting place for our visitors, and where art will also be given a place.
PLAY Kortrijk - City circuit for contemporary art (city festival)
Various venues, Kortrijk
23 June - 11 November 2018
PLAY is a headstrong city festival organised from 23 June to 11 November 2018 that will take over the centre of Kortrijk with contemporary artworks. You can immerse yourself in the unique world of national and international visual art at diverse indoor and outdoor locations in the city. During PLAY, the city not only serves as a canvas; bit by bit the festival simultaneously dissects our relationship with 'play'. How does play influence our social behaviour? How does 'play' reflect the evolution of our society? How important is play for our motor and cognitive development?
PLAY - Kortrijk city circuit for contemporary art