Blow (solo show)
Centro Cultural La Moneda, Santiago
14 November 2020 – 21 March 2021
The exhibition Blow brings together eighty pieces by Ernesto Neto (Rio de Janeiro, 1964) produced from the late 1980s to the present day.
Centro Cultural La Moneda
Ernesto Neto et al.
Permanent installations at the ReefLine, Miami Beach's first Underwater Sculpture Park
From December 2021
The ReefLine will be a new 7-mile underwater public sculpture park, snorkel trail and artificial reef located off Miami Beach’s shoreline. The large-scale environmental public art project has been conceived by cultural placemaker Ximena Caminos, who will serve as the project’s Artistic director. Led by Shohei Shigematsu, OMA will design the ReefLine’s masterplan as well as a distinct sculpture within it, collaborating with a team of expert marine biologists, researchers, architects and costal engineers.
The ReefLine will provide a critical habitat for endangered reef organisms, promoting biodiversity and enhancing coastal resilience. For the masterplan, OMA has designed a geometric, concrete modular unit that can be deployed and stacked from South Beach to the north, following the topography of the sea bed. The living breakwater is the connective tissue for the overall masterplan and will be punctuated by a series of site-specific installations.
The project will be completed in phases, with the first mile slated to open December 2021—the first phase will open with permanent installations by Argentine conceptual artist Leandro Erlich (b. 1973) and Shohei Shigematsu/OMA. The project will also include new commissions by Ernesto Neto (b. 1964, Brazil) and Agustina Woodgate (b. 1981, Argentina).
Ernesto Neto et al.
Time-out. Of Breaks and Moments of Awakening (group show)
Kunstmuseum Ravensburg, Ravensburg
20 March – 11 July 2021
This group exhibition—proceeding from the Selinka Collection of the Kunstmuseum Ravensburg—concentrates on the multifaceted meaning of the term “timeout.” In a dialogue among works of the 20th and 21st centuries, the dynamic field of the timeout is investigated, from moments of pleasure and idleness all the way to forms of protest and resistance. Already the Expressionistic works of the group of artists known as “Die Brücke” (1905-1913) conveyed timeouts of enjoyment and refusal. In the depictions of excursions into nature at the beginning of the 20th century—for example, nude swimming in the lakes of the Moritzburger Teiche—there is evidence of the refreshing break as well as of a programatic alternative to the prudery of Wilhelminian society. In contemporary positions as well, the timeout comes to the fore as an aspect of social criticism; the classic clockwork-driven existence imposed by economics is put to question, or emphasis is given to the importance of the timeout for artistic productivity. At the latest with the works which engender contemplation or offer a humorous impetus to deceleration, it becomes possible for the visitor at the same time to physically experience the genuinely modern notion of the timeout as an interruption of daily life divided into and dominated by temporal increments. With the provisional freezing of public life during the global corona epidemic, the term “timeout” has acquired new connotations to which the Romanian artist Dan Perjovschi (*1961) has responded with pointed commentary in his graphic interventions.