Grace Weaver et al.
How (Not) to Fit In – Metaphors of Adolescence (group show)
Villa Merkel, Esslingen
8 May – 17 July 2022
Works by Grace Weaver are included in the group exhibition How (Not) to Fit In – Metaphors of Adolescence, which will be on view at the Villa Merkel in Esslingen from 8 May until 17 July 2022.
Adolescence is commonly located in youth, but our complex present means that its typical dynamics – negotiations between the individual and society, between self-perception and perception of others, or between emancipation and integration – now last a lifetime. The rapid confrontation with different roles and the light-footed adaptation to constantly changing expectations no longer characterise only "apprenticeship and wandering years", but have become normative requirements that affect us all again and again. Nevertheless, all social groups are by no means equally free to determine their life paths. Media clichés and structural discrimination ensure that many people live and struggle with imposed role attributions and glass ceilings, or are exposed to stereotypical expectations.
This exhibition brings together artistic contributions that open up intersectional perspectives on adolescence, as well as on adolescence as a metaphor, for social dynamics. In addition, common media narratives are questioned and experiences of discrimination and their overcoming are addressed. In the exhibition, the artistic examination of liberation from restrictive life plans, overcoming predefined paths and rejecting stereotypical role models does not lead to an egocentric self-reflection. Rather, it focuses on social structures and the personal confrontation with them. Through the diversity of artistic references, experiences can be experienced that also lie beyond traditional narratives, creating a multi-faceted, critical and differentiated panorama of growing up, puberty and adolescence.
Villa Merkel
Grace Weaver
TRASH-SCAPES (publication)
Published by Galerie Max Hetzler Berlin | Paris | London 2022
With an in-depth conversation between Grace Weaver and Christian Malycha
Published on the occasion of the exhibition Grace Weaver TRASH-SCAPES at Galerie Max Hetzler London, November 2022 – January 2023. The publication, with an in-depth conversation between the artist and Christian Malycha is now available for purchase on the Galerie Max Hetzler publications website.
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Grace Weaver et al.
How To & Know-How (group show)
Neue Galerie Gladbeck
26 August – 23 October 2022
Works by Grace Weaver are featured in the group exhibition HOW TO & KNOW-HOW at the Neue Galerie Gladbeck. Curated by the Artistic Director of the museum Luisa Schlotterbeck, the exhibition presents new work by six contemporary women Artists.
Michel Majerus, Grace Weaver et al.
24h (group exhibition)
Braunsfelder, Cologne
31 August – 5 November 2022
Organised in collaboration with Super Super Markt, the group exhibition 24h at Braunsfelder, Cologne, includes works from Grace Weaver and Michel Majerus, among others.
Braunsfelder
Michel Majerus, Grace Weaver, André Butzer, Günther Förg, Grace Weaver et al.
dark things we tell each other (group show)
Miettinen Collection, Berlin
10 June – 31 July 2022
Works by André Butzer, Grace Weaver and Günther Förg are included in the group exhibition dark things we tell each other, opening at the Miettinen Collection on Friday, 10 June 2022. Curated by Christian Malycha, this exhibition features selected works from the Miettinen Collection.
‘What do we tell ourselves? What do we tell each other? How do we speak at all? And what about? Memories and encounters? About impressions, feelings and emotions? Last week’s shoe shopping spree? Time unwilling to pass, yet never enough? Levantine cuisine, tan lines, fleeing and displacement? Mindful astrology apps, espresso martini, Spotify discoveries, incapacitation, balcony furniture? About pain, doubt and loss? Confidence and longing, joy?
In soliloquy, direct address and veiled dialogue, Paul Celan’s »dark things we tell each other« and Ingeborg Bachmann’s »I, alone by myself, am a dark story« make it seem possible that works of art bring an absolutely subjective experience of the world into a palpable and communicable form—perhaps void or obscure, mysterious or near unspeakable, but no less valid and an example of how to endure life’s abstrusity in this flawed world.
(Although, the distance on a sofa, from which you look at and talk past each other, at times is vaster than the tacit expanse between city and country side in the same night, in the same faded colors of 3AM.)
Bachmann’s and Celan’s story thus gave the impetus to ask how images enable such encounters. How individual experience »speaks« through images »into the open, where language can also lead to encounters.« What we tell ourselves, tell a ›you‹ or say together with them, hopes for resonance. In a trembling voice, self-assured or with borrowed words, every expression is a sort of relating-oneself-to-someone. Always unfamiliar, disconcerting, new. Sensuous and immediate: Who are you? Who am I? Wherefrom? Whereto? What’s one’s own, the other’s, the mutual?
In such encounters, one’s own world is given a hold and grounding for a few brief moments—be it understanding, recognition, bewilderment. All of a sudden, disparate and opposing times, places, bodies, inside and outside unite in a transient state of potentiality. Entangled and present. Until they separate again or almost inexplicably continue their shared tale.’
– Christian Malycha