Xavier Robles de Medina, Gorillas in the Mountains of Southern Nigeria: World’s rarest great ape pictured with babies, BBCNews, 9 July 2020, 2022, Acrylic on wood, 114 × 200 cm Installation at Künstlerhaus Bremen, Germany.
The Palliative Turn Curated by Nadja Quante in close collaboration with Kasia Fudakowski and Olav Westphalen 9 July – 3 October 2022 Am Deich 68/69, D–28199 Bremen, Germany
ARTISTS: Carla Åhlander, Louise Ashcroft, Simon Blanck, Christoph Draeger, Kasia Fudakowski, Anna Gohmert, Annemarie Goldschmidt, Teal Griffin, Harry Haddon, Ethan Hayes-Chute, Hjertström-Lappalainen, Per Hüttner, Nina Katchadourian, Alex Kwartler, Karin Kytökangas, Keith Larson, Mathias Lempart, Dafna Maimon, Marit Neeb, Laura Pientka, Sascia Reibel, John-Luke Roberts,Xavier Robles de Medina, Lydia Röder, Ruth Rubers, Maxwell Stephens, Anna M. Szaflarski, Nala Tessloff, Jana Thiel, Olav Westphalen, Gernot Wieland
The Palliative Turn is a project that spans across an exhibition, a program of events and a magazine that will be launched at the finissage. The project brings together contributions from artists, designers, a kinesiologist, a philosopher, a comedian, a grief and death counsellor, and a climate scientist, who have entered into an exchange within the framework of the Association for the Palliative Turn (APT). Founded in 2020, APT is an open-ended collaboration dedicated to discussing and promoting a palliative approach to, and in the arts. With an experimental, speculative and humorous approach, APT applies the concepts and approaches of palliative care to the current crises of civilization, viewing the period before systemic collapse as a time of insight, growth, and profound joy in all that is left. APT proposes no solutions, but an acceptance of the finitude of life and the limits of our remaining possibilities.
ARTISTS: Hamed Abdalla, Lee Bontecou, Sofia Borges, Brassaï, The Center for Land Use Interpretation, Steven Claydon, Matt Copson, Juan Downey,Chioma Ebinama, Mary Beth Edelson, Laura Emsley, Barry Flanagan, Ilana Halperin, Frank Heath, Ed Herring, Michael Ho, Hans Hollein, Peter Hujar, Athanasius Kircher, Alison Knowles, Antti Lovag, Goshka Macuga, René Magritte, Gordon Matta-Clark, Emma McCormick-Goodhart, Santu Mofokeng, Henry Moore, Nadar, Ailbhe Ní Bhriain, Pauline Oliveros, Lydia Ourahmane, Gordon Parks, Flora Parrott, Walter Pichler, Giuseppe Pinot-Gallizio, Liv Preston, Ben Rivers, Robert Smithson, Michelle Stuart, N.H. Stubbing, Caragh Thuring, Kaari Upson, Jeff Wall, Aubrey Williams, Joseph Wright of Derby
Nottingham Contemporary presents Hollow Earth: Art, Caves and The Subterranean Imaginary, a major thematic exhibition which brings together a wide range of responses to the image and idea of the cave. It includes painting, photography, sculpture, sound, installation and video, as well as archives and architectural models, stretching from 1960 to today, alongside works from the 18th and 19th centuries.
Beneath Nottingham are over 800 caves, hand-carved into the sandstone bedrock. For centuries, they have played host to dwellings, mines, cellars and tanneries. Inspired by this subterranean city, Hollow Earth brings together 150 works by more than 50 artists to explore questions of thresholds, darkness and prehistory.
EUREGIO Very Contemporary 2022network for the first time ever organises a joint art festival bringing together institutions from Belgium, Germany and the Netherlands to showcase selected performance works at the Kunsthaus NRW in Aachen-Kornelimünster. The participating institutions are Greylight Projects (Heerlen NL), IKOB (Eupen BE), Jester (Genk BE), Kunsthaus NRW (Aachen DE), Leopold-Hoesch-Museum (Düren DE), NAK Neuer Aachener Kunstverein (Aachen DE).
IKOB presents the performanceEmergency Ex(2022) byCatinca Malaimare: an intimate encounter between human bodies and machines. In a choreography of movement, sound and light, human and non-human actors become equal collaborators in creating a sensuous and otherworldly environment. Suggesting not just a technical, but an affective codependency between us and our screens, Emergency Ex conjures a not-so-distant future where face and interface have become indistinguishable.
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