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Opening 11 April, You Stretched Diagonally Across It: Contemporary Tapestry is a celebration of tapestry and its practitioners in the 21st century, offering a consideration of the strategies by which contemporary artists interrogate tactility and image in the age-old medium of tapestry in a current context. Featuring works by twenty-seven artists and designers, and organized by guest curator Su Wu, the exhibition depends, like the works that compel it, on an engagement with interstices specific to tapestry – between art and craft, the medium and the matter, and devotion and its technological mediation. Across monumental works of great detail, the exhibition expands our experiences of narrative and mythology in weaving, complicates traditional ethnographic associations of textile, and argues for the enduring possibility of image and memory as a physically substantive thing.

Exhibiting artists include: Caroline Achaintre, Hellen Ascoli, Yto Barrada, Diedrick Brackens, Melissa Cody, Negma Coy, Jovencio de la Paz, Josh Faught, Christina Forrer, Sanaa Gateja, Yann Gerstberger, Marie Hazard, Ane Henriksen, Kira Dominguez Hultgren, Suzanne Jackson, Sanam Khatabi, Tomasz Kowalski and Alicja Kowalska, ShinJa Lee, Candice Lin, Goshka Macuga, Christy Matson, Mai-Thu Perret, Sarah Rosalena, Analia Saban, Kiki Smith, Mika Tajima, Clarissa Tossin, Consuelo Jiménez Underwood, and Miranda Fengyuan Zhang.

To accompany the exhibition, Los Angeles-based vintage textile library and shop Kneeland Co. will take over and activate the Dallas Contemporary store, featuring specially designed ceramics, textiles, jewelry, and collectibles, for sale exclusively in the shop. All pieces are specially designed for and inspired by You Stretched Diagonally Across It, and will even include works by artists featured in the exhibition.

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An exhibition designed by two artists and one curator: Mireille Blanc, Marianne Maric and Sandrine Wymann.

Based on the principle that there should be no stricter rules than emotion and curiosity, the trio has created an exhibition in which gesture and shape are used to explore images and practices that evoke pure pleasure. The project is built on dialogue between the artists themselves as well as between materials and techniques, with the idea of distorting the everyday, hybridizing objects, and creating illusions and artifacts in sculpture, photography, paintings, and installations.
Se faire plaisir [Take Pleasure] echoes the sense of pleasure found in sharing and playfulness, a pleasure felt by the body, taken in by the senses, and which speaks to our emotions.
Designed as a meeting ground for shared experiences, Se faire plaisir is a trivium of treble delight, where artists blend their practices under the amused eyes of the exhibition curators, who in turn stage them with caring attention for their visitors.
The exhibition hall, transformed with intimate landscapes and inner spaces, becomes a place of inebriation and alliance where objects and decorations remain strange and elusive, and where pleasures intertwine to multiply and distill intense sensations.
Se faire plaisir is imagined as a challenge for us to slip some generosity into our daily lives.

Artists: We Are The Painters, Caroline Achaintre, Victor Alarçon & Nitsa Meletopoulos, Mireille Blanc, Clément Bouteille, Stéphanie Cherpin, Afra Eisma, Camille Fischer, Marianne Marić, Cassidy Toner.

Opening: Thursday February 13 at 6pm.

The exhibition is supported by the Embassy of the Kingdom of the Netherlands.

Image: Caroline Achaintre, Toro, 2024. Céramique émaillée / Glazed ceramic. 72 × 22 × 3 cm (28 ⅜ × 8 ⅝ × 1 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Annabel Elston

Art : Concept is pleased to announce the participation of Kate Newby
in the 16th Sharjah Biennial, which will take place from February 6 to June 15, 2025.

Kalba Ice Factory
Kalba, Sharjah, United Arab Emirates

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Image: Kate Newby, Cold Water, 2025 (détail)
Verre, corde (récupérée et neuve), Dimensions variables / Glass, rope (salvaged and new), Dimensions variable
Commissioned by Sharjah Art Foundation
Courtesy of the artist and Galerie Art: Concept, Paris

Jeremy Deller in conversation with Miranda Sawyer

180 Studios, London/UK

Monday, December 16, 2024, from 7pm to 9pm.

Closing the program around the Reverb exhibition at the Vinyl Factory (London).
Jeremy Deller will unpack acid house’s journey—from its roots in Chicago’s gay clubs to the explosive UK rave scene—shedding light on its socio-political impact and cultural legacy.
The conversation will be recorded and shared as a podcast on VF website.This event is closing the program around the Reverb exhibition at the Vinyl Factory (London).
The conversation will be recorded and shared as a podcast on VF website.

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German artist Ulla von Brandenburg’s solo exhibition “Chorsingspiel” will be held at Espace Louis Vuitton Osaka in Shinsaibashi, Osaka from November 27. Exhibition 27.11.24 – 11.05.25

The “Chorsingspiel” exhibition presents two video installations from the Fondation Louis Vuitton collection: Singspiel (2009) and Chorspiel (2010).

Images : ULLA VON BRANDENBURG – CHORSINGSPIEL Vue d’installation à l’Espace Louis Vuitton Osaka (2024)

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Roland Barthes’ Structure du fait divers (1964) was certainly the inspiration for this exhibition. A “bastard brother of information”, according to the semiologist, the news item helps us to name and identify the aberrant causalities and coincidental relationships that disrupt everyday life. “Faits divers – Une hypothèse en 26 lettres, 5 équations et aucune réponse” (Miscellaneous facts – A hypothesis in 26 letters, 5 equations and no answer) offers a broad and comprehensive artistic panorama, and plays on the principles of enigma and trickery.

The MAC VAL is conducting a real investigation, curated by its director Nicolas Surlapierre, in association with Vincent Lavoie, art historian and full professor at the Université du Québec à Montréal. “Faits divers”, which brings together no fewer than 80 artists of different backgrounds and formal practices, has been awarded the label of national interest (EIN). Through an innovative scenography that provides the keys to deciphering multiple artistic proposals, visitors will be able to decode the workings of the genre. And, as the exhibition’s subtitle announces, “A hypothesis in 26 letters, 5 equations and no answer”, each visitor can give free rein to his or her imagination and free will.

This group show inaugurates the MAC VAL’s 20th anniversary, which will be celebrated throughout 2025.

Exhibition curator: Nicolas Surlapierre
Associate Curator: Vincent Lavoie
Coordinator: Julien Blanpied, assisted by Marzia Ferri

Image: Julien Audebert, Reconstitution du meurtre de Elsie Beckmann, 2004. Tirage lambda, diasec, aluminium / Tirage lambda, diasec, aluminium. 32,7×210cm.
© Julien Audebert, Adagp, Paris 2024. Collection Frac Occitanie Montpellier.

Vues de l’exposition « Faits divers, une hypothèse en 26 lettres, 5 équations et aucune réponse ». Du 15 novembre 2024 au 13 avril 2025
MAC VAL – Musée d’art contemporain du Val-de-Marne © Adagp, Paris 2025 / Photos © Aurélien Mole

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Fine Arts, Sydney is presenting an exhibition of new work by Kate Newby.

This exhibition comprises a new body of sculptures made from hot glass and cast bronze with salvaged ropes from Sydney’s maritime and sailing communities. The exhibition also includes new glazed ceramic works for the wall.

Kate Newby’s work is currently exhibited in a large-scale solo presentation at the Museum of Contemporary Art Australia, Sydney, for the 2024—2025 Loti Smorgon Sculpture Terrace Commission. Elsewhere in Australasia, Newby’s work featured in the 21st Biennale of Sydney at both the Art Gallery of New South Wales and Cockatoo Island, and was the focus of a survey exhibition at the Adam Art Gallery, Wellington.

This is Kate Newby’s fourth solo exhibition with Fine Arts, Sydney.

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GAM is happy to present the ‘GRASSO’ exhibition dedicated to the first seven issues of the magazine conceived in 2016 by Giuseppe Gabellone and Diego Perrone. The name reflects the unusual size of the magazine, a true oversize, which in order to be read has to be unfolded in a large room as it measures two metres wide by three metres in height.

Thanks to the support of the Fondazione per l’Arte Moderna e Contemporanea CRT, it was possible to produce the seventh issue entitled Amedeo Special, the name of a cocktail invented in the 1940s by Amedeo Gandiglio, barman of the historic Turin bar Chatam, and revisited for the occasion by Marco Torre, of Bar Cavour, at the invitation of the two artists.

‘The cocktail stands out in full size in the magazine – wrote the Curator – as the equal and opposite of advertising photography. The exaggerated pop dimensions remain, but the eye-catching glitter and vital energy have vanished. In their place, crepuscular pink, green and brown penumbrae slip into the image, as if shaded by absinthe vapours from old cafés.

Each issue of GRASSO devours a related but different language of the visual arts. Issue 02 captured and embedded the narrative flow of a performance in a mosaic of photos; issue 04 transformed a long interview into a tapestry, enhancing it to the limit of illegibility; issue 06 is filled by a drawing in which the unyielding iconographic and stylistic rules of Japanese manga are intertwined with Judaeo-Christian culture and a certain desire for painting.

GRASSO is beautiful, like paradoxical projects, like all things that are enormous and fragile: a giant with feet of paper.’

The exhibition is part of the collecting commitment that GAM and Fondazione per l’Arte Moderna e Contemporanea CRT have been making with regard to artists’ books and magazines since 2017 with the establishment of the Fondo Giorgio Maffei.

On the evening of the opening, it will be possible to taste the cocktail prepared by Head Bartender Marco Torre, from 6 pm to 8 pm.

GRASSO #7: a project by Giuseppe Gabellone and Diego Perrone, curated by Elena Volpato, with the artistic direction of Studio Fludd, photos by Massimo Bianchi, and with the support of the Fondazione per l’Arte Moderna e Contemporanea CRT and the GAM of Turin.

Consultancy from Corrado Beldì, case designed by Dallas, printed by Artistica Savigliano and coordinated by Federica Panelli.
With thanks also to Bar Cavour, Turin and Marco Torre.

Curated by di Elena Volpato
Floor -1, Video Library / Media Collection

Image: Issue 07 – Amedeo Special, November 2024

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Castello di Rivoli Museo d’Arte Contemporanea is delighted to announce Mutual Aid – Art in collaboration with nature, a major exhibition dedicated to sustainability curated by Francesco Manacorda and Marianna Vecellio, which opens to the public on Thursday 31 October 2024 until Sunday 23 March 2025.
 
The exhibition explores the creative collaboration between humans and the non-human world by gathering a selection of artists who have addressed the interdependence between humans and nature from the 1960s to today.
 
The show profiles different phases of artistic reflection on ecology, culminating in concerns around the current climate crisis and the theoretical developments which put into question the centrality of man in the natural system. The project focuses around the act of sharing the creative process between artists and natural elements (animal, vegetable and inorganic), interpreted by the works of artists such as Maria Thereza Alves, Michel Blazy, Bianca Bondi & Guillaume Bouisset, Caretto/Spagna, Agnes Denes, Hubert Duprat, Henrik Håkansson, Tamara Henderson, Aki Inomata, Renato Leotta, Nicholas Mangan, Yannis Maniatakos, Nour Mobarak, Precious Okoyomon, Giuseppe Penone, Tomás Saraceno, Robert Smithson, Vivian Suter and Natsuko Uchino.

The title of the exhibition is inspired by the concept of mutual support proposed by Russian philosopher and zoologist Piotr Kropotkin (1842-1921) in his book Mutual Aid – A Factor of Evolution, published at the beginning of the last century. Kropotkin claims that the survival of species does not only benefit from competition, as Charles Darwin argued; on the contrary he demonstrates that, when a system has few resources and is unstable, survival is more likely if the elements in play collaborate and share a common plan. This makes ‘mutual aid’ a key factor in evolution, particularly in times of crisis. This attitude is highlighted in the exhibition by a selection of works of art started by humans but ‘finished by nature’ or co-created thanks to the contribution of non-human elements and agents.
 
Mutual Aid – Art in collaboration with nature invites us to reconsider the validity of the separation between nature and culture, reinterpreting them instead as collaborating elements called upon to support and nourish each other. The exhibition proposes to the public an ecosystemic vision and an innovative and urgent approach to major environmental issues, based on coexistence, sharing and the value of multi-species collective creativity and planning.

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