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The annual report of Asortymentna kimnata 2023 is out and in the first link. 16 exhibitions with over 152 exhibition days featuring works by 114 artists. 4 art books and 3 art residencies. Several transport missions of Ukrainian contemporary art to Europe and 2 exhibitions abroad. One School of Contemporary Art and one tailor made program for the artists affiliated with southern regions of Ukraine as well as for more connections between south in west inside the country. One important remark - in 2023 we were not evacuating any new art pieces, but we taking care for those which are staying in our shelter since 2022. From almost 1000 evacuated pieces we’ve got one third still in our shelter — those are mostly the pieces which do not have a place to come back. In 2023 we’ve also started to restore some of those pieces. Since spring 2023 we do not have external funding for the costs, connected with shelter, security and restoration. This is being financed from the own costs of the organization and/or from some smaller rests of overheads for other programs. We are still understuffed and lacking resources for institutional sustainability. But we are working on it and doing our best with what we have and where we are.

Andre Breton In Front of the Curtain (2) To go back ten years is not only to identify, in the vortex surrounding the exhibition of ten years ago, something that fairly well expresses the spiritual climate of the year 1938, but also to identify the structure of the exhibition that corresponds to a plan, a plan that seeks to bring the tumultuous region that extends to the border between the poetic and the real into very general proximity within our psyche. The exhibition's structure, as such, can be accurately positioned in the context of the true vision of the exhibition - though, again, not the vision of art. The efforts of the exhibition organizers, in fact, tended to create, as much as possible, an environment oriented toward an "art" gallery. I emphasize the fact that they did not consciously follow any other order than the above. I emphasize the fact that they did not consciously follow any other imperative than the above, since, in retrospect, the totality of their attempts ultimately transcended their original intentions. Regarding the criticism of the time, which believed that the holding of the 1938 exhibition could be attributed, as usual, to the need to surprise and compromise the "snobbery" of the public, and which almost universally bemoaned the "gratuitousness," poverty, and bad taste of which we were more than once witnesses, we can say the following We can say the following. (Continue to next paragraph)

Dive into contemporary artistic creation with Angela Lampe, Commissioner of the Prix Marcel Duchamp 2023 exhibition. Interviewed by our expert laurent Issaurat, Head of our Art Banking service, she leads us to discover the universes of the four artists nominated this year, their projects for the exhibition, and highlights the potential conversations between their works. Bertille Bak: A video installation exploring the flower industry, a field marked by an imbalanced North/South relationship. Bouchra Khalili: A selection of works from diverse corpora, weaving links between individual narratives and the collective history of struggles. Tarik Kiswanson: Monumental cocoon-like sculptures and assemblages that explore states arising from the experience of displacement, war, and trauma. Massinissa Selmani: An installation around the ellipse, putting into perspective the idea of crossing and horizon, of fictional territories in conflict situations. These works, although created independently, seem to intertwine around reflections on the social and collective, offering visitors a rich and multidimensional experience. #ContemporaryArt #MarcelDuchampPrize #AngelaLampe #SociétéGénérale #ArtBanking #Exhibition #CentrePompidou #FrenchArt #ADIAF #ArtisticInnovation

Thrilled to be part of this upcoming exhibition with these artists at RK Contemporary, South Africa THE DISTANCE BETWEEN There are small places in this world where artists have settled, finding where the spaces between living and creating transform into, in this case, visual artworks. Places where creatives (artists, musicians, poets, chefs and other artisans) are fortunate to be enveloped by calm and appealing environs that are conducive to creativity. With some 120 kilometres between them, covering varied landscapes from the coast moving inland, Riebeek Kasteel and Kommetjie are two such places connected by a metaphoric creative heartbeat. In describing the physicality of these two lovely places, we cannot ignore the spiritual power of the natural world, described by some as a thin place, which is where the veil between the physical and spiritual world becomes permeable and where our perspectives of the world could develop differently. Because of these beautiful places, and an idea of this aesthetic being ‘perfect’, it has to raise awareness of the opposite also being present – a place where there is so much struggle, where life is lived on the edges. However, the sense of being in a thin place can attest to the healing power of the natural world, where one could move into an in-between place, with possibility. This exhibition is a result of a concentration of people who make art, distilling an essence of where they live, continually inspired to develop their work and are also lucky enough to form their own closely knit community within Kommetjie.

#contenporaryart #ZERO #sonicart #soundart #radio #deventer #museum #eicas From February 4 to May 26, one can visit three installations by Roland Kuit at the Museum EICAS in Deventer. This museum makes art from the 1960s onwards accessible. Its point of departure is the pioneering ideas of the Zero movement, which still echoes in contemporary art. ZERO = language. Roland explores in three installations the discussion that is not being had. For example, about people not reading anymore. About the role of the masses when balls are thrown up via social media. About what happens when people stop thinking or stop thinking for themselves. Mass installation. Where six thousand table tennis balls form a social media landscape and emit pulse sounds as mass communication, from taps to noise-like sounds. They travel trajectories in the ball-covered terrain. https://lnkd.in/eSnECW5x

Make sure you check out this exhibit that challenges the notion of what a work on paper can be!

While the journey at TMA has only been 9 months. The journey to make create a more equitable world for artists began over 2 years ago in the midst of the coronavirus pandemic. I had just completed an installation I'd been working on for several years. The biggest challenge was waiting for nanomaterials research to progress to the point where I had materials which would do what I had envisioned. Years of research, practice, and work had led to that moment. But the pandemic dismantled my art career just as I was picking up steam and doing the kind of work I'd dreamed of doing. I began investigating the world of web3 and NFTs desperate for a way to continue creating and to continue earning income. It was there I found a way to solve the storage, distribution, and documentation problems I had been struggling with pre-pandemic. The inability to ship a work to China had cost me a massive sale a few years prior. Working digitally, I would never miss out on another big sale and I would never owe 30% or more of it to a gallery. Even though I was raised by the internet and am very much a digital-native. I had always assumed the only viable market for art was physical, so that's where my focus had always been. But with the advent of this technology, I was finally free to create work that resonated with me regardless of how traditionally monetizable it was. This was the personal revolution I experienced in 2021. Now I'm proud to be bringing that revolution to the broader art world in 2024. As we venture into uncharted territories of art and technology in 2024, I invite you to join and share your insights. Are you reshaping art with digital or Web3 tech? Let's connect and innovate together. Share your thoughts below or reach out – let's make art history!

Last Friday marked the unveiling of the exhibition "Manus: A Conscious Journey" at Sudakara ArtSpace by Sawidji. This captivating showcase delves into the profound symbolism of the human experience through the lens of the hand, referred to as 'Manus' in Latin. Coined in 1867 to represent the distal segment of the vertebrate forelimb, Manus prompts a reflective exploration into what truly defines our humanity. Within the intricate tapestry of scientific discourse, the opposable thumb emerges as a pivotal factor in human evolution, setting us apart from other species. "Manus: A Conscious Journey" brings together the works of five talented artists, collectively examining the multifaceted aspects of our shared humanity. The exhibition embarks on an intangible and mysterious quest, reflecting the paradoxical, boundless, and obscure nature of human essence. Much like navigating a labyrinth to explore all the intricacies of the world, it serves as a visual sojourn, encouraging viewers to contemplate their perceptions of consciousness and humanity. This collaborative odyssey invites participants to join the artists on a reflective journey, exploring both the micro and macro aspects of existence. It is an examination of the creative process, a shared experience that prompts the question: What truly defines our humanity? The opening of the exhibition, enriched by special dance performances from Kita Poleng, added an extra layer of vibrancy. The showcase will run until February 3, 2023, providing an opportunity for art enthusiasts and curious minds to engage with this thought-provoking exploration of human consciousness and creativity. See the full catalog here: https://lnkd.in/gWk5-MV8

private view Andreas Greiner Studio Andreas Greiner Game of Life on view through 17. Feb 2024 "One really basic problem that we have as humans is that we came up with this idea or this concept of dichotomy between human nature and non-human nature. We are humans, and we do culture. We are intelligent. Everything else that is there on the planet is not intelligent. Everything on the planet is nature, and we are kind of excluded. And this led to a kind of misunderstanding or a kind of misperception of this planet where we are living on, where basically, in the end, everything is interconnected." The above excerpt is from the exhibition video for our current solo show Game of Life by Andreas Greiner, on view through 17. Feb 2024. Greiner is known for integrating art and science in intricate, multi-disciplinary presentations and an artistic practice that often extends beyond gallery confines to encompass projects in public spaces and the natural environment. Video, art/beats @artbeatsberlin #andreasgreiner @dittrichschlechtriem #DittrichSchlechtriem

Have a read of the blog I wrote on this extraordinary piece made exclusively at George Smith!