Ghada Amer, My body, My choice

Ghada Amer’s garden installation takes up the well-known battle cry promoted by the women’s and gender equality movement since the 1970s “my body my choice” and spells each of its letters in a red resin box filled with plants. While over the past fifty years, this tagline has been co-opted by a number of groups around the world with entirely contradictory agendas, Ghada Amer’s garden, like her art in general, reminds us of the early intent of the mantra, that of promoting women’s rights and equality. In an interview with Sahar Amer in April 2022, Ghada Amer states: “In Western societies, there is an assumption, especially among the younger generations, that the battle of the sexes has been won, that women have been liberated, and that their rights are secure. And yet, we are witnessing today a sharp regression of women’s rights and a stark rise of violence against women. However, in countries where one assumes women’s rights to be limited or absent, such as in Egypt, Iran, Afghanistan, or Mexico, women of the younger generation know they have a lot to gain from fighting for those very same rights that are eroding in the West. So they are not letting down their guard and they are continuing to fight fiercely.” The phrases that Ghada Amer sculpts for her garden architecture are similar in that regard to the sentences that she embroiders on her canvases. These sentences are taken from a number of male and female authors from different backgrounds and they are intended to remind us of central teachings and wisdom related to women’s rights. Amer says that “by reading and repeating these sentences, they will hopefully become mantras, incantations that the viewer will end up remembering.” She adds that “women’s rights can never be taken for granted. Women must continuously mobilize, fight, and never let their arduously acquired rights decline, fade away and vanish.”

Visions of Bloom, 2024 (exhibition ver.)

Duyi Han Single-channel 3D animation Music: Casey Mullen, Gilbert Cameron Evans on Erik Satie, Gnossiennes no.4 Solo exhibition, 08 Nov 2024–25 Jan 2025, Suhe Haus 苏河皓司, Shanghai Produced by: CHERUBY 樱桃瑚. Curated by: Claire Shiying Li 李石影. Art gallery support: BANK.

Csató József: Broken Bones of the Heart

The Erika Deák Gallery exhibits paintings of József Csató. His latest series focuses on the concept of still lifes, composed of spatially inverted biomorphic motifs, and its relation to the notions of abstraction. His rich surfaces, enhanced by scratches, lines and monochrome spots, recall the image of reliefs, as their opulent overlays create multidimensional spectacles. His paintings, with their diversely textured and often vibrant colors, are both easy and playful, yet the overall impression of his work suggests a kind of ancient mystery. He constructs his compositions from motifs reminisce to natural fractions, plants, rocks or even body parts, and his now emblematic, cheerfully rounded, amoebetic Csatóforms.

Artist Walkthrough with Paul Yore: WORD MADE FLESH

'Paul Yore: WORD MADE FLESH' is an extensive survey exhibition encompassing the full scope of the artist’s work, including appliquéd quilts and needlework, banners and pendants, collage and assemblage, and large-scale mixed media installation. The exhibition, which continues ACCA’s contemporary Australian solo series, is constructed maximally as a 'gesamtkunstwerk', presenting work over the past fifteen years, alongside a major new room-scaled sculptural installation developed especially for the exhibition. Curators: Max Delany, in collaboration with Devon Ackermann and Paul Yore Advisory note: This exhibition contains adult content of a sensitive nature. Viewer discretion is advised. Some parts of the exhibition also contain flashing lights and sound. Video produced by Gatherer Media

STANIAK in Ca'n Vivot

Michael Staniak: Wall art Michael Staniak's work, at first glance, lends itself to misunderstanding. The seemingly abstract compositions, dominated by vivid color gradients, seem to tell a story of the digital world, about the flat surface of the screen and the frivolity of our lives on social media. The work of the Australian artist (born in 1982 in Melbourne) is often identified with Post-Internet art, a term that was released in the early 2010s to identify the work of a group of young artists whose works denote a profound influence of the content they consume on the web. Although Staniak fits this label, both generationally and at the level his dominant aesthetic, as well as himself acknowledging the influence of this fleeting and controversial artistic movement, other deeper references cast a new light on his work. “I am part of the generation that went from primitive computers, with black screens covered in green text” says the artist, “to the hyper-digital world we live in today.” Discovering the possibilities of image editing programs like Photoshop transformed his perception of what could be created with a computer, despite the limitations of early graphical interfaces and primitive drawing programs like MS Paint. His attention, however, soon focused on color, specifically electric blue, which is established as the normative color to designate hyperlinks on a web dominated by texts and with very few images, due to bandwidth limitations. of telephone connections. His painting is thus characterized by the prominence of color, in monochromatic compositions or with subtle gradients of two or three tones. Although these expanses of color are not flat, as might be expected from an artist trained in front of the screen and who, by his own admission, identifies his compositions with the filters of image editing software, so characteristic of the work of other artists such as Cory Archangel or Artie Vierkant. In the practise of Michael Staniak, some enigmatic textures are imposed that prevent us from detaching ourselves from the materiality of the pieces and produce a visual effect that, being contradictory, is shockingly revealing. “I have created most of my work with the intention that there are two ways to see it: in person or on a screen. When people who attend the exhibition see the pieces, they assume that they are flat, and that the texture is an effect of the software used. However, when you see the same pieces on a website, they immediately look like paintings with a physical texture to which pigments have been applied.” Staniak finds in this reverse trompe l'oeil an example of how the consumption of content on the Internet has transformed our perception of images, which can be more illusory in real life than on a computer screen. This contradiction has also marked the way in which the artist has observed his own work from the point of view of digital culture, ignoring the influence of his surroundings and the cartographic aspect of his compositions. If we consider these paintings as aerial views instead of screens, the textures that emerge from them take on new meaning that brings us closer to the notion of landscape. The shape of the sculpture itself is significant, since it is a 3D scan of a cave wall. Staniak says he is fascinated by cave paintings and how they constitute a first way of recording mankind’s own existence and belonging to a community, something that links our online presence and our digital selves on social networks. With this huge time jump we come to the disconcerting presence of Michael Staniak's work in the patio of Ca'n Vivot, a sober, cavernous and stately space transformed by brightly colored pieces giving it an illusory appearance. In this particular context, the paintings and sculptures acquire a renewed force by escaping from the white cube and impose their presence in a stylized urban cave that they occupy just like parietal art of the Internet age. "For me, the Internet is more of a mirror than a window," says the artist, "what we see is a reflection of our interests and our personality, a mental mirror." With its reflection multiplied by the mirrors on the pedestals and the wall sections that house the works, the courtyard of Ca'n Vivot, which once served as an interface between public and private life, is once again transformed into a meeting point between two realities. Pau Waelder filmed this in Ca'n Vivot, Palma, Spain. March 2022

Esther Stewart at Heide Museum of Modern Art

Yuichi Hirako • New Home

“How we interact with nature and how we think about it is very different from a hundred years ago. It will be different a hundred years from now and that’s natural, so I make work considering the changes that will come. I've been working on this subject for a long time.” — Yuichi Hirako Gallery Baton is pleased to announce 《 New Home 》 , a solo exhibition of Yuichi Hirako, from 5th June to 13th July 2024 in the Hannam-dong space, Seoul. Hirako deals with the coexistence and interdependent relationship between nature and humans through his original style of depiction, in which metaphors and symbols stand out. In this second solo exhibition with Gallery Baton, Hirako manifests his interests and particular subjects in richer expression by organically combining painting with sculpture or installation and selectively applying traits of diverse media.

Cornelia Baltes - EIGEN + ART Lab

At EIGEN + ART Lab, Berlin

Bendik Giske - CTM festival - Berlin 2019

Bendik Giske is a queer artist and saxophonist who utilises physicality, vulnerability, and endurance to solder together jazz and club music with mesmerising performance. Giske takes the building blocks of electronic music and plays it live – without layering or looping – to the best of his ability, allowing human vulnerabilities to emerge. Bendik Giske live at HAU1 in Berlin during CTM festival 2019 - Persistence. Composed and performed by Bendik Giske Performance by LEGZ aka. Julian Fricker Costume by Sasa Kovacevic and Jochen Kronier

JOANA VASCONCELOS STUDIO TOUR

Join Joana Vasconcelos on a virtual walk through her Lisbon studio, where she explores processes and inspirations behind her detailed work. In the context of with "Beyond", Yorkshire Sculpture Park’s exhibition in the underground gallery and open air, this is a rare opportunity to go behind the scenes and have an insight into Vasconcelos’ practice of creating her vibrant, often monumental sculpture, using fabric, needlework and crochet alongside everyday objects from saucepans to wheel hubs or whisky glasses. This video was created for Yorkshire Sculpture Park Directed by Luís Monge | Camera by Telmo Domingues | Sound by Jorge Cabanelas

Venera Kazarova exibition / Выставка Венеры Казаровой

Video for the exhibition of artist and costume designer Venera Kazarova in the Grand Khodynka gallery Costumes and concept Venus Kazarova Directed by Yura Boguslavsky Director of photography Svetlana Makarova Camera assistant Pavel Ukhanov Animators Maria Aligozhina, Polina Campioni, Lyuba Zhukova, Sasha Sharapov, Galya Astapova Models Liza Saksina, Diana Mukhamedshina, Anastasia Makarova, Anastasia Shelepova, Pavel Ukhanov, Anastasia Mukhametzyanova, Evgenia Shelepova Color correction, compositing Ilya Yudovich Sound, Music Sasha Chirkov, Ilya Kruchinin