NOWs: Persona grata

16 October 2018 - 20 January 2019 / Nows

Persona grata

Group exhibition with Dan Stockholm, Anri Sala et. al

Musée national de l’histoire de l’immigration
293, avenue Daumesnil
75012 Paris

16 October 2018 – 20 January 2019
Co-curated by Anne-Laure Flacelière, MAC VAL collection Study and Development Officer and Isabelle Renard, Collections and Exhibitions Director at the Musée national de l’histoire de l’immigration

With works by Bertille Bak, Dominique Blais, Alina Bliumis, Jeff Bliumis, Halida Boughriet, Kyungwoo Chun, Philippe Cognée, Pascale Consigny, Hamid Debarrah, Latifa Echakhch, Eléonore False, Claire Fontaine, Laura Henno, Pierre Huyghe, Bertrand Lamarche, Xie Lei, Lahouari Mohammed Bakir, Moataz Nasr, Eva Nielsen, Gina Pane, Laure Prouvost, Enrique Ramirez, Judit Reigl, Anri Sala, Sarkis, Zineb Sedira, Bruno Serralongue, Chiharu Shiota, Société Réaliste, Dan Stockholm, Barthélémy Toguo…

MAC VAL – Musée d’art contemporain du Val-de-Marne
Place de la Libération
94400 Vitry-sur-Seine

16 October 2018 – 24 February 2019
Curated by Ingrid Jurzak, MAC VAL Collection Study and Management Officer

With works by Eduardo Arroyo, Kader Attia, Marcos Avila Forero, Laëtitia Badaut Haussmann, Bertille Bak, Richard Baquié, Taysir Batniji, Ben, Bruno Boudjelal, David Brognon & Stéphanie Rollin, Mark Brusse, Pierre Buraglio, Mircea Cantor, Étienne Chambaud, Kyungwoo Chun, Clément Cogitore, Philippe Cognée, Delphine Coindet, Matali Crasset, Julien Discrit, Thierry Fontaine, Jochen Gerz, Ghazel, Marie-Ange Guilleminot, Mona Hatoum, Eric Hattan, Laura Henno, Pierre Huyghe, Emily Jacir, Yeondoo Jung, Bouchra Khalili, Kimsooja, Claude Lévêque, M/M, Lahouari Mohammed Bakir, Jean-Christophe Norman, Lucy Orta, Bernard Pagès, Philippe Parreno, Yan Pei-Ming, Cécile Paris, Mathieu Pernot, Jacqueline Salmon, Bruno Serralongue, Esther Shalev-Gerz, Société Réaliste, Djamel Tatah, Barthélémy Toguo, Patrick Tosani, Sabine Weiss…

Welcome ! Festival
6 October – 11 November 2018
Programming: Stéphane Malfettes

The Musée national de l’histoire de l’immigration and the MAC VAL – Musée d’art contemporain du Val-de-Marne are collaborating to present a project questioning the notion of hospitality through the prism of contemporary creation.

Together, the two institutions- a social museum that value contemporary creation and a contemporary art museum that tackles social issues- are happy to present Persona grata, an exhibition organized over the two locations with a rich cultural programming: an occasion for artists to explore all the dimensions of what constitutes or corrodes the notions of hospitality and alterity through their own vision and sensitivity.

The acceleration of migratory flows and the growing place these issues occupy in the public debate increasingly question the foundations of our societies. On one hand, camps and walls mushroom and confirm the irreversible setback of our hospitality duty, while on the other, citizen involvement grows to help, support and welcome migrants. Is the answer of today’s harsh society to bring emergency assistance rather than implement long-term and effective hospitality policies?

In this context and from the collections of both museums, this artistic partnership aims at highlighting a contemporary creation that reflects today’s world as well as tackling these issues from the point of view of the many artists who have explored the theme of hospitality over the last years.

The exhibition will provide a platform for artists to share their analyses, critics and feelings toward national fold, behaviors of rejection and revolt. These artistic testimonies will help us think these questions through and look at ourselves yet without any moralistic judgment. Through this unique and engaged partnership project, the Musée national de l’histoire de l’immigration and the MAC VAL look to raise awareness, foster reflection and debate, and call our certitudes into question. Although central, the issues related to migratory flows do not cross out other neglected –and little known- forms of hospitality toward helpless and weakened populations. The exhibition will bring forth proposals around community life, care for others, the necessity of nursing homes, public health-care and hospitality centers held in a spirit of attentiveness, kindness and sharing we should rehabilitate.

Under the eyes of philosophers Fabienne Brugère and Guillaume Le Blanc, authors of La fin de l’hospitalité, this two-fold exhibition will be complemented by a cultural programming: Welcome! at the Musée national de l’histoire de l’immigration (6 October-11 November 2018) and Attention fragile at the MAC VAL (30 November, 1 and 2 December 2018).

NOWs: any other where by Nina Schuiki

27 October - 02 December 2018 / Nows ⟶

Nina Schuiki, I still see you in everything, 2018. teardrop, glass object, air sealed (slide projection) any other wheresolo show Kunstverein Wilhelmshöhe curated by Julia Katharina Thiemann opening: 26 October 2018, 7pm In any other where, Nina Schuiki (born 1983, Graz) presents site-conditioned works that use ephemeral gestures to rediscover the environment and spaces of the Kunstverein Wilhelmshöhe. Space is inseparable from the dimensions of temporality inscribed in it, and Schuiki’s interventions find form to these relations, bringing viewers to question acts of visualisation and the subtle gesture of poetic displacement. The exhibition will be accompanied by a new publication documenting the installation, featuring an introduction by exhibition curator Julia Katharina Thiemann and foreword written by Mona Leidig, leading chairperson of Kunstverein Wilhelmshöhe. Both any other where and the exhibition publication have been realized with the kind support of Stadtwerke Ettlingen GmbH, Freundeskreis Kunstverein Wilhelmshöhe and the Austrian Cultural Forum Berlin. Kunstverein Wilhelmshöhe e.V. Schöllbronner Straße 87 76275 Ettlingen Opening hours: Wed-Sat 3 – 6pm, Sun 11am – 6pm Nina Schuiki, I still see you in everything, 2018. teardrop, glass object, air sealed (slide projection) any other wheresolo show Kunstverein Wilhelmshöhe curated by Julia Katharina Thiemann opening: 26 October 2018, 7pm In any other where, Nina Schuiki (born 1983, Graz) presents site-conditioned works that use ephemeral gestures to rediscover the environment and spaces of the Kunstverein Wilhelmshöhe. Space is inseparable from the dimensions of temporality inscribed in it, and Schuiki’s interventions find form to these relations, bringing viewers to question acts of visualisation and the subtle gesture of poetic displacement. The exhibition will be accompanied by a new publication documenting the installation, featuring an introduction by exhibition curator Julia Katharina Thiemann and foreword written by Mona Leidig, leading chairperson of Kunstverein Wilhelmshöhe. Both any other where and the exhibition publication have been realized with the kind support of Stadtwerke Ettlingen GmbH, Freundeskreis Kunstverein Wilhelmshöhe and the Austrian Cultural Forum Berlin. Kunstverein Wilhelmshöhe e.V. Schöllbronner Straße 87 76275 Ettlingen Opening hours: Wed-Sat 3 – 6pm, Sun 11am – 6pm

NOWs: Svetlana Maraš and Robert Lippok at arkaoda Berlin

12 October 2018 / Nows ⟶

Svetlana Maraš and Robert Lippok at arkaoda Berlinlive concert arkaoda Berlin Karl-Marx Platz 16 12043 Berlin Doors: 8 pm Svetlana Maraš: 9 pm Robert Lippok: 10 pm presented by arkaoda and Palais Wittgenstein supported by Musicboard Berlin This will be a very special night, Svetlana Maraš will share the stage with Robert Lippok. Maraš will present brand new material, premiered in September @ ARS ELECTRONICA. Svetlana Maraš (1985) is a composer and sound artist from Serbia. She works at the intersection of experimental music and sound art. Maraš’ work is highly experimental and as such, rejects definite classification. She composes for ensembles, makes works for radio, creates interactive sound and media installations and performs live electronic music. Her works have been presented internationally, at venues and festivals such as CTM (Berlin), Espace Multimedia Gantner (Bourogne), International Music Institute (Darmstadt), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), A38 (Budapest), Ausland (Berlin), ORF Kunstradio-Radiokunst, Radio Belgrade, RTE Nova, ICMC (New York), UCSD (San Diego), ISEA (Dubai), Orpheus Institute (Ghent) among many other places. Maraš is a head of Radio Belgrade’s Electronic Studio. ————————————————— The great Robert Lippok (raster) returns with his first solo album in seven years, Applied Autonomy for Olaf Bender’s Raster. A survey of what he’s been up to, as much as a statement of intent for here and now, Applied Autonomy reprises the fine balance of tuff-edged minimalism, spatial illusion and melodic delicacy that emerged with Redsuperstructure [2011], but ratcheting its effect with a renewed vigour for a frankly epic impact. As the title makes explicit, Robert’s 3rd solo album is concerned with autonomy, which feels like an apt subject for the age of automation, when humans are increasingly negotiating their role in context of the machine and AI, and vice-versa. The systems Robert set up for Redsuperstructure now come into deeper relief, as he applies a greater understanding of their workings in order to eke out, sculpt their possibilities in his own image. Much of the material came from improvisation and sketches made in preparation for his live shows. This quickfire process amassed a range of material which was then more considerately cut to shapes and layerd not applied Autonomy, which ranges from almost Rian Treanor-esque stutter drums mixed with dense yet wide atmospheres in his title track, and twisted across the album, from frenetic acid dancehall mutations in Varieties of Impact, to the meter-messing trance of Scene 3 which sounds like something Vladimir Ivkovic might play, and thru to the necessary, hoped for dose of emotive lushness with brimming optimism of All Objects Are Moving. But he really saves some of the best for last in Samtal, a 14 minute piece recorded in duo – but not together – with Klara Lewis at EMS Stockholm, where we effectively hear two autonomous minds at work, making for a smart contrast with the singularity of the preceding tracks. Svetlana Maraš and Robert Lippok at arkaoda Berlinlive concert arkaoda Berlin Karl-Marx Platz 16 12043 Berlin Doors: 8 pm Svetlana Maraš: 9 pm Robert Lippok: 10 pm presented by arkaoda and Palais Wittgenstein supported by Musicboard Berlin This will be a very special night, Svetlana Maraš will share the stage with Robert Lippok. Maraš will present brand new material, premiered in September @ ARS ELECTRONICA. Svetlana Maraš (1985) is a composer and sound artist from Serbia. She works at the intersection of experimental music and sound art. Maraš’ work is highly experimental and as such, rejects definite classification. She composes for ensembles, makes works for radio, creates interactive sound and media installations and performs live electronic music. Her works have been presented internationally, at venues and festivals such as CTM (Berlin), Espace Multimedia Gantner (Bourogne), International Music Institute (Darmstadt), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), A38 (Budapest), Ausland (Berlin), ORF Kunstradio-Radiokunst, Radio Belgrade, RTE Nova, ICMC (New York), UCSD (San Diego), ISEA (Dubai), Orpheus Institute (Ghent) among many other places. Maraš is a head of Radio Belgrade’s Electronic Studio. ————————————————— The great Robert Lippok (raster) returns with his first solo album in seven years, Applied Autonomy for Olaf Bender’s Raster. A survey of what he’s been up to, as much as a statement of intent for here and now, Applied Autonomy reprises the fine balance of tuff-edged minimalism, spatial illusion and melodic delicacy that emerged with Redsuperstructure [2011], but ratcheting its effect with a renewed vigour for a frankly epic impact. As the title makes explicit, Robert’s 3rd solo album is concerned with autonomy, which feels like an apt subject for the age of automation, when humans are increasingly negotiating their role in context of the machine and AI, and vice-versa. The systems Robert set up for Redsuperstructure now come into deeper relief, as he applies a greater understanding of their workings in order to eke out, sculpt their possibilities in his own image. Much of the material came from improvisation and sketches made in preparation for his live shows. This quickfire process amassed a range of material which was then more considerately cut to shapes and layerd not applied Autonomy, which ranges from almost Rian Treanor-esque stutter drums mixed with dense yet wide atmospheres in his title track, and twisted across the album, from frenetic acid dancehall mutations in Varieties of Impact, to the meter-messing trance of Scene 3 which sounds like something Vladimir Ivkovic might play, and thru to the necessary, hoped for dose of emotive lushness with brimming optimism of All Objects Are Moving. But he really saves some of the best for last in Samtal, a 14 minute piece recorded in duo – but not together – with Klara Lewis at EMS Stockholm, where we effectively hear two autonomous minds at work, making for a smart contrast with the singularity of the preceding tracks.

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NOWs: Persona grata

Persona grata

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