KP Brehmer, Nicolas Ceccaldi, Gaylen Gerber, Suzy Lake, Ludmila Seefried-Matejkova. Curated by Will Benedict.

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As most exhibitions do, this one starts with a story. At first glance, it’s easy to think that Vern Blosum’s exhibition at Kunsthalle Bern, curated by Lionel Bouvier, is not an uncommon one. In the archaeological dig of the past it seems for each new young artist, there’s a rediscovered counterpart; the resurrection of figure forgotten by history, who for all intensive purposes may be forgotten just as quickly again. When you read a bit deeper, Blosum’s story comes with its fair share of intrigue, deception, and subversion—a young artist decides to play the game of the then-nascent movement of pop art and finds brief success. Leo Castelli sells the work, not knowing Blosum’s true identity. After mounting skepticism, Alfred H. Barr (a figure, who like most in art history, seem so foreign to our current landscape that they are almost a fiction themselves) begins a quasi-witch hunt, which led him to eventually find that there was no birth record in Blosum’s “birth state” of Colorado. The discovery of his lack of identity led to the physical (and perhaps equally ideological) removal of his painting from the Museum of Modern Art in New York.

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For more than twenty years Liam Gillick (born 1964, U. K.) has been questioning the exhibition as phenomenon and isolated possible markers that could define it.

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Vision has always been unreliable. True or false, could a photograph or a painting ever show us more than the outward appearance of things? But today visual form seems particularly vexed.

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Michael Werner Gallery, London, is pleased to present an exhibition of new paintings by Los Angeles-based artist Aaron Curry. This is the artist’s first exhibition devoted to paintings, representing a new direction in his work.

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Galleria Zero presents “Till youth and genial years are flown”, a project by Gloria de Risi.

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“Last year, large quantities of silver and gold were detected in the Mediterranean Sea by a group of scientists. The particles were discharged from an underwater volcano named Kolumbo. Silver has been used for thousands of years for tools and ornament, for trade, and for monetary systems. Photography consumed more than 30% of the silver produced in 1998, though its use has declined more recently due to the emergence of digital technology and home printing devices.

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Museo Marino Marini presents “30/60, works from the collection of the FRAC Champagne-Ardenne”.

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Jonathan Viner is pleased to present “You can cry all you want, but it ain’t changing shit”, an exhibition of new works by Elias Hansen.

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Esther Schipper is pleased to announce an exhibition of Ceal Floyer and Karin Sander entitled “Paper Work” that focuses on the artists’ drawing practice.

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Parasol unit foundation for contemporary art is delighted to present the work of artist Jimmie Durham in a solo exhibition from 12 June to 9 August 2014.

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As part of the report for the conference organized by ZKM and ifa of Germany, “Biennials: Prospect and Perspectives, Biennials in dialogue 5 ZKM, Karlsruhe 27.2. – 1.3.2014″* Adnan Yildiz interviewed Juan Gaitan through the main points that came through the sessions and presentains in Karlsruhe -aiming to develop an open end structure instead of a conclusion. With the occasion of the 8th berlin Biennial, the discussion promises new directions in the vocabulary of the biennial worlds.

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Eileen Quinlan and Cheyney Thompson “A Moveable Feast – Part XI” at Campoli Presti, Paris

Campoli Presti is pleased to announce “A Moveable Feast – Part XI” with a presentation of works by Eileen Quinlan and Cheyney Thompson. This is their second collaborative exhibition at the gallery since Smoke & Mirrors, presented in Paris in 2005.

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“Douglas Coupland: everywhere is anywhere is anything is everything” is the first major survey exhibition of the artist’s work and will be presented at the Vancouver Art Gallery from May 31 to September 1, 2014.

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Scott Myles “Mummies” at The Modern Institute, Glasgow

The word “mummies” evokes not only those to whom every human being owes their life, but also, inevitably, the bodies famously preserved in Ancient Egyptian burial chambers.

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WhenFoucault enters the amphitheater, brisk and dynamic like someone who plunges intot he water, he steps over bodies to reach his chair, pushes away the cassette recorders so he can put down his papers, removes his jacket, lights a lamp and sets off at full speed.

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In these first years of activity in the gallery references to our own territory have been continously and intensely partnered with European and international works. We have created dialogues on contemporary art (with artists, art critics and curators, collectors and organizers) with that unique and bewitching laboratory of life that is Sicily; an everyday life which is bursting with values, but also has its endemic weaknesses.

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