“Odyssey in Italy” is the title of T-yong Chung’s second solo exhibition at Otto Zoo gallery. Chung is a South Korean artist who has been living in Italy for several years. The new installation draws inspiration from the journey, real and symbolic, that the artist has taken throughout Italy in the past few years. He visited different places, lived in different cities and approached Italy’s huge cultural tradition. His artistic research is attracted to the iconography and the modern merchandising of the immense Italian Heritage.

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“Constructed culture sounds like conculture” explores the practice of five international artists, their individual approaches to storytelling, formally and conceptually and how the artworks they produce suggest a narratative world with its own set of rules, a constructed environment. When using the term “constructed”, one is prompted to think of a conculture or fictional culture. Constructed Culture is not synonymous with what social anthropologists define as a cultural construction; a shared understanding of some aspect of the world that exists because the people of a specific culture acknowledge and understand that thing to exist. Constructed culture sounds like conculture examines the work of five practices using various techniques to illustrate their individual, constructed worlds, which emerge out of their subjective and uncondensed experience. These experiences range from political investigations into a cultural dream, formal breakdowns of architectural elements, romantic journeys into the tropical and wild, to interests in social codes and re-writing the codes of a rollercoaster landscape.

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After six years at Kurfürstenstraße 156, Tanya Leighton is pleased to announce the gallery’s expansion into a newly renovated, 130 m space opposite the existing gallery. Inaugurating Kurfürstenstraße 24/25 is a solo exhibition by Dan Rees titled “Stimulate Surprise”, which spans both the new and existing galleries.

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Focal Point Gallery is pleased to present Paul Johnson’s exhibition “The Sunless Sea”, a series of new work by the British artist, presented in FPG’s main gallery, window space and display cabinets. Inspired by south Essex’s history of attracting utopian thinkers and the artist’s continued interest in the failed historic attempts to fulfill such visionary ideas, Johnson presents an ostensibly ritualistic series of sculptures and wall works, seemingly shaped by their processes and history.

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The gallery is glad to present “Pull Over Time”, a personal exhibition by Michel Blazy. Coinciding with the publication of a monographic reference catalogue produced by the frac Île-de- France and published by Manuella Editions retracing more than 20 years of creation, the exhibition proposes to re-enact the most emblematic pieces of Michel Blazy’s artistic career while putting emphasis on his new work.

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Esther Schipper is pleased to present AA Bronson’s “White Flag”, the artist’s second solo exhibition with the gallery. On September 11, 2001, AA Bronson was caught in Toronto when his flight home to New York was canceled. He watched in real time on television, as two airplanes punctured the twin towers of the World Trade Center, and then as the towers collapsed. It was seven days before he could rejoin his husband in lower Manhattan. What he found there is inscribed indelibly on his brain: a thick chalky dust of glass, concrete, paper, asbestos and human flesh that covered everything; and American flags, everywhere.

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Rod Barton is delighted to present “Dubious Desire for Cleanliness”, the first solo exhibition in the UK by Berlin based artist Camilla Steinum. Featuring a selection of Steinum’s latest floor-based sculptural works, “Dubious Desire for Cleanliness” challenges the viewer to address ideas around what it is to call something an art object and what exactly can be considered the material content of art.

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“Patterns for (Re)cognition” is the largest exhibition to date, and the first exhibition in Switzerland, by the Belgian artist Vincent Meessen, who will represent Belgium at the upcoming Venice Biennale. Meessen’s often collaborative and rigorously research-based practice includes investigations into gaps in the writing of history, particularly colonial histories. At Kunsthalle Basel, the artist presents several new modular sculptures; a series of 16-millimeter films based on found film fragments; a new sound piece; borrowed early-19th-century ritual objects originating from the Kuba Kingdom; and a series of folded paper works. All of these serve as a visual and conceptual backdrop for a selection of 1930s paintings by the little-known Congolese painter Thela Tendu.

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