The exhibition, Handmade Acoustics—curated by Joanna Zielinska and on view at the Ujazdowski Castle Centre for Contemporary Art, Warsaw—condenses all the aspects of Tori Wrånes’ transdisciplinary practice, which interposes music, visual tropes, and performative arts.
Starting from its title, Kirchgängerbanger, Slavs and Tatars’ exhibition at ar/ge kunst in Bolzano is inspired by Johann Georg Hamann, a German philosopher and prominent figure of the Counter-Enlightenment, known for his cryptic use of language, irony, wit, and juxtaposition of the vernacular with faith.
With Dependencies, on show at WIELS, Brussels, Hana Miletić presents a new series of works that deal with the act of weaving. In conversation with Vincent van Velsen, the artist, who has a background in photography, opens up about the implications of weaving—a craft that allows her to connect with her childhood in former Yugoslavia —as an act of care, repair and collaboration, a lengthy process that also allows her to reflect on issues of representation and social reproduction, while giving insights about her use of photography and the linkages between photography and weaving.
Ghost Stories of the British Museum, a project by Noah Angell and Francis Gooding—initiated in 2016, first exhibited at Rib in Rotterdam—documents the rich internal folklore of haunted spaces, unquiet objects, and inexplicable occurrences that has long circulated privately among the British Museum’s former and current employees.
In Yinchuan, the urgency was to tackle the idea of the environment, a theater of the wind. Together with the curatorial team, we decided to focus our attention on the eastern border of China, given that the history of this extensive territory originated here and that futuristic, megalomaniac plans, such as the One Belt One Road, are moving the barycenter back to this region.