Museum Ludwig Köln - HERE AND NOW at Museum Ludwig: Dynamic Spaces#MuseumLudwig #HEREANDNOW  #dynamicspacesFor the exhib...
HERE AND NOW at Museum Ludwig: Dynamic Spaces

Museum Ludwig Köln - HERE AND NOW at Museum Ludwig: Dynamic Spaces

#MuseumLudwig #HEREANDNOW #dynamicspaces

For the exhibition HERE AND NOW at Museum Ludwig: Dynamic Spaces, the Museum Ludwig is collaborating with the platform Contemporary And (C&). Founded by Julia Grosse and Yvette Mutumba, C& sees itself as “a dynamic space for issues and information on contemporary art from Africa and its Global Diaspora.” To this end, C& uses various formats: the hubs are the online art magazines Contemporary And and Contemporary And América Latina, featuring exhibition reviews, interviews, columns, and news from the international art world. New, digital artworks are also shown, and a printed magazine is published three times a year. The exhibition presents these activities and C&’s offline projects and connects them with other artistic positions.

The long-term project C& Center of Unfinished Business will be the focus of Dynamic Spaces. It is a participatory reading room that is expanded depending on the location. The core is always encounters and dialogues with the respective partner and their library. In addition to C&’s own collection, selected publications from the Kunst- und Museumsbibliothek Köln and the Berlin-based empowerment and education project Each One Teach One e. V. (EOTO) will be integrated. The publications that come out of these different approaches to collecting focus on cultural productions from Africa and the Global Diaspora. They question gaps in Western-centric art history and address aspects of the colonial past. The reading room installed at the Museum Ludwig invites visitors to read, share comments, and continue unfinished discussions.

In addition, video works by the artist groups The Nest Collective and CUSS with Vukani Ndebele, which were produced by C& for the online video platform, will be shown for the first time in a museum. Both groups work at the intersections of different social contexts and often deal with the urban environment in a humorous way. Their films take place in Nairobi and Durban and transform everyday scenarios into a chamber play and a horror movie, respectively. With Nkiruka Oparah and Frida Orupabo, the exhibition also features two artists whose practice is characterized by reflection on African Diaspora identity, the questioning of the representation of the self and others, the reappropriation of images, and the influence of visual cultures from the Internet. Orupabo’s pictures revolve around topics such as religion, motherhood, and the sexualization of the female Black body. She isolates and recombines everything from image fragments from archives to current pop culture. This results in works that reflect the viewer’s gaze and also make the underling projections visible. A video work and paper collages by Frida Orupabo will be shown. Reflecting on language, gender, and memory, Nkiruka Oparah’s art combines personal and cultural images to create drawings, video collages, and objects. For the exhibition, Oparah is presenting a video work on the fictional primeval spirit SUOON. The animated cosmos of the same name is part of the artist’s latest group of multimedia works, in which fluid Black identities that transcend one-sided and rigid labels are articulated.

Dynamic Spaces is the sixth edition of the ongoing project series HERE AND NOW at Museum Ludwig. For Yilmaz Dziewior, director of the Museum Ludwig, it exemplifies the format, which responds directly to current cultural and social discourses and is based on collaboration and the integration of various forms of artistic production.

The exhibition has received substantial support from the HERE AND NOW group of members of the Gesellschaft für Moderne Kunst am Museum Ludwig e.V. and the Storch Foundation. We would also like to thank the Royal Norwegian Embassy and the OCA (Office for Contemporary Art Norway) for their support.

Curator: Romina Duemler

HERE AND NOW at Museum Ludwig: Dynamic Spaces creates a dynamic space for issues and information on contemporary art from Africa and its Global Diaspora

Neuer Berliner Kunstverein (n.b.k.) presents Monika Baer: Neue Bilder / Natascha Sadr Haghighian: passing one loop into ...
Monika Baer: Neue Bilder / Natascha Sadr Haghighian: passing one loop into another

Neuer Berliner Kunstverein (n.b.k.) presents Monika Baer: Neue Bilder / Natascha Sadr Haghighian: passing one loop into another

#NeuerBerlinerKunstverein #MonikaBaer #NataschaSadrHaghighian

Monika Baer. Neue Bilder
Hannah Höch Prize 2020
June 12–August 2, 2020
Curator: Marius Babias

Monika Baer was awarded the Hannah Höch Prize 2020 by the State of Berlin for her outstanding artistic achievements. On the occasion of the award ceremony, Neuer Berliner Kunstverein (n.b.k.) will honor her complex artistic oeuvre with a solo exhibition. This first larger presentation of Baer’s work at an institution in Berlin offers insights into her most recent experimental approaches, begun last year in Los Angeles. With a new constellation of large-format paintings and small-format collages, Baer continues her investigation of art historical references as well as the new discursive spaces that painted images can produce.

In her work, often produced as series, Baer makes use of various painterly traditions and techniques, from monochrome and representational approaches to physical disruption to the surface of the canvas. During her studies in the 1980s, art was undergoing a period of repoliticization, in which art criticism questioned the autonomy of painting and its potential for innovation. Amidst this set of conflicts, Baer made the conscious decision to work within the medium of painting—with an interest in continuing the scrutiny of its underlying presumptions—which has remained one of her central artistic questions to this day.

Baer’s painting is guided by an understanding of the painting as a stage, and the pursuit of a choreography of seeing imbued with cultural history. Her latest works, presented at Neuer Berliner Kunstverein, continue her exploration of the pictorial space as a theater setting, which she began in 1995. Walls structure the foreground and background to place them in perspective, evoking stone parapets and borders, as found in Renaissance portrait painting. The protagonists are trees and tree stumps, which move diagonally against a magnificent colorful sky, tilting or shedding their bark. The repetition of compositional elements and angles of inclination indicate the artist’s concern, not with illusionary effects, but with the concrete object as an embodiment to be explored in its specific, metonymic form and as part of a performance.

Exhibition talks

Thursday, June 25, 2020, 7pm
Monika Baer and Tonio Kröner (Artist, Berlin)
In German

Thursday, July 9, 2020, 7pm
Monika Baer, Griselda Pollock (Art historian, University of Leeds), and Susanne Leeb (Art historian, professor for Contemporary Art, Leuphana University Lüneburg)
In English

Thursday, July 23, 2020, 7pm
Monika Baer and Kerstin Stakemeier (Professor for Art Education, Academy of Fine Arts Nuremberg)
In German

All events take place with a limited number of participants, please register online on

Accompanying the exhibition, upon Monika Baer’s initiative the first German-language edition of the essay “Modernity and the Spaces of Femininity” (1988) by Griselda Pollock, a pioneer of feminist art history and theory, will be published in the series n.b.k. Diskurs. In her examination of the artistic practice of women Impressionist painters, Pollock offers a brilliant analysis of class and gender relations since the end of the 19th century whose effects can be felt to this day. Moderne und die Räume der Weiblichkeit, the title of the German edition, will be published by Verlag der Buchhandlung Walther König in Cologne, in a revised and extensively commented version with a foreword by Klaus Lederer and Marius Babias and an introduction by Griselda Pollock.

n.b.k. Showroom
Natascha Sadr Haghighian. passing one loop into another
Hannah Höch Advancement Award 2020
June 12–July 31, 2020
Curator: Anna Lena Seiser

Natascha Sadr Haghighian develops installations, video and audio works, as well as performative interventions which reveal the infrastructures and conditions of our social order. Taking current and historical events as a point of departure, the artist addresses how our scope of action, structure of the gaze, and ultimately our thinking are formed. She shows the complex interdependencies and the mutual interpenetration of technology, politics, systems of value creation, and the biological, and calls into question our anthropocentric self-understanding.

In 2020 Sadr Haghighian was honored by the State of Berlin with the Hannah Höch Advancement Award for outstanding artistic achievements by mid-career artists. On the occasion of her award, the artist is presenting a series of works in the Showroom of Neuer Berliner Kunstverein (n.b.k.) in which diverse thematic strands are interwoven in the figure of an animal. The central installation, passing one loop into another (2017) focuses on the Asian tiger mosquito. Originating in the subtropical regions of Southeast Asia, the insect was discovered to be a carrier of pathogens and diseases such as the Zika virus. The tiger mosquito was first sighted in Italy in the early 1990s, a time marked by increasing global warming as well as the ratification of the General Agreement on Tariffs and Trade (GATT) on the deregulation of world trade. To protect themselves from the mosquito, the Italians developed a novel alliance with the native Pippistrellus, a microbat that feeds on insects. The installation shows a larger-than-life model of the tiger mosquito enthroned above a pallet loaded with industrial yarn reels. The yarn comes from the town of Prato, northwest of Florence, a center of the globalized textile industry. Above the insect, resound echolocation hunting calls by the nocturnal pipistrelli, lowered to frequencies audible to humans.

The title, passing one loop into another represents an instructional step for making string figures, a cultural technique used worldwide, in which a looped string is linked with the hands via several, algorithmically describable intermediate steps to form an image or geometric figure.

On the occasion of the exhibition at n.b.k., an extensive catalogue will be published by Verlag der Buchhandlung Walther König, Cologne.

Neuer Berliner Kunstverein (n.b.k.), Berlin opens Monika Baer and Natascha Sadr Haghighian exhibitions

Lunds konsthall presents Mercedes Azpilicueta, Donna Kukama, Hwayeon Nam, Alexandra Pirici: Performance/Documentation/Pr...
Mercedes Azpilicueta, Donna Kukama, Hwayeon Nam, Alexandra Pirici: Performance/Documentation/Presentation

Lunds konsthall presents Mercedes Azpilicueta, Donna Kukama, Hwayeon Nam, Alexandra Pirici: Performance/Documentation/Presentation

#LundsKonsthall #MercedesAzpilicueta #DonnaKukama #HwayeonNam #AlexandraPirici

The exhibition Performance/Documentation/Presentation looks at the display, documentation, and preservation of performance. Despite its relatively long tradition, performance is still at odds with the established practices and operational structures of museums and galleries. Exhibiting, documenting, and preserving performance is still a challenge for institutions originally conceived for handling objects. The distinctions between the actual live performance and its documentation—and the relationship between both of these and their audiences—have become ever more blurred and contested, because of the availability of technology and the economic forces driving the international art market. What constitutes the actual artwork and what is documentation of it or contextual material for it? Lunds konsthall has invited four contemporary artists, active on the international scene, to explore these questions together in the exhibition. The four artists have diverse approaches, but they all share the common intent to contest what is perceived and defined as performance, thus engaging with exhibition practices, venues, and audiences in new ways.

Mercedes Azpilicueta (born in La Plata in 1981) lives and works in the Netherlands. Azpilicueta constructs multi-layered installations incorporating performance, sound, video, drawing, textiles and recently also sculptural elements that act as props and costumes for her performances. She explores the structures and norms that underpin society and their effect on how we use our voices and bodies. Her works merge references to history, art history, literature, popular culture, and local traditions, forming new and complex narratives told from a feminist perspective through a combination of real and fictional characters.

Donna Kukama (born in Mahikeng in 1981) lives and works in Johannesburg and Berlin. Her interdisciplinary practice engages performance art as a tool for creative research, with the specific intention of questioning how histories are narrated and how value systems are constructed. Shifting between performance, video, text, sound, and multimedia installations, her practice takes on experimental form and applies deliberately undisciplined methods. For Kukama, performance becomes a strategy for inserting ‘undocumented’ voices and presences into history.

Hwayeon Nam (born in Gwangju in 1979) is based in Seoul and works with choreography and performance based on her exploration of archival material. During recent years she has been conducting extensive research of the archive material pertaining to Seunghee Choi (1911–69), a pioneer of modern Korean dance. Choi was born the year after the Japanese annexation of Korea, and her life was to be marked by colonial occupations, colliding ideologies, and war. Nam installations combine archive material about Choi with the artist's own work inspired by the Korean dancer.

Alexandra Pirici (born in Bucharest in 1982) lives and works in Bucharest. She works across disciplines but always refers back to dance and performance as a means of exploring history, politics, and the manifestation of power in society through movement and body language. Her complex and physically demanding large-scale performances can occupy galleries or public spaces, confronting visitors and passers-by with the familiar and the unexpected at the same time. Central to Pirici’s practice is her questioning of the function of performance within public space.

Mercedes Azpilicueta and Alexandra Pirici’s works will be performed live at Lunds konsthall.

With the support of the Ministry of Culture, Sports & Tourism of Korea, Korea Arts Management Service, and the grant program Fund for Korean Art Abroad; and the support of the Public Art Agency Sweden.

Lunds konsthall's Performance/Documentation/Presentation looks at the display, documentation, and preservation of performance

"The next trillion-dollar enterprise won’t be about connecting, but keeping one’s distance. While social media allows us...
Automatic Privacy

"The next trillion-dollar enterprise won’t be about connecting, but keeping one’s distance. While social media allows us to get in contact wherever we are without any effort, this endeavor allows us to be by ourselves wherever we are without any effort."

—Ingo Niermann - "Automatic Privacy" e-flux Architecture "Housing" June 2020.

Read here:

#IngoNiermann #efluxArchitecture #Housing

We will never again shout, sneeze, or cough unmasked without provoking anger and fear. We will never again hug each other without the thrill of shared danger. We will never again approach a street corner without awaiting potential murder. Even when the Sars-CoV-2 pandemic is over, we will never forg...

Art & Education - New site now online#ArtandEducation We are excited to announce the new—a fresh and...
New site now online

Art & Education - New site now online


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