Deadness comprises two parts: Deadness: a multiple 35mm projection slide show–part lecture, part narrative soundtrack a series of new photographic works and the film The Last Walk (2011). Deadness is derived from Baseman’s creative non-fiction and interview-based practice, exploring the historical, cultural and sociological relationship between photographic portraiture and embalming, a theme investigated by Dr John Troyer, sociologist and Deputy Director of the Centre for Death and Society at the University of Bath.
Susan Hiller’s recent Matt’s Gallery exhibition Channels tours to CAC Synagogue Delme, France.
Susan Hiller, Homelands, British Council Touring Exhibition: Dr. Bhau Daji Lad Museum, Mumbai, until June 9
Homelands, curated by Latika Gupta, grapples with the relationship between self and place in a world of transitory identities and contested geographies. Including more than 80 works by 28 leading modern and contemporary artists, Homelands excavates the idea of a ‘homeland’ to reveal a rich plurality of meaning; ideas of belonging, alienation, history and memory. The exhibition includes Susan Hiller’s The Last Silent Movie, shown at Matt’s Gallery in 2008, as well as work by Jimmie Durham, Graham Gussin and Rachel Lowe. The Last Silent Movie is also included in the exhibition The Future’s Not What It Used to Be at Newlyn Art Gallery, until 27 April 2013, and The Exchange until 13 April 2013.
This exhibition, curated by Brian Dillon in association with Cabinet magazine, takes its inspiration from the cabinets of curiosity that flourished in Europe in the seventeenth century. Including work by both Susan Hiller and Jimmie Durham, it is an exploration of the ambiguous history and present meaning of wonder, attention and the urge to know.
Lindsay Seers’ ciritically acclaimed work Nowhere Less Now is restaged at Museum of Old and New Art, Tasmania, as part of the exhibition The Red Queen.
Lindsay Seers’ new work One of Many is part of the 2013 edition of the Toulouse International Art Festival, one of the first festivals in France dedicated to contemporary visual and performing arts.
Folk Devil, an exhibition curated by David Zwirner’s Associate Director Rodolphe von Hofmannsthal, presents a comment on the tendency to create artificial connections between a group of individuals, while it also contains a self-referential statement on the yearly summer shows held at many art galleries under various umbrella themes. Artists include Lynn Chadwick, Spartacus Chetwynd, Marlene Dumas, Nikolas Gambaroff, Brian Griffiths, Roger Hiorns, Ryan McGinley, Oscar Murillo, Mike Nelson, Eddie Peake, Jason Rhoades, Steven Shearer, Oscar Tuazon, Sophie von Hellermann, Franz West, and Lynette Yiadom-Boakye.
Curated by Karen Downey, Northern Ireland: 30 Years of Photography brings together significant works by key photographers to examine the phenomenon of new photographic practices in Northern Ireland. This group exhibition includes Willie Doherty’s At the Border I-IV.
First shown to critical acclaim at dOCUMENTA 13, Secretion draws on the possibilities of lost and forgotten narratives located somewhere between recent history and a near future.
Between the Late and the Early is a themed aspect within the RSA Annual Exhibition celebrating artists whose work inhabits the gap between perceived and imagined realities.
Graham Fagen’s The Making of Us will be screened as part of the Edinburgh International Film Festival 2013. Co-created with theatre director Graham Eatough, the film blurs the boundaries between theatre, art and cinema.
This collection display will reflect the current priorities of the M HKA collection and discusses the nature of images today, to articulate the importance of the performative and the socially-engaged in contemporary art. The exhibition includes Imogen Stidworthy’s video installation I hate, 2007.
This group exhibition on the politics and poetics of the voice includes Imogen Stidworthy’s video work Sacha (2011) alongside works by other artists including John Baldessari, Samuel Beckett and Anri Sala.
This exhibition addresses various manifestations of emotions and how they change in the historical contexts of different works of art. To explore the issue, about 50 contemporary artworks from the Fondazione Sandretto Re Rebaudengo in Turin–including Nathaniel Mellors’ Hippy Dialectics–are placed in dialogue with an almost equal number of works from the different collections of the Vienna Kunsthistorisches Museum.
This exhibition will include the Ourhouse series, The Saprophage and photographic works.
Nathaniel Mellors presents Ourhouse, the series so far in this year’s Galway Arts Festival.
This group exhibition curated by Rebecca Lennon includes new work by Benedict Drew.
The 2013 exhibition celebrates the centenary of Benjamin Britten, co-founder of the Aldeburgh Festival. Contemporary artists from previous exhibitions have been invited to produce and contribute new works that are related to or inspired by Britten’s legacy; and artists that have not previously shown at SNAP are also included in this year’s show. Works will be shown throughout the festival’s home, colonising both the derelict and developed, indoor and outdoor spaces at Snape Maltings.
Group show curated by Dane Sutherland featuring Beagles & Ramsay, Ash Reid, Benedict Drew, Head Gallery, Michelle Hannah, Robin Mackay and Plastique Fantastique.
This exhibition includes existing works and Alison Turnbull’s new film Algunas Mariposas del Ecuador (2012).
Jo Bruton, Chapter, Austin Forum, 21 June – 4 July 2013
Chapter is the inaugural exhibition at the the Austin Forum and will feature work by established and emerging artists in a variety of practices with an emphasis on creative ways of responding to the Austin Forum space.
This exhibition conceived of by Roy Voss and John Lawrence features new works including sculptural installations and gallery texts influenced by Andor’s invitation and the architecture of the gallery spaces.
David Osbaldeston, LIVING MATTER: What’s Been Before, Remains to be Seen, Onomatopee, Eindhoven, until 7 July 2013
A new installation by David Osbaldeston takes established modes of artistic practice as its point of departure. With subtle humour, the legacies of conceptualism, word games, repetition and image recognition are toyed with in a bid to highlight ways in which inherited forms of communication become re-authored.
David Osbaldeston, // Life’s an Illusion Love is a Dream //, The Royal Standard, Liverpool, 13 July – 27 July 2013
A group show featuring Roderick Maclachlan, David Osbaldeston and Kaye Donachie curated by Frances Disley. The exhibition investigates what constitutes the epic within a work of art, exploring the impact of the viewer’s lofty expectations of the artist and the artist’s desire to accomplish something that extends beyond the usual, going some way to achieving a sense of the epic, colossal, magnificent and heroic within art.
David Osbaldeston, Two Way Mirror (after Dan Graham), Wysing Arts Centre, Cambridge
David Osbaldeston has made a new work as part of Wysing Arts Centre’s current residency Convention T, which has now been permanently installed. Like a piece of irreverent graffiti, the work uses the same handwritten words in two different configurations either side of a pane of glass to prompt different states of looking or seeing. As the work changes according to day or night, the viewer’s own reflection is implicated within this scenario inviting them to consider the divide between language and its visual representation.
A group exhibition of sculpture, installation and video, featuring the UK premier of Jennet Thomas’s new installation I AM YOUR ERROR MESSAGE. By turns absurd, amusing and unsettling, the video suggests malfunction and misinformation in Thomas’s anarchistic and bleakly humorous style.
Brian Catling will be making a new performance as part of a festival marking the centenary of Freud’s ‘Totem and Taboo’.
An exhibition curated by Matt Packer exploring the relationship between the human body and the redistribution of environmental relationships as a measure of cultivated life through a range of artistic approaches and responses to the region surrounding Treignac.
Jimmie Durham, The Encyclopedic Palace, Giardini & Arsenale, Venice Biennale, 1 June – 24 November 2013
Jimmie Durham is among the over 150 artists from 37 countries in an exhibition with works spanning the past century alongside several new commissions. The exhibition draws upon the model of a utopian dream conceived by Marino Auriti who filed a design with the U.S. Patent office in 1955 depicting his Palazzo Enciclopedico (The Encyclopedic Palace): an imaginary museum meant to house all worldly knowledge. Though it never became a reality, Auriti’s plan demonstrates the reoccurrence of the dream of universal, all-embracing knowledge forwarded by a variety of thinkers throughout history in an attempt to capture the variety and richness of the world.
Group exhibition featuring work by Pedro Barateiro, Stéphane Barbier Bouvet, Richard Brautigan, Michael Crowe, Jimmie Durham, Philippe Fernandez, Mark Geffriaud, Ruth Krauss and Antonio Frasconi, Guillaume Leblon, Zoe Leonard, Paul Sietsema, and an exhibition curated par Triple Candie. Curated by Élodie Royer et Yoann Gourmel