We Melt Before It Forms begins from this sensation of temporal anxiety, one that is perhaps heightened by the moment within which the exhibition is presented. Read more.
The condition of the built environment reflects our society. The way we treat it says much about our desires, visions and ambitions. Architecture and urban design stand in an ongoing relationship with external influences and factors that define a certain epoch. Read more.
2021 opened its doors to a global population in conflict; divided but interconnected, and thus exposed and vulnerable, sharing a planet in the very same conditions. Coexistence seems to be among the most pressing issues in need for a radical re-thinking both on a planetary and molecular scale, yet its understanding is at the basis of great asperity. Read more.
If we take a step back from everyday routine things and attempt to experience time as it passes, to glean from it a state of mind or meaning, we find ourselves to be going less and less with the flow of time than we are caught in a complex net of time structures. Read more.
The world is not like us, it was imposed, we try to transform it, 11 September – 15 October 2020
The group exhibition The world is not like us, it was imposed, we try to transform it deals with the violent imposition—and resistance against—Western constructs of identity, values, and development, which are defined as normative means by which hierarchies are constructed and reproduced, thus resulting in various forms of marginalization. Read more.
In her multifaceted artistic language, Youjin Yi unites objective references and abstract, painterly structures. Her works depict landscape spaces occupied by persons, animals, objects or hybrid creatures. Read more.
Taking up abstractions or fragments of our visual culture that she has found, such as faded graffiti on walls, the weathered facades of buildings or forgotten posters, she transforms these into spatially expansive painting. Read more.
and this is only the beginning, 13 March – 29 May 2020
An intensive grappling with issues of pop culture and art history in the neo-expressive painting of Boban Andjelkovic is just as essential as his self-reflective, painterly experience. In his art, the artist raises basic questions concerning painting’s meaningfulness as a contemporary medium that, for him, functions as an antipode to the digital world. Read more.
