Mika Rottenberg @ Hauser & Wirth Menorca - "Vibrant Matter" Exhibition

Mika Rottenberg. Vibrant Matter

Hauser & Wirth Menorca

Through 26 October 2025

Mika Rottenberg

Lampshare (with plant 2)

2025

Milled reclaimed household plastic and plant

Lighting component: resin and electric hardware

40.6 x 35.6 x 30.5 cm / 16 x 14 x 12 in

© Mika Rottenberg

Courtesy the artist and Hauser & Wirth

Mika Rottenberg

Lampshare (bx 1.4)

2025

Milled reclaimed household plastic and plant

Lighting component: resin and electric hardware

91.4 x 83.8 x 86.4 cm / 36 x 33 x 34 in

© Mika Rottenberg

Courtesy the artist and Hauser & Wirth

Mika Rottenberg

Cosmic Generator (Loaded #2) (Video Still)

2017/2018

Single channel video installation, sound, color; 26:36 min

Dimensions variable

© Mika Rottenberg

Courtesy the artist and Hauser & Wirth

For decades Mika Rottenberg has addressed our relationship with capitalist systems of production and labor, realizing a labyrinth of disparate worlds through seductive multidimensional works. She draws attention to the absurdity of our global situation, harnessing imagery that is simultaneously pleasurable and troubling, blurring facts with fiction, the natural with the artificial.

Mika Rottenberg’s first solo exhibition in Spain features the celebrated video installations, ‘Cosmic Generator’ (2017) and ‘Spaghetti Blockchain’ (2019), alongside her latest Lampshares (2024-2025), carved from bittersweet vines and reclaimed plastic. Perhaps the best introduction to Rottenberg’s oeuvre, the surreal and subversive ‘Cosmic Generator’ explores globalization, labor and spectacle, juxtaposing existing real-world industry with Rottenberg’s own, often unexpected, manufacturing systems. Mika Rottenberg illustrates the absurdity of humanity’s rampant production and consumption. The distinction between fantasy architecture and real space is blurred as Rottenberg collapses the distance between seemingly disconnected locations—filmed on-site at a market for plastic goods in Yiwu, China and at the border between Mexico and California—while mixing them with elements of magical realism shot in a studio and objects displaced within the installation itself.

Mika Rottenberg

Spaghetti Blockchain (Video Still)

2019

4k video installation with 7.1 surround sound, 

color; 18:15 min

Dimensions variable

© Mika Rottenberg

Courtesy the artist and Hauser & Wirth

Similarly, in ‘Spaghetti Blockchain,’ the viewer travels through a universe of incongruous scenarios that evoke a range of sensory reactions: footage of vibrant ASMR performances, Siberian Tuvan throat singers, the CERN antimatter factory and a mechanical harvester on a potato farm coalesce and meld. Running throughout is a concern with how humans manipulate matter and their relationship with the material world. ‘I am interested in these human-made systems where the starting point is to have no clue what is really going on and to try to impose a certain logic on things, and the madness of that,’ Mika Rottenberg explains. The title refers to blockchain technology, which allows for data to be governed by its own perpetual movement within a cluster of computers rather than being owned or controlled by a single entity. Like a blockchain, Mika Rottenberg merges images and sounds to create fast-shifting connections between a diverse range of sources that weave themselves together with no resolution as the artist excavates and examines systems of production, commerce and control.

In her exploration of humanity’s paradoxical attraction to toxicity, Mika Rottenberg has reframed the artist studio as an incubator for the regenerative production of her Lampshares, a series of functional sculptures that she began in 2023. Working alongside Inner City Green Team and Gary Dusek in New York, Mika Rottenberg combines carved bittersweet vines that choke forests in Upstate New York with reclaimed plastic that has been mined and extracted as a natural resource and is now re-molded into ‘urban gemstones.’ The natural and the artificial blend together, with Rottenberg’s processing of the plastic recasting its smooth, shiny surfaces into imperfect, handmade-looking forms. Sharing the seductive but unsettling combination of lyricism and wit that characterizes the artist’s practice, the Lampshares bring the concerns with capitalist systems of production that Mika Rottenberg has previously animated primarily through metaphorical and conceptual works into the sculptural space. Imbued with new meaning and value through regenerative systems of creation, these otherwise toxic and invasive materials are transformed into unique lamps that propose a creative alternative to current, extractive systems of mass production and consumption.

Alongside the Lampshares, Mika Rottenberg presents a selection of recent drawings that echo the concerns of her film, installation and sculptural output through a unique vocabulary of recurring symbols and icons. Bodily features such as human limbs and fingerprints harmonize with the organic, oddly sexual forms of the Lampshares and gesture towards the concern with the non-normative women’s bodies and the role of female labor in Rottenberg’s film works. Allusions to circularity, meanwhile, parallel both the circular systems that organize her films and the focus on sustainable production methods. Running throughout Rottenberg’s playful oeuvre and its synthesis of absurd, disparate parts are interconnected themes of appropriation, distortion and reinvention, production, consumption and hyper-capitalism that highlight both our endless difference from one another and the network of commodities and actions that bind us together.

Artist Mika Rottenberg

Argentina-born, New York-based artist Mika Rottenberg is devoted to a rigorous practice that combines film, architectural installation and sculpture to explore ideas of labor and production in our contemporary hyper-capitalist world. Her solo exhibition ‘Antimatter Factory’ is currently on view at Kunst Haus Wien, Austria until 10 August 2025, having traveled from the Musée Tinguely in Basel, Switzerland (2024). ‘Queer Ecology’ at Lehmbruck Museum, Germany is on view from 27 September 2025 – 22 February 2026. Other recent European solo presentations include the Louisiana Museum in Humlebæk, Denmark (2021) and the premiere of her first feature-length film ‘REMOTE’ (2022), co-created with Mahyad Tousi and commissioned by Artangel, United Kingdom; the Louisiana Museum, Humlebæk; and Moderna Museet, Stockholm, at Tate Modern, London in 2022. ‘Installations II: Video from the Guggenheim Collections’ was on view at Guggenheim Bilbao from 2009 – 2010. Mika Rottenberg was the recipient of the 2019 Kurt Schwitters Prize, which recognizes artists who have made a significant contribution to the field of contemporary art. In 2018, she was winner of the Smithsonian American Art Museum’s James Dicke Contemporary Art Prize, which recognizes an artist younger than 50 who has produced a significant body of work and consistently demonstrates exceptional creativity.

HAUSER & WIRTH MENORCA

Illa del Rei, Mahon, Menorca, Balearic Islands, Spain

www.hauserwirth.com

Mika Rottenberg. Vibrant Matter

Hauser & Wirth Menorca, 10 May – 26 October 2025

Cecilia Vicuna @ Xavier Hufkens, Brussels - "Arch Future" Exhibition + Online Exhibition "Cecilia Vicuña: Selected Video Works"

Cecilia Vicuña: Arch Future

Xavier Hufkens, Brussels

5 June — 2 August 2025

“I focus on native ‘writing’ and ‘non-writing’ systems of my Andean universe, to bring their creative potential back into the world, addressing the untreated grief of colonisation.”

— Cecilia Vicuña

Arch Future (archaic future) marks the debut exhibition of Chilean poet and artist Cecilia Vicuña with the gallery. Spanning over sixty years, the show brings together every element of her expansive interdisciplinary practice, including three site-specific installations — two monumental quipus and a room-size precario installation ­— alongside drawings, paintings, poetry, archival materials, sound, and film. Included are some of what the artist refers to as “Lost Paintings,” recent recreations of paintings from the 1960s and 70s that were lost or destroyed following the Chilean military coup. The exhibition also marks the European premiere of her recent film poem, Death of the Pollinators (2021). The title Arch Future reflects Vicuña’s sustained engagement with indigenous knowledge systems and local ecosystems as visionary, alternative forms of architecture ­— tools for imagining a more sustainable and just future.

The exhibition opens with Quipu Menstrual (2006-2024), a dense, sculptural installation of unspun wool in vivid shades of red and brown that is suspended from the ceiling. For over fifty years, Cecilia Vicuña has been creating quipus ­— striking embodiments of an ancestral, non-alphabetic communication system rooted in Andean culture. Traditionally used in pre-Columbian civilisations as three-dimensional records, quipus encoded knowledge and transmitted messages ­— perhaps even stories ­— through intricate systems of colour, knotting, and placement. Vicuña reclaims and reactivates this ancient language as a living symbol of memory, resistance, and embodied wisdom.

Vicuña’s quipus often emerge as poetic responses to ecological, social, or political urgencies. They are never static but evolve in dialogue with each site and community, absorbing its energy and context. Quipu Menstrual grew out of The Blood of Glaciers / La sangre de los glaciares, a performance on Chile’s El Plomo Glacier (2006), where Vicuña first drew a symbolic parallel between menstrual blood and melting ice ­— both vital, cyclical, and under threat. This poetic gesture underscores the fragility of ecosystems as well as the life-giving power of the feminine.

Installed nearby in the double-height gallery is the white monochromatic quipu Forest Son (2025), a site-specific “child” continuation of her celebrated Turbine Hall installation at Tate Modern, Brain Forest Quipu (2022). Composed of unspun wool, rope, cardboard, plant fibres, and found materials, this work resonates with symbolic meaning. Here, the quipu becomes a mournful elegy for environmental destruction and the ongoing violence against Indigenous communities. At once lament and portal for alternative forms of knowledge, it invites reflection on our shared responsibility ­— and illustrates ways of interconnected knowledge.

Death of the Pollinators (2021) is a powerful meditation on ecological collapse and interdependence. Created with the participation of Colombian musician Ricardo Gallo and American filmmaker Robert Kolodny, the work combines Vicuña’s poetry and chant with immersive visual and sonic textures to address the alarming global decline of bees (in the European Union alone, an estimated 78% of wildflowers and 84% of crop plants depend on pollinators for their survival — yet many of these vital species are now on the brink of extinction). The film seamlessly transitions from bees navigating clouds of pollen, symbolising their vital importance, to the visually stunning and glittering appearance of honey, evoking a sense of celestial beauty and abundance. Its finale, bathed in red, alludes to climate warming decimating bees and the devastating fires erupting in the hottest parts of the world. Sound is central to the work’s impact: referencing sonification ­— the process by which certain bees release pollen through vibration ­— Cecilia Vicuña draws a parallel between natural resonance and collective awakening.

Downstairs, Cecilia Vicuña debuts a new large-scale precario installation, entitled Ciudad Geométrica (2025). The installation fills the gallery with quiet intensity, forming a sort of minimalist and precarious “geometric city.” Composed of ephemeral materials such as driftwood, feathers, shells, bones, stones, and scraps of fabric, the installation brings together elements collected in Belgium, Chile, and New York. Here, Vicuña responds directly to the space’s architectural geometry with assemblages that form a poem in space. Trained in architecture before turning to art, Cecilia Vicuña also alludes to the sculptural dimension of stonework in Andean pre-Columbian architecture. Her precarios challenge conventional ideas of art, particularly sculpture, as immutable and eternal, offering instead a poetic counterpoint to the exploitative practices of colonisation and capitalism. These works speak to cycles of disappearance and resurgence, fragility and endurance. As Cecilia Vicuña notes, they offer a way to “see the unseen,” illuminating the interconnectedness of all life.

The upper galleries are dedicated to Vicuña’s paintings, including a selection of new versions of her abstract works, Pinturas Solares (Solar Paintings) that she originally made in Chile between 1965 and 1967, when she was aged seventeen to nineteen. In 1972, she moved to London to study at the Slade School of Fine Art, but following the 1973 military coup that violently ended the government of Salvador Allende, she was forced into exile, leaving behind her earliest paintings, which were eventually destroyed or lost. For Arch Future, she has repainted some of them, reconnecting with the origins of her long and multifaceted practice. Although widely recognised today for her quipus and precarios, Cecilia Vicuña often emphasises that she began as a poet and a painter. Her early canvases reflect an intuitive engagement with shamanic ritual ­— brujo meaning “shaman” ­— and the “soft geometry” inherent in Andean visual languages. These compositions are infused with references to Nasca textiles, pre-Columbian iconography, fungi, and myths surrounding altered states of consciousness, linking the ancestral with the visionary in a continuum of cultural memory.

Vicuña’s sound piece, Honguito niño (Fungi child), created in collaboration with Giuliana Furci and Cosmo Sheldrake, focuses on the rediscovery of the Psilocybe stametsii. This rare and elusive mushroom, first documented by Dr. Brian Dentinger in 2011, was seen again in the cloud forests of Ecuador by mycologist Giuliana Furci, a friend of the artist. Known for its tiny, solitary form ­— no taller than a matchstick ­— it has only been observed twice, each time as a single, inconspicuous specimen blending into the decaying leaf litter. Though part of the diverse Psilocybe genus, its singular presence has captured imaginations across disciplines. Like bees, fungi are essential to the Earth’s ecosystems, playing a crucial role in nutrient cycling, symbiotic relationships, and forest regeneration. Yet they too face existential threats from climate change, deforestation, and pesticides. This enigmatic sound work brings together ancestral sound techniques and layered voices ­— including those of fungi conservationists ­— to create an immersive, otherworldly composition. The piece is both elegy and incantation, channelling the silent resilience of the forest and its hidden life, in dialogue with the painting inspired by the mushroom’s reappearance in the dark undergrowth ­— a symbol of quiet survival and the possibility of rebirth after devastation.

As an extension of Arch Future, Cecilia Vicuña presents a curated selection of her video works in an online exhibition Cecilia Vicuña: Selected Video Works on view until 23 August. The films selected for the exhibition range from some of her earliest works from the 1980s to more recent productions, spanning formats including animation and documentary.

CECILIA VICUNA (b. 1948, Santiago, Chile) lives and works between Santiago and New York. She received the Golden Lion for Lifetime Achievement at the Venice Biennale, Italy in 2022. In 2023-2024, a major travelling retrospective has been jointly organised by Museo Nacional de Bellas Artes (MNBA), Santiago; Museo de Arte Latinoamericano de Buenos Aires (MALBA); and Pinacoteca do Estado de São Paulo. Other recent solo exhibitions include: MOCA, Tucson (2023); Tate Modern, London (2022); Solomon R. Guggenheim Museum, New York (2022); Museo de Arte Miguel Urrutia (MAMU), Bogotá (2022); Centro de Arte Dos de Mayo (CA2M), Madrid (2021); Museo Universitario de Arte Contemporáneo, MUAC Mexico City (2020); and CCA Wattis Institute for Contemporary Arts, San Francisco (2020), among others.

XAVIER HUFKENS

6 rue St-Georges | St-Jorisstraat, 1050 Brussels 

www.xavierhufkens.com

Steina: Playback @ Buffalo AKG Art Museum

Steina: Playback 

Buffalo AKG Art Museum

Through June 30, 2025 

Steina: Playback surveys the work of pathbreaking media artist Steina Vasulka (Icelandic, active in the United States, born 1940) whose career traverses video, performance, and installation. Since cofounding The Kitchen in New York City in 1971, Steina has created works shaped by her experimental approach to electronic processing tools, persistent explorations of what she called “machine vision,” and an enduring ethos of play. A classically trained violinist, Steina took up video in 1970, bringing to her new instrument—initially a Sony Portapak—a musician’s attention to the “majestic flow of time.” Unlike many of her peers working in video in its early decades, the Iceland-born artist did not consider television culture in the United States as a central force against which her video activity was defined. Instead, human perception was a key site of confrontation as she sought the exuberant and even utopian possibilities of an “intelligent, yet not human vision.”

Steina also shaped the avant-garde media arts environment that characterized Buffalo in the 1970s. Steina: Playback represents a homecoming for the artist, who taught at the Center for Media Study, SUNY at Buffalo for the majority of that decade, and exhibited at the 1978 Albright-Knox Art Gallery exhibition, The VASULKAS / Steina: Machine Vision, Woody: Descriptions.

With more than a dozen single-channel works and multi-channel environments, this focused retrospective surveys Steina’s fearless DIY approach to new media and her pioneering synthesis of the electronic and the natural. While Steina’s early collaborative works with her life partner Woody Vasulka centered largely around the pair’s obsession with video’s signal and the custom-designed hardware that could distort and manipulate it, her independent works from 1975 onward probe the limits of human perspective and pursue non-anthropocentric modes of visualizing the natural world.

“This exhibition not only offers a revolutionary new view of Steina’s work, but it serves as a compelling reminder of the depth and richness of the media arts environment in Buffalo more broadly,” said Helga Christoffersen, Curator-at-Large and Curator of the Nordic Art and Culture Initiative at the Buffalo AKG Art Museum. “Steina was a key figure in the arts community in Buffalo in the 1970s and the breadth of her influence is evident in this immersive, evocative exhibition.”

Throughout her career, her works were continually shaped by her shifting environments: from downtown New York’s avant-garde and Buffalo’s experimental media arts scene of the 1970s, to the vast landscapes of New Mexico and Iceland. In her works from the 1990s onward, new projection technologies allowed her video environments to become even more immersive: flows of river, waves, light, and wind spatialize what the human eye cannot see and seem to offer analogues to the electronic flow of video and audio signals. With her distinctive translation of musical modes, like polyphony, into the visual realm and her effort to exceed human perception, Steina reveals an electronic sublime and attunes us to the vibrant, invisible energies inherent to both video and natural phenomena.

STEINA - BIOGRAPHY

Steina, born Steinunn Briem Bjarnadottir, in Iceland in 1940, lives in Santa Fe, New Mexico. She trained as a violinist in Reykjavik and Prague, and she emigrated to New York City in 1965 with her life partner Woody Vasulka. Initially working as a freelance musician, she began to focus on video in 1970 and, in 1971, cofounded The Electronic Kitchen (later The Kitchen), the legendary alternative art space in New York City. After moving to Buffalo in 1973, Steina helped develop the production lab at the Center for Media Study at SUNY Buffalo. She moved to Santa Fe, New Mexico in 1980 where she has lived and worked ever since. Steina has exhibited at leading institutions internationally, including the Centre Georges Pompidou, Paris; Museum of Art, Carnegie Institute, Pittsburgh (now the Carnegie Museum of Art); San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York, among others. Important collections with her work include the Museum of Modern Art, New York; the Smithsonian American Art Museum; the San Francisco Museum of Modern Art; the Julia Stoschek Foundation; Tate, London; Thyssen-Bornemisza Art Contemporary; and ZKM | Center for Art and Media Karlsruhe. Awards and grants include: Rockefeller Foundation and NEA grants (1982); the Maya Deren Award (1992); the Siemens Media Arts Prize from ZKM | Center for Art and Media Karlsruhe, Germany (1995); as well as an honorary doctorate from the San Francisco Art Institute (1998).

STEINA

MIT List Visual Arts Center, MIT Press, 

and Buffalo AKG Art Museum, 2025

238 pp., Hardcover, 8 1/4 x 12 1/4 in.

ISBN: 978-0262551625

Accompanying the exhibition at MIT List Visual Arts Center and the Buffalo AKG Art Museum is the new monograph, Steina, which brings renewed recognition to the artist, tracing her oeuvre from early collaborative works with her partner Woody Vasulka to her independent explorations of optics and a liberated, non-anthropocentric subjectivity. The book is the first comprehensive monograph on the pioneering video artist in more than a decade. Contributors include scholars Gloria Sutton, Joey Heinen, and Ina Blom, who consider how Steina's generative sense of play gave way to methods of processing and computation; contextualize Steina alongside a group of her peers who shared an obsession with the electronic signal; and argue for her interest in video as a proto-virtual space. 

Steina: Playback is organized by MIT List Visual Arts Center in collaboration with the Buffalo AKG Art Museum and is curated by Natalie Bell, Curator, MIT List Visual Arts Center and Helga Christoffersen Curator-at-Large and Curator, Nordic Art and Culture Initiative, Buffalo AKG Art Museum. 

BUFFALO AKG ART MUSEUM

1285 Elmwood Avenue, Buffalo, New York 14222

buffaloakg.org

Steina: Playback @ Buffalo AKG Art Museum, March 14 - June 30, 2025

Milica Tomic @ Kunsthaus Graz - "On Love Afterwards" Retrospective Exhibition

Milica Tomić

On Love Afterwards

Kunsthaus Graz

27 June - 12 October 2025

MILICA TOMIC

One day, instead of one night, 

a burst of machine-gun fire will flash, 

if light cannot come otherwise (2009), Belgrade, 

Photo: Srđan Veljović

MILICA TOMIC

One day, instead of one night, 

a burst of machine-gun fire will flash, 

if light cannot come otherwise (2010), Copenhagen

Photo: Srđan Veljović

On Love Afterwards investigates how art can open up and explore the topics of responsibility, visibility and injustice. In line with Milica Tomić’s practice, the show considers exhibiting as a verb rather than the exhibition as subject. Her complex approach evolves around the object, but the focus is not on the object itself as much as on the negative space surrounding it, the space that enables it.

This means that the works contain complex layers that unfold in front of the viewer. When Milica Tomić confronts us with the image or portrait of a woman it is never solely as a representation of female identity – instead, the artist exposes the political and social nuances which construct that identity. Similarly, she deals with the specificity of an image of war in a way that recognises that the image and its brutality go far beyond their depiction. Thus her works aim to fill in the blank space surrounding the missing image, while asking the viewer to think about the conditions of production and construction of such an image.

In her projects she has made a shift from individual to collective artistic practice, exploring and testing out new forms of collectivity. She is a founding member of the Yugoslav art and theory group Grupa Spomenik (or Monument Group) and founder of the interdisciplinary project and working group Four Faces of Omarska.

The exhibition offers an overview of her practice and presents a number of projects including Ungelöst XY (1997), I am Milica Tomić (1998), The Portrait of My Mother (1999), Alone (2001), Reading Capital (2004), One day, Instead of One Night, a Burst of Machine-Gun Fire will Flash, if Light Cannot Come Otherwise (2009), Last Letter (2010), Container, Reconstruction of a Crime (2004-2011).

Over the course of the exhibition, each of the works on show are contextualised by an archive that intertwines with them. The role of this fluctuating archive is to invite viewers to explore and delve into a particular topic. At the same time, it situates the pieces exhibited here as part of a larger research process continuing in the background.

MILICA TOMIC

I am Milica Tomić 1998 

One-channel video installation, 

c, sound, 9’58’’, loop, video stills

Milica Tomić was born in Belgrade, Yugoslavia and since 2014 has served as the Chair of the Institute for Contemporary Art at Graz University of Technology in Austria. This retrospective exhibition offers an insight into her practice by means of selected projects. Her work continuously returns to the questions of absence, memory, political violence and social asymmetries. Tomić’s art practice is research-based and spans the mediums of photography, video, installation art, discursive, educational art, performance and socio-political engagement.

Curators: Andreja Hribernik, Irena Borić

KUNSTHAUS GRAZ

Lendkai, 8020 Graz, Austria

www.museum-joanneum.at

Roee Rosen @ Kunstverein Hannover — The Kafka Companion to Wellness

Roee Rosen: 

The Kafka Companion to Wellness

Kunstverein Hannover 

November 9, 2024 — January 12, 2025 

ROEE ROSEN

Kafka for Kids, video still, 2022 

© the artist, 2022, courtesy the artist

cinematographer: Avner Shahaf, 

still: Goni Riskin

The Kafka Companion to Wellness is artist ROEE ROSEN’s first solo exhibition in Germany in nearly a decade. Given today’s politically charged cultural landscape, it seems almost self-evident to show an artist who does not shy away from difficult subjects, but at the same time does not exploit them for effect or approach them insensitively—consequently ensuring that difficult topics are neither robbed of their depth nor simply skimmed over on a populist surface level.

Roee Rosen’s distinctive feature is that he does not take a single position on past events, but instead invites us to see past and present events through the eyes of the many figures who populate his practice, himself included. The exhibition brings together work from the mid-1990s to the present.

Co-curated by Krzysztof Kościuczuk 

KUNSTVEREIN HANNOVER

Sophienstrasse 2 — 30159 Hanover

www.kunstverein-hannover.de

Exhibition Who Is an Animal? @ HAM - Helsinki Art Museum - Art and Animals

Who Is an Animal?

HAM - Helsinki Art Museum

17 may - 18 August 2024

Esko Männikkö

Untitled, 2005 

HAM Helsinki Art Museum

Photo: Yehia Eweis

Eeva-Leena Eklund 

Pim, 2003 

HAM Helsinki Art Museum 

Photo: Yehia Eweis 

Gabriel Engberg

Magpie (undated) 

HAM Helsinki Art Museum 

Photo: Sonja Hyytiäinen

Hanna Weselius 

Rockafella in His Upstairs Room, 1999 

HAM Helsinki Art Museum 

Photo: Marja Pursiainen

The exhibition Who Is an Animal? invites visitors to stop and look at the animal as a source of artistic fascination down through the years, while remaining mysterious and inexplicable. The exhibition is primarily based on HAM’s art collection – property of all Helsinki residents. Its 90 works are grouped into themes that serve as points of discussion for various topics, such as how animals are depicted, their habitats, mistreatment, coexistence, and agency.

Who Is an Animal? draws attention to how artists strive even more to break the power structure between humans and other animals, and make visible what unites us.

The exhibition is curated by HAM’s curator Sanna Juntunen and features works by numerous artists.

Paula Lehtinen

Our Friend Morrison, 2021 (still) 

Artist's collection 

Maiju Hukkanen 

Lauantaina 18:45, 2021 

HAM Helsingin taidemuseo

Photo: Sonja Hyytiäinen

Victor Westerholm 

Cow Pasture (undated) 

HAM Helsinki Art Museum

Photo: Hanna Rikkonen

Lotta Mattila 

The Brothers, 2020 

Artist's collection 

Photo: HAM / Sonja Hyytiäinen

The featured artists are Jasmin Anoschkin, Mikko Carlstedt, Helge Dahlman, E. Dupre, Eeva-Leena Eklund, Gabriel Engberg, Hilda Maria Flodin, Terike Haapoja, Mikko Haiko, Mari Hallapuro, Jussi Heikkilä, Leila Hietala-Hämäläinen, Reino Hietanen, Maiju Hukkanen, Paula Humberg, Kati Immonen, Appu Jasu, Anja Juurikkala, Esko Kaarakka, Ismo Kajander, Sanna Kannisto, Kaija Kontulainen, Anne Koskinen, Aura Kotkavirta, Paula Lehtonen, Maija Luutonen, Lotta Mattila, Esko Männikkö, Lotta Määttänen, Heikki Nieminen, Pirkko Nukari, Tuula Närhinen, Dennis Oppenheim, Roland Persson, Anna Retulainen, Liisa Ruusuvaara, Stiina Saaristo, Pentti Sammallahti, Joakim Sederholm, Verner Thomé, Heli Tiitinen, Frans Toikkanen, Ritva Tuomi, Gunnar Uotila, Thom Vink, Hanna Weselius, Victor Westerholm and Helena Öst.

HAM - HELSINKI ART MUSEUM

Eteläinen Rautatiekatu 8 - 00100 Helsinki

www.hamhelsinki.fi

Metahaven Film Installation: Chaos Theory @ Guggenheim Museum Bilbao

Metahaven: Chaos Theory

Guggenheim Museum Bilbao 

Through June 9, 2024

Metahaven

Chaos Theory, 2021

Single channel film, 25 min. (film still)

Courtesy the artists

© Metahaven

Metahaven

Chaos Theory, 2021

Single channel film, 25 min. (film still)

Courtesy the artists

© Metahaven

Metahaven

Chaos Theory, 2021

Single channel film, 25 min. (film still)

Courtesy the artists

© Metahaven

Metahaven

Chaos Theory, 2021

Single channel film, 25 min. (film still)

Courtesy the artists

© Metahaven

The Guggenheim Museum Bilbao presents Metahaven: Chaos Theory, the year's first exhibition of Film & Video exhibition series. This program, celebrating its tenth anniversary in 2024, is permanently devoted to artistic practices associated with the moving image.

Chaos Theory is a unique film installation by Metahaven, the renowned collective founded by Amsterdam-based artists Vinca Kruk and Daniel van der Velden in 2007. Encompassing a variety of mediums including moving images, graphics, interfaces, textile works, and theory, Metahaven is regarded as a forerunner of interdisciplinary practice today.

In Chaos Theory, Metahaven addresses the range of shifting emotions of childhood, sisterhood and parenthood in the connected existence of the film's two protagonists. The enthralling 25-minute film takes revolves around different moments in the dialogue of a child ‘X’ (Valentina Di Mondo) and an adult named ‘Y/Z’ (Georgina Dávid), as they play, walk and live together in a multi-lingual reality. Filled with poetic resonances and ingenious wordplay, their exchanges are set in open spaces as well as more intimate settings—an elevator, a room—all of them equally allegorical and dream-like. A sense of continuity between wakefulness and reverie, pervades the entire film, where the lightness of play alternates with conversations on existential time and gravity. Thus, Chaos Theory operates as a nonlinear tale that challenges distinctions between voices and thoughts, places and fantasy zones.

Shot on location in the outskirts of Amsterdam, the film’s infrastructural landscape appears in contrast with its open-ended poetics. Multiple vantage points, or screens within the screen, coexist at times. Sections of the screen are outlined in red, as in a video conference call, when a new motif appears in the story. Chaos Theory is presented in a newly conceived spatial installation that includes a large woolen carpet, conceived as a seating area for the audience. Graphic vectors and colour squares mingle in a densely tufted texture that is reminiscent of common upholstery in public transportation. This object somehow materializes X’s words: “I see us in things that are not us; in the drawings of the seats on the bus.”

In the anteroom, Metahaven’s film resonates with a multiplicity of textile works that the artists understand as equivalent to film stills. Thus, the presentation of Chaos Theory is expanded with a selection of embroidered objects created in the past four years, some of which are being exhibited publicly for the first time. These series—Arrows (2020), Blossoms (2021), Bus Seats (2023), and Murmurations (2024)— include jumpsuit jackets, plastic bags, and small tapestries on bus seat fabric. Beside them are the triptych Living Together in Stories (2022) and the single jacquard Versions and Waves (2020). Juxtaposing oneiric landscapes, interfaces, bird flocks and geographics, the artists invite us to challenge our certainties and envision a future defined by empathy, fluid identity, and acknowledged dependence.

Metahaven. Biography

Amsterdam-based Vinca Kruk (b. 1980) and Daniel van der Velde (b. 1971) founded the Metahaven collective in 2007. Their work encompasses filmmaking, writing, and design, and has presented solo exhibitions at MoMA PS1, New York; ICA London; Stedelijk Museum Amsterdam; Yerba Buena Center for the Arts, San Francisco; Asakusa, Tokyo; Izolyatsia Kyiv; e-flux, New York; Tick Tack, Antwerp; and State of Concept, Athens, among others; as well as participated in major group exhibitions at Artists Space, New York; the Museum of Modern Art Warsaw; the Gwangju Biennale; the Sharjah Biennial; the Busan Biennale; Ghost:2561, Bangkok; and many others. Their work is featured in collections of the Sharjah Art Foundation, the National Gallery of Victoria, M HKA, the Victoria & Albert Museum, and the Stedelijk Museum Amsterdam, among others.

Metahaven are artistic advisors at Rijksakademie, Amsterdam; affiliate researchers at Antikythera, Los Angeles; and heads of department at the Geo-Design MA at Design Academy Eindhoven. 

GUGGENHEIM MUSEUM BILBAO

Guggenheim Bilbao Museoa

Avenida Abandoibarra, 2 - 48009 Bilbao

www.guggenheim-bilbao.eus

Nastja Säde Rönkkö @ HAM - Helsinki Art Museum - "Survival Guide for a Post-Apocalyptic Child" Exhibition

Nastja Säde Rönkkö 

Survival Guide for a Post-Apocalyptic Child 

HAM - Helsinki Art Museum 

17 May - 8 September 2024 

Nastja Säde Rönkkö

Survival Guide for a Post-Apocalyptic Child (still), 2022

Costume design: Juha Vehmaanperä

Photo: Aake Kivalo

Survival Guide for a Post-Apocalyptic Child is a multimedia installation by Nastja Säde Rönkkö, which reflects on the uncertain future of our planet through media art. At the core of the work, 26 videos examine various perspectives on life in the middle of some major change: emotional and practical ways to survive catastrophes, upheavals or crises. The videos share stories about the last moments of the current humanity, nature, longing, and loss. At the same time, the videos also look into love, humaneness, the future, and care.

A guidebook carrying the name of the exhibition will be published in connection with the exhibition, in collaboration with the artist and the Lönnström Art Museum. In addition, the exhibition at HAM will include a new thematic series of sculptures as well as a customised soundscape that ties the exhibition together. The installation was originally produced by the Lönnström Art Museum as part of the Lönnström Project initiative in autumn 2022. The exhibition is curated by HAM’s head of exhibitions, Kati Kivinen, and curator Satu Metsola.

HAM - HELSINKI ART MUSEUM

Eteläinen Rautatiekatu 8 - 00100 Helsinki

www.hamhelsinki.fi

Artist Tuan Andrew Nguyen @ Fundació Joan Miró, Barcelona - "Tuan Andrew Nguyen Our Ghosts Live in the Future" - Exhibition by the winner of the 2023 Joan Miró Prize (8th edition)

Tuan Andrew Nguyen 

Our Ghosts Live in the Future

Exhibition by the winner of the 

2023 Joan Miró Prize (8th edition)

Fundació Joan Miró, Barcelona

10 May - 24 September 2024

Tuan Andrew Nguyen, 2023 Joan Miró Prize

Photo Pep Herrero © Fundació Joan Miró

Tuan Andrew Nguyen

The Specter of Ancestors Becoming, 2019

Still - 4-channel video installation: colour, 7.1 surround sound; 

28 minutes; dimensions variable

Courtesy the artist

Tuan Andrew Nguyen

A Sullen Moon Behind Lit Mountain Tops, 2023

Image credits: Dan Bradica

Courtesy the artist 

The Fundació Joan Miró presents the first solo exhibition in Spain by Vietnamese-American artist TUAN ANDREW NGUYEN (Saigon, 1976), winner of the eighth edition of the Joan Miró Prize. The show includes some of his most poignant recent video installations, as well as a selection of his sculptures made out of fragments of bombs and artillery shells from the Vietnam War.

Tuan Andrew Nguyen and his family emigrated to the United States as refugees after the end of the war and he uses his artistic practice to interweave his own personal story through the history of his country of birth. This exhibition explores the ways in which conflicts from the second half of the 20th century have impacted not only the people who lived through them but also their descendants.

The show gets under way with three sculptures inspired by the mobiles of American artist Alexander Calder, a close friend of Joan Miró who was also an outspoken critic of the Vietnam War. In stark contrast to Calder’s pieces, however, Tuan Andrew Nguyen’s mobiles are made out of fragments of bombs and artillery shells from the lengthy and devastating Vietnam War. In this context, Nguyen’s sculptures are more explosions than formal exercises in art. Moreover, they are also sound pieces, tuned to emit certain frequencies with healing properties. Imbued with deep symbolic meaning, they resonate with the Buddhist idea of the transformative power of compassion.

Tuan Andrew Nguyen

The Unburied Sounds of a Troubled Horizon, 2022

Still, Single-channel video, 4k anamorphic, 

5.1 surround sound, 60min.

Courtesy the artist

Tuan Andrew Nguyen

Because No One Living Will Listen / 

Người Sống Chẳng Ai Nghe, 2023

Still Two-channel 4K video, stereo

Courtesy the artist 

The next three works are video installations linked to the material and personal consequences of the Vietnam War. The first gives a voice to an old unexploded bomb that is about to be detonated fifty years after being dropped. Indeed, throughout Tuan Andrew Nguyen’s audiovisual projects, ostensibly inanimate objects often find a way to tell their own stories as key players in the unfolding endeavour of processing collective trauma. The second installation is a feature film about a mother and daughter struggling to make a living from the scrapyard business they inherited from the father. The daughter salvages metal from the remnants of bombs—the Vietnamese landscape is still studded with unexploded ordnance—to craft uncanny hanging sculptures. One day she accidentally stumbles into the realisation that she must surely be the reincarnation of Alexander Calder. A young Buddhist monk, inspired by the figure of Thich Nhat Hanh, teaches her about the healing properties of sound, which she then applies in her work to help her mother overcome her posttraumatic stress disorder.

The exhibition concludes with one of Tuan Andrew Nguyen’s projects linked to the stories of families of non-French soldiers sent by the French colonial administration to fight in Vietnam in what became known as the First Indochina War (1946–1954). In Because No One Living Will Listen, a Vietnamese woman writes a heartfelt letter to her father, a Moroccan soldier in the French army who died when she was a baby. She tells him about the path her life has taken and confesses how disoriented she feels at not fully belonging anywhere—a feeling shared by many other descendants of mixed couples who have to find ways of juggling hybrid cultural identities and integrating their ancestors’ legacy into their own lives.

Our Ghosts Live in the Future gives Spanish audiences the first opportunity to experience Tuan Andrew Nguyen’s work in person and gain an appreciation of his artistic vision and committed interest in exploring social and historical issues thrown up by the destabilising effects of colonial legacies. In addition, repeated references in his pieces offer up rereadings of the work of American artist and antiwar activist Alexander Calder, a close friend of Joan Miró and Josep Lluís Sert whose presence is keenly felt in the Fundació Joan Miró Collection. Tuan Andrew Nguyen’s practice resonates with the museum’s collection and with Joan Miró’s legacy as an artist with similarly strong ties to his native country.

The show not only offers a survey of Tuan Andrew Nguyen’s work but also provides a unique insight into his artistic vision and staunch commitment to social and historical concerns that run through the core of his artistic narrative. It includes a previously unseen piece fashioned out of reused war ordnance made at the artist’s studio in Ho Chi Minh City. Like the sculptures presented at the beginning of the show, this piece is inspired by one of Alexander Calder’s mobiles, in this case The Corcovado, a large-scale sculpture that forms part of the Fundació Joan Miró Collection. At both the start and end of the exhibition, Tuan Andrew Nguyen engages with key figures in Western modern art who helped shape the dominant artistic narrative of the 20th century.

Tuan Andrew Nguyen, 2023 Joan Miró Prize

Photo Pep Herrero © Fundació Joan Miró

TUAN ANDREW NGUYEN is an artist from Saigon, Vietnam who lives and works in Ho Chi Minh City. His works explore the power of memory and its potential to act as a form of political resistance. His practice is fuelled by research and a commitment to communities that have faced traumas caused by colonialism, war and displacement. Through his continuous attempts to engage with vanishing or vanquished historical memory, Tuan Andrew Nguyen explores the erasures that the colonial project has brought to bear on certain parts of the world. He works between various mediums but devotes much of his attention towards producing moving-image works and sculpture.

Tuan Andrew Nguyen received a BFA from the University of California, Irvine in 1999 and an MFA from the California Institute of the Arts in 2004. He has been the recipient of several awards in both film and visual arts, including grants from Art Matters and VIA Art Fund. Radiant Remembrance, the artist’s first U.S. solo museum exhibition, was on view at the New Museum in New York from June 29 - September 17, 2023. His work has been featured in several international exhibitions, including the Aichi Triennial, Whitney Biennial in New York, Biennale de Dakar, Sharjah Biennial and the Berlin Biennale. His work is included in the permanent collections of institutions including Carré d’Art, Nîmes, France; Queensland Art Gallery, Brisbane; SFMoMA, San Francisco, CA; Philadelphia Museum of Art, Philadelphia, PA; Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY and the Whitney Museum of American Art, New York, NY.

Curated by Martina Millà, head of exhibitions at the Fundació Joan Miró

FUNDACIÓ JOAN MIRÓ | BARCELONA

Parc de Montjuïc, 08038 Barcelona 

www.fmirobcn.org 

Sin Wai Kin @ Buffalo AKG Art Museum - "It's Always You" Exhibition

Sin Wai Kin: It's Always You 

Buffalo AKG Art Museum 

March 1 - August 12, 2024

The Buffalo AKG Art Museum presents Sin Wai Kin: It’s Always You, a new solo exhibition of the work of one of the world’s most exciting visual artists.

It’s Always You, 2021, which the Buffalo AKG acquired in 2022, encourages viewers to reflect on the performance and commodification of identity in our present moment. The two-channel video work features a boyband of Sin’s construction in which they perform dressed up as each of the band’s four members—The Universe, The Storyteller, The One, and Wai King (a pun on the artist’s name). Each sways in slow motion against a greenscreen to a slow beating rhythm, alternately taking on the frontperson’s solo as they flirtatiously repeat the captivating lyrics.

The personalities that Sin deploys through each character developed out of their careful research into boyband culture, from late 1990s groups such as the Backstreet Boys and *NSYNC to contemporary groups such as BTS and Mirror. The members of such bands are often marketed individually, creating distinct fandoms around each. This sociocultural phenomenon serves as the backdrop for the universal message of It’s Always You: that all gender in the social sphere is a staged performance. In addition to the video, the installation features framed “publicity” posters and life-size cutouts of each of the group’s characters, with which visitors are invited to pose and take selfies. By actively engaging with Sin’s work, the public plays along in the performance and commodification of gender identity—a role that offers a collective escape into a world that celebrates the diversity of all beings.

SIN WAI KIN (Canadian, born 1991) produces complicated fictions based on their own journey through the spectrum of gender identity. In their teens, they became interested in the Toronto drag scene but found true liberation in the fluidity of London’s thriving queer community and drag cabarets when they relocated there in 2009. Around this time, the artist performed as Victoria Sin, a drag character that exuded a larger-than-life female archetype. In the artist’s own words, through “a process of doing [female] drag and purposefully putting on a gender and then taking it off again,” Sin’s nonbinary identity was realized. These personal experiences inform their fantastical narratives, in which Sin aims to interrupt social norms around issues of desire, identification, and objectification.

BUFFALO AKG ART MUSEUM

1285 Elmwood Avenue, Buffalo, New York 14222

buffaloakg.org

Mary Lucier @ Cristin Tierney Gallery, NYC - "Leaving Earth" Video Installation Exhibition

Mary Lucier: Leaving Earth 

Cristin Tierney Gallery, New York 

January 19 – March 2, 2024 

MARY LUCIER

Still from Leaving Earth, 2023

© Mary Lucier. Courtesy Cristin Tierney Gallery

Cristin Tierney Gallery presents Leaving Earth, an exhibition of new video work by MARY LUCIER. This is the artist’s first solo exhibition with the gallery.

Leaving Earth is a multi-channel video and sound installation inspired by excerpts from the final journal of Mary Lucier’s late husband, the painter Robert Berlind. In this journal, Berlind fearlessly documented his thoughts on his impending death from a terminal illness. His writings reflect his appreciation of life with a remarkable lack of anxiety about the inevitable end—more curiosity than dread.

The imagery in Mary Lucier’s work consists of sequences of protean video and still images filmed in both her domestic and working environments. Most were shot after Robert Berlind’s passing, reflecting the world as she experienced it during his final days and after. Berlind’s terse epigraphs appear throughout as white text on a black background, serving as evocative companions to the flow of images in Leaving Earth.

pictures already formed

more remembrance than presence.

Mary Lucier describes this nine-channel installation as one where "words, pictures, and sound become interchangeable, not serving as descriptions but as a rumination on reality and a form of coping." Unlike much of Mary Lucier’s earlier work, it does not follow a synchronous and sequential internal structure, instead allowing for random juxtapositions, repetitive thoughts, and the possibility of chaos to occur, reflecting the potential disarray in the dying man's mind. The pictorial narrative in Leaving Earth is underscored by Robert Berlind's description of his mental state:

a succession of discontinuous moments occur

then disappear

without the elemental structure of sequence

And yet . . . I forget to fear death

MARY LUCIER (b. 1944, Bucyrus, OH) has been noted for her contributions to the form of multi-monitor, multi-channel video installation since the early 1970s. Her work prior to her introduction to video was largely concerned with manipulation of the black and white image through a graphic performative process. She also produced several live performances with the feminist video collective Red White Yellow and Black (along with Shigeko Kubota, Cecilia Sandoval and Charlotte Warren) at the original Kitchen in 1972 and '73. Archival materials from this collective were also exhibited in 2023. Her latest multi-channel video installation Leaving Earth will be exhibited at the Catskill Art Space in the summer of 2024.

Mary Lucier's video installations have been shown in major museums and galleries around the world. Many now reside in important collections, including the Whitney Museum of American Art, NY; the Museum of Modern Art, NY; the Reina Sofia, Madrid; the Stedelijk Museum, Amsterdam; the San Francisco Museum of Modern Art; ZKM, Karlsruhe, Germany; the Milwaukee Art Museum; the Columbus Museum of Art, OH; and the National Academy of Design, NY, among others. She has also produced a significant body of single-channel works which have been screened in museums and festivals world-wide.  From the austere black and white experiments of the 1970's to recent studies of Japanese Buddhist ceremonies and Dakota Sioux dances, these works acknowledge the influence of both Avant Garde and documentary practices in American art and cinema.

Mary Lucier has been the recipient of many awards and fellowships, including the National Endowment for the Arts, the John Simon Guggenheim Memorial Foundation, the Rockefeller Foundation, Creative Capital, Anonymous Was a Woman, the Nancy Graves Foundation, USA Artists, the American Film Institute, the Jerome Foundation, the New York State council on the Arts, and the Japan-US Friendship Commission. Her teaching appointments have included the Distinguished Visiting Professor in Art and Art History at UC Davis; Skowhegan School of Painting and Sculpture; adjunct professor in the department of VES at Harvard University; and Visiting Professor in Video Art at University of Wisconsin, Milwaukee, among others. She lives and works in New York City and Cochecton, NY, where she has established a studio and archive for video art.

CRISTIN TIERNEY

219 Bowery, New York, NY 10002

www.cristintierney.com

Marine Hugonnier @ Guggenheim Museum, Bilbao - "Field Reports" Exhibition

Marine Hugonnier. Field Reports

Guggenheim Museum, Bilbao

October 24, 2023 - February 11, .2024

MARINE HUGONNIER

Meadow Report, 2021 (Film still)

35 mm film

Colour, sound, 11 min

Courtesy the artist

© Marine Hugonnier

MARINE HUGONNIER

Meadow Report, 2021 (Film still)

35 mm film

Colour, sound, 11 min

Courtesy the artist

© Marine Hugonnier

MARINE HUGONNIER

Meadow Report, 2021 (Film still)

35 mm film

Colour, sound, 11 min

Courtesy the artist

© Marine Hugonnier

The Guggenheim Museum Bilbao presents the exhibition Marine Hugonnier. Field Reports in the Film & Video gallery, a space where the Museum exhibits key works of video art, audiovisual installations, and moving images as artistic language.

On this occasion, the Museum hosts a unique installation by artist MARINE HUGONNIER (Paris, 1969). The core piece in the show, Meadow Report (2021), aims to draw attention to one of the first documents published on climate change, also known as “The Limits to Growth” or “Meadows Report,” which came out in 1972 and predicted the catastrophic consequences of constant unbridled exploitation of the Earth’s resources.

As the title of the exhibition suggests, Marine Hugonnier, who originally trained as an anthropologist, presents a series of works in which she stresses art’s potential to serve as a “report,” yet the space where the artist conducts her inquiry can also be considered a “field” in the sense of both study and a living environment or ecosystem.

The piece Meadow Report (2021) reflects this ambiguity. Located in the gallery’s main space, the film shows the famous gardens of Giverny where the impressionist painter Claude Monet painted his celebrated Water Lilies in the last decades of his life, as he was losing his sight due to cataracts. Marine Hugonnier placed the camera in the middle of the pond at dusk, seeking an unusual vantage point on the garden, the outlines of the water lilies, and Monet’s iconic green bridge.

The film is one uninterrupted take until all 122 meters of a complete celluloid spool were used, which gives it a tangible limit that becomes apparent when seeing the huge projector in the exhibition gallery. At some point in the shot, the artist removed the camera lens in order to expose the film directly to the environment, which created an abstract image that reflects the shimmering light as well as the movements of the beings present on the quiet summer night the filming took place.

MARINE HUGONNIER

Towards Tomorrow, 2001

Lambda print mounted on aluminium

Courtesy the artist

© Marine Hugonnier

A large-scale photograph entitled Towards Tomorrow (2001) is displayed in the exhibition’s anteroom. It was taken from the US side of the Bering Strait in Alaska, looking towards the Siberian coast. Even though the distance between both places is merely forty miles, the time zone in Siberia is set 24 hours ahead of the one in Alaska, which means that the photograph is simultaneously a record of the past and the future, playing with the concepts of temporality and memory, which are intrinsic to photography.

MARINE HUGONNIER

Desire is not much but nonetheless…., 2015 (Film still)

16 mm film and computer generated animation

Black and white and colour silent 5 min

Courtesy of the artist and Marian Goodman Gallery

© Marine Hugonnier

Across from this photograph is the film entitled Desire Is Not Much, but Nonetheless… (2015), a study of Sleeping Hermaphroditus , the classical Roman sculpture in the Louvre Museum in Paris. The sculpture dates from the second century AD, and in 1622 the Italian sculptor Gian Lorenzo Bernini crafted the marble mattress on which it currently lies. Marine Hugonnier’s film reveals Hermaphroditus’s body as the camera runs over the curves of the marble sculpture, whose feet and lips have been digitally animated. Brief color sequences interrupt the otherwise continuous blackand-white film loop. The film tries to envision what desire would be in a body that transcends the conventional binaries, encouraging viewers to critically consider the possibility of a non-gendered gaze.

These works illustrate the artist’s interest in challenging the traditional image capturing devices, along with their technical components—cameras, lenses, sensitive film—with all their limits, by exposing them to natural agents and phenomena, thus offering a counterpoint to the social focus of her pieces.

MARINE HUGONNIER. Biography

Through her films and installations, Marine Hugonnier explores the way ideologies, desires, and discourses converge in the forms of artistic representation. Her inquiry into the politics of vision seeks to shed light on the underlying mechanisms of power in the current capitalist era, where economic acceleration and image reproduction technologies have evolved simultaneously while preserving colonialist and patriarchal biases at their core.

Marine Hugonnier was born in Paris in 1969 and currently lives in London. Her works have been featured in many international exhibitions, including solo presentations in art institutions such as Jeu de Paume in Paris, Villa Romana in Florence, Kunstverien Brauschweig, Die Tankstelle Berlin, Konsthall Malmö and the 52nd Venice Biennale. Likewise, many museums have Marine Hugonnier works in their collections, including the Arts Council, England; Fundaçao Serralves, Portugal; Fondazione Sandretto Rebaudengo, Turin; FNAC—Fonds National d’Art Contemporain, France; MACBA—Museu d’Art Contemporani de Barcelona; MoMA—The Museum of Modern Art, New York; MAM—Musée d’Art Moderne de la Ville de Paris; The National Gallery of Art, Washington, D.C.; Museo Nacional Centro de Arte Reina Sofía, Madrid; and Museo Jumex, Mexico. Besides, Marine Hugonnier holds a PhD and she is a professor at the Karlsruhe University of Arts and Design, in Germany.

Curator: Manuel Cirauqui

GUGGENHEIM MUSEUM BILBAO

Avenida Abandoibarra, 2 - 48009 Bilbao

www.guggenheim-bilbao.eus