KOW

The exhibition ... to leave a space in which the din of war might die down brings together art works that reflect on the lasting repercussions of war in Europe and beyond since 1945. The title alludes to Marguerite Duras‘ post-war memoir and references a critical process of mourning that embraces both the personal and collective dimensions of traumatic experiences. The exhibition asks how historical violence continues to resonate and explores the potential of intergenerational and transnational dialogue for a pluralist remembrance that offers orientation for the future.

Featuring: Havîn Al-Sîndy, Maria Thereza Alves, Asche Lützerathi (other hosted by Sybling – JP Raether & Sarah Friend), Joseph Beuys, AA Bronson, Cercle d'Art des Travailleurs de Plantation Congolaise (Congolese Plantation Workers Art League, CAPTC), Liu Chuang, Simon Denny, Jan Dibbets, Nir Evron, Simone Fattal, Ximena Garrido-Lecca, Jef Geys, Robert Gober, Dor Guez, Andreas Gursky, Christopher Kulendran Thomas, Mierle Laderman Ukeles, Richard Long, Gordon Matta-Clark, Boris Mikhailov, Lutz Mommartz, Grace Ndiritu, Simone Nieweg, Chris Reinecke, Ugo Rondinone, Thomas Ruff, Lin May Saeed, Shimabuku, terra0, Ron Tran, Franz West, Alex Wissel The exhibition Land and Soil. How We Live Together leads us back to the foundations of human coexistence. It invites visitors to gather around questions of living, owning, and sharing, and to envision a just and sustainable future. For the first time, an exhibition will span the entire former parliament building of K21 and extend to the adjacent Ständehauspark, addressing the ground the museum stands on—both geographically and historically. Around thirty international artists and collectives will present various models of administrating resources —from indigenous ways of planning to co-ownership and utopian blockchain projects

Based on the Wrisberg Epitaph in Hildesheim Cathedral Museum, Creischer and Siekmann’s three-room installation addresses aspects of economics, mining, colonialism, and missionary activity, in both historical and contemporary contexts. The 16th-century epitaph presents an unusual iconography of Church sacraments. In addition to the Wrisberg Epitaph, Creischer and Siekmann also make reference to two other treasures from Hildesheim Cathedral Museum: Bishop Bernward’s Great Golden Madonna (c. 1010-1015) and the 12th-century ‘Continent’ candlestick. The exhibition will include paintings and graphic works, as well as video and sculpture. The installation poses highly relevant social questions, in this way re-exploring the present-day significance of historical objects. For decades, the artists Alice Creischer (b. 1960, Gerolstein, Germany) and Andreas Siekmann (b. 1961, Hamm, Germany) have worked together on artistic projects which address economic, political and social questions. The duo has been invited to stage solo exhibitions since the early 1990s, while also regularly participating in prestigious group shows, including Documenta 11 (2002), Documenta 12 (2007), the Skulptur Projekte Münster 07 (2007) and the 13th Istanbul Bienniale (2013). Their works are held in the collections of the best-known museums of contemporary art, including the Museum Ludwig, Cologne, the Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Museum of Modern Art (MoMA), New York.

The Espai d’Art Contemporani de Castelló presents a solo exhibition by the artist Candice Breitz. The Johannesburg-born artist fills the EACC gallery with a series of works that explore how celebrity worship, the omnipresence of social media, and systems of white privilege are used as tools that compete for our attention. Known for her multi-channel video installations and photography, Candice Breitz works with the languages of mass culture to highlight the control they exert over our perception of reality and our empathy towards our fellow human beings. Through collage, editing, fragmentation, and appropriation, drawing heavily on the visual and auditory repertoire of so-called “popular” culture, she analyzes how the media control and compete with strategies to capture our attention in an information market that fetishizes fame and feeds on entertainment. Her art thus evokes the dangers of misinformation at a time when our narratives are shaped by algorithms, marked by our clicks and comments on social media and disconnected from the urgent realities of the world. The exhibition consists of the following works: TLDR : Video installation recounting the ideological battle that pitted feminists against feminists, and the human rights organization Amnesty International against an uncomfortable coalition of prominent Hollywood actresses and sex work abolitionists. Ghost Series : A set of 10 photographs altered with Tipp-Ex correction fluid that serve as a denunciation of the apartheid regime. Profile: Three short films serving as a self-portrait of the artist, made in response to her nomination to represent South Africa in the country’s pavilion at the Venice Biennale. Digest: A multi-channel video installation consisting of 1,001 videotapes buried and sealed in plastic sleeves inspired by the legend of Scheherazade, reflecting on the patriarchal order and the disruptive and subversive potential of narrative. Labour: Six video installations consisting of images of real births recorded in documentary style but in reverse, accompanied by a supposed Matricial Decree, whose titles refer to the six most insensitive populist leaders of the early 21st century. All made with a feminist sensibility and a marked acid humor.