Palazzo delle Esposizione
DigitaLife 2017
Opening: Friday, 6. October 2018
Work Presented: Allegoria Sacra (3-channel installation)
7. October – 7. January 2018
Via Nazionale, 194, 00184 Roma RM, Italien





The video installation represents a modern Purgatory where Afro-Muslims, Asian businessmen, black Catholic priests, skinheads, waiters and families treated as moving sculptures as if the space-time itself were plastic.

Between sharp irony and visionary poetry, the Russian collective AES+F’s Allegoria Sacra builds a pop universe that overturns the perception of reality, while narrating the present and its near future in a provocative manner. It reflects the global social-cultural situation which is as yet not manifest but hanging in the air. They force the audience to sense and conceive of the present ahead of time.


(2008 – 2017)


La Dispersion du Fils concerns the tragedy of Actaeon, the hunter transformed into a stag by Diana and chased down and devoured by his own hounds. It is, therefore, a work about metamorphosis and transcendence, sacrifice and transgression, chance, error and the pursuit of forbidden knowledge. Designed for display in the 360° Advanced Visualisation and Interaction Environment (AVIE) by Jeffrey Shaw, developed at the iCinema Centre of the University of New South Wales, La Dispersion du Fils takes the form of an immersive voyage through vast, living three-dimensional structures constructed entirely from audio-visual elements found in the film archives of the LFKs – over 600 individual films and soundtracks.

Generated in real-time, the artwork neither repeats nor ends. Any single moment is both unique and guaranteed to never occur again, and of all the possible paths La Dispersion du Fils might take, almost all will never be seen at all.






Presented for the first time at the Museum of Contemporary Art Tokyo in 2014, the MEMORANDUM OR VOYAGE video installation runs through Japanese group Dumb Type’s historical shows (OR from 1997, memorandum from 1999 and Voyage from 2002), revisited by Shiro Takatani.

Not a video proof, but a sensorial installation which gives new strength to a new perceptive experience, combining the Japanese collective’s past visions with contemporary technological tools. It starts with the blurred contours of OR and continues with the translucent silhouettes of memorandum to end with Darwin’s journey transcribed in Voyage, one of the first examples of messages for the future.





Instants of Visibility is a hypnotic constellation made of hundreds ‘fireflies’ slowly but continuously moving forward until disappearing in the dark central area and then retreats backwards towards the walls of the room.

Filtered by two large-scale tulle’s cylinders hanged by the ceiling, light diffuses in the form of floating points. These points render on each sheet of fabric, one rotating clockwise and the other one counterclockwise, creating a three-dimensional grid in perpetual motion.








Originally shown in 2D on 15 screens in a circle, <360> is a new creation in 3D for the AVIE (Advanced Visualization and Interaction Environment). It is a media architecture capable of enveloping the audience in an audio-visual surround landscape. Spectators are invited to enter a cylindrical space and immerse themselves in an abstract drama of animated light, colour and sound.

Ideas informing the work reflect on the nature of energy and transformation, meditation and sacred symmetry. Light and sound waves, oscillating, modulating, resonating patterns are the predominant means of the dramaturgy.



ROBERT HENKE / PHOSPHOR -site specific-




Phosphor is a site specific installation, created by the German artist Robert Henke to use ultraviolet light in painting temporary landscapes on a layer of phosphorous dust on the museum floor.

Operating on the concepts of ‘erosion’ and ‘mutation’, the installation changes its behaviour and visual appearance during the exhibition period. Each trace of light leaves a mark on a virtual mountain range, like water slowly washing out deep canyons.








The Biennale de l’Image en Mouvement (BIM, Biennale of Moving Images), of the Centre d’Art Contemporain in Geneva, provides a platform for art and ideas aiming to make sense of the extraordinary profusion of images that has progressively invaded all aspects of contemporary art.Andrea Bellini selected 12 videos, all produced in 2016, presented

Andrea Bellini selected 12 videos, all produced in 2016, presented in Rome for the first time at Palazzo delle Esposizioni for the eighth edition of Digitalife.





A selection of videos explaining contemporary art to children. Families and children can access visual languages, learn how to build cognitive relations, intuitively translate the wealth associated with growth, stimulate the imagination, cultivate trust, and educate themselves about happiness.

The project, created by Raffaella Frascarelli, involves museums, foundations, collectors, art historians, curators, publishers, national and international public and private institutions.


DigitaLife 2017
Opening: Friday, 6. October 2018
7. October – 7. January 2018
Via Nazionale, 194, 00184 Roma RM, Italien



If you want to announce your event in
EstherArtNewsletter please fill out the form.




RIBOCA Riga, Latvia,
The Riga International Biennial of Contemporary Art
Press preview and Vernissage:
Thursday 31 May – Friday 1 June 2018
open to the public
Saturday 2 June 2018 – Sunday, 28. October 2018
Curators: Katerina Gregos
Chief Curator, RIBOCA 2018
Solvej Helweg Ovesen
Associate Curator, RIBOCA
Elizabetes iela 19 – 6
Riga, LV-1010 Latvia
Mission Statement

The Riga International Biennial of Contemporary Art (RIBOCA) is an international biennial with a European focus and a strong regional profile, founded in 2016. Taking the rich history of Riga and the Baltic states as its underlying framework, the Biennial highlights the artistic landscape of the wider region and creates opportunities for artists to enter into dialogue with the cultural, historical and socio-political context of the city and its geographic surrounds.

Taking into account criticisms of the proliferation of biennial culture, or ‘biennialisation’ as it has been called, RIBOCA aims to create a sustainable model based on best practices that prioritise artists, artistic production and the meticulous presentation and mediation of art. The Biennial is based on a working process that starts from the local, expanding to the national and the regional, and finally to the transnational. The Biennial aims to take root and make roots in the place where it is situated. Reflecting the biennial’s global outlook and mission to increase artistic engagement between the Baltic region and the rest of the world, a significant proportion of the commissioned and selected artists either live, work or were born in the Baltic region, a territory which still remains relatively unexplored despite its prolific artistic production.

RIBOCA sees itself as a critical site of artistic experimentation and knowledge production, an activator of co-operation and exchange between local and regional actors and institutions, an instigator of generosity towards peers, and a barometer of current social, political and economic issues filtered through artistic practices. The first edition of the Biennial will launch in June 2018. The Biennial has appointed Katerina Gregos as the Chief Curator of RIBOCA 2018.


Riga International Biennial of Contemporary Art (RIBOCA) was founded as a major initiative of the Riga Biennial Foundation, its commissioning body. The Founder and Director of the Riga Biennial Foundation, Agniya Mirgorodskaya developed RIBOCA in order to set up a new global platform for international and Baltic artists, to promote contemporary art and provide educational and community support within the region, as well as to increase artistic engagement between the Baltic region and the rest of the world.

Riga has been an important trading post since the Middle Ages, and in more recent history Latvia has served as a significant industrial base. Latvia’s historical relations with Sweden, Russia, Poland and Germany have put it at the crossroads of different cultures and ideologies, with its gaze shifting between East and West. RIBOCA charts the particular psychogeography of this region within the new world order at a time of major global shifts.

Agniya Mirgorodskaya

Founding Director, Riga Biennial Foundation; Co-Founder and Commissioner, RIBOCA

Agniya Mirgorodskaya is the founding director of the Riga Biennial Foundation, the commissioning body of the Riga International Biennial of Contemporary Art (RIBOCA).

Agniya Mirgorodskaya got her BA in Hispanic Studies at the University of St. Petersburg, an additional BA in International Politics from London City University and her MA in Art Business from Sotheby’s Institute of Art in London and New York. Following her work experience at Christie’s Russian Department and in the gallery world she decided to turn towards the not-for-profit sector.

Being half-Lithuanian, half-Russian, Agniya developed the concept of RIBOCA as a biannual initiative to create opportunities for international and Baltic artists to engage with the city of Riga and the wider region. Commissioning an internationally respected curator and working in tandem with an international advisory board and growing team, Agniya, who speaks five languages, oversees the production of the biennial and is RIBOCA’s global ambassador. She lives and works in Riga.


Aleksander Gafin
Co-Founder, RIBOCA
Aleksander Gafin is a well-known cultural producer, with over two decades’ experience organising large-scale exhibitions and charity events. He is a member of several advisory boards including The Pushkin State Museum of Fine Arts, the American Pushkin Academy of Arts, the Bolshoi Theater in Moscow and the Moscow Conservatory. Aleksander lives and works between Riga and Moscow.
Emelyan Zakharov
Co-Founder, RIBOCA
Emelyan Zakharov is a fifth-generation art collector and gallerist in Russia, known for bringing leading international artists to new audiences and territories. He brings his extensive local and regional network to the biennial team. Emelyan lives and works between Moscow and Pietrasanta.
Katerina Gregos
Chief Curator, RIBOCA 2018
Katerina Gregos is a curator, writer and lecturer born in Athens and based in Brussels since 2006. Gregos has extensive international curatorial experience and has curated several critically acclaimed large-scale exhibitions and biennials including: A World Not Ours, Kunsthalle Mulhouse (2017); Uncertain States: Artistic Strategies in States of Emergency, Akademie der Kunst, Berlin (2016-17); the Belgian Pavilion at the 56th Venice Biennale, Personne et les autres: Vincent Meessen & Guests; the 5th Thessaloniki Biennial, Between the Pessimism of the Intellect and the Optimism of the Will (2015); No Country for Young Men: Contemporary Greek Art in Times of Crisis, BOZAR, Brussels (2014); The Politics of Play for the Göteborg International Biennial for Contemporary Art and Liquid Assets: In the Aftermath of the Transformation of Capital, Steirischer Herbst, Graz (2013); Newtopia: The State of Human Rights, several venues, Mechelen & Brussels (2012). That year she was also co-curator of Manifesta 9: In the Deep of the Modern, Genk. In 2011, she curated Speech Matters the acclaimed exhibition on freedom of speech for the Danish Pavilion at the 54th Venice Biennial, and co-curated The Eye is a Lonely Hunter, the 4th Fotofestival Mannheim Ludwighsafen Heidelberg. In 2009, she curated Contour: the 4th Biennial for Moving Image, Hidden in Remembrance is the Silent Memory of our Future. Among other things, Gregos also curated the 2006 edition of EVA International, Ireland’s Biennial of Contemporary Art, Give(a)way: On Generosity, Giving, Sharing and Social Exchange. Other forthcoming projects include: The State is Not A Work of Art, for Tallinn Art Hall, Art Hall Gallery and Tallinn City Gallery (2018).
Gregos frequently serves as a member of international juries, including more recently: the juries for the Finnish and Irish Pavilion at the 2017 Venice Biennale and the jury for the 2015 Hasselblad Prize. In 2016, she served on the jury of the Berlinale – the Berlin International Film Festival and the YAYA Prize – Young Artist of the Year Award for Palestinian artists, awarded by the A. M. Qattan Foundation.
Apart from her experience as an independent curator, Gregos has served as founding director and curator of the Deste Foundation’s Centre for Contemporary Art in Athens, Artistic Director of Argos Centre for Art and Media, Brussels and Artistic Director of Art Brussels. Currently she is also curator of the Schwarz Foundation (Munich/Samos/Athens).
Gregos is a graduate of the Courtauld Institute of Art and King’s College (University of London) where she read Art History and European Literary and Historical Studies, as well as the City University London where she obtained a second MA in Museum Management. She regularly publishes on art and artists in exhibition catalogues, journals and magazines, and is a visiting lecturer at several art academies, including the HISK Higher Institute of Arts in Ghent and the Jan Van Eyck Academy, in Maastricht.
Solvej Helweg Ovesen
Associate Curator, RIBOCA
Solvej Ovesen is a curator and cultural theorist. She obtained her MA in Communication and Cultural Studies at Roskilde University, Copenhagen University and Humboldt University of Berlin. She also completed the De Appel Curatorial Training Program in Amsterdam (2003).
Since 2015 she is Artistic Director of Galerie Wedding – Raum für zeitgenössische Kunst; Artistic/Founding Director of GROSSES TREFFEN at the Nordic Embassies (2013 – present); and member of the Consortium of curators of the Danish Pavilion for the solo exhibition of Kirstine Roepstorff at the 57th Venice Biennale (2017).
From 2003 to 2004 she worked as curatorial assistant at BAK – Basis voor Actuele Kunst, Utrecht. From 2004 to 2006 she was curator at the Kunsthalle Friedericianum, Curator Workshop, Kassel, Germany. She has curated a number of exhibitions internationally including the 6th Werkleitz Biennial, Happy Believers, Halle (2006), the first Copenhagen Quadrennial: U-TURN Quadrennial for Contemporary Art, Denmark (2008); 4. Fotofestival Mannheim, Heidelberg, Ludwigshafen The Eye is a Lonely Hunter (co-curated with Katerina Gregos, 2011), as well as the year long project An Age of our Own Making – a series of exhibitions with artists from East and West Africa, Asia and the Middle-East as part of the Images Festival 2016 in Holbæk, Roskilde and Copenhagen. She also curated the solo exhibition The Inner Sound that Kills the Outer by Kirstine Roepstorff (curated together with Agustín Pérez Rubio), MUSAC, Spain (2009) and the group exhibitions Die Welt als Bühne at the Neuer Berliner Kunstverein, nbk, Berlin (2009–2010); Never odd or even at Grimmuseum, Berlin (2011), and Museum for Contemporary Art, Roskilde (2012) and Either/Or at Nikolaj Contemporary Art Centre, Copenhagen (2012) and Haus am Waldsee, Berlin (2013).
Ioli Tzanetaki
Assistant Curator, RIBOCA
Ioli Tzanetaki is an independent curator, researcher and writer born in Athens and currently living in Berlin. She holds an MA in Art & Politics with honours from Goldsmiths, University of London, a Postgraduate Diploma in Art History and Curating from the Sotheby’s Institute of Art and a Bachelor of Arts in Economics from the University of Exeter.
Her work focuses on the relationship between art, politics, and social issues. In 2016, she worked as a curatorial fellow for A World Not Ours, an exhibition reflecting on the refugee crisis commissioned by the Schwarz Foundation in Greece and France. In the same year, she co-founded the non-for-profit project We Hybrids which consists of a series of collaborative workshops, taking place in various UK cities (2016-present). From 2015 to 2016 she was director’s assistant at Siegfried Contemporary in London. She has organised several exhibitions in London, Berlin and Athens such as Faces and Spaces at Box. Freiraum, Berlin (2017). She is a co-editor and writer at Archipelago a printed and online journal aiming to explore the relationship between art and politics.
RIBOCA1 concept
1st Riga Biennial
Speed is the form of ecstasy the technical evolution has bestowed on man… He is caught in a fragment of time cut off from both the past and the future; he is wrenched from the continuity of time; he is outside time…
Milan Kundera, Slowness, 1996
Change is a constant and imperceptible process. Nothing remains the same and yet it often feels as if things are fixed, solid certainties. Change operates in strange ways. ‘Ta panta rhei’ (everything flows) the ancient Greek philosopher Heraclitus pointed out, meaning that everything is constantly changing, from the smallest organic particle to the whole universe. Heraclitus asserted that every seemingly stable object ultimately is a figment of one’s imagination. Only change itself is real, constant and in eternal flux, like the continuous flow of the river, which always renews itself and only appears to be staying the same over time. Until recently – and excluding those more rare radical moments of personal, social or political transformation – change appeared to creep up on us slowly. But then, one day we wake up and experience a sudden break in consciousness. It abruptly dawns on us that our world has changed beyond recognition. We have been thrust into the future, unwittingly. In recent years, and particularly since the advent of the technological revolution, it seems that even the Heraclitan constant flow of things has become a torrent. Our world seems to be ever accelerating. As James Gleick has pointed out in his book Faster: The Acceleration of Just About Everything, “We have reached the epoch of the nanosecond. This is the heyday of speed”. The 1st Riga Biennial biennial will reflect on the phenomenon of change – how it is anticipated, experienced, grasped, assimilated and dealt with at this time of accelerated transitions.
The title, Everything Was Forever, Until it Was No More, is borrowed from Alexei Yurchak’s book of the same name. Yurchak discusses the collapse of the Soviet Union and one particular characteristic that defined it: the sense that although the Soviet system was felt to be permanent and immutable, its demise was at the same time perceived as completely natural. The shock of being thrust into a new order came only later. The title of his book suggests the slippery nature of change, the fact that what might seem eternal can suddenly come to an end. He calls this a case of ‘fast-forwarded history’. The title of Yurchak’s book resonates in the entire post-Soviet sphere, the Baltic states included; but it can also be seen as a potent metaphor for our own era.
At the same time, on a more global level, we seem to be at a watershed, propelled forward at great speed by technological change, new practices of daily life that seem to occur in a flash – like the quick consolidation of the internet and smartphones in our lives, for example – and radical ideas that are becoming mainstream. Yet more and more of us – old and young – have trouble keeping up with incessant, overwhelming flows of information and the increasing acceleration of our lives and work. Facilitated by technology, the changes at first seem natural. Introduced as novelties, they then quickly become necessities in a pure capitalist sense – but they are too profound and fast for us to really grasp or adapt to without great stress and anxiety. We tend to forget that we are still animals, and that like them we struggle to adapt to change. We are better equipped than most living things to do this, but we too experience change as stress. Though the condition of constant acceleration has become normalised in most areas of life, and differs from place to place, city to city and country to country, few seem to question it or are able to resist it. In our hubris we tend to forget that evolution, which allows for adaptation to new conditions, has been an extremely slow process. Consider this simple timeline: life on earth appeared 4 billion years ago; homo sapiens appeared 70,000 years ago (new research now suggests 300,000 years) and life evolved on the planet at a very slow pace until the financial and agricultural revolution which started at the beginning of the 1600s. Only since the industrial revolution did things start changing dramatically as humanity was propelled by the steam age into modernity. The technological revolution that began with the industrial revolution and has culminated in the digital revolution is – like the whole history of homo sapiens – but a flash of lightning in terms of the long night sky of humanity.
The pace of acceleration since the industrial revolution seems exponential. Within 300 years we’ve had to adapt to habitats, practices and amenities that bear no resemblance to what our ancestors experienced for thousands of years. In this time, the world has been dominated by humanism. In years to come, natural selection is likely to cede to ‘artificial intelligence’ and scientific intervention. The seeming mastery of man over the planet in the age of the so-called Anthropocene means that the world is likely to change beyond recognition in this century. The world we now know and understand might well no longer exist in the near future. Although the speed of change fuelled by science and technology is remarkable, it does not seem this way since major structural changes tends to happen imperceptibly, quickly becoming the norm. We have entered a period of instability where a lot of the assumptions and certainties we held to be true are being thrown in the air. Expectations and predictions, politically and otherwise, are constantly turned on their heads.
Geopolitically, the Riga Biennial could be thought of in terms of a regional equation of Baltic–Nordic–Post-Soviet dynamics, which are worth exploring further. If one draws a line vertically through Latvia, one would be looking at a map where the new tensions of the Eurasian East–West divide are being played out, with Russia acting as a geopolitical game-changer at the beginning of the second post-Soviet generation. The historical entanglements and conflicts between Latvia and Sweden, Russia, Poland and Germany cannot also be ignored. The collapse of the Soviet Union resulted in what has been called a ‘new regional geography’, especially in the Baltics, which merits further consideration. The region has become the locus of political and economic restructuring, identity renegotiation, and global reintegration. Yet these remain fragile and contested geographies.
The recent existential and identity crisis that Europe is facing, and the new geopolitical realities at its Eastern borders, are a testimony to the fact that the consolidation of the ‘post-historical world’ of liberal democracies is not a given, and that this postwar phenomenon is actually an exception if one looks outside the Western world. At the moment, Europe is struggling to hold on to ideas of transnationalism whilst nationalism and exclusionary identity politics – rooted in specific place and space – are returning with a vengeance. Rising economic inequality has started to shake the foundations of globalization. As Franco ‘Bifo’ Berardi has pointed out:
“With the dissolving of the internationalist vision, everybody belongs to a clan – ethnic or virtual – and everybody is preparing to protect themselves against the coming invasion. After the abandonment of the universalist horizon of enlightened modernity, conflicting subjectivities are now kept together by a faith in belonging”.
2016, the year the Riga Biennial was founded, was called ‘the year of the political earthquake’; this may be an overstatement but what is clear is that we are on the cusp of a new world order. As far as Europe is concerned, Timothy Garton Ash called this year ‘1989 in reverse’. The election of President Trump, Brexit, the resurrection of nationalism and other totally unexpected radical developments, resulted in a form of ‘psychopolitics’ to borrow a term from Peter Sloterdijk. Philosopher Lieven de Cauter calls this, more poetically, ‘political melancholy’.
The world is facing major challenges for which – despite the unprecedented knowledge and information we have at our disposal – we are unprepared. There is climate change; the transition from a material-based to knowledge-based economy and ‘cognitive’ capitalism; increasing automation which will make humans redundant and transform the labour market; rapidly changing demographics; and finally ideas of ‘transhumanism’ – the belief that the human race can evolve beyond its current physical and mental limitations by means of science and technology; the latter might now seem farfetched, but in the future could easily become reality considering the rapid development in fields of genetic engineering, medicine, bio- and nanotechnology.
As Yuval Noah Harari has pointed out in his book Homo Deus for thousands of years history was full of technological, economic, social and political upheavals. Yet one thing remained constant: humanity itself’. This fact no longer seems to continue to be a given. As he points out, “In the 21st Century, the […] big project of humankind will be to acquire for us divine powers of creation and destruction and upgrade Homo Sapiens into Homo Deus”. This thought is daunting. The fact that ‘we are rushing so fast into the great unknown’ has engendered anxiety, insecurity and a feeling of disconnect from our senses and emotions. This is different from the anxiety and insecurity of our parents and grandparents who experienced war and want as well as their fair share of the full shock of modernity; they had to activate survival modes in order to get by. What we in the constantly networked, overworked, over-stimulated world are experiencing on a daily basis seems normal, and – by comparison – we are also more privileged. But at the same time we are less able to make sense of the present while certainly lacking the survival skills of our predecessors. It feels as if humanity as a whole is on automatic pilot, without pausing to think about the cause of our actions.
Whereas many biennials and large-scale exhibitions recently have been quite retrospective – anachronistic, even – looking to the past and harking back to lost political and social utopias, the 1st edition of the Riga Biennial will set its eyes firmly on the present and the near future of the human condition as we approach the second quarter of the twenty first century. It will explore the shifts that have been taking place in the region but will also contextualise these into a broader picture, as the world is now decidedly interconnected. The biennial will be regional in its geopolitical focus but global in its examination of the issues that concern us all. From the personal to the political and social, to the philosophical and the existential, the Biennial will probe how contemporary artists are responding to some of the major challenges of the day, how they register change, and how they imagine the future. Riga seems to be the perfect place to do this, as a place that has often experienced pivotal change. While now part of Europe and having experienced the transition to capitalism, following Soviet occupation, the city maintains its own rhythm and identity and is far from being or becoming yet another high performance metropolitan hub. It maintains a human scale and livable pace, and its inhabitants – like most Latvians – have a close relationship with nature. Riga’s atmosphere as well as history allows us to re-focus on important values such as slowness, de-acceleration, and pausing to reflect upon and understand our changing present as well as consider alternative ways of being and acting. The biennial will highlight artists from the Baltic and Nordic region as well as include international artists who will reflect on the multiple parameters of change, taking the temperature on the human condition at this moment. The exhibition will focus on several pressing issues, from the ‘great acceleration’ most of us experience today in urban centres and mega-cities, the transformation of social life and work, the end of privacy and ‘post-truth’, to the impact of rapid advancements in science and technology and the negotiation of constant crises – of ecology, capitalism, democracy. Many of these changes have radically altered the way we experience the world and have undermined – or overridden – all of our senses except vision. A part of the exhibition will also thus refocus on the sensorium – the sum of the human organism’s perceptive tools – creating moments that trigger the senses that have been marginalised, allowing for a much-needed deceleration of perception. The 1st Riga Biennial aims to paint a political, but also personal and existential, portrait of the unprecedented times we live in and to relate the tectonic shifts that are taking place in the public as well as private realm today. Whether one defines the current era as the ‘Anthropocene’, the ‘Capitalocene’ or the ‘Chthulucene’, it is certain that we have entered an era of epochal shifts. This is at once both exciting and frightening. The artists in the Riga Biennial will look into these changes and how we adapt to them, summoning ghosts from the future and recalling prophets from the past.
Katerina Gregos,
Chief curator, 1st Riga Biennial
Gleick, James, Faster: The Acceleration of Just About Everything, Pantheon, New York, 1999
Yurchak, Alexei, Everything was Forever Until it was No More, Princeton University Press, 2006
Berardi, Franco ‘Bifo’, The Coming ’17, E-flux Journal #78 – December 2016
Aitenhead, Decca, “So long, 2016: the year of the political earthquake”
Garton Ash, Timothy, “Is Europe Disintegrating?”
New York Review of Books, January 19, 2017
Elden, Stuart (Ed.), Sloterdijk Now, Polity Press, Cambridge, 2012
De Cauter, Lieven, “Small Anatomy of Political Melancholy”
Harari, Yuval Noah, Homo Deus: A Brief History of Tomorrow,
Penguin, 2016
Haraway, Donna, “Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble”, in Anthropocene: Arts of Living on a Damaged Planet
Anastasia Blokhina
Executive Director, RIBOCA
Anastasia Blokhina studied Journalism and Communication at St. Petersburg State University and graduated with honours. She is an experienced cultural producer known for her work delivering large-scale visual arts projects across the world, within the museum, commercial and not-for-profit sectors.
From 2011-2014 she was Director of External Communications at Erarta Museum and Galleries of Contemporary Art, the biggest contemporary art museum in Russia, with an outreach of galleries in different cities – Saint Petersburg, New York, London, Zurich and Hong Kong. At Erarta, she was involved in the development of the whole organization from both the cultural and business side. From 2014-2016, Anastasia was Director of YAY Gallery in Baku, Azerbaijan, part of the Yarat foundation. While in this role she worked on various local and international projects and organized exhibitions in New Delhi, India; Rome, Italy; Moscow and Perm, Russia; Dubai and Sharjah, UAE; and Paris, France. She worked with venues such as the Old Sorting Office and organisations such as the Louise Blouin Foundation in London, UK, and the Leila Heller gallery in New York, USA. Anastasia was also involved in Yarat’s project The Union of Fire and Water at Palazzo Barbaro at the 56th Venice Biennale.
Anastasia brings her international experience in project management, external relations and working with artists to the Riga Biennial, for which she is responsible for managing and directing all operations. She lives and works in Riga.
Olga Sivel
Biennial Coordinator, RIBOCA
Olga Sivel is an exhibition coordinator and independent curator, with experience in museum and gallery management as well as in art festival organisation and the production of art-related events.
Olga received her BA in Art History and Translation Studies (2010), and her MA in Linguistics (2015) from the St. Petersburg University of Humanities and Social Sciences. She began her career as the Head of Visitors’ Services at the Erarta Museum in St. Petersburg, the biggest contemporary art museum in Russia. Two years later she became the museum’s Global Galleries Coordinator, working across St. Petersburg, New York, London, Zurich and Hong Kong, to promote Russian contemporary art worldwide. She worked for Manifesta 10 in St. Petersburg as part of the exhibition’s production team (2014). She was Curatorial Assistant and Head of Production for Francis Alÿs’ first solo exhibition in Russia Beyond the River: Afghan Projects 2010-2014 at the Sergey Kuryokhin Center for Contemporary Art, St. Petersburg (2015). In 2016 she curated the Geek Picnic in St. Petersburg. She also served as development director at APERTO Reading Room project, a library and research platform for contemporary art (2015).
Inese Dabola
Head of Communications, RIBOCA
With more than ten years of experience in communication, Inese develops communication strategies and supervises their implementation on a daily basis. She is the founder and director of the Riga based communications agency HUGE.
Her extensive experience includes both commercial and non-commercial projects with BTL and ATL production. As a communication strategist, she has worked on campaigns and organised events for different local and global companies. She has also initiated social corporate projects that have gained wide recognition and have fostered the development of new social movement. Other past roles include working as the head of the Marketing and PR department of Diena – the biggest media group in Latvia. She has been awarded the Baltic PR Award and has also been the head of the Latvian Photo Award of the Year since 2010.
Pelham Communications
Pelham Communications is an international visual arts agency delivering strategic brand development, media relations and digital development to key cultural organisations.
clients based in the USA, China, Ghana, Germany, Spain, Switzerland, Baltics, Russia, Belgium, Turkey, Ireland, Finland and the UK.
The team is highly skilled at managing international projects on the ground. Working on a range of large scale projects including EVA International: Ireland’s Biennial, five national pavilions and six collateral events at the last four editions of the Venice Biennale.
A major initiative of the Riga Biennial Foundation, RIBOCA1 is set to pave the way for new opportunities for leading international and regional artists to engage with the rich cultural, historical and socio-political context of the city and its surrounds.
Chief Curator Katerina Gregos and Associate Curator Solvej Ovesen are already in the process of selecting artists from the Baltic region as well as further afield to be included in RIBOCA1 next year. A significant proportion of works on display will be newly commissioned.
The biennial will unfold in several locations throughout the city centre of Riga.





If you want to announce your event in
EstherArtNewsletter please fill out the form.




Tate Liverpool
Press Views:
Thursday 16 November 2017 | 11–14pm
Exhibition: 17 November 2017 – 18 March 2018
Albert Dock, Liverpool Waterfront, Liverpool L3 4BB





curated by Darren Pih, with Tamar Hemmes, Assistant Curator,
17 November 2017 – 18 March 2018
press preview 16 November 2017

Supported by the John Piper Exhibition Supporters Group and Liverpool City Council

Tate Liverpool presents a major exhibition exploring the work of the great British artist John Piper (1903–1992). Displaying more than 40 works, including paintings and collages, it offers a new perspective on his powerfully sensitive depictions of his native land and cityscapes. The exhibition emphasises his relationship with major international artists, revealing Piper’s pivotal influence on modern art in Britain from the 1930s onwards.

Working across an extraordinarily diverse range of artistic and cultural fields throughout his career, Piper is renowned for his stained-glass window designs, including his centrepiece commission for the Liverpool Metropolitan Cathedral. The exhibition marks the 50th anniversary of its consecration in 2017.

Piper held profound affection for his native landscape, expressed from the beginning of his career in works quintessentially British in their subject matter and aesthetic. After becoming acquainted with Paris-based artists including Jean Arp and Georges Braque in the early 1930s, his distinctive style evolved from representational art to embrace abstraction. The exhibition brings together paintings, collages and reliefs that chart this transition. Works such as Beach with Starfish c.1933–4 present the familiar English seaside reimagined by the artist as a cubist-influenced paper collage.

Reflecting his role as champion of international abstract art in Britain, promoted through his role in the 7 & 5 Society and contributions to the pioneering abstract art review Axis edited by his wife Myfanwy, the exhibition features a small selection of works by major artists such as Alexander Calder (1898–1976) and Jean Hélion (1904–1987) alongside those by Piper.

Yet the exhibition also traces Piper’s deep understanding of and sensitivity to early native art forms including medieval stained glass windows and Anglo-Saxon stone carving. The exhibition breaks new ground by displaying examples of these works, including archaeological carving, and bringing them into dialogue with European modernism, demonstrating how these were connected and innovated in the work of John Piper.
Piper is renowned for his landscape and architectural compositions, his practice extending into travel writing, printmaking, fabric design, theatre sets and collaborations with choreographers and poets including Benjamin Britten and John Betjeman. He was a major contributor to the artistic landscape of 20th-century Britain and left a profound imprint on British cultural life.

John Piper is curated by Darren Pih, Exhibitions and Displays Curator with Tamar Hemmes, Assistant Curator, Tate Liverpool. It will be shown in parallel with Surrealism in Egypt: Art and Liberty 1938 – 1948.




Tate Liverpool presents the first museum solo exhibition in the UK of Mary Reid Kelley (b.1979, USA) and Patrick Kelley (b.1969, USA). Known for their stylised black-and-white videos, they present a new commission for the gallery, In The Body of The Sturgeon, as well as the 2016 work, This Is Offal. Mary Reid Kelley and Patrick Kelley collaborate to create video works that combine painting, performance and poetry to tell surreal stories inspired by history and mythology. Played by the artists acting multiple roles, their characters speak in poetic verse filled with wordplay and puns to tell stories that imagine unrecorded histories.

In several vignettes, In The Body of The Sturgeon envisions a peculiar time and space: an American submarine at the very end of the Second World War. Sailors on the (fictional) USS Sturgeon grapple with claustrophobic boredom, distill bootleg alcohol and entertain each other with ad-hoc burlesque performances. Historical significance intrudes on this confined world in the form of President Harry Truman’s announcement of the bombing of Hiroshima. Mary Reid Kelley’s script for In The Body of The Sturgeon is a sustained act of mosaic wordplay, an ancient form of verse collage called a cento. Every word of In The Body of The Sturgeon is appropriated directly from Henry Wadsworth Longfellow’s 1855 epic poem The Song of Hiawatha. This often-ridiculed fantasy pastiche about Native Americans in a pre-industrialized idyll serves as the sole textual source for a narrative about the industrialised, machine-centric environment of the submarine.

Originally commissioned as a performance for BMW Tate Live, the video work This Is Offal 2016 is inspired by Thomas Hood’s 1844 poem The Bridge of Sighs, in which a male narrator laments and speculates over the body of a young woman who has committed suicide by jumping off a bridge into the Thames. In This Is Offal, the speaking role belongs to the young woman herself – it is narrated by her corpse’s body parts and internal organs. From the vantage point of the dissecting table, the body and organs argue with each other as to who was ultimately responsible for the woman’s death, revealing the impossibility of a rational, scientific explanation for this tragic and complex event.

The exhibition will also include a series of life-size, light-box portraits of the videos’ characters. Mary Reid Kelley and Patrick
Kelley: We Are Ghosts will be accompanied by a publication featuring the scripts of the videos alongside new writing on each of the new works by the exhibition’s curators.

Mary Reid Kelley is a 2016 MacArthur fellow and received the Baloise Art Award at Art Basel 2016. She and Patrick Kelley live and work in upstate New York. Mary Reid Kelley and Patrick Kelley: We Are Ghosts is curated by Lauren Barnes, Assistant Curator, Tate Liverpool. The new video, In The Body of The Sturgeon, is co-produced with The Baltimore Museum of Art and The Center for Advanced Media Studies at the Johns Hopkins University. We Are Ghosts will be presented at The Baltimore Museum of Art from 4 April – 15 July 2018. Mary Reid Kelley and Patrick Kelley has been programmed in parallel with John Piper and Surrealism in Egypt: Art et Liberté 1938–1948.

Images (t-b): John Piper, Beach with Starfish c.1933-4. © The Piper Estate.
Mary Reid Kelley and Patrick Kelley, Guady Night 2017.
Courtesy of the artists and Pilar Corrias Gallery.




If you want to announce your event in
EstherArtNewsletter please fill out the form.



see you in Budapest




Art Market Budapest features
Eran Shakine’s “The Girl from Buda”
Open: 6. October 2017
Exhibition: 6. October – 30. November 2017
Szechenyi Square, Budapest


Eran Shakine commisioned outdoor sculpture
The Girl from Buda” for Art Market Budapest.

The Girl from Buda is a 6-meter tall sculpture of a young girl installed in front of the Chain Bridge in the center of Budapest. It depicts the young girl walking toward the bridge. Is she coming back home from a night out in Pest?
Is she on a catwalk?

Throughout art history, artists tried to represent the female form as a canon of beauty, while in the more recent past, large figured sculptures were used as part of political strategy. Located on the point where domestic Buda meets the international Pest, where past is giving way to the future, this sculpture is a monument to everyday moments in the…

View original post 1,708 more words


Große Wiedereröffnung
Feiern Sie mit uns das
neue Weltmuseum Wien!
Dienstag, 24. Oktober 2017 | 10 Uhr
Am Podium:
• Thomas Drozda, Bundesminister fur Kunst und Kultur, Verfassung und Medien
• Sabine Haag, Generaldirektorin des KHM-Museumsverbands
• Steven Engelsman, Direktor des Weltmuseums Wien
• Ralph Appelbaum und Thomas Bernatzky, Architekten
Eröffnungsfest: Opening Show:
mit KunstlerInnen aus aller Welt
Mittwoch, 25. Oktober 2017 | 19 Uhr
Opening: Wednesday, 25. October 2017 | 7 pm
kuratiert von André Heller
Open-Air-Bühne am Heldenplatz
unter der künstlerischen Leitung von André Heller.
21 bis 1 Uhr: Öffnung des Museums (freier Eintritt)
Heldenplatz, 1010 Wien
Bildschirmfoto 2017-09-28 um 18.08.10

Eröffnungsshow: Open-Air-Fest von André Heller

Mittwoch, 25. Oktober 2017 | 19 Uhr
Opening: Wednesday, 25. October 2017 | 7 pm
Ausstellung: Exhibition:
Tal Adler
Sharing Stories | Dinge sprechen
Rajkamal Kahlon – Staying with Trouble
Pop-Up World – Erzählungen
Lisl Ponger – The Master Narrative
Dejan Kaludjerović – Conversations
Heldenplatz, 1010 Vienna


Nach drei Jahren Umbau ist es endlich so weit: Das neu gestaltete Weltmuseum Wien nach Plänen des renommierten Architekten- und Designerteams Hoskins Architects/ Ralph Appelbaum Associates wird am 25. Oktober mit einer neu konzipierten Schausammlung und mehreren Sonderausstellungen wiedereröffnet.
Das wird gefeiert – mit einem sinnlichen Kaleidoskop aus theatralischen und musikalischen Splittern unterschiedlicher Kulturen auf einer Open-Air-Buhne am Heldenplatz unter der künstlerischen Leitung von André Heller. Nach der Show und am 26. Oktober kann das neue Museum mit seinen weltberühmten Objekten bei freiem Eintritt besichtigt werden.
Das Museum hat es sich zur Aufgabe gemacht, sich mit der kulturellen Vielfalt der Menschheit zu befassen und mit seinen weltumspannenden Sammlungen Österreichs reichhaltige historische Beziehungen zur Welt zu dokumentieren.


Einblick Saal “Sammlerwahn. Ich leide an Museomanie!” Copyrigth: KHM-Museumsverband



Das neue Weltmuseum versteht sich als Ort, der Menschen und Kulturen auf einzigartige Weise miteinander verbindet. Das Museum hat es sich zur Aufgabe gemacht, sich mit der kulturellen Vielfalt der Menschheit zu befassen und mit seinen weltumspannenden Sammlungen Österreichs reichhaltige historische Beziehungen zur Welt zu dokumentieren. Die Bedeutung des Hauses hat Universalkünstler André Heller dazu inspiriert, das Bühnenfest für die große Wiedereröffnung zu konzipieren. Gemeinsam mit internationalen KünstlerInnen wird er am Abend des 25. Oktobers auf einer Bühne am Heldenplatz ein Zeichen für Toleranz, Respekt und Miteinander setzen. Die Öffentlichkeit wird bei freiem Eintritt zahlreiche Auftritte herausragender KünstlerInnen, die zum Teil erstmals in Österreich zu sehen sind, erleben können.


„Ein Geschenk zum Nationalfeiertag“ – Tag der offenen Tür
Nach der Eröffnungsfeier wird das Weltmuseum Wien nach drei Jahren Schließzeit wieder zugänglich sein. Bei freiem Eintritt können BesucherInnen bis 1 Uhr nachts das neue Museum erkunden. Diese Möglichkeit besteht zusätzlich am Nationalfeiertag von 13 bis 21 Uhr.

Das Herzstück des neuen Museums wird die von Grund auf neu konzipierte Schausammlung sein. In 14 Sälen, die sich wie eine Perlenkette von Geschichten aneinanderreihen, werden die zentralen Bestände gezeigt und aus zeitgemäßer Sicht interpretiert. Sie werden insgesamt 3.127 Objekte sowie zahlreiche Photographien zeigen. Dabei werden oft überraschende Verbindungen zwischen Österreich und der Welt sichtbar gemacht. Alle BesucherInnen werden dazu eingeladen, die weltumspannenden Sammlungen – darunter der berühmte Federkopfschmuck „Penacho“, die Sammlung des James Cook oder die Objekte der Brasilien-Expedition des Johann Natterer – neu zu entdecken.




Wasserträger in Kairo
Fotograf: Bonfils, Felix oder Adrien; Aufnahmedatum ca. 1870 Abzug, handkoloriert H. 277 mm, B. 215 mm  ©KHM-Museumsverband



Mit der Wiedereröffnung werden ergänzend zur Schausammlung auch fünf Sonderausstellungen zeitgenössischer KünstlerInnen – darunter Lisl Ponger und Dejan Kaludjerović – im Hochparterre und Mezzanin eröffnen, die einen anderen Blick auf ethnographische Themen bieten und zeitgenössische Akzente setzen.

Weltmuseum Wien
Tal Adler
Sharing Stories | Dinge sprechen
Mittwoch, 25. Oktober 2017
Wednesday, 25. October 2017
Künstlerisches Konzept des Projektes: Tal Adler
Kuratiert und inhaltlich ausgearbeitet von
Tal Adler (Künstler), Elisabeth Bernroitner
(Brunnenpassage Wien), Bianca Figl (Weltmuseum
Wien, Projektleitung) und Karin Schneider (Kunstvermittlerin).
Comparsita von Farrokh Fattahi © Tal Adler
Neue Burg, Heldenplatz, 1010 Wien
Täglich außer Mi 10 – 18 Uhr, Fr – 21 Uhr



Cover: Daoistische Haarnadel von Karl Koschek
Bild links: Evas


Sharing Stories | Dinge sprechen
Die Ausstellung zeigt die gesamte Sammlung von 150 Ding-Geschichten. 20 davon werden von Tal Adler porträtiert: Einerseits als Photoporträts an ihrem „üblichen Aufenthaltsort“ (zu Hause auf der Ablage, in einer Schachtel unter dem Bett, in der Tasche, der Hand oder auf dem eigenen Kopf), andererseits in Form von Videointerviews mit ihren BesitzerInnen und mit anderen Leuten, die über die Gegenstände aus ihrer eigenen Perspektive sprechen.

Ausgehend von einem für das Projekt eigens entwickelten offenen Interviewformat entstanden 150 persönliche, reichhaltige und spannende Geschichten. Von einfachen Alltagsdingen, wie einem Schlüssel oder einer Halskette, bis zu besonderen oder seltenen Objekten, wie der Schachtel eines verlorenen Films oder einer handgemachten Maske. Die BesitzerInnen der Dinge teilten Geschichten von Liebe und Freundschaft, Verlust und Sehnsucht, Zugehörigkeit und Fremdheit, von Glaube, Leidenschaft, Reisen und Abenteuer, Migration, Assimilation, Terror und Hoffnung.

Während der gesamten Projektdauer wurden Photos der Gegenstände und die Zusammenfassung ihrer Geschichten regelmäßig auf die Homepage des Weltmuseums Wien hochgeladen, um ein für alle zugängliches Archiv aufzubauen. Nun, da das Archiv eröffnet ist, sind alle InteressentInnen erneut eingeladen, sich die Gegenstände anzusehen, die Geschichten zu lesen und die eigene Sichtweise auf die Objekte einzubringen.




Jeden zweiten Freitag im Monat gibt es von 16 bis 18 Uhr die Möglichkeit, weitere Gegenstände zu bringen und ihre Geschichte zu erzählen. Um 18.30 Uhr folgen Performances, Debatten und Vorträge mit an Sharing Stories Mitwirkenden
sowie externen Stimmen.


Rajkamal Kahlon
Staying with Trouble
Ab 25. Oktober 2017



In der Ausstellung „Staying with Trouble“ präsentiert die Künstlerin Rajkamal Kahlon eine Werkreihe, die inspiriert von einer zweimonatigen Residency im Weltmuseum Wien entstand. Während ihres Aufenthalts durchforstete sie historisches Material in der Photosammlung des Museums.

Rajkamal Kahlon setzt sich im Besonderen mit ethnographischen Portraitphotographien im späten 19. und frühen 20. Jahrhundert auseinander. Die Inszenierung dieser Abbildungen baute häufig auf Konstruktionen des „Wilden“ oder „Primitiven“ auf und bildete so den Grundstein für Darstellungscodes, die sich teils noch heute wiederfinden. Durch ihre visuelle Analyse erforscht die Künstlerin diese Kontinuitäten. In ihren Bildtransformationen fordert sie das Publikum auf, den eigenen Blick zu hinterfragen. Der Titel der Ausstellung verweist auf die Biologin und Wissenschaftsphilosophin Donna Haraway, deren Werk Kahlon in ihrem Arbeitsprozess beeinflusst hat.

In den Arbeiten der in Berlin lebenden, US-amerikanischen Künstlerin Rajkamal Kahlon wird der Betrachter Zeuge einer Autopsie, das visuelle Erbe von Herrschaftssystemen wird seziert. Sie übermalt und entwirft die Körper fotografierter Subjekte neu – so ermöglicht Kahlon eine Rehabilitierung von Körpern, Geschichten und Kulturen die einst ausgelöscht, entstellt oder geschmäht wurden.

Kahlon studierte am California College of Art (MFA in Malerei), absolvierte das Whitney Independent Study Program in New York sowie die Skowhegan School of Painting and Sculpture.

Rajkamal Kahlons Residency fand im Rahmen von SWICH – Sharing a World of Inclusion, Creativity and Heritage statt und wurde kofinanziert vom Programm Kreatives Europa der Europäischen Union.

Pop-Up World
Ab 25. Oktober 2017


Buddhafigur, USA, 21. Jh.


Mit der Wiedereröffnung des Weltmuseum Wien erscheint ein innovatives Buch zum Museum. Die Ausstellung Pop-Up World: Erzählungen macht dieses Buch teilweise real begehbar. Jeweils mehrere Objekte sind zu abgeschlossenen Erzählungen arrangiert. Die Bandbreite der Themen erstreckt sich von traditioneller Ethnographie bis zu Kunstgeschichte, von historischen Erwerbsumständen der Objekte bis zu Glaubensinhalten verschiedener Weltreligionen, von Sammlerpersönlichkeiten bis zum Spannungsverhältnis zwischen „Eigenen“ und „Fremden“.

Für eine Ausstellung eher unüblich treten die KuratorInnen als ErzählerInnen durch Filmaufnahmen selbst auf. Sie berichten über ihre Lieblingsobjekte, zu denen sie in einer besonderen, oftmals ganz persönlich gefärbten Beziehung stehen.

Sie alle vereint die Grundintention des Weltmuseums Wien: die von Objekten getragenen Erzählungen erfahrbar zu machen und der vielfältige Fragenkatalog, den ein einzelnes Objekt aufschlägt. Das Museum sieht sich nicht mehr als autoritative Institution, die gesamte Welt eines Objektes kann nicht enzyklopädisch nachgebildet werden. Viel eher kann unser Haus Einblicke ermöglichen: über die Vielfalt der Welt und in welcher Beziehung wir selbst dazu standen und stehen.


Lisl Ponger
The Master Narrative
Ab 25. Oktober 2017



Auf Einladung des Weltmuseums Wien zeigt das MuKul, das (fiktive) Museum für fremde und vertraute Kulturen, eine Ausstellung der Künstlerin Lisl Ponger. Sechs großformatige, inszenierte Fotografien in Leuchtkästen sowie eine einen Museumstag lang dauernde 2-Kanal-Installation mit dem Titel The Master Narrative und Don Durito laden die BesucherInnen auf Entdeckungsreisen ein.

In Tahiti werden sie Zeugen einer Konferenz. Auf einer Gartenparty in einer tropischen, in der Säulenhalle des Weltmuseums Wien gelegenen Landschaft, unterhalten sich Christoph Kolumbus und Margaret Mead bei einem Glas Wein, während Franz Boas Kunststücke vorführt. Die Künstlerin selbst trifft Vorbereitungen, um als teilnehmende Beobachterin ihrer Arbeit nachzugehen, während Indian(er) Jones den roten Vorhang lüftet, um sein Museum zu präsentieren. Wie die Frau in Sigmund Freuds Arbeitszimmer hat auch er seine gesammelten außereuropäischen Objekte benannt und kategorisiert. Die Liste, tätowiert auf dem Unterarm einer Frau, zeigt die Genealogie weißer Inbesitznahme ferner Länder und gibt einen Hinweis auf die Installation.

„Für die von oben setzt sich der Kalender aus der Vergangenheit zusammen. Damit es dabei bleibt, wird er von den Mächtigen mit Statuen, Feiertagen, Museen, Huldigungen und Paraden ausgefüllt. Das alles dient dem Zweck, sie dort zu halten, wo sie schon geschehen ist und nicht geschehen wird“, sagt Don Durito, ein gut gekleideter, Pfeife rauchender Käfer aus dem lakandonischen Urwald, der Marcos, den Subcomandante der Zapatistischen Befreiungsarmee, zu seinem Schildknappen erkoren hat.

Statuen, Museen, berühmte Menschen und wichtige Jubiläen finden sich auch auf Briefmarken und Ersttagsbriefen wieder, jenen kleinen Kuverts, mit denen die Post unterschiedlicher Nationen zu verschiedenen Zeiten der Vergangenheit gedenkt und diese für die Zukunft verewigt.

Opening: Wednesday, 25. October 2017 | 8:30pm
Curator: Mandana Roozpeikar
Exhibition architecture: Anton Stein
Graphic design: Monika Lang
Heldenplatz, 1010 Vienna




Dejan Kaludjerović (geboren in Belgrad, ehem. Jugoslawien) kreiert Zeichnungen, Gemälde, Installationen und entwickelt forschungsbasierte Projekte. Seine Installation unter dem Titel „Conversations“ ist eines dieser Projekte, das eine Art Übersicht seiner jahrelangen Forschungs- und Produktionsarbeit darstellt. Zwischen 2013 und 2017 interviewte Kaludjerović Kinder im Alter von 6-10 Jahren mit einer Reihe von einfachen, aber provokativen Fragen.

Obwohl es der Betrachterin/ dem Betrachter zwar selbst überlassen ist, eigene Schlüsse zu ziehen, zeigt sich der Künstler über die Ursprünge des
ideologischen, philosophischen und politischen Denkens, die sich innerhalb der unterschiedlichen Gemeinschaften und Kulturen manifestieren, besorgt.
Seine Arbeit stellt diese Sorgen in einem offensichtlichen Rahmen der kindlichen
Unschuld dar, indem sie die familiären Symbole in Form eines größeren Spiegels des kollektiven Denkens neu ordnet.

On the occasion of its reopening, the Weltmuseum Wien is delighted to present Dejan Kaludjerović’s latest large scale installation Conversations (2017).

Dejan Kaludjerović (born in Belgrade, Yugoslavia) makes drawings, paintings, installations and research-based projects. The installation Conversations is one such project, culminating as a kind of overview of multi-year research and production. Between the years 2013 and 2017, Kaludjerović interviewed children (6-10 years old) from different socioeconomic, cultural and ethnic backgrounds with a set of simple but provocative questions.
Each set of interviews took place in the context of artist residencies that the artist held in Russia, Azerbaijan, Israel, Iran and his “home countries” of Austria and Serbia. These interviews were recorded then fused into recordings presented in exhibitions in each context, as sound installations. The interviews have been edited together in this exhibition, bringing all the material together as an overall analysis. Each prop that the artist made for each original context (sandbox, marbles, cubes, etc.) is also re-made and re-presented in this exhibition, presented together in an unsettling playground that stages some sort of invisible performance.
Within a stream of often naïve responses, in these recordings appear from time to time curious absurdities, humorous outbursts, frightful musings, and absolute profundities as emited by these children. The entire work takes on the format of an unusual sociological research, apparently with no direct or pragmatic results. The viewer is left to himself / herself to make conclusions. However, the artist is certainly concerned with the origins of ideological, philosophical and political thinking as they manifest within various communities and cultures. This work presents these concerns within an apparent framework of childhood innocence, uneasily re-orienting familiar symbols and dialogue into a grander mirror of collective thinking.

Adjacent to the installation is an Information Lounge, where conversations that the artist has encouraged further elaborate on the content and reception of the overall project.”
Séamus Kealy





A full-color catalogue Conversations in English will accompany the exhibition featuring original essays by Ilya Budraitskis, Seamus Kealy, Jelena Petrović, Mohammad Salemy and Klaus Speidel, together with short texts by Anastasia Blokhina, Zoran Erić, Beral Madra and Maayan Sheleff. The book will be published by VERLAG FÜR MODERNE KUNST, designed by Monika Lang.

“Even though the implications of Kaludjerović’s Conversations are manifold and seem to diverge, together they share the tendency to reconcile and complicate significant dualities that have continually haunted the production of knowledge. Thus, the presence of the artist is crucial as the acting body linking the dualities with which the exhibition grapples. At the heart of Conversations is an artist’s attempt to deal with the binaries of quantity versus quality, objectivity versus subjectivity, universal versus particular, and overall, scientific and artistic inquiries. Conversations cleverly sketches the co-dependent topologies of these opposites and proposes a roadmap as to how these complex distances can be navigated.”
Excerpt from the text Child of the Universe: Objectivity at the Threshold of Individuation by Mohammad Salemy

“The Conversations: Hula Hoops, Elastics, Marbles and Sand project (2013–present) brings before us the fact that the knowledge of the power mechanisms that regulate social relations is deeply rooted in childhood. The project faces us with the realization that these mechanisms originate in the family as the nuclear unit of civil society, the foundations for and basic functioning principles of which were set by the union between patriarchy and capitalism a long time ago (the so-called bourgeois family). Built as an ethically untouchable biopolitical construct, the family has to this day preserved its status of an apolitical and private socio-economic organization, notwithstanding some minor disturbances caused by the ideology of the October Revolution in the first half of the 20th century.”
Excerpt from the text I don’t know what freedom is, not at all… by Jelena Petrović
Dejan Kaludjerović has graduated from Belgrade Academy of Fine Arts. He lives and works in Vienna.






„Nach der Einrichtung eines neuen Zentraldepots 2011 und der Neuaufstellung der Kunstkammer 2013 ist die Wiedereröffnung des Weltmuseums Wien für den KHM-Museumsverband das dritte wichtige kulturelle Großprojekt, das wir uns zum Ziel gesetzt haben und im geplanten Zeit- und Budgetrahmen umsetzen werden. Die bedeutendsten und umfangreichsten ethnographischen Sammlungen der Republik Österreich werden dann endlich wieder dem Publikum zugänglich gemacht werden können. Wir laden alle ein, mit uns am Nationalfeiertag das neue Weltmuseum bei freiem Eintritt zu erkunden – ein Museum für Alle.“ 
Sabine Haag, Generaldirektorin des KHM-Museumsverbands

„Wir freuen uns außerordentlich über zwei Dinge: Einerseits, dass wir heute endlich das offizielle Eröffnungsdatum bekanntgeben konnten, auf das wir in den vergangenen Jahren hingearbeitet haben. Andererseits, dass uns ein so großartiger und weltbekannter Künstler wie André Heller das schönste Geschenk zur Wiedereröffnung macht, indem er sich bereiterklärt hat, unsere Bühnenshow zu kuratieren. Das ist eine große Ehre und macht uns sehr stolz. Wir alle im Weltmuseum Wien können die Wiedereröffnung kaum erwarten. Wir sind im Endspurt und es sind nur noch vier Monate für die Fertigstellung übriggeblieben. Ganz Österreich kann auf das neue Museum voller schöner Überraschungen gespannt sein.“ 
Steven Engelsman, Direktor des Weltmuseums Wien 

Das Ausstellungs- und Architekturkonzept
Mit Leidenschaft und kreativem Impuls hat die Arbeitsgemeinschaft Hoskins Architects und Ralph Appelbaum Associates in den vergangenen zwei Jahren die Gestaltung für das Weltmuseum Wien und dessen neue Dauerausstellung entworfen. Die Arbeitsgemeinschaft hatte das Glück, auf einen historischen Bestand von außerordentlicher Qualität zu treffen. Gemeinsam mit dem Team des Weltmuseums Wien wurde eine Vision für die Neueröffnung entwickelt, die diesen Bestand respektiert und erhält und zugleich ein neues architektonisches Erscheinungsbild und eine zeitgemäße Ausstellungssprache ermöglicht. In enger Abstimmung mit dem Bundesdenkmalamt wird das Corps de Logis in den kommenden zwei Jahren behutsam den Anforderungen des Museumsbetriebs angepasst. Architektur Der Entwurf von Hoskins Architects umfasst alle Räumlichkeiten des Weltmuseums Wien. Jeder einzelne Aspekt im Innen- und Außenraum wurde dafür überdacht. Der Weg beginnt im Außenbereich mit einem multifunktionalen Kubus, der Informationen und eine Projektionsfläche für Museumsinhalte bietet, als Bühne für Veranstaltungen nutzbar ist und in den Sommermonaten als Erweiterung des Museumscafés gastronomisch bespielt werden soll. Am Haupteingang des Corps de Logis setzt das Weltmuseum Wien ein identitätsstiftendes und einladendes Zeichen und leitet die Besucherinnen und Besucher mit einem neuen Orientierungssystem vom neuen Besucherempfang im Ersten Vestibül, über den Orientierungsbereich für das Weltmuseum und die Sammlungen des Museumsverbands des Kunsthistorischen Museums im Zweiten Vestibül, bis in die Säulenhalle, das Herzstück des Museums.
Im neuen cook café & bistro in der Säulenhalle kann man sich verköstigen lassen und im Museumsshops das spannende Sortiment erkunden.
Weltmuseum Wien, WMW Forum
Heldenplatz, 1010 Wien


If you want to announce your event in
EstherArtNewsletter please fill out the form.




7. Kunstauktion / Auction 7
Contemporary art and classical modern

Montag, 2. Oktober 2017 | Beginn 18.30 Uhr
Monday, 2. October 2017 | Start 6 pm

Mittwoch, 27. September 2017 | 18.30 – 21 Uhr
Bei der Vernissage verlosen wir unter den Besuchern
eine Originalgrafik von Karl Korab.





Vorbesichtigung: preview:
Donnerstag, 28. September 2017 | 12 – 18 Uhr
Thursday, 28. September 2017 | 12 – 6 pm
Freitag, 29. September 2017 | 12 – 18 Uhr
Friday, 29. September 2017 | 12 – 6 pm
Samstag, 30. September 2017 | 12 – 18 Uhr
Saturday, 30. September 2017 | 12 – 6 pm
Sonntag, 1. Oktober 2017 | 12 – 18 Uhr
Sunday, 1. October 2017 | 12 – 6 pm
Montag, 2. Oktober 2017 | 12 – 18 Uhr
Monday, 2. October 2017 | 12 – 6 pm
Ausstellung: Exhibition:
28. September – 2. Oktober 2017
1100 Vienna, Absberggasse 27, c/o Gallery OstLicht
In the former Anker Brotfabrik




Antoni Tapies, Dibuix-dedicatòria 1965
Tusche und Aquarell auf Karton, 14 x 20,5 cm
7. Kunstauktion | Los 1 | Rufpreis: € 3.000

7. Kunstauktion
Montag, 2. Oktober 2017 | Beginn 18.30 Uhr
Monday, 2. October 2017 | Start 6 pm
1100 Wien, Absberggasse 27, c/o Gallery OstLicht
in der ehemaligen Anker Brotfabrik


Dieter Roth, Ohne Titel (Gesammelte Werke) 1978
Ohne Titel (Gesammelte Werke) Collage, Ölkreide auf Papier 24,5 x 50 cm
7. Art Auction | Lot 57 | Starting Bid: € 5.000

Wir laden ein zur 7. Kunstauktion
Vernissage: Mittwoch, 27. September 2017 | 18.30 – 21 Uhr
Bei der Vernissage verlosen wir unter den Besuchern
eine Originalgrafik von Karl Korab.




Peter Marquant, Ohne Titel 1999
Öl auf Leinwand 200 x 480 cm
7. Art Auction | Lot 70 | Starting Bid: € 12.000


Gerhard Richter, Strich (auf Rot), Rufpreis € 28.000

Am 2. Oktober startet das Auktionshaus in der Anker Brotfabrik in seine nächste Saison: 233 Bilder und Plastiken um ca. 1,3 Millionen Euro werden offeriert.
Auffallend viele Werke internationaler Größen des Kunstmarkts befinden sich diesmal im Angebot: Das beginnt bei einem „Strich auf Rot“ von Gerhard Richter (Rufpreis € 28.000), setzt sich über fünf Zeichnungen von Raymond Pettibon fort (darunter „Maybe President Reagan“ um € 4.000), findet Höhepunkte mit einer großartigen Arbeit von Herbert Zangs (€ 15.000), der im Zuge der Begeisterung für ZERO eine deutliche Aufwertung am Markt erfahren hat, und einer Abstraktion von Maria Elena Vieira da Silva (€ 12.000), einer Künstlerin, die in kaum einem internationalen Museum fehlt.




Helmut Ditsch, Spiegelung II 1999
Öl und Eitempera auf Holz 130 x 150 cm
7. Art Auction | Lot 147 | Starting Bid: € 80.000
Teuerstes Werk der Auktion wird wohl „Spiegelung II“ (des Traunsees mit dem Traunstein) von Helmut Ditsch werden. Der argentinische Maler mit österreichischen Wurzeln hat an der Akademie in Wien studiert und immer wieder mit Reinhold Messner zusammengearbeitet. Zu Studienzwecken überquerte er das patagonische Inland-Eis. Die Preise für Werke des Künstlers haben mittlerweile am Markt die Millionengrenze überschritten. „Spiegelung II“ startet um € 80.000.



Franz West, Bigi 1979
Gips auf Hartfaserplatte 25,5 x 40,5 cm
7. Art Auction | Lot 81 | Starting Bid: € 10.000

Den Schwerpunkt des Angebots bilden natürlich österreichische Künstler, und hier ist alles vertreten, was am heimischen Kunstmarkt Rang und Namen hat: Franz West (u. a. die Gipsplatte „Bigi“ um € 10.000), Hermann Nitsch (mit 9 Werken, darunter eine Architektur-Zeichnung aus 1978 um € 15.000 und ein Schüttbild aus 1983 um € 12.000), Arnulf Rainer mit einer übermalten Radierung (€ 12.000), Günter Brus (mit „Entweihungsstätte“ um € 6.500), Franz Grabmayr, von dem eines seiner berühmten Kornmandelbilder offeriert wird (€ 15.000) Hans Staudacher (mit einem 300 x 200 cm großen Bild um € 25.000), Markus Prachensky (Luxor Swing 1997, € 25.000) und Herbert Brandl (€ 25.000), um nur einige zu nennen.




Hermann Nitsch, Ohne Titel (Fingermalerei) 2002
Acryl auf grundierter Jute, 160 x 100 cm
7. Kunstauktion | Los 120 | Rufpreis: € 16.000



Und auch die aufstrebende Generation nach diesen „Großen“ der Kunstwelt kommen nicht zu kurz, ganz im Gegenteil: Peter Marquant dominiert mit einem 200 x 480 cm großen Ölbild eine ganze Wand (€ 12.000), Gottfried Mairwöger steht ihm mit seinem 240 x 128 cm großen „Mare Crisium“ um nichts nach (€ 14.000), und auch von Rudi Stanzel fällt das Statement wuchtig aus: 159 x 278 cm misst seine Arbeit aus 51 frühen Digitaldrucken auf Öl auf Leinwand (€ 8.000).


Herbert Zangs, Yellow Wheelwalks
Krefeld 1924 – 2003 Krefeld
Öl auf Leinwand 84 x 68 cm
7. Art Auction | Lot 5 | Starting Bid: € 4.000
Die opulente Ausstellung zur Auktion wird am Abend des 27. September eröffnet und läuft bis zur Auktion am 2. Oktober, um 18.30 Uhr in der Galerie OstLicht in 1100 Wien, Absberggasse 27 – auch am Samstag und am Sonntag, täglich von 12 bis 18 Uhr
Raymond Pettibon, Ohne Titel (IT LOOKS COMMUNIST) 1986
Tinte auf Papier 43 x 35,5 cm (Blattgröße)
7. Kunstauktion | Los 158  | Rufpreis: € 8.000

Versteigert werden 232 Bilder und Plastiken um mehr als 1,3 Millionen Euro.
Den ganzen Katalog finden Sie unter:


Kaufauftrag / Order Bid



Brigitte Kowanz, Ohne Titel 1980er Jahre
Acryl und Sand auf Leinwand 40 x 50 cm
7. Art Auction | Lot 48 | Starting Bid: € 2.000



Sehr gerne stehe ich zu Ihrer Verfügung, wenn Sie Fragen haben.
Herzliche Grüße
Ihr Otto Hans Ressler

A 1100 Wien Absberggasse 27, c/o Galerie OstLicht
in der ehem. Anker Brotfabrik Tel. +43 1 600 56 30
Fax +43 1 600 56 30 4 Mobil +43 676 410 22 25



If you want to announce your event in
EstherArtNewsletter please fill out the form.




Galerie Czaak
„Mädchen lügen nicht“ SUGAR PLUM
Aktionismus in Malerei und Objektkunst
Vernissage: Di, 26.09.2017 | 19 Uhr
Aktionistische Live-Performance
Sugar Plum gemeinsam mit dem Modell NOYA (Künstlername)
26.9. – 28.10.2017
Sonnenfelsgasse 15 in 1010 Wien






„Mädchen lügen nicht“:

Aktionismus in Malerei und Objektkunst

Galerie Czaak zeigt Personale der ehemaligen
Muehl – Kommunardin Sugar Plum von 26.9. bis 28.10.17.

Die Frau als Objekt und Künstlerin in der Schule Otto Muehls mit der künstlerischen Verarbeitung grenzwertiger Lebenserlebnisse ist das Thema der ersten großen Einzelausstellung der Muehl-Kommunardin Sugar Plum in der Wiener Galerie Czaak.

Sugar Plum ist der Künstlername von Margit Pflaum (geb. 1959 in Deutschland), sie ist Aktionskünstlerin und Malerin. Sugar Plum war von 1981 weg Mitglied in der Kommune Friedrichshof von Otto Muehl und erlernte dort professionelle künstlerische und aktionistische Ausdrucksformen im Bereich Malerei, Skulptur, Performance und Tanz.

Das sexistische Weltbild der Frau

Zu den bekannten Arbeiten der seit 2009 in Wien lebenden und arbeitenden Künstlerin zählen die Landschaftsbilder der portugiesischen Algarve sowie die Zyklen „Frau am Klo“ und „Frau am Fenster“. „Auch als Antwort auf ein sexistisches Weltbild wird hier das auf Gesäß und Brüste reduzierte Bild der Frau etwa in Kombination mit den runden Formen der Toilette als Karikatur ironisiert und ad absurdum geführt,“ so Sugar Plum zum Zyklus. Viele Werke beinhalten aktionistisch performanceartige Elemente wie Original-Abdrücke diverser Körperteile.

In ihren skulpturalen Objekten verarbeitet Sugar Plum auch die Themen „Vaterfiguren“ und „Abschied“, etwa in ihrer aktuellen Serie mit Koffern, wo sie verschiedene, oftmals sehr ambivalente Gegenstände als Metapher für ihre Lebensabschnitte kombiniert. Skelettierte Tierschädel sind ebenso darunter wie Spiegel, Blumen oder „liebliche“ Puppenköpfe. „Der Koffer steht für das Leben, Abschied, Loslassen, Bewegung und Veränderung, die Inhalte für die jeweilige Situation,“ erklärt die Künstlerin. Beispiele für ihre künstlerischen Videos sind etwa die Kurzfilme „Vanitas“ und „Vanity – Die Büchse der Pandora“, die gemeinsam mit neuen Kunst-Filmen ebenfalls im Rahmen der aktuellen Schau gezeigt werden.




Aktionismus und autobiographische Tagebücher als Kunstform

Bei der Vernissage (Di, 26.09.17 um 19.00 Uhr) zeigt Sugar Plum gemeinsam mit dem Modell NOYA (Künstlername) eine aktionistische Live-Performance mit dem menschlichen Körper im Mittelpunkt der Aktion. „Diese Materialaktion ist eine Collage mit Objekten und Materialien, dabei geht es um den Gestaltungsprozess und nicht um ein Produkt. Die chaotische Materiallandschaft am Ende ist nicht weniger eindrucksvoll als der unberührte Beginn der Aktion,“ ergänzt Sugar Plum.

Ein Schwerpunkt der Ausstellung ist zudem den Tagebüchern von Sugar Plum gewidmet, als eigenständige autobiografische Kunstwerke mit vielfältigen Illustrationen und Textelementen. „Bereits seit Jahrzehnten schreibt die Künstlerin Tagebuch und verflechtet das Autobiografische mit einer künstlerischen Praxis, die sie dem Publikum auch als Art-Diary zugänglich macht“, erläutert Kuratorin Gabriele Cram in einer Werkbeschreibung. „Die entstehenden temporären Seiten oder Werke werden dabei entweder singuläre Bilder oder wiederum Ausgangspunkt als Materialien neuer Arbeiten“, so Cram.

Intensive Lebenserlebnisse in ausdrucksstarken Kunstwerken

„Sugar Plum ist eine beeindruckende Künstlerin, die ihre intensiven Lebenserlebnisse als Muehl-Kommunardin in ihren nicht minder intensiven und entsprechend ausdrucksstarken Kunstwerken verarbeitet“, sagt Galerist Christian Czaak, der die Personale gemeinsam mit der Künstlerin zusammengestellt und kuratiert hat. „Besonders erwähnenswert ist auch ihre handwerkliche Qualität und Genauigkeit, ihre vielfältigen Ausdrucksformen und ihre absolut professionellen Präsentationsformen auf Basis einer großen Schauspielkunst“, ergänzt Czaak.

„Mädchen lügen nicht“ – Retrospektive Einzelschau der Muehl-Kommunardin Sugar Plum mit Aktionismus in Malerei, Grafik und Objektkunst

vom 26. September bis 28. Oktober 2017
in der Galerie Czaak in
1010 Wien, Sonnenfelsgasse 15




If you want to announce your event in
EstherArtNewsletter please fill out the form.