Sala Rekalde


5 February - 6 May 2018

Sala Rekalde exhibits the retrospective of the work of photographer Bruce Davidson (Oak Park, Illinois, 1933), one of the most important photographers of the second half of the twentieth century, and an essential representative of the group of the documentary photographers that emerged in the early 1960s. This exhibition is the the largest retrospective ever made about the artist. Exhibition produced by Fundación MAPFRE, together with Bizkaikoa and Magnum Photos. The traveling exhibition has been possible due to the support of the Terra Foundation for American Art.

GL Strand


3rd FEBRUARY 2018 - 11th MARCH 2018

The Palestinian artist Yazan Khalili received the EXTRACT-Prize in 2015. In this solo-exhibition Khalili shows new pieces within videoart and photography which with great poetry reflects over waht is lost, and what we cannot see. Yazan Khalili studied at the Sandberg Institute at the Gerrit Rietveld Academie in Amsterdam, Holland. He works as a critic, curator, architect and artist. In 2015 Yazan Khalili particiapated in EXTRACT - Young Art Prize - CPH 2015.

Centre d'art contemporain



He Wins Every Time, On Time And Under Budget + And You Were Wonderful, On Stage 3 February — 18 March 2018 OPENING, FEBRUARY 2, 2018, AT 6 P.M. Curated By Andrea Bellini

The Centre d’Art Contemporain is happy to host a specially commissioned project by Cally Spooner, sitting somewhere between a retrospective, a rehearsal, a continuous event and a novel (not quite written). Cally Spooner’s work neatly avoids any one category, but could be described as the practice of a writer whose output is choreographic; in the simplest of terms – the organization of movement. Yet, in Spooner's case, movement emerges across a range of media, subjects, objects or text. Arriving from a training in philosophy, her work forms from theoretical treatises as well as literary references, pop songs or talk shows and manifests as film, sound, live events, as well as fiction, essays, readings and scripts. For her exhibition at Centre d’Art Contemporain Genève two bodies of work by Spooner are brought into conversation, one which is complete, the other just beginning. They are unified by a single theme; a desire to maintain a ‘state of rehearsal’ as a response to the demands of production and the mediated choreography of 21st Century language. On the Second floor is And You Were Wonderful, On Stage (2013 - 2015). In this five channel film installation – a musical for six continuously rolling cameras, shooting a single take – a company of performers gather together for the first time. They create a forty-six minute non-stop motion, that has more in common with live event-making than cinema. Two years since its completion And You Were Wonderful, On Stage continues to urgently stage how liveness, and time spent together, may be lost or gained through mediation, technology and management.



Martin Kippenberger Maria Lassnig

3 February – 6 May 2018 Curated by Veit Loers

The exhibition takes a fresh look at the work of Maria Lassnig (1919, Krasta, AT – 2014, Vienna) and Martin Kippenberger (1953, Dortmund, D – 1997, Vienna, AT) revealing hitherto unexplored connections between these two illustrious artists. Though they never met, and belonged to different generations, in an era dominated by abstract painting both chose to place the human body firmly at the centre of their work. Their art explores the human body as a tormented expression of the self and the world, and a fragmented, deconstructed entity that is a metaphor for social and psychological conflicts, as well as the theatrical, performative element – its propensity for slipping into different roles in way that is ironic, sometimes even tragic. These are the connections that emerge from more than sixty works spanning two decades – from the 1990s to the 2000s – including paintings, drawings, videos and installations. Several of the pieces have been shown only rarely, while others are being exhibited in Italy for the very first time. As well as the points of connection between the two artists, the show also highlights the differences in their approach to the theme: Lassnig takes a more obsessive, introverted view, with feminist overtones, while Kippenberger’s work embraces the grotesque, with a darkly humorous vein. The show also draws attention to the artists’ milieu in terms of art history, culture and psychoanalytical elements: the context in which this focus on representing the human body arose.





Breitz’s seven-channel video installation Love Story (2016) – featuring Alec Baldwin and Julianne Moore – is based on and includes the first-person narratives of six people who have been forced to leave their countries. Evoking the global scale of the refugee crisis, Love Story interrogates the mechanics of identification and the conditions under which empathy is produced. .


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