16 March – 9 June 2024
opening: Friday 15 March 2024, 6 – 10 pm
Kunstverein für die Rheinlande und Westfalen Düsseldorf
Grabbepl. 4, 40213 Düsseldorf, Germany
The exhibition Pocket Call, marks Behrang Karimi's first major solo institutional exhibition.
A series of events will be held during the exhibition, including a walk-through with the artist and Kathrin Bentele, Director of the Kunstverein.
The exhibition is generously supported by the Kunststiftung NRW and Maureen Paley. The art association is supported by a permanent partnership between Stadtwerke Düsseldorf and the state capital of Düsseldorf.
press release
image: Kunstverein für die Rheinlande und Westfalen Düsseldorf
Behrang Karimi
Pocket Call
Olivia Plender
Chronos: health, access and intimacy
14 March – 1 September 2024
Tensta Konsthall
Taxingegränd 10
163 04 Spånga
Sweden
Curated by Olivia Plender in collaboration with Cecilia Widenheim, Tensta Konsthall.
Participating artists: Jessie Bullivant, Cecilia Germain, Melanie Gilligan, Goldin+Senneby, Jakob Jakobsen, Matrix Feminist Design Co-operative, Park McArthur, Olivia Plender, Ihra Lill Scharning, Vård och värde, and Constantina Zavitsanos.
What body standards have shaped the society in which we live? And what can we learn from the functional rights struggle that requires access to the city and the built environment? The exhibition is themed around the topics of health, access and intimacy. Many of the artworks explore the structural conditions within society that block access to public spaces and institutions for those bodies that do not fit into a recognised ‘norm’ – for instance, on the grounds of gender, disability, race, or sexuality.
The exhibition is produced with support from the Barbro Osher Pro Suecia Foundation.
More information
image: Matrix founding member Anne Thorne carries a pram up the steps of a subway in Aldgate, East London, in Making Space: Women and the Man-Made Environment (Pluto Press, 1984).
Hannah Starkey
Acts of Creation: On Art and Motherhood
9 March – 26 May 2024
Curated by Hettie Judah
(Hayward Gallery Touring)
Arnolfini Gallery
16 Narrow Quay
Bristol BS1 4QA
Hannah Starkey is participating in Hayward Gallery Touring’s major group exhibition Acts of Creation: On Art and Motherhood, launching this wwek at Arnolfini Gallery.
This major group exhibition Acts of Creation: On Art and Motherhood, will launch this week at Arnolfini Gallery. Featuring the work of more than sixty modern and contemporary artists, Acts of Creation will explore lived experience of motherhood, offering a complex account that engages with contemporary concerns about gender, caregiving and reproductive rights. The exhibition will address diverse experiences of motherhood across three themes: Creation, Maintenance and Loss. The heart of the exhibition is a series of revelatory self-portraits – a celebration of the artist as mother.
The exhibition will tour to the Midlands Arts Centre (MAC), Birmingham (22 June – 29 September 2024); Millennium Gallery, Sheffield (24 October 2024 – 21 January 2025); and Dundee Contemporary Arts (Spring 2025).
More information
image: Hannah Starkey, Untitled, February 2013, 2013
Hannah Starkey
Acts of Resistance: Photography, Feminisms and the Art of Protest
8 March – 11 June 2024
South London Gallery
65 Peckham Road
London SE5 8UH
Curated by Sarah Allen and Fiona Rogers, with Lily Tonge and Lola Olufemi
This exhibition features three works by Hannah Starkey: Anne Carr, Margaretta Ruth D’Arcy, and Bronagh Hinds, that were first exhibited in Principled and Revolutionary: Northern Ireland’s Peace Women, at the Ulster Museum, Belfast (7 April – 10 September 2023). Commissioned by Belfast Photo Festival, the project consists of a series of portraits of prominent women who helped bring peace to Northern Ireland.
Acts of Resistance: Photography, Feminisms and the Art of Protest is a collaborative exhibition between the South London Gallery and the Victoria and Albert Museum, as part of the V&A Parasol Foundation Women in Photography Project.
Acts of Resistance brings together works by international artists who are using the camera to challenge and move beyond traditional protest photography. This urgent and political exhibition explores feminism and activism from an international and contemporary perspective. Looking at different approaches to feminism from the past 10 years, the show highlights shared concerns including intersectionality, transnational solidarity, and the use of social media and digital technology as a tool for change.
More information
Recent Press
The Guardian, ‘After four hours, I was tired, thirsty and shaking’: the women taking photography to extremes, Charlotte Jansen, 4 March 2024
image: Hannah Starkey, Principled & Revolutionary: Northern Ireland’s Peace Women, exhibition view, Ulster Museum, Belfast, 2023
Sarah Jones, Hannah Starkey and Jane and Louise Wilson
Included in: In the Now: Gender and Nation in Europe, Selections from the Sir Mark Fehrs Haukohl Photography Collection
8 March – 7 July 2024
Curated by Drew Sawyer, Britt Savelsen, and Eve Schillo and organised by Carmen Hermo with Imani Williford
Elizabeth A. Sackler Center for Feminist Art
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
Sarah Jones, Hannah Starkey and Jane and Louise Wilson are included in the exhibition In the Now: Gender and Nation in Europe, at the Brooklyn Museum.
The exhibition unites nearly fifty women artists who are resisting traditional ideas of gender and nationality, as well as of photography itself. The first museum survey of photography-based works by women artists born or based in Europe, this exhibition interrogates the continent’s legacies of nationalism and patriarchal power structures—which continue to shape everyday life, particularly for women. Made entirely after 2000, the exhibition’s more than seventy artworks offer a window into the first decades of the twenty-first century.
Organised by the Brooklyn Museum and the Los Angeles County Museum of Art.
More information
Catalogue
image: Sarah Jones, The Rose Gardens (display: III / white) (I), 2007
Frieze Los Angeles 2024
29 February – 3 March 2024
Stand B16
Santa Monica Airport
3027 Airport Avenue
Santa Monica, CA 90305
USA
More information
Frieze Viewing Room, online
22 February – 3 March 2024
Selected Press
Jay Ezra Nayssan’s Top 5 Picks from Frieze Viewing Room Los Angeles 2024, Frieze, 27 February 2024
Max Hooper Schneider on the Museum that Exhibits Its Messes, Frieze Week Magazine, 26 February 2024
Felipe Baeza
Panel Discussion: X as Intersection: Homenaje
Wednesday 28 February 2024, 1pm PST
Online
This panel invites artists Felipe Baeza, Edra Soto, and Mario Ybarra, Jr. to reflect on the presence of homenaje (homage or tribute) in their work. Acknowledging the significance of forging connections between past, present, and future, the discussion will explore how commemoration can shed light on ancestral places and identities, obscured or suppressed histories, and the affirmation of collective memory and spirituality.
This conversation is moderated by Susanna V. Temkin, Curator, El Museo del Barrio, and Sonja E. Gandert, Associate Director Research Initiatives, US Latinx Art Forum.
Organised by US Latinx Art Forum in partnership with El Museo del Barrio.
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image: Felipe Baeza, Unrecognizable form, refusing to be governed, 2022, ink, embroidery, acrylic, graphite, varnish, and cut paper on panel, 50.8 x 40.6 cm - 20 x 16 in
Chioma Ebinama
This mud-formed life
23 February – 5 May 2024
Hordaland Kunstsenter
Klosteret 17
5005 Bergen
Norway
Chioma Ebinama's upcoming exhibition This mud-formed life, at Hordaland Kunstsenter, incorporates a number of principal motifs within Ebinama’s practice, such as the spiral and the egg, the latter being a symbol of patience and hope which is reflected in the space itself as the gallery’s corners become muted through fabric sides, now oval in its form. The exhibition draws on the idea of mud as a nutritive birthplace, introducing an earth-toned underlay, where the landscape speaks to an envisioned future and encourages us to embrace complexity that goes beyond the categorisation of colonial structures.
References to tarot and astrology weave into the narrative, reflecting the artist's pursuit of a faith liberated from the dogma of organized religion. This exploration is grounded in a profound belief that ancestors hold valuable insights for navigating uncertainty and precarity as Ebinama introduces a mode of subversion without denying a desire to lay hope in structures beyond ones own self.
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image: Chioma Ebinama, (detail) ever present, 2022, watercolour on paper, 100 x 70 cm - 39 3/8 x 27 1/2 in