Fatma Bucak at GAM / Palermo, Italy

Fatma Bucak / So as to find the strength to see
curated by Maria Centonze, Lisa Parola and Agata Polizzi
17 October - 2 December, 2018

GAM - Galleria d'Arte Moderna di Palermo
Via Sant'Anna 21
90133 Palermo, Italy

13 Jardines II: Encuentro de Arte y Cultura / Requinoa, Chile

13 Jardines II Encuentro de Arte y Cultura

Catalina Andonie, Catalina Cárcamo, Elena Vial, Francisca Sánchez, Hugo Leonello, Julen Birke, Pablo Rodriguez, Rocío Guerrero, Rosario Aninat, Simón Fuentes, Soledad Chadwick, Tarix Sepúlveda, Paula de Solminihac, Francisco Lira, Trinidad Vicuña, Álvaro Muñoz, Amanda Hansen, Bastián Arce, Fernando Peñaloza, Ignacio Navarrete, Ignacio Torres, Javiera Gómez, Macarena Cuevas, Martín Bonnefont, Martín Peña, Samuel Cortés, Vicente Baeza, Adolfo Bimer, Alejandro Palacios, Alejandro Quiroga, Antonia Daiber, Aranzazú Moena, Diego Santa María, Esperanza Rojo, Fátima Pecci, Francisco Peró, Germán Tagle, Ignacio Gumucio, Josefina Mellado, Juan Martinez, Juana Subercaseaux, Krasna Vukasovic, Martin Bruce, Martín Daiber, Matías Solar, Mono Lira, Pascuala Lira, Vicente Matte

10-18 November, 2018

Fundo las Cabras s/n
Libertador General Bernardo O'Higgins

Photography by Sebastián Mejía

Calixto Ramirez at DOM Art Space / Palermo, Italy

Calixto Ramirez / La última y nos vamos.
6-13 November, 2018

DOM Art Space
Piazza Giovanni Meli
90133 Palermo, Italy





Opening Hours: Thurs. - Fri. 16:00 - 20:00 - Sat. 14:00 - 18:00 and by appointment

Haus N Athen, Kairi 6, 2nd floor, Monastiraki Athens

daily lazy tip: PAINTLOUNGE BERLIN 16-18 NOVEMBER 2018

PaintLounge BERLIN
Vernissage: 16 November 19:00-22:00
Opening hours: 17 & 18 November 11:00-19:00
KühlhausBerlin, Luckenwalder Strasse 3,10963 BERLIN
PaintLounge Berlin is a painting salon exhibition and weekend of conversations about contemporary painting. You are invited to come along, hang out and join in with the exhibiting painters' discussions.
PaintLounge is part of Sluice Exchange Berlin at Kühlhaus Berlin and is part of the British Council's UK/Germany season, celebrating the "cultural connections between the UK and Germany" and will include a diverse range of painters working in Germany and the UK including Julius Bobke, Katrin Bremmermann, Simon Burton, Lisa Denyer, Geraint Evans, Pius Fox, Alison Goodyear, Alastair Gordon, John Greenwood, Vincent Hawkins, Linda Hemmersbach, Gabriele Herzog, Paula MacArthur, Andrea Medjesi-Jones, Charley Peters, Ruth Philo, Alex Roberts, Wendy Saunders, Geraldine Swayne, Miriam Vlamming, Casper White, Michaela Zimmer, Sebastian Rödel, Sophia Schama.
PaintLounge is artist-curator run initiative organised by Paula MacArthur & Wendy Saunders, generously supported by Arts Council England’s Artists’ International Development Fund.

Painters from Germany and the UK will be coming together for a series of seven informal conversations on contemporary painting in the PaintLounge as part of Sluice Exchange Berlin; visitors are invited to come along and join in with the conversations.

Friday 16 November 2018
18.30 Paintlounge Painters’ Introductions over opening drinks. PaintLounge will be on the 3rd floor.
Saturday 17 November 2018
12 -13:30 Sluice talks area on the ground floor
Teaching Painting
Traditional and recent innovations in art education in Germany & the UK
Geraint Evans, Geraldine Swayne, Andrea Medjesi-Jones, Alex Roberts, Nicola Stäglich, Julius Bobke
Saturday 17 November 2018
14:30 - 16:00 in the PaintLounge on the 3rd floor
The painting process, dialogue between the painting and painter
Painting… looking… seeing… thinking… painting…
Simon Burton, Vincent Hawkins, Alison Goodyear, Linda Hemmersbach,
Katrin Bremermann, Erika Krause, Julius Bobke, Pius Fox
Saturday 17 November 2018
17:00 - 18:00 in the PaintLounge on the 3rd floor
Can abstract painting be political?
Contemporary abstract painting in relation to the current political climate.
Abstract painting in relation to political issues
Led by Michaela Zimmer with Stelios Karamanolis, Lisa Denyer, Vincent Hawkins, Andrea Medjesi-Jones
Sunday 18 November
12:30 - 14:00 in the PaintLounge on the 3rd floor
Painting and screens
How has the digital environment influenced our understanding of painting and how have digital tools
affected the ways in which we experience painting?
Led by Charley Peters with Wendy Saunders, Alison Goodyear, Gabriele Herzog, Sophia Schama
Sunday 18 November 2018
15:00-16:30 in the PaintLounge on the 3rd floor
Success medium
‘Painting’s exceptional position in the 21st century’ Based on ideas discussed in Isabelle Graw's recent
book, 'The Love of Painting', painters will explore how painting has progressed throughout history and into
the 21st century, absorbing and influencing other media.
Alison Goodyear, John Greenwood, Paula MacArthur, Alastair Gordon, Miriam Vlaming, Stelios Karamanolis
Sunday 18 November
17:00-18:00 in the PaintLounge on the 3rd floor
‘Color as a manual thing’
Colour theory through painting practice
Ruth Philo, Paula MacArthur, Casper White, Lisa Denyer, Nicola Stäglich, Pius Fox, Gabriele Herzog
Paintlounge Painters Introduction over opening drinks in the PaintLounge exhibition space.
Friday 16 November at 18:30 in the Kühlhaus on the 3rd floor
We hope everyone will come and meet up at the opening of Sluice Exchange and PaintLounge at 6.30. We
will introduce everyone giving us all the opportunity to to say hello and have a few minutes to introduce ourselves and our work to one another.
Teaching Painting
Traditional and recent innovations in art education in Germany & the UK
Saturday 17 November at 12-13:30 in the SLUICE TALKS area
Geraint Evans, Geraldine Swayne, Andrea Medjesi-Jones, Alex Roberts, Nicola Stäglich, Julius Bobke
Examining the similarities & differences between both traditional and recent innovations in art education in Germany & the UK, contrasting and comparing practices, supports, systems at art school and beyond in Germany and the UK.

Further notes, texts, links

The painting process
Dialogue between the painting and painter
Painting, looking, seeing, thinking, painting
Saturday 17 November 14:30-15:00 in the PaintLounge on the 3rd floor of the Kühlhaus
Alison Goodyear, Simon Burton, Vincent Hawkins, Linda Hemmersbach, Katrin Bremermann, Erika Krause, Julius Bobke, Pius Fox
https://www.tate.org.uk/art/artists/lisa-milroy-2220/lisa-milroy-on-painting video & transcription
“When I’m in the middle of working on a painting, I’m not really aware that I look at it. I’m on the move constantly between palette and canvas, mixing paint, changing paint brushes, wiping paint off the canvas, re-painting the image. It’s as if the painting and me are one - and it’s impossible to see your own body entirely, being in it! However as soon as I stop to take a look at what I’ve done, by laying my paint brush down I separate myself from my painting and see it as an independent object. My eyes alone then lead the way.” In looking critically at my painting, I try to assess whether the match I’m after is apparent, between my thoughts and feelings and the painted image. Though physically detached from my painting, this kind of looking keeps me conceptually and emotionally connected to it - like the motor of a car running in neutral. But the moment I pick up my paint brush and start to paint, I kick into gear and my awareness of looking disappears - once again, my painting and I are one. Looking merges with making, and my eye and hand assume equal partnership. When I finish a painting, I look at it with yet a different eye. In this mode of looking I feel at my most detached and separate from my painting. Through its contemplation, I enter an imaginative space in which I discover aspects of myself and my relation to the world and other people. But it’s almost as if the painting has been made by someone else. Stretcher and canvas, the primed surface and layers of paint on top, the
slippery sheen of linseed oil - all the messiness of making and my efforts to transform material have receded from my consciousness.” Lisa Milroy
Can abstract painting be political?
Contemporary abstract painting in relation to the current political climate.
Saturday 17 November 2018 17:00-18:00 in the PaintLounge on the 3rd floor of the Kühlhaus
Led by Michaela Zimmer with Stelios Karamanolis, Lisa Denyer, Vincent Hawkins, Andrea Medjesi-Jones
From “Politics & abstract painting” by Sharon Butler
“In the beginning, when Malevich and El Lissitzky were making some of the first Western abstract paintings, abstraction was infused with politics and ideas. The connection continued through European art movements in the 1960s and 1970s, such as Arte Povera, ZERO Group, and Supports/Surfaces. In recent years, however, abstract form and process have become vehicles for more personal, less strident explorations of the provisional, the contingent and the casual. These days, a painting often starts with a small idea about everyday life–a nasty break-up, for instance–that  might incidentally be read as a metaphor for a larger, more universal issue or argument even though the connection may be completely unintended. Nonetheless, I’ve always taken the position that individual artists’ widespread adoption of these approaches is, in itself, an indication of our deep and pervasive social problems, regardless of the artists’ intents.’ Sharon Butler - Two Coats of Paint Constructivism encouraged a new focus on the tangible and material aspects of art, and its experimentalspirit was encouraged by a belief that art had to match the revolutionary transformations then taking place in Russian politics and society.
Painting and screens
How has the digital environment influenced our understanding of painting and how have digital tools
affected the ways in which we experience painting?
Sunday 18 November 12:30 - 14:00 in the PaintLounge on the 3rd floor of the Kühlhaus
Led by Charley Peters with Wendy Saunders, Alison Goodyear, Gabriele Herzog, Sophia Schama
Merge Visible - Essay by Charley Peters, read the full essay here: http://
• A short extract from Charley’s essay “The digital environment has influenced the way in which we understand pictorial conventions; the layered logic of Photoshop has affected our comprehension of colour, depth and volume, its painting tools our recognition of a distinct quality of line, and the multitude of windows visible on our computer screens at one time has normalised fragmented spatial composition – all of which relate to the formal considerations that lead to an artist’s application of paint to surface. In our cut-and-paste culture the combination of numerous painterly elements is both symbolic of an evergenerating visual environment and simultaneously transcends it, reinforcing the physical textures and haptic qualities of the painted surface as a contrast to the dematerialised space of the screen.”
• From Amy Sillman On Colour “My palette is also infected by Apple, by my work with animation on iPads and iPhones, and the polychromatic effortlessness of weightless color options one can change in an instant across a screen by the mere drag of a finger, a phone designed for a generation of people who, like the art historian at the beginning of this essay, may never have never felt the weight color in their hands. This means that color usage is in part arbitrary; it is as much about welcoming the wrong colors as the right ones.”
Success medium - Painting’s exceptional position in the twenty-first century
How painting has progressed throughout history and into the 21st century, absorbing and influencing other media.
Sunday 18 November 15:00-16:30 in the PaintLounge on the 3rd floor of the Kühlhaus
Led by Paula MacArthur with John Greenwood, Alastair Gordon, Miriam Vlaming, Stelios Karamanolis
Selected quotes from the Introduction of The Love of Painting, a Genealogy of a Success Medium by Isabelle Graw, published by Sternberg Press “In recent years, painting has received much more attention in critical writing and theory, and contemporary painting exhibitions have been extremely popular, bolstering an increased interest in the art form. A growing number of exhibitions have proclaimed its resurgence.”
“The pressure on painters to legitimise their choice of medium has eased since the turn of the millenium. In τhe 60s, 70s and 80s, painters still felt compelled to extensively justify their recourse to the medium, but in the decades since, painting has come to be seen as a largely unproblematic practice in many art academies where students choose to paint without a feeling of guilt or unease…”
“Painting is also still very popular at auction houses, although it has always traditionally been at the apex of the hierarchy of forms. Nonetheless, it is notable that painted pictures… always set record prices at auction.”
“the high status of painting is above all explained by its intellectual prestige more than any other art form, it has a long history of theoretical exaltation. Its flat pictorial arrangement and the limitation of its surface have contributed to this process of intellectualisation: as a symbolically loaded mode of distancing, whose spatial limits force it to represent its contents in compressed form, the painted canvas demands intellectual abstraction on the part of the spectator, too.”
‘An obvious and significant connection links uniqueness and preciousness: as painting’s uniqueness underlies its status as a precious object. I would suggest that these factors - the singularity, preciousness and longevity of the painted picture - continue to have a latent resonance in painting’s contemporary status as... a ‘supreme discipline”
“For the past twenty years I have also pointed out that painting and Conceptual art are not, as was once assumed, polar opposites; rather, they are directly related to each other... But looking back, it is also clear that such an expanded and more conceptual understanding of painting has helped restore the mediums cachet.”
“Painting’ has continuously absorbed new phenomena. However, although painting’s absorptive capacity has made it an extremely heterogeneous medium, it has also “obstinately maintained itself”... or painting, a key symptom has been the particularly tenacious existence of the “painted canvas” format. Right up to the present day, painters have returned to or referred to this format or some variation of it. Painting it seems dies hard.”
‘Color as a manual thing’
Colour theory through practice
Ruth Philo, Paula MacArthur, Casper White, Lisa Denyer, Nicola Stäglich, Pius Fox, Gabriele Herzog
Sunday 18 November 2018 17:00-18:00 in the PaintLounge on the 3rd floor of the Kühlhaus
Using Amy Sillman’s essay ‘On Colour’ as a starting point.
• “Color as object is earthly material stuff.”
• “Color is also a luxury item sold like controlled substances by the ounce or gram… And who can resist the mythic narratives of origin of pigments?”
• “But note: if you figure oil paint by the time vector, in longevity rather than dollars per ounce, paint is way better than drugs.”
• “Walter Benjamin writes that color is the very essence of childhood imagination, a powerful form of innocence that can subvert the logic of capitalism.”
• “Color production has involved some of the most spectacularly horrible things on Earth, such as mining, colonialism, slave labor…"
• “The unassailable final fact of color is that you can’t really know what another eye is seeing, ever.”
• “My palette is also infected by Apple, by my work with animation on iPads and iPhones, and the polychromatic effortlessness of weightless color options one can change in an instant across a screen by the mere drag of a finger….. This means that color usage is in part arbitrary; it is as much about welcoming the wrong colors as the right ones.”
• “Recently an art historian and I surprised each other: I told him that even if I were blindfolded I would know whether I was holding a tube of cadmium red or a tube of cobalt violet because of their difference in weight. He didn’t know this. He had never held pigment in his hands, and didn’t know that cadmium red is heavy and cobalt violet is light. This surprised me because the weights of these pigments are fundamental to a painter, and not knowing their differences seemed absurd to me, like not knowing the difference between a coat and a T-shirt. But my job and that of the art historian are different—mine is to
hold color and his to behold it, and this split is as old as the hills. Even Josef Albers assumes this in Interaction of Colors stating in the intro that his book will reverse the “normal academic order” by putting practice before theory. So I guess I’ll begin there too, taking up the subject of color as a manual thing.”
Amy Sillman )

Edmund Cook at fluent / Santander, Spain

Edmund Cook

Camouflage, Stele

26 October - 12 November, 2018

Avenida de la Reina Victoria, 19
39004 Santander, Spain

What we saw at Artissima 2018. Here are the booths that we liked the most.

Between talks, special projects, big names and emerging realities, the 25th edition of Artissima has just ended.
The fair stood out once again for its turnout, setting a new record of 54,800 visitors compared to the 52,000 of last year.
Looking at the numbers, the event is nothing but a triumph – with 195 international art galleries from 35 countries, over 500 collectors, around 50 partners and sponsors, and as much as 1,500 journalists.

Still, we could ask ourselves – despite the many novelties that helped make the fair an immersive experience even beyond its institutional spaces, is it still tied up with excessively standard references? Has the time come to integrate it further with new parameters that answer more to the contemporary demand of market and research?

Our feeling is that this was yet another occasion to privilege the reassuring linearity that characterizes the fair as a competitive format mostly for the big names of the market, rather than for the emerging realities, using a bit too much caution in the dialogue with the latter.

Nevertheless, we saw several prime examples – both well known and interestingly surprising. Just to name a few, it’s worth mentioning the works exhibited by Gregor Podnar, Semiose, Eva Meyer...

But here are our favorite booths.

Pere Llobera at Bombon Projects / Barcelona, Spain

Pere Llobera / Acció

26 September - 10 November 2018

Bombon Projects
Carrer Trafalgar 45
08010 Barcelona

Hartmut Austen by Good Weather at Atlanta Contemporary / Atlanta, USA

Hartmut Austen

Blurred Vision is just one of the Symptoms

October 24 – November 18, 2018

Good Weather at Atlanta Contemporary

Atlanta Contemporary 
535 Means St. NW, Atlanta, GA 30318.

Philip Gaißer at NEK. Neuer Essener Kunstverein / Essen, Germany

Philip Gaißer

Under the Pavement, the Sand

September 15 - November 18, 2018

NEK. Neuer Essener Kunstverein 
Bernestrasse 3
45127 Essen

Thanasis Totsikas at Aetopoulos Athens / Athens, Greece

Thanasis Totsikas 


September 28 - November 10, 2018 

Organized by Aetopoulos Athens and Alexios Papazacharias
Curated by Alexios Papazacharias

Perikleous 24, Syntagma, Athens, Greece  

ANTI : 6th Athens Biennale 2018 / Athens, Greece

ANTI : 6th Athens Biennale 2018 // Curated by Stefanie Hessler, Poka-Yio, Kostis Stafylakis

Spyros Aggelopoulos / Monira Al Qadiri / Loukia Alavanou / Korakrit Arunanondchai & Alex Gvojic / Ivana Bašić / Tianzhuo Chen / Chim Pom / Sarawut Chutiwongpeti / Brody Condon / Celia Daskopoulou / Ted Davis / Danielle Dean / JP Downer / Nina Runa Essendrop / Georgia Fambris / Cao Fei / Ed Fornieles / Angelos Frentzos / Sarah Friend / Front Deutscher Äpfel / Dorota Gawęda & Eglė Kulbokaitė / Eva Giannakopoulou / Gigas / Joey Holder / Höller / Callum Leo Hughes / Actually Huizenga (of Patriarchy) / Jacob Hurwitz-Goodman & Daniel Keller / Binelde Hyrcan / Maryam Jafri / Sascha Jahn & TheBoundCollective / Jakub Jansa / Geumhyung Jeong / Kahlil Joseph / Florence Jung / Raja’a Khalid / Joy Kolaitis / Peter V. Kritikos / Laboratory for Microclimates/ Euripides Laskaridis / Osmosis / Delaine Le Bas / Candice Lin / Fei Liu / Rachel Maclean / Basim Magdy / Miltos Manetas / Marianne Maric / Eva and Franco Mattes / Metahaven / Quenton Miller / Molleindustria / Shana Moulton / Sirous Namazi / Narcissister / New Models / Pinar Öğrenci / Marisa Olson / Uģis Olte & Morten Traavik / Omsk Social Club /  Ilias Papailiakis / Eva Papamargariti / Yuri Pattison / Heather Phillipson / Signe Pierce / AnnaMaria Pinaka / Wong Ping / Michail Pirgelis / Agnieszka Polska / Lykourgos Porfyris / Porpentine Charity Heartscape / Johannes Paul Raether / Jon Rafman / Kosta Rapadopoulos / Jasin Challah / Tabita Rezaire / Roee Rosen / Iepe Rubingh / Saeborg / Tai Shani / Heji Shin / Aliza Shvarts / Helle Siljeholm / Marianna Simnett / Linnéa Sjöberg / Panos Sklavenitis / Marilia Stagkouraki / Jenna Sutela / The Agency / The Domestic Godless / The Peng! Collective / Ryan Trecartin / Theo Triantafyllidis / Anna Uddenberg / Nicole Wermers / Tori Wrånes / Lauren Wy / Lu Yang / Young Boy Dancing Group / Costas Zapas / Zhala

26 October - 09 December 2018

Exhibition Venues
TTT Building (Main Venue), 15, Stadiou Str. 10561 Athens
Esperia Palace, 22, Stadiou Str. 10564 Athens
Benakeios Library, 2, Anthimou Gazi Str. 10562 Athens
TSMEDE, 4, Kolokotroni Str. 10562 Athens

Actually Huizenga performing as Patriarchy, performance

Actually Huizenga performing as Patriarchy, performance

Vivien Zhang at Long March Space / Beijing

Vivien Zhang / Codescape 

September 8 – 4 November, 2018

Long March Space
798 Art District, 4 Jiuxianqiao Rd 
Chaoyang District, Beijing

BE:YO:ND at Plus-One / Antwerp, Belgium

BE:YO:ND at Plus-One

20 October - 25 November 2018

Gillaume Bijl
Nicholas William Johnson
Stephanie Hier
Vivien Zhang

Léon Stynenstraat 21
2000, Antwerpen

Double Irish Dutch Sandwich at JosédelaFuente / Santander, Spain

Double Irish Dutch Sandwich /curated by Beatriz Escudero and Francesco Giaveri

22 September - 10 November, 2018

with works by Maxim Liulca, Ion Macareno and Sergio Verastegui

Daoíz y Velarde, 26
39003 Santander, Spain

Sergio Verastegui(floor), Ion Macareno and Maxim Luilca (back)

Paul Owen Weiner at Krupic Kersting / Cologne, Germany

Paul Owen Weiner / American Amnesia
September 7 - November 9, 2018
Krupic Kersting
An der Schanz 1a

50735 Cologne, Germany 

Special Economic Zone: Building Code Violations III at Times Museum / Guangzhou, China

Special Economic Zone: Building Code Violations III / curated by Long March Projects

15 September - 11 November 2018

Cui Jie
Liu Chuang
Wu Shanzhuan
Inga Svala Thorsdottir
Junyuan Feng
Xu Qu
Guo Moruo
Zheng Yuan
Lu Chunsheng
Wang Jianwei
Yan Lei
Liao Bingxiong
Li Wenguang
Liang Shaoji
Hao Jingban
Liang Yongtai

Times Museum Guangzhou
China, Guangdong
Guangzhou, Baiyun

Opening: "Penelope Unbound" at DAILY LAZY PROJECTS, ATHENS

Dafni Barbageorgopoulou and Anthea Behm
"Penelope Unbound"

Opening day:

Thursday, 1st November, 7-10 pm


1 November — 01 December, 2018


Dafni Barbageorgopoulou and Anthea Behm work in sculpture and photography, respectively. This show brings together their recent work in these media. Barbageorgopoulou presents several sculptural works that depict an intertwining of elements from nature and the human body in an unbound, dreamlike condition. Behm presents a series of photograms that combine fragmented designs with appropriated photographic images of female nudes. Working through questions of dissolution, healing, and recovery, these two female artists navigate the visual history and political present of how we represent and imagine the humans and other living beings with whom we share this planet.
Barbageorgopoulou’s sculptural works Barbary Feng and Fig Shui depict three Barbary figs (spineless cactuses), which are carved out of polystyrene. They include reduced-size human body parts, which are made of aluminum and pinned at different spots on the sculptures. The parts are cutouts from ritual tamata that were kindly donated from the Marian Shrine of Tinos Island specially for this project. The works operate across two related axes. First, there is the human body and its growth as represented by the organic form and formalism of the sculptures. Second, there is the imaginative undoing and remaking of that growth as seen in the relationship between shamanism and religion through the logic of protection. Here the cactus plant is a symbol of the visionary and illusionary, especially as accessed through the shamanic trip. The deconstruction of the human recalls the dream-like experience in the process of becoming a shaman. This undoing, while it can be painful, is part of the process of growth and transformation in both the sculptural and psychic imagination. Rather than viewing shamanism as an archaic form overcome by organized religion, these sculptures depict their intertwining and mutual dependency. Thus the body elements, taken from the tamata, refer to the notion of prayer for which the metal plaques are offered in the Greek orthodox tradition.
Anthea Behm’s photograms depict female figures appropriated from the work of Man Ray. They interact on a single plane of silver gelatin photographic paper with shapes derived from the work of Moholy-Nagy. They are made by using a set of unique processes that combine conventional, pictorial photography (made from negatives) with concrete processes. The images are made on black and white paper in the darkroom, with the color generated by harnessing what is conventionally thought of as an “error” in the darkroom process.  By combining these two images on a single plane, Behm brings forth the historical (patriarchal) impulse to turn the female figure into an object for formal investigation. Reactivating this history, she shows how this impulse is one that persists today and continues to inform our vision and social systems. But the images do not simply reproduce the female subject as object of formal fascination. Fragmenting the male gaze through the patterns, they show the gaps in the historical record in which these women’s lives found their own meaning and logic beyond the structures that sought to contain them.
Bringing the works together, we begin to see the complex ways in which our visual histories are saturated with ideas about bodies, forms, and fragments that can work to both oppress and liberate. Barbageorgopoulou and Behm push us to both see and live differently, and to understand the need of rupturing present forms. But they do so with great care, suggesting that what matters is not change as such, but a conscientious movement to new forms of embodied life and planetary cohabitation. In the classic myth of Odysseus, Penelope puts off her suitors by secretly unweaving a shawl that she says must be completed before she chooses a new husband. In the work of these two artists, Penelope does not weave by day and unweave in the night. She is unbound to the very demand of having to rely on such subterfuge. No one has freed her. She has made herself free.

The Daily Lazy Projects space is sponsored by Efimerida café-bar.

FEŸ ART during Feÿ-Rencontres d’arts at Château du Feÿ/ Villecien, France

Feÿ Art during Rencontres d’art at Château du Feÿ / curated by Hugo Avigo, Paul Créange, Chloé Royer, Louis Verret

Public Programme: 5-7 October 2018
Exhibition: 5 October - 4 November 2018

Hugo Avigo / Alex Ayed / Bea Bonafini / Antoine Carbonne / Paul Créange / Mathilde Denize / Valentin Dommanget / Juan Pablo Echeverri / Jade Fourès-Varnier & Vincent de Hoÿm / Al Freeman / Louis Granet / Matthieu Haberard / Charles Hascoët / Katharina Höglinger / David Horvitz / Elizabeth Jaeger / Brian Kokoska / Anouk Kruithof / Romain Lecornu / Jillian Mayer / Peggy Pehl / Mario Picardo / Chloé Royer / Aurora Sander / Myriam Santos / Raphaël Sitbon / Constance Tenvik / Fiona Valentine Thomann / Louis Verret / Hanae Wilke

Rue du Château du Fey
89300 Villecien

Julian Charrière at the Berlinische Galerie / Berlin, Germany

Julian Charrière / As We Used to Float

GASAG Kunstpreis 2018

26 September - 08 April 2019

Berlinische Galerie 
Landesmuseum für
Moderne Kunst, Fotografie
und Architektur
Stiftung Öffentlichen Rechts 
Alte Jakobstraße 124-128
D-10969 Berlin

Physarum Borax at Platform Southwark / London

Physarum Borax / Curated by Ella Fleck & Bryony James

3 - 27 October 2018 

With works by Iain Ball, Lara Joy Evans, Jack Felgate, Louise Gibson, Jesse A. Greenberg & Pinar Marul.

Platform Southwark
1 Joan Street
SE1 London
United Kingdom

Rashid Uri at LOCALEDUE / Bologna & GAFFdabasso / Milan



September 29 – 17 November, 2018

Via Azzo Gardino 12 C
40123, Bologna

Tobias Hoffknecht at A+B contemporary art / Brescia

Tobias Hoffknecht / Limited Attention  

October 6 – 11 November, 2018

A+B contemporary art  
Via Gabriele Rosa, 20a  
25121, Brescia  

Anne Duk Hee Jordan at Galerie Wedding / Berlin, Germany

Anne Duk Hee Jordan / Ziggy on the Land of Drunken Trees

Curated by Solvej Helweg Ovesen and Bonaventure Soh Bejeng Ndikung

14 September - 27 October 2018

Galerie Wedding
Raum für zeitgenössische Kunst
Müllerstr. 146/147
13353 Berlin