Now Age at Garage Rotterdam

Artists: Hadassah Emmerich, Sulaïman Majali, Nick van Woert, Ada van Hoorebeke, Samuel Levack & Jennifer Lewandowski, Thomas van Linge Exhibition title: Now Age Curated by: Yasmijn Jarram Venue: Garage Rotterdam, Rotterdam, The Netherlands Date: May 22 – July 12, 2015 Photography: Thijs de Lange, images courtesy of the artists and Garage Rotterdam Dressed totem poles, cat … Read more

Violent Incident at Vleeshal Zusterstraat

Artists: Rosa Aiello, Bernadette Corporation, Andrea Fraser, Jef Geys, Gil Leung, Bruce Nauman, Danh Vo Exhibition title: Violent Incident Curated by: Cally Spooner and Roos Gortzak Venue: Vleeshal, Middelburg, The Netherlands Date: June 26 – August 1, 2015 Photography: Lewis Ronald, images courtesy of the artists and Vleeshal, Middelburg Violent Incident takes its title from Bruce Nauman’s … Read more

Cally Spooner at Vleeshal Markt

Artist: Cally Spooner Exhibition title: On False Tears and Outsourcing Curated by: Roos Gortzak Venue: Vleeshal, Middelburg, The Netherlands Date: June 20 – August 30, 2015 Photography: Anda van Riet, images courtesy of the artist and Vleeshal, Middelburg From June 20 till August 30, 2015, Vleeshal is presenting a solo exhibition by Cally Spooner (*1983, UK) … Read more

SPECIAL FEATURE: De Appel Curatorial Programme

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The final project of the Curatorial Programme 2014 – 2015 at de Appel arts centre opened with two exhibitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Time.

Spell to Spelling ** Spelling to Spell emerges in the spaces between the linguistic and associative relations of the notions of the spell and the spelling. The exhibition investigates various facets and rituals dealing with voluntary, involuntary and removed memory of the author, the visitors and the artworks themselves. Many ways of unfolding references, sources, stories and histories behind the objects are explored within the exhibition.

Your Time Is Not My Time lays the question of blurred boundaries between viewer, author and user within the current habitual fear of missing out and hyper-circulation of images. The exhibition uncovers a thorough pace and tacit admission within the changing lexicon of the public sphere, data-driven economies and forms of usership.

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Ola Lanko