Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Kleine Zavel 10 augustus – oktober 1000 Brussel No. 119, oktober 2019 Erkenningsnummer P309573 222 Jaargang 23 No. 119

An image of the swan These sheets were the first Elle revient quelques jours dipping its indication of a significant après avec le curateur qui déjà eck into water includes. body of work. quelques compris

The beauty of “inter / (advertisement) nationality”: Pierre Bismuth’s Abstractions 222 Exhibition 14/11 – 21/12 systems merge, thus losing their previously Opening clearly defined representational capacity. 13/11, 6 – 8 pm With this aesthetic intervention, Pierre Bismuth not only reflects on the aims and directions of worldwide refugee flows, but also on the precarious position that nation PIERRE states today are taking in the context of neoliberal globalization and the power of BISMUTH global players in global affairs. In addition, the artist here composes picture objects ABSTRACTIONS that not only have a high aesthetic quality in addition to their political dimension, but also allude to recent art history. Jan Mot Petit Sablon / Kleine Zavel 10 Here are two examples: the flag Abstrac- 1000 , Belgium tion (Bangladesh / Austria) with its three horizontal color stripes, two in black, one in green, and the circular dot, which is held The work was developed for the project in two shades of red, presents an abstract How Many Billboards, a MAK Center and image that is well-calculated reminiscent Schindler House initiative. In this case, his of non-representational paintings of the proposal was to revisit one of his most er- avant-garde of the 20th century. The flag toire and became a source of reflection in Abstraction (Afghanistan / Great Britain), emble Do something with the book Fallen- however, plays with the coat of arms of lassen by Brigitte Schwaiger in which the Pierre Bismuth, Abstractions (Austria / Bangla- Afghanistan, a historic mosque, which is Austrian novelist describes her experiences desh), 2019, print on fabric, 120 x 196 cm here as it were blinded by the Union Jack, as an artist in a psychiatric hospital. (Mar- clearly on the American Pop Art of the photographer, himself posing as an “aging By 1960s. rock star”. On this occasion he edited only Raimar Stange one image – worth of Mick Jagger at his This is how Pierre Bismuth succeeds in in- best – full of attitude, grabbing a mic, hair separably combining two qualities that are slicked back and defiant look. This image , OCT. 8 – In his new series usually considered irreconcilable in art, the Star (Character Appr Do some al size of a Abstractions (2019), Pierre Bismuth com- flags of his “abstractions”: those of politi- typical Los Angeles billboard, together with bines, in the context of the current global cal reflection and aesthetic beauty. the text “Think of Good” – which could refugee crisis, two flags of nation states self-help, “New-agish”, positive thinking into one new flag. One of the two flags The performance as a genre and a format, advertising assumed to be characteristic of sampled on these visual hybrids represents ertoire and became a source of reflection in Southern California culture. the country of origin of the refugee, the her visual arts practice. In 2012, DGF ini fax, two main Los Angeles thoroughfares, other the destined European host country. ertoire and became a source of reflection in halfway from the studio he rented in Sun- The artistic result are new “inter / national tiated a new series of performance works, set Boulevard when he arrived to LA in the flags”, which become conceptual -picto ertoire and became a source of reflection in 1970s, and Venice where he lived in the rial objects, in which two national symbol flection in her visual arts practice. 1980s. In fact, both places. 2 Newspaper Jan Mot Dominique 119

Marienbad électrique

Dominique Gonzalez-Foerster, Marienbad électrique, Palais Garnier, , 2019, hologram © Christophe Pelé / OnP 3 Newspaper Jan Mot Dominique 119

By architect-prince Ludwig II, the writer Emily her work, to return to the artificial persona Tristan Bera Brontë, the super-hero activist Anonymous of the actress-muse, the object of desire and Bob Dylan, appearing with the trans- for the masculine gazes of such as Buñuel, formed, made-up and travestied features of Demy, Kümmel, Resnais or Truffaut, who PARIS, SEP. 30 – Last year at Marienbad DGF during what can be experienced live, have dominated the history of cinema and (1961) by Alain Resnais is one of the most for the artist, as a trance and for the viewer, whose legacy is now being reconsidered in enigmatic and magnetic films in the history as a quasi-esoteric experience. favour of other viewpoints, other visions of of cinema, as much for its impenetrable cinema and of society? scenario by the writer Alain Robbe-Grillet, Marienbad électrique is the last part of a a leading exponent of the Nouveau Roman, trilogy of holographic apparitions devoted What one should see, and what fascinates as for the performance of Delphine Seyrig, to opera, following Fitzcarraldo (M.2062) me in the work of DGF and in this work in whose timeless delivery and poetical, so- and OPERA (Q.M.15), in which DGF ap- particular, is what is formally absent and phisticated presence are unforgettable for peared, respectively in the guise of Klaus which nevertheless states its presence. In any film-lover. An incomprehensible film, Kinski’s demented Fitzcarraldo in Werner a comparative consideration of the work of it is nonetheless an essential one in that, Herzog’s eponymous 1982 film and as DGF, on the subject of Last Year at Marien- even today, with its scent of mystery still as Maria Callas performing in playback well- bad (a common passion that links the artist potent decades later, it continues to inspire known arias from Verdi’s La Traviata and and the writer, a film freely adapted from artists and contemporary creation. Commis- Medea by Luigi Cherubini. For this third The Invention of Morel by Adolfo Bioy sioned by the Paris Opera and the Centre installment, through the ghostly projection Casares, genially incomprehensible per- Pompidou-Metz, Marienbad électrique by in an isolated box at the back of the Palais haps only according to Cartesian criteria) Dominique Gonzalez-Foerster – the title Garnier on the right hand side, visible from Vila-Matas wrote: “It was clear that, if one of which is borrowed from the eponymous the stalls and the boxes opposite, DGF takes let oneself be swept along by the form, the book by Enrique Vila-Matas dedicated to on the appearance of Delphine Seyrig: a voices of the actors, the music, the pace, the the investigative method of the artist – does dark silhouette clad in black from the film passion of the characters, it was the easiest not reveal the secret of the film or shed any by Resnais alternates with the white attired film in the world to watch in the sense that new light upon it. Dominique Gonzalez- blond vampire of Daughters of Darkness it addressed only the spectators’ sensibili- Foerster deepens the film’s mystery, adds (1971) by Harry Kümel. The image is ac- ties, the capacity to contemplate, listen, feel new references, other ambiguities and, in companied by an electric sonata specially and be moved, but laying aside from the a personal manner, quite literally brings it composed by Julien Perez which is re- outset, of course, all preconceived ideas, to life. miniscent of the Valse de Marienbad by all prevalent commonplaces regarding cin- Francis Seyrig and Antoine Duhamel’s ema.” The apparition at the Palais Garnier, Dominique Gonzalez-Foerster (DGF, born melody in Stolen Kisses (1968) by François just like Resnais’ film, in reality conceals 1965) strove, from the outset of her career, Truffaut, the one that, like a siren’s song, an aesthetic manifesto that is much more to conceive multi-disciplinary works, with accompanies Fabienne Tabard / Delphine critical than its charming and sophisticated multiple approaches in terms of types of Seyrig’s magical apparition before Antoine form would suggest: first of all, the eternal format, genres and themes. The exhibition, Doisnel / Jean-Pierre Léaud in the shoe necessity to be moved and to contemplate, as a medium that allows different disci- shop as night falls. which does not ever prevent the demand plines to co-exist and resonate together, is for intellectual deconstruction, on the con- the corner stone of her oeuvre. Through During the summer of 2019, Delphine trary, for it makes it more generous and her exploration of architectural, cinematic, Seyrig was much talked about on the occa- sensitive; then, the need for ambivalence, literary and musical possibilities, DGF has sion of the exhibition Les Muses insoumises. which maintains a lack of definition, (but helped to make it the means of expression Delphine Seyrig, between cinema and not uncertainty on the part of the specta- par excellence of the postmodern avant- feminist video organised at the Museum of tor), and which preserves the complexity of garde. It was in 2007 with her participation modern and contemporary art in Lille (LaM the characters and therefore their freedom in Il Tempo del Postino, “the first visual Lille), curated by Nataša Petrešin-Bachelez to remain undefined, and that of the most arts opera in the world”, organised by Hans and Giovanna Zapperi, which looks at her virtuoso works. Vila-Matas adds: “DGF Ulrich Obrist and Philippe Parreno at the feminist activism and her pamphleteer vid- knows that art is one of the highest forms of Manchester Festival, that opera as a genre eos from the seventies co-produced with existence, on condition that the creator es- and a format, and stage performance first Carole Roussopoulos (Scum Manifesto, cape the dual trap: the illusion of the work entered her repertoire and became a source Maso et Miso vont en bateau and Sois belle of art and the temptation to don the mask of reflection in her visual arts practice. In et tais-toi). With the latter and with Iona of the artist. They both fossilize us, the first 2012, DGF initiated a new series of per- Wieder, in 1982 Seyrig founded the Centre because it turns passion into a prison, the formance works, apparitions collectively audiovisuel Simone de Beauvoir whose ob- second by what it does to the freedom of known as M.2062, which aim to define 21st jectives are “the conservation and creation a profession.” century opera in the form of a “fantastical of audio-visual documents which it has thus game of chess with altered rules”. In it, been possible to collate concerning the his- In Stolen Kisses, Delphine Seyrig / Fabienne real and fictional characters from the 19th tory of women, their rights, their struggles Tabard finally explains to Jean-Pierre Léaud century (the white pieces) confront those and their creations”. But, coincidence or / Antoine Doisnel who is infatuated with the from the 20th (the black pieces). M.2062 not, now that Delphine Seyrig’s activism is novels of Balzac, that she has indeed read is a fragmented play which, travelling from to be put on display in a cultural climate in The Lily of the Valley but that, unlike museum to theatre and from town to town, which political commitment has become a Madame de Mortsauf, she is not an appa- depicts with each new occurrence, an ex- necessity, what does it mean for Dominique rition. In the same way, the apparition at ceptional figure or character, including the Gonzalez-Foerster, and for us, in the face of the Opera is not an apparition. Marienbad 4 Newspaper Jan Mot Dominique / David 119

électrique is the expression of a certain The work Marienbad électrique was com- A stage performance first entered her- re mode of existence, that of artificial intel- missioned by the Opéra National de Paris popera as a genre and a format, and stage ligence, something spectral, “immortal and and the -Metz and is on performanopera as a genre and a format, moribund”, a prisoner of its music and of view during the Opéra Monde exhibition ertoire and became a source of reflection in its duration, which, amid the luxurious until December 31, 2019 in the Palais her visual arts practice. In 2012, DGF ini- décor of the Paris Opera, during the in- Garnier. tiated a new series of performance works, tervals in performances, repeats the same flection in her visual arts practice. gestures in a loop for the benefit of wealthy spectators and for their supreme delecta- tion. But this choreography operated every night by an automaton, with a touch of Call for information – the fatal, a touch of the vampire, is the perfect illustration of the trap of realist interpretation and illusion set by the artist Works by David Lamelas for the spectators. For Delphine Seyrig’s performances in both films offer, by- de sign, artificial and inaccessible versions of the female genre (a mechanized doll in Marienbad, a vampire in Daughters of Darkness) – well beyond any social arche- type of the sort propagated by patriarchal cinema – and yet they circulate something living. “One always tries to convey the image of a person in order to limit it. If I portrayed these characters, it is because I was offered them, and they were the most interesting roles. They come, then, from in- put exterior to myself. But I firmly intend not to let myself be limited.” Whether one is naked or made-up, one remains masked when one is an actor. If one reads between the lines, there is a lesson to be learnt in the filmBlade Runner (1982) based on the work by Philip K. Dick, the plot of which is set in an imaginary future, in November 2019 (!), as the opening image of the film in- dicates, in which robots, replicants, beings entirely manufactured, develop lives of their own. It is a question, through art and fiction, of revealing the living within the mechanical, as well as of recognizing the agency belonging to those beings consid- ered as minor or inferior by those who hold absolute power, the power to live and act, a power denied to them by society.

Marienbad électrique is ultimately the re- alization of The Phantom of the Opera of the 21st century, a postmodern or contem- porary ghost-woman, the phantom of a phantom, the ghost of a fantasy; the appa- rition of a being objectified as a doll and automated, as Delphine Seyrig is auto- mated in Marienbad, and who has her own autonomy; a “Future Eve”, both artificial creature and feminist creator; a holographic specter that creates the illusion and percep- David Lamelas, Untitled, 1987, charcoal on canvas, 59 x 50,5 cm tion of life thanks to electricity and technol- ogy; an autonomous and animated work of BRUSSELS, OCT. 17 – On the occasion of the upcoming solo exhibition of David Lamelas at art, a living Coppélia. Centro Galego de Arte Contemporanea (CGAC) in Santiago de Compostela (ES), the artist is launch- ing a call to collectors to locate his drawings and paintings. Please get in touch with the gallery in This article was published in Octave, the case you own works in these categories. The exhibition at the CGAC, curated by Pedro de Llano, magazine of the Opéra national de Paris will be the first to include a large selection of drawings and paintings, a lesser known aspect of –www.operadeparis.fr/magazine Lamelas’ work. On the occasion of this exhibition a catalogue will be published. Opening June 2020. 5 Newspaper Jan Mot Mario 119

Stored at the gallery

BRUSSELS, OCT. 16 – After the recent solo ex- hibitions at Walker Art Center, Minneapolis and WIELS, Brussels, the work Illusion brought me here by Mario Garcia Torres is now in storage at the gallery. The work, which is an augmented reality app, shows avatars of people influential to Mario Garcia Torres’s work – writers, curators, artists, musicians and gallerists through a down- loadable mobile app. They take the form of 3D holographic portraits that appear and move throughout the space. Each of these characters performs small actions, referencing a specific place or moment in time to reflect the artist’s memories. In addition to this the piece itself is an ongoing and expanding work that will follow Garcia Torres in his future. As the artist describes it, the aim of this work is to acknowledge the fact that works of art are not the product of one individual’s effort, but rather a combination of personal impulses along with the interests and ideas of others. By keeping it in storage at the gallery the work is still accessible, even when not installed.

The work was developed for the project How Many Billboards, a MAK Center and Schindler House initiative. In this case, his proposal was to revisit one of his most emble Do something with the book Fallen- lassen by Brigitte Schwaiger in which the Austrian novelist describes her experiences The work was developed for the project as an artist in a psychiatric hospital. (Mar- lene Haring) matic works: Rock Star (Character Appr Do some- thing with the book Fallen- lassen by Brigitte Schwaiger in which the Austrian novelist describes her experiences as an artist in a psychiatric hospital. (Mar- lene Haring) opiation) from 1974. He re- enacted the photo shoot with a professional photographer, himself posing as an “aging rock star”. On this occasion he edited only one image – worth of Mick Jagger at his best – full of attitude, grabbing a mic, hair slicked back and defiant look. This image was enlarged and printed on the monument Star (Character Appr Do some al size of a typical Los Angeles billboard, together with the text “Think of Good” – which could well have been taken from one of those self-help, “New-agish”, positive thinking advertising assumed to be characteristic of Southern California culture. fax, two main Los Angeles thoroughfares, halfway from the studio he rented in Sun- set Boulevard when he arrived to LA in the Mario Garcia Torres, Illusion Brought Me Here, n.d., augmented reality installation, smart phone 1970s, and Venice where he lived in the app, installation view of the galleryʼs booth at Art Basel 2019 1980s. In fact, both places. 6 Newspaper Jan Mot Paul 119

Curated library Paul Thek

LIST OF BOOKS Boyer, Anne. Garments Against Women. United Kingdom: Mute Books, 2006. Eva Hesse: Galerie nationale du Jeu de Paume. Paris: Jeu de Paume, 1993. Foucault, Michel, Daniel Defert, François Ewald, and Jacques Lagrange. 2017. Dits et écrits, 1954-1988. II, II. Paris: Gallimard, 2017. Hahn, Cynthia. Strange Beauty. Issues in the Making and Meaning of Reliquaries, 400- circa 1204. Pennsylvania: The Pennsylvania State University, 2012. Hallam, Elizabeth. Anatomy Museum. Death and the Body Displayed. : Reaktion Books, 2016. Howe, Fanny. The Winter Sun: Notes on a Vacation. Minnesota: Graywolf Press, 2009. Kraus, Chris. Aliens & Anorexia, London: Tuskar Rock Press, 2000. Lessing, Erich; Varone, Antonio. Pompéi. Paris: Éditions Pierre Terrail, 1995. Pasolini, Pier Paolo. Weaver, William (trad.). A Violent Life. Manchester: Carcanet Press Limited, 1985. BRUSSELS, SEP. 4 – Andrea Büttner contributed to the Paul Thek exhibition at the gallery with Roth, Dieter. Zeitschrift für alles. Review for a reading corner. everything. Timarit fyrir allt. Stuttgart, London, Reykjavik, 1975. The city is an environment to get together works dating back to the 1960s and 1970s, Smeyers, Maurits. Flemish Miniatures from the is a key subject of one of Lamelas pieces made me think of the relation of Lamelas 8th to the mid-16th Century. Leuven: I hope all is going according to your plan. with different cities in which he has The Uitgeverij Davidsfonds, 1999. exhibited at the gallery in Brussels: Ant city is an environment to get together lived Sontag, Susan. Illness as Metaphor and AIDS The city is an environment to get together and more particularly, of the projects.had and Its Metaphors. New York: Picador, werp-Brussels (People and Time). When a dense group of friends all over Europe. 2013. he did this work in 1969 – barely a year I hope all is going according to your plan. Sontag, Susan. Against Interpretation and Other after his arrival to London thanks to a Brit- In this work he portrayed nine of them Essays. London: Penguin Classics, [1961] ish Council grant in order to study at Saint – artists, dealers, curators and collectors 2009. Martinʼs School of Art – Lamelas already with whom he collaborated on various pro- Swenson, Kirsten. Irrational Judgments. Eva had a dense group of friends all over Eu- jects – in a series of black and white im- Hesse, Sol Lewitt, and 1960s New York. rope. In this work he portrayed nine of them ages always with the same framing: three New Haven, London: Yale University – artists, dealers, curators and collectors women and seven men, himself included, Press, 2015. with whom he collaborated on various pro- mostly walking towards the camera, with Tomei, Alessandro. Giotto e il Trecento “Il più jects – in a series of black and white im- determination, in urban contexts in which Sovrano Maestro stato in dipintura”. Vol. 1. ages always with the same framing: three they appear to be the protagonists. Indeed, Milano: Skira Editore, 2009. women and seven men, himself included, they seem to be the sole human presence Tomei, Alessandro. Giotto e il Trecento “Il più mostly walking towards the camera, with – except for the photographer himself and Sovrano Maestro stato in dipintura”. Vol. 2. determination, in urban contexts in which traffic. Seven years later, I did a similahad Milano: Skira Editore, 2009. they appear to be the protagonists. Indeed, a dense group of friends all over Europe. Zuchtriegel, Gabriel. L’Immagine Invisibile. La they seem to be the sole human presence In this work he portrayed nine of them Tomba del Tuffatore nel Cinquantesimo – except for the photographer himself and mostly walking towards the camera, with dalla Scoperta. Napoli: Prismi, 2018. traffic. Seven years later, I did a similar ex- determination, in urban contexts in which ercise in Los Angeles with his LA Friends. they appear to be the protagonists. Indeed, The books above were selected by Andrea The chosen mediums here were drawing they seem to be the sole human presence Büttner and Jan Mot, partly during a shared visit and a slideshow. The city didnʼt feature traffic. Seven years later, I did a similar ex- to a Berlin bookstore. The books relate to Thek’s visually on this occasion but in a caption ercise in Los Angeles with his LA Friends. paintings on paper, which in the words of introducing the neighbourhood where The chosen mediums here were drawing Büttner “have to do with frescos, with the love each friend lived: John Baldessari, Santa and a slideshow. The city didnʼt featurr ex- for certain texts and with the choice of his Monica. Allen Ruppersberg, Hollywood. ercise in Los Angeles with his LA Friends. name Paul.” John Knight, Silver Lake, etc… This leit- The chosen mediums here were drawing motif in the exhibition at Jan Mot with and a slideshow. The city didnʼt feature. 7 Newspaper Jan Mot Seth / Sven 119

Parreno at the Manchester Festival, that opera as a genre and a format, and stage performanopera as a genre and a format, and stage performance first entered her rep- ertoire and became a source of reflection in her visual arts practice. In 2012, DGF ini- tiated a new series of performance works, flection in her visual arts practice. In 2012, DGF initiated a new series of performance works, apparitions collectively known as M.2062, which aim to define 21st century opera in Lille and Paris. New Publication

The catalogue was recently published on the Seth Siegelaub: Beyond Conceptual Art, Sara Martinetti, Leontine Coelewij (Eds.), Stedelijk occasion of the exhibition Sven Augustijnen & Museum Amsterdam & Walther König, 2015, p. 150-151 (detail) Sammy Baloji held late 2018 at Cultural Center Strombeek, Belgium. Each departing from their BRUSSELS, OCT. 14 – The work There are Two Temperatures: One Outside, One Inside by Robert own critical point of view, Sven Augustijnen Morris was originally produced for the exhibition “Joseph Kosuth, Robert Morris: March 1969”, and Sammy Baloji investigate the mechanisms organized by Seth Siegelaub. Morris’ work was recreated to be included in the remake of this show of power and exploitation and the pretense of at Jan Mot, Brussels in 2016. A stamp with the title of the piece was used each time on paper historical change. What started in the fifteenth towels, placed in dispensers in the gallery’s washrooms. At the same time, a log documented century as a massive export from the colonies the daily temperature inside the washroom as well as the temperature outside of the building of manpower, cultural products and raw materi- during the show. als, continues to date, in this era of an at times opaque global economy and worldwide greedy This contribution is part of an on-going series of text / instruction-based works published in the capitalism. The work of both artists locks into gallery newspaper. each other in its quest for the motives for global exploitation and exclusion by colonialism, ideol- That opera as a genre and a format, and I trilogy of holographic apparitions devoted ogy and free trade. hope all is going according to your plan. to opera, following Fitzcarraldo (M.2062) stage performance first entered her reper- I hope all is going according to your plan. Sandrine Colard, Bonaventure Shog Bejeng toire and became a source of reflection in and OPERA (Q.M.15), in which DGF ap- Ndikung, Sven Augustijnen, Museum III 2.1, MER. her visual arts practice. In 2012, DGF ini- peared, respectively in the guise of Klaus books - Borgerhoff and Lamberigts, 32p., 2019. tiated a new series of performance works, Kinski’s demented Fitzcarraldo. 8 Newspaper Jan Mot Manon / David / Agenda 119

Contemporary Art, Gateshead (UK), 15/11 – me to the Moon. 50 Jahre Mondlandung, 19/04 Museum der Moderne, Salzburg (AT), 20/07 – 03/11; Bodies-Cities, Museum der Mod- stanley brouwn erne, Salzburg (AT), 19/10 – 08/03 ; David Lamelas, Galeria Jaqueline Martins, São Manon de Boer Paulo (BR), 08/11 - 24/01 (solo) Le Petit Cercle Bruxellois, Institut de Car- ton, Brussels, 07/09 – 30/11; Image (of) Sharon Lockhart Silence, National Gallery, Prague, 20/09 – James Benning & Sharon Lockhart: Over 05/01 (solo); Resonating Surfaces, ISELP, Time (I), Milwaukee Art Museum, Milwau- Brussels, 07/12 (screening); Profundidad kee (US), 06/09 – 01/03; analog histories Manon de Boer, The Untroubled Mind, 2013– de Campo: Manon de Boer, Matadero, in primary colors, neugerriemschneider, 2016, 16 mm film transferred to video, colour, Madrid, 18/12 – 16/02 (solo) Berlin, 29/10 – 30/11; Rudzienko, F.I.L.M., silent, film still. Hamilton College, Clinton (US), 20/11 Rineke Dijkstra (screening); Lunch Break, Voir le temps MADRID, SEP. 25 – The works of Manon de To See Time Go By, Galeria Fonte, Inhotim venir, Jeu de Paume, Paris, 13/12 (screen- Boer and David Lamelas will be part of the Institute, Brumadinho (BR), 06/09 – 20/08; ing); James Benning & Sharon Lockhart: exhibition It’s just a matter of time at ARCO, Night Watching, Rijksmuseum, Amster- Over Time (II), Milwaukee Art Museum, Madrid from February 26 – March 1, 2020. dam, 05/09 – 03/12 (screening); Shape Milwaukee (US), 17/04 – 02/08 The exhibition, curated by Mason Leaver-Yap, of Light: Defining Photographs from the Alejandro Cesarco and Manuel Segade, takes Frances Lehman Loeb Art Center, The Tino Sehgal an idiosyncratic and partial look at the influ- Frances Lehman Loeb Art Center, Vas- IF THE SNAKE, Okayama Art Summit ence or consequence of Felix Gonzalez-Torres sar, Poughkeepsie (US), 20/09 – 15/12; 2019, Okayama City (JP), 27/09 – 24/11; in contemporary art practices. When Home Won’t Let You Stay: Migration Tino Sehgal, Enoura Observatory – Oda- Through Contemporary Art, ICA Boston wara Art Foundation, Kanagawa (JP), (US), 23/10 – 26/01; The Thread of Life / De 04/10 – 04/11 (solo); Making Art Public: Levensdraad, Faculteit Rechtsgeleerdheid This Is So Contemporary, Kaldor Public Art Agenda KULeuven, Leuven (BE), 24/10 – 29/02 Projects, Lilyfield (AU), 15/11 – 01/12 Mario Garcia Torres Philippe Thomas Francis Alÿs To See Time Go By, Galeria Fonte, Inhotim Time is Thirsty, Kunsthalle Wien, Vienna, ElDorado, lille3000, Lille (FR), 27/04 – 01/12; Institute, Brumadinho (BR), 01/09 – 20/08; 30/10 – 26/01 Francis Alÿs : Jeux d’enfants, Musée d’art Alighiero e Boetti e Mario e García Torres, contemporain de Montréal, Montréal (CA), Travesía Cuatro, Ciudad de Mexico, 24/09 – Tris Vonna-Michell 05/09 – 05/01 (solo); Words Are Very Un- 15/11; Ancient History of the Distant Future, necessary, Arter Museum, Istanbul, 13/09 The Pennsylvania Academy of Fine Arts, Ian Wilson – 08/03; The Private View, Museum Morsb- Philadelphia (USA), 25/09 – 02/02; Modes Points de Rencontres, Centre Pompidou, roich, Leverkusen (DE), 22/09 – 05/01 (solo); of Encounters: An Inquiry, Times Museum, Paris, 30/10 – 27/01 JRSLM – PARADISE LOST AGAIN, PILAR Guangzhou (CHN), 14/12 – 28/02; Mel- on the VUB, Brussels, 17/10 – 14/12; ¿No bourne Photo2020 Festival, University of (advertisement) oyes ladrar a los perros?, Centro Cultural de Melbourne, Melbourne (AUS), 23/04 – 10/05 España en México, Ciudad de México, 30/10 – 19/01; Convex / Concave: Belgian Contem- Dominique Gonzalez-Foerster JAN MOT porary Art, TANK Shangai, 31/10 – 12/01; May You Live In Interesting Times, 58th Theater of Operations: The Gulf Wars 1991– Venice Biennale, Venice (IT), 11/05 – 24/11; 2011, MoMA PS1, Long Island City (US), Opéra Monde. La quête d’un art total, Petit Sablon / Kleine Zavel 10 03/11 – 01/03; Càmera i ciutat. Escenaris de Centre Pompidou-Metz, Metz (FR), 22/06 1000 Brussels, Belgium la modernitat, CaixaForum, Barcelona (ES), – 27/01; Age of You, Museum of Contem- tel:+32 2 514 1010 07/11 – 08/03; PRECARIA (Perilous), EAC porary Art, Toronto (CA), 05/09 – 05/01; [email protected] – Espacio de Arte Contemporáneo, Montevi- More-than-humans, Museo Nacional Thys- www.janmot.com deo (URY), 29/11 – 08/03; Children’s Games, sen-Bornemisza, Madrid, 25/09 – 01/12 EYE Film museum, Amsterdam, 19/12 – Wed – Fri 2 – 6.30 pm 08/03 (solo) Joachim Koester Sat 12 – 6 pm Vampires, de Dracula à Buffy, La Ciné- and by appointment Sven Augustijnen mathèque française, Paris, 09/10 – 19/01; Spectres, Tënk, Lussas (FR), 03/05 (screen- Plant Revolution!, Centro Internacional das ing); Pickpocket, Kunst Raum Riehen, Basel Artes José de Guimãraes – CIAJG, Guima- Colophon (CH), 04/09 – 03/11 rães (PT), 19/10 – 16/02 Publisher Jan Mot, Brussels Concept Design Pierre Bismuth David Lamelas Maureen Mooren & Daniël van der Velden ABSTRACTIONS, Jan Mot, Brussels, Lamelas, Irwin, Kusama: Regarding Per- Graphic Design 14/11 – 21/12; Animalesque Art – Across ception, Galeria Lago, Instituto Inhotim, Maureen Mooren, Amsterdam Species and Beings, BALTIC Centre for Brumadinho (BR), 06/09 – 20/08; Fly Printing Cultura, Wetteren