Thyssen-Bornemisza Art Contemporary’s most ambitious thematic exhibition to date, RARE EARTH, featuring 17 artistic positions including 10 new commissions kicks off TBA21’s 2015 programing. RARE EARTH is nothing less than an attempt to define the spirit of our age: an exhibition relating myth, identity, and cosmology to current advances in technology. It explores the material basis for the most technologically developed weapons and tools – a class of 17 ‘rare earth’ elements from the periodic table found in everything from mobile phones to computer hard drives. After the Stone Age, the Bronze Age and the Iron Age, this is the age of RARE EARTH.> >
DURATION: February 19 – May 31, 2015
LOCATION: Thyssen-Bornemisza Art Contemporary
TBA21–Augarten, Scherzergasse 1A, 1020 Vienna, Austria
On March 6-9, an assembly of 34 pajés, 20 professors, and 15 artisans took place in the village of Novo Natal located on the Jordão river in the Brazilian State of Acre. The representatives of all the 37 Huni Kuin villages accepted Ernesto Neto’s invitation to participate collaboratively in a joint exhibition project at TBA21 in Vienna. The exhibition Sacred Secret, opening on June 25 in Vienna will bring to life age-old and venerated shamanic spiritual knowledge and healing rituals of the indigenous peoples of the Amazon and weave together anthropology, ecology, education, and contemporary forms of expression to create distinctive experiences and interrogate our present moment.
Exhibition Opening: June 25
Duration: June 25 – Oct 25, 2015 > >
DURATION: March 6 – 9, 2015
LOCATION: Novo Natal, Acre, Brazil
The extraordinary publication Amar Kanwar: The Sovereign Forest, in collaboration with Yorkshire Sculpture Park and published by Sternberg Press, is the result of the eponymous exhibition at TBA21–Augarten from November 2013 until March 2014, and conceived as an extension to the ongoing research and exhibition project The Sovereign Forest which has been supported by TBA21 since its inception in 2011. The ambitious catalogue likewise attempts to reopen and extend discussions posed by the exhibition by bringing together a variety of voices from academic and activist backgrounds, factual or intimate narratives and interviews, image documentation, and evidentiary materials, that unfold a multiplicity of knowledges and testimonies about the obscured and intricate conflict in Odisha in eastern India.
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Carsten Höller: LEBEN, the art book dedicated to Carsten Höller’s eponymous exhibition at Thyssen-Bornemisza Art Contemporary, is as conceptually elaborate as the exhibition itself. Published by Sternberg Press, the fully circular and mainly handmade publication has no beginning or end, allowing multiple points of entry and unconventional ways of reading – both from left to right and vice versa, as well as upside down. Complementing Höller’s work, it unfolds a play of symmetry and doubling that references the exhibition both formally and in terms of content. Moving somewhere between a heavy-paper children’s book, an artist edition, and an exhibition catalogue, the concept for this unique production was developed by the artist and resonates the motifs of the circle, the mirror, the double, and the division and entanglement of voices.
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Simon Fujiwara’ project Brother commissioned by TBA21, will send the artist on an investigative expedition into a fictional past and to the very real island of Jamaica:
“It won’t matter much to you, but my mother was once married to a man whose name I was never told, whose face I have never seen and who I had not heard about at all, not even a hint, until I was 22 years old. What if my mother and this man had had children? (She claims she didn’t, for the record). Could I have a brother? A half-Jamaican, half‐British brother? A musician, perhaps, like his father? Or an artist, perhaps, like me? A new world opened up to me, a new version of myself that I now seemingly had no choice but to accept, to understand and to explore.” (Simon Fujiwara) > >
LOCATION: National Gallery of Jamaica, Kingston
A major new site-specific exhibition on Isla del Coco, 550 kilometres off the coast of Costa Rica. Treasure of Lima: A Buried Exhibition engages the narrative and legal identity of the island, contrasting historical legends of buried treasure with the island’s real status a natural treasure worthy of protection. In so doing the project embellishes the ‘treasure island’ imaginary by interrogating models of spectatorship and property rights, while venturing the question ‘How can an exhibition create its own legend?’> >