Palazzo Lezze, Campo S. Stefano,
for the 57th International Art Exhibition
la Biennale di Venezia
Under One Sun. The Art of Living Together
Preview: 10. May 2017 | 5 pm
Official opening: 11. May 2017 | 6:30 pm
Commissioner: Ambassador Mammad Ahmadzada
Executor: Heydar Aliyev Foundation, Baku, Azerbaijan
Curators: Prof.Dr. Martin Roth, Emin Mammadov
Advisor: Dr. Shirin Y. Melikova
Participants: HYPNOTICA Visual Performance Group,
Elvin Nabizade
Coordinator: Narmina Khalilova
Coordinators in Venice: Paolo De Grandis, Carlotta Scarpa,
PDG Arte Communications
Palazzo Lezze, Campo S. Stefano, San Marco 2949



Under One Sun. The Art of Living Together
Since times immemorial in Azerbaijan a great many people from very different backgrounds live alongside each other. Within a major region that combines European and Eastern civilizations, it is unavoidable that religion, philosophy, and political theories confront each other.
Azerbaijan is a perfect sample of a complex society, which promotes acceptance of different languages and cultural backgrounds, the culture of living together mostly in harmony and equality in a multicultural and multi-religious society, supporting each other in a sometimes rough natural environment.
Azerbaijan is not so big country, but its varied landscape and rich nature also reflect and find themselves in harmony of diverse cultural expressions under one sun.
A peaceful cultural exchange of all different cultures in Azerbaijan and the preservation of the best traditions of Eastern hospitality, a vital principle to all peoples living on this land, spark wonder in this age of globalization, ethnic conflicts, intolerance, and aggression. This is the true art that the people of Azerbaijan have mastered.
In 2017, the Azerbaijan national pavilion for the 57th International Art Exhibition – la Biennale di Venezia hosts the exhibition Under One Sun. The Art of Living Together.
The aim of the exhibition is to find out an own artistic contemporary interpretation of the cultural diversity of Azerbaijan.
Thus, curators of the exhibition asked young artists to show their opinion and to express their freedom in a diverse cultural society.
A group of young artists experimenting with mixed media challenges humanity to contemplate this crucial issue: the art of living together.
Works by Hypnotica, a visual performance art group, and by installation artist Elvin Nabizade lay bare Azerbaijan’s cultural and ethnic diversity.
Within the exhibition, artists present interactive multimedia projects, video mapping and installations. These artists used different media trying to show the combining element of traditional analogue and contemporary digital art in Azerbaijan.
Under One Sun. The Art of Living Together reveals Azerbaijan’s amazing and kaleidoscopic culture, from its origins and traditions to its diverse manifestations today.
Prof. Dr. Martin Roth
curator of the Pavilion
Istituto Santa Maria della Pietà
Artist: Eve Ariza
Commissioner: Miriam Ambatlle
Opening hours:
10 am – 6 pm – Closed on Mondays
Curators: Javier Balmaseda, Ivan Sansa, Paolo De Grandis
Coordinator in Venice: Carlotta Scarpa,
PDG Arte Communications
Istituto S. Maria della Pietà, Castello 3701


Murmuri (Murmur) is a reflection on a universal language, an in-depth research on the material in mutation and the origins of form and sound.

Channeling the tradition of clay art, Andorran artist Eve Ariza works on the multiplication of the bowl as a container of truth and placidity. The ceramic bowl appears as the first form modeled by man with an intention. She purposedly tears its base to reveal a mouth-like shape, thus transforming its essence and leaving aside its conventional use. The enormous time consuming process of the practice of the clay becomes here an act of soothing rebellion. Listening and abandoning oneself to the material as it dictates, in a way, the artist’s living rythm.

The project carries on the artist’s battle against the « bla », the concept of overconsumption and overfeeding on images and sounds as the tangibly sole foundation of today’s society. The installation becomes a sensory experience as each bowl reveals its own natural resonance. Liberated from the burden of any explicit narrative content, the work first provokes an intense physical dialogue with the viewer. The modeled lines forming around the gaped mouths uniquevokely resemble the ripples formed by sound waves. The murmurs emanating recall that first purely poetic vibration that originated all human communication.

In the current context, Murmuri also refers to the many fluctuations of human populations, present and future, and their influence on social structures and the environement. The resonance phenomenon is perceptible mostly through sound but the propagation of that one initial movement could be transposed to human fluxes. Placed in calculated patterns, the different tonalities of the clay suggest the incessant migrations happening in the world. Breaking down border and other invisible barriers, Ariza places the viewer at the center of this original vibration that constituted all matter in the universe.

Eve Ariza’s entire body of work reflects, from ceramics to activist happenings, on human communication and the intrications of language in a post-consumerist society. Through often ephemeral actions, she has been a tenacious critic of the Andorran microcosmos and its downsides.


Born in Béziers, France in 1973
Lives and works between Andorra, France and Spain.
Istituto Santa Maria della Pietà
Inauguration: 11. May 2017 | 10 am
Participants: Chimeddorj Shagdarjav,
Munkhbolor Ganbold, Enkhtaivan Ochirbat,
Bolortuvshin Jargalsaikhan, Davaajargal Tsaschikher
Commissioner: Munkh-Orgil Tsend, the Minister of Foreign Affairs
Curator: Dalkh-Ochir Yondonjunai
Exhibition: 13 May – 26 November 2017
Istituto Santa Maria della Pietà,
Castello 3701
Organizer: Mongolian Contemporary Art Support Association
Project Director: Gantuya Badamgarav
Artistic Advisor: Tessa Jackson
Supporters: Ministry of Foreign Affairs,
Ulaanbaatar City Government
Supporters in Venice: PDG Arte Communications,
Valorizzazioni Culturali
Sponsors: MIAT – Mongolian Airlines, Xac Bank, Erel Group, Monnis Group, Max Group,
Shangri-La Ulaanbaatar LLC, Monre Insurance,
Mahoney Liotta, Bats Urguu and other
private entities and individuals
closed on Mondays
except May 15th, August 14th, September 4th,
October 30th, and November 20th 2017

The Mongolia Pavilion explores modern-day mobility and displacement, raising questions about what and where “home” is and humans’ relationship with nature. The artists work with natural organic products from Mongolian nomadic traditions, such as felt, horsehair, horse dung, and wood. The Mongolia Pavilion consists of two types of art presentation: a sedentary pavilion space at the Palazzo Mora and a nomadic pavilion with artist Enkhbold’s performances presented at designated public spaces around the city of Venice.

The two artists were born and raised in Mongolia and experienced migration as young adults. Artist Unen Enkh attended art schools in Prague and Budapest and later moved to the German city of Freiburg im Breisgau, where he completely transformed his art from two-dimensional graphic media to sculptures made with natural materials from his homeland.

Enkhbold’s art includes a variety of media. His two-dimensional works, made primarily of horse dung, ash, sand, and wood, will be displayed at the Palazzo Mora. With these works, Enkhbold joins the artists who defy the traditional concept of painting and its usual materials. Enkhbold’s performance art in Venice further develops ideas that he has explored previously at different locales around the world. Enkhbold questions the division between urban forms and his nature-based ger (yurt).

Venice was built by residents fleeing invasions by nomads, including Attila and the Huns in the 5th century. Centuries later, Venetian merchant Marco Polo (1254–1324) traveled to the Mongol Empire, where he spent 16 years at the Mongol Khan’s court. Enkhbold, building upon the historical legacy of Venice’s relationship with nomads and Mongols, will bring his performance art to the heart of Venice by nomadizing around the city and socializing with Venice locals and visitors.

The Mongolia Pavilion is organized by Mongolian Contemporary Art Support Association and funded by leading Mongolian businesses with the support from Mr. E.Bat-Uul. Mayor of Ulaanbaatar City. The project team includes Commissioner B.Gantuya, Head of MCASA, Curator and Art Historian Ts, Uranchimeg and Scientific Committee with David A Ross, former Director of Whitney Museum of American Art and Ch.Boldbaatar, art historian and artist.


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Kunstraum Niederoesterreich

Kunstraum Niederoesterreich
Julischka Stengele und Maren Blume
Performanceabend und Eröffnung:
DO 04 05 2017 | 19H – 22H
Kuratorin Christiane Krejs
Ausstellung / Exhibition:05 05 – 13 05 2017
Herrengasse 13, 1010 Wien


Julischka Stengele & Maren Blume stehen in ihrer Schau „Wie die sich wieder aufführen“ auf sehr unterschiedliche Weise für die Erlangung von Handlungsmacht ein – mit körperlichem Einsatz. Gemeinsam ist den beiden im queer-feministischen Feld agierenden Künstlerinnen, dass sie ihren/den Körper als Träger gelebter Erfahrung ins Spiel bringen, wenn es um Ausschluss oder Normierungen von Repräsentationen, Wissen und Wissensformen, Personen und nicht zuletzt von Körpern selbst geht. Ziel: Handlungsmacht!

Widerspenstig, unerhört, vorlaut! Julischka Stengele stellt ihren eigenen, mächtigen Körper ins Zentrum ihrer künstlerischen Arbeit. In der Performance „Musenaufstand“ bricht die Künstlerin mit Sehgewohnheiten und Sichtweisen. Sie hinterfragt gesellschaftliche Positionierungen und verändert Blickachsen, kehrt Machtverhältnisse um und inszeniert neue, ungewohnte Settings. Was bewirkt die Änderung von Positionen in Gesellschaft und Politik? Wie verortet sich der Mensch im sozialen Umfeld? Was macht ihn sichtbar oder unsichtbar? Sehen oder gesehen werden?

Julischka Stengele bringt in ihre künstlerischen Statements die volle physische Präsenz ihres Körpers ein. Stengele, die seit über zwölf Jahren als Aktmodell arbeitet, inszeniert ihren Körper als skulpturales Objekt. Die Bühne und das Podest geben ihr die Gelegenheit, eine Umkehrung der Machtverhältnisse zu provozieren. Zwar setzt sie ihren Körper den Blicken aus, aber das Publikum muss damit rechnen, dass sie zurückblickt und die gleichen Bewertungen und Maßstäbe anlegt wie es selbst. Sie verschiebt die Ebenen und vollzieht einen inneren Positionswechsel. Aus der stumm gemachten Muse wird ein selbstbestimmtes Individuum. Mit feinem Humor setzt sie konventionellen Sichtweisen und Sehgewohnheiten eigene Bilder entgegen: unangepasst, lustvoll und bestärkend.

Kuratorin Christiane Krejs überzeugte an Stengeles Arbeit, dass die Künstlerin Blickregimes und -hierarchien durchbricht und die stets brennende Frage „Was macht Kunst zur Kunst?“ aktualisiert.

Körper – Wissen – Macht: Maren Blume beschäftigt sich seit langem mit dieser in Wechselwirkung stehenden Trias. Über der Auseinandersetzung damit entwickelte sich das Interesse der Künstlerin am Körper als Archiv. Blume versteht ihn als Speicher von Informationen, Emotionen, Theorien oder Geschichten. In ihrer forschenden Praxis ist sie von der Theoretikerin Diana Taylor und ihrer Sicht des Körpers als „verkörpertes“ Wissen beeinflusst.

Blumes künstlerische Position ist für den Kunstraum ein spannender Denkansatz zum Thema (Performance-)Archiv. Sie thematisiert und erprobt die Un/Möglichkeiten der Dokumentation von Performance sowie die Weitergabe und Wiederholung von verkörperten kulturellen Wissens- und Erinnerungspraxen.

Maren Blume zeigt zur Ausstellungseröffnung den performativen Vortrag “But they don’t seem to go away”. Dabei stellt sie den handelnden, sprechenden, fühlenden und denkenden Körper als Agenten in den Mittelpunkt der Wissensproduktion. Ihre Performance bewegt sich im Spannungsfeld der Hierarchien zwischen akademischer Textproduktion, gelebter Erfahrung sowie Kunst und ihrer Vermittlung.

Kuratorin: Christiane Krejs
Im Rahmen der Performancereihe #5 des Kunstraum Niederoesterreich.

 Bildschirmfoto 2017-04-28 um 19.50.02.jpg
Kunstraum Niederoesterreich


Ariane Koch & Sarina Scheidegger
Ana Castaño Almendral & Sima Djabar Zadegan
Eröffnung / Opening: FR 19 05 2017 | 19 H – 22 H
Kuratorinnen: Katharina Brandl & Lena Lieselotte Schuster
Performance, Drinks & Musik
Ausstellung / Exhibition: 20..05. – 19.05.2017
Herrengasse 13, 1010 Wien
 ArianeKochSarina Scheidegger
Rosa und Louise – ein feministisches Manifest in dialogischer Form Von Ariane Koch & Sarina Scheidegger
Performerinnen: Ana Castaño Almendral & Sima Djabar Zadegan
Ariane Koch und Sarina Scheidegger widmen sich in ihrer Performance Rosa und Louise – ein feministisches Manifest in dialogischer Form der vernetzten Welt des feministischen Diskurses. Seit 2014 wird der fortlaufend bearbeitete Text, jeweils der spezifischen Ausstellungssituation angepasst, in der Schweiz, in Deutschland und in Österreich von zwei Performerinnen zur Aufführung gebracht und als Posterserie im öffentlichen Raum präsentiert.

Ariane Koch und Sarina Scheidegger produzieren das dialogische Manifest gemeinsam oder entkoppelt, non-linear und assoziativ; sie fordern mit dem Format des Manifests Öffentlichkeit ein, ohne in die Falle der autoritären, deklamatorischen Geste dieser Textform zu tappen. Rosa und Louise, egal ob es sich um Rosa Parks und Louise Bourgeois oder Rosa Musterfrau und Louise Normalverbraucherin handelt, stehen für die Vielstimmigkeit feministischer Praxen ein.

Die Veranstaltung findet in Kooperation zwischen dem Kunstraum Niederoesterreich und Sorority – Verein zur Vernetzung und Karriereförderung von Frauen statt und ist Teil der Kunst- und Kulturreihe femtrails. Im Anschluss an die Performance laden wir zu feministischen Zaubertränken.

Kuratorinnen: Katharina Brandl & Lena Lieselotte Schuster
Im Rahmen der Performancereihe #5 des Kunstraum Niederoesterreich. ls-x-krnoe201c


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Hong Kong in Venice
Collateral Event of the 57th International Art Exhibition
La Biennale di Venezia
Samson Young
Songs for Disaster Relief
Co-presented by M+ and HKADC, Songs for Disaster Relief,
will feature a series of newly commissioned site specific works
Press preview: 10 May 2017
Opening reception: 11 May 2017
Preview dates: 10, 11 and 12 May 2017
Curator Ying Kwok
Guest Curator, Doryun Chong,
Deputy Director and Chief Curator of M+, serving as the Consulting Curator.
Exhibition: 13 May – 26 November 2017
Campo della Tana, Castello 2126-30122, Venice, Italy
Opposite the main entrance of Arsenale
M+, West Kowloon Cultural District:


M+ at the West Kowloon Cultural District and Hong Kong Arts Development Council (HKADC) are proud to announce the solo exhibition :
Samson Young: Songs for Disaster Relief,
Hong Kong in Venice as Collateral Event of the 57th International Art Exhibition – La Biennale di Venezia. As the third collaboration between M+ and HKADC, this exhibition presents a major milestone of Hong Kong contemporary art at one of the most important international platforms.
The curatorial team consists of Ying Kwok, a respected Hong Kong curator, as the Guest Curator, with Doryun Chong, Deputy Director and Chief Curator of M+, serving as the Consulting Curator.
For the 57th edition of the Venice Biennale, Young will create a new body of work that attempts to reframe the popularity of “charity singles” —purpose-made recordings for charitable causes, featuring super-group artists—as historic “events” and a culturally transformative moments in time. Charity singles were most widespread in the 1980s, and coincided with the rise of neo-liberalist aspirations and the globalisation of the popular music industry. However questions were raised about their appropriateness when ‘We Are the World’ was remade in recent year. A perceived strangeness in the setup left a mark on Samson’s consciousness, setting him on a journey of rediscovery that informs this exhibition.
Through a deliberate repurposing and creative misreading of such iconic songs as ‘We Are the World’ and ‘Do They Know It’s Christmas’, the artist will generate a series of drawings, objects, video, spatial sound installations and site specific works that together constitute a unique audio-visual experience. The exhibition is conceived as an album unfolding in space to be experienced in person.
Formal trained in classical music composition, Young’s interests range from the politics behind classical Western music writing systems to possible relations between sounds and warfare (sound as a weapon, or explosions as vehicles of overwhelming information), to artefacts that can unite or separate communities and individuals. Despite the interdisciplinary nature of his output, Young retains a strong commitment to the avant-garde compositional traditions of aleatoric music, musique concrète and graphic notation. He is particularly interested in exploring the social, philosophical, and political questions that these compositional techniques and procedures pose in a cross-cultural context.
Dr. Wilfred Wong, Chairman of HKADC, said, “Our participation in the Biennale since 2001 has continued to further our mission of presenting Hong Kong’s visual art and artists to the world. This is both a reflection and a reinforcement of the city’s long-standing commitment to arts and culture, befitting its reputation as Asia’s World City. HKADC started in 2013 to collaborate with M+ and attained highly acclaimed reviews. We have great confidence that this year’s experience will be equally encouraging.”
Doryun Chong, Deputy Director and Chief Curator of M+, who is serving as consulting curator for this project said: “Samson Young’s ambitious solo project in Venice is a testament to his extraordinary ability to put his finger on contemporary issues through his work. He does this by excavating forgotten or lesser known moments from the past and in the present, and locating them in a highly imaginative web of associations and evocations. Songs for Disaster Relief is a stimulating and complex journey that takes visitors through visual, aural, and physical experiences, reminding them of the often overlooked need for empathy, and also of the need for us to work through our failures”.
Ying Kwok, Curator of this project said: “Music is a universal experience: a powerful form of common understanding and collective memory. Samson Young’s ambitious project Songs for Disaster Relief investigates the popularity and subsequent decline of “charity singles”. He brings together several seemingly unrelated political implications obscured in a cross-cultural context to explore the social, philosophical, and political questions.
Samson Young added, “This new series of work for the Biennale Arte 2017 looks at the popularity of the musical genre of charity singles – including such iconic songs as ‘We Are The World’ and ‘Do They Know It’s Christmas’ – as “historic events”. I am very thankful for the generous support I have received from M+ and HKADC for the development of this new body of work.”



Artist: Samson Young

Samson Young (b.1979) is an artist and composer based in Hong Kong. Young’s diverse practice draws from the avant-garde compositional traditions of aleatoric music, musique concrète, and graphic notation. Behind each project is an extensive process of research, involving a mapping of the process through a series of ‘sound sketches’ and audio recordings. His drawing, radio broadcast, performance and composition touch upon the recurring topics of conflict, war, and political frontiers.

Young was the inaugural winner of the BMW Art Journey Award at the Art Basel Hong Kong 2015. His recent solo projects include Hiroshima City Museum of Contemporary Art, Japan (2015); Team Gallery, New York (2015); Para Site, Hong Kong (2016); Experimenter, India (2016); and Kunsthalle Düsseldorf, Germany (2016).

As a practising musician, Young is the member of multiple bands and has collaborated with ensembles and orchestras worldwide. He has participated in international music and performing art festivals including Internationale Ferienkurse für Neue Musik, Darmstadt; Fusebox Festival, Austin; New York Electronic Art Festival, New York; Tonlagen Festival, Dresden; Transart Festival, Bolzano; and MONA FOMA Festival of Music and Art.

Guest Curator: Ying Kwok

Ying Kwok is an independent curator who is noted for her inventive curatorial approach, often centered on ‘boundaries of collaboration’ between curators, artists, and the wider community. She is the curator of the Chinese Arts Centre in Manchester in the UK between 2006 and 2012.

Since 2013, Kwok became an independent curator working internationally. She co-curated Harmonious Society, as part of Asia Triennial Manchester 2014, From longing to belonging with Laznia Centre for Contemporary Art in Poland in 2014 and 2016; and recently No cause for alarm at La MaMa Galleria in New York 2016. In 2015, Kwok was awarded the Asia Cultural Council Fellowship to carry out a five-month-long research on participatory and engagement projects in the US. To encourage critical thinking and initiating effective discussions in Hong Kong, Kwok founded the Art Appraisal Club with a group of local art professionals in 2014. They first launch their biannual and bilingual journal Art Review Hong Kong in 2016. Apart from that, the group also provides regular exhibition reviews which are published in magazines and various cultural networks.

Consulting Curator: Doryun Chong

Doryun Chong is the Deputy Director and Chief Curator at M+, a museum of visual culture in Hong Kong. Chong oversees all aspects of curatorial activities of M+, including collection, exhibitions and symposiums, as well as learning and interpretation. Prior to joining M+, he held curatorial positions at the Museum of Modern Art (MoMA) in New York from 2009 to 2013; the Walker Art Center in Minneapolis from 2003 and 2009; and also at the Asian Art Museum of San Francisco. He served as the coordinator for the Korean Pavilion exhibition at the Biennale Arte 2001 and co-curated Tsang Kin-wah: The Infinite Nothing, Hong Kong’s project for the Biennale Arte 2015.

The exhibition will be accompanied by a fully illustrated catalogue with reprints and new commissioned essays from Seth Kim-Cohen and Anthony Leung Po Shan, as well as contributions from Samson Young, Ying Kwok, Doryun Chong exploring the intricate layers of Young’s artistic practice from various perspectives.


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Cyprus Pavilion

The Cyprus Pavilion Biennale Arte 2017


Cyprus Pavilion at the Venice Biennale
Associazione Culturale Spiazzi
The Future of Colour
Polys Peslikas
Preview: 10–12 May 2017
Curated by Jan Verwoert
Many Strangers
Thursday, 11. May 2017 | 7:30pm
Venue to be announced
Perform Readings:
Mirene Arsanios and Neoterismoi Toumazou
Friday, 12. May 2017 | 6pm
Saturday, 13. May 2017 | 11am
Special Guests: Mirene Arsanios,
Valentinos Charalambous, Neoterismoi Toumazou
Commissioner: Louli Michaelidou; Assistant Commissioner: Angela Skordi;
Exhibition: 13 May –26 Nov 2017
Castello 3865, 30122 Venice Italy

Polys PeslikasThe LandscapeWindow17.31.25.jpg


The Future of Colour
Polys Peslikas

Colour once was key to politics and trade in the Mediterranean. Fabric manufacturing, medicine, painting, and cosmetics alike depended on pigment supplies and colour binding agents like alum. Main alum resources lay in the Eastern Mediterranean. So Rome banned alum imports to curb Constantinople’s influence. Yet, despite the embargo, around 1500 the agent was still in circulation via the Venetian trade network that included Cyprus.

The Future of Colour takes this story as the point of departure for invoking the spirit of unstoppable exchange—in the key of living colour. Today’s political imagination seems to be stuck in apocalyptic scenarios of cultures at war (West vs. East). We rarely ask what it could mean for life to continue and our exchanges to create a future. Rejecting the false securities of catastrophic thought, the show pays homage to the vibrant insecurities of life and the trade of ideas via painting and its sister arts.


Polys Peslikas: The Landscape Window, 2015-2016
Oil on canvas mounted on board 160 x 112.5 cm

To defy the endgame is to grasp past and future, West and East, as a fluid continuum that invites movement. This is the challenge Polys Peslikas has set himself. His new paintings, shown in the pavilion, draw on fragments of historic imagery. Peslikas zooms in on details of Venetian paintings and modernist collages. He extracts colours, patterns, and ornaments that resonate across time. Mixing these ingredients, Peslikas performs an alchemy that liquefies time. A 500-year difference dissolves into the rhythm and rhyme of tonalities and textures. No occident, no orient, but an ocean of undulating forms, layered colours and differentiated details are brought together, here, to define the world.

In opening up the horizon of experience, Polys Peslikas’ paintings set the stage for hosting further artistic exchanges. A series of cartoonishly oversized newspapers provide the platform for these transactions, conducted by three parties invited as special guests:

Nicosia-based, internationally active, artist group Neoterismoi Toumazou (Maria Toumazou, Marina Xenofontos, Orestis Lazouras) are named after the local novelty shop once run by one of the member’s grandfather. Importing and exporting influences, Neoterismoi Toumazou trade in many languages: poetry, performance, design, music, and fashion. In her stories, Beirut born, New York-based writer Mirene Arsanios interlaces biographies and histories. Her new piece of writing, Elemental Language, finds her revisiting memories of Cyprus, where she briefly lived before returning to Beirut at the end of the civil war. Places and words, remembered from childhood, coalesce into one another; and the time is always now. Legendary ceramic artist from Famagusta, Valentinos Charalambous joins the conversation. Having travelled, made and taught art for decades, in Baghdad and Limassol, he has been an inspiration to many, with stories to tell and a love for the arts of ancient Egypt and Mesopotamia louder than bombs.

The show invokes the spirit of the Eastern Mediterranean as a zone where routes cross and travellers meet and trade in a poetic knowledge that may render past and future in fresh colours.


Polys Peslikas: The Second Variation, 2015-2016
Oil on canvas mounted on board 110 x 75 cm

Related events

Many Strangers
Thursday, May 11, 7:30pm
Venue to be announced

Neoterismoi Toumazou preside over this special event and set its theme: Many Strangers. The night will see the group’s associates Guy Gormley (Enchante) on decks and Patrick Cole and Polyxeni Savva making unique appearances.

Friday, May 12, 6pm
Saturday, May 13, 11am
The Cyprus Pavilion

During the opening days Mirene Arsanios and Neoterismoi Toumazou will perform readings of their writings in the exhibition space.

Polys Peslikas is a painter based in Berlin and Nicosia. He was born in 1973 in Limassol, where renowned ceramic artist Valentinos Charalambous lives and works, his open workshop having been a school to many. Born in Famagusta in 1929, Charalambous taught and practiced his art in Baghdad from 1957 till 1983. Beirut is where New York-based writer Mirene Arsanios was born in 1980. She is the author of The City Outside the Sentence (Ahskal Alwan 2015). Maria Toumazou, born 1989 in Nicosia, Marina Xenofontos, born 1988 in Limassol, and Orestis Lazouras, born 1994 in Nicosia, comprise artist group Neoterismoi Toumazou. Neoterismoi Toumazou do art, performance, poetry and fashion; they travel and run their own space on 69A Aischylou Street in Nicosia.

Commissioner: Louli Michaelidou; Assistant Commissioner: Angela Skordi; Communications Manager: Daniel Pies; Coordination & Production: Marina Christodoulidou Marika Ioannou; Andry Panayiotou; Publication editor: Federica Bueti; Exhibition design: Michael Anastassiades; Web design: Patricia Reed; Graphic design: Nienke Terpsma

The participation of the Republic of Cyprus at Biennale Arte 2017 is organised and sponsored by the Ministry of Education and Culture.

Saint Mamas (detail), 16th century. Egg tempera on wood, 66.5 x 51 cm. Byzantine Museum of the Archbishop Makarios III Foundation, Nicosia, Cyprus.
Instagram / Facebook / #cyprusinvenice2017


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TATE Liverpool
Ellsworth Kelly in Focus
Ellsworth Kelly Talk
3 April – 29 May 2017 | daily | 11.45
Curated by Darren Pih,
Exhibitions and Displays Tate Liverpool
3 April – 29 May 2017
Albert Dock, Liverpool Waterfront
Liverpool L3 4BB
Ellsworth Kelly talk
Kelly’s influential career had a significant impact on the development of abstract art. This free talk, by one of our experienced Visitor Assistants, will provide an introduction to one of America’s pioneering artists.
Subject to availability, the talk will run daily at 11.45 in Ellsworth Kelly in Focus.
Tate Liverpool presents work by one of America’s greatest 20th century abstract artists, Ellsworth Kelly   1923–2015
The first Ellsworth Kelly display in the north of England, it
presents 11 paintings, prints and reliefs spanning more than six decades of the artist’s career. Born in Newburgh, New York, American artist Kelly studied painting at the School of the Museum of Fine Arts in Boston. Beginning his career as a figurative artist, during the Second World War he served in the US Army’s camouflage unit, later applying the methods and research employed there to introduce innovative colour and coding techniques into his painting. Following the war, in 1948 he spent a number of years in Paris where he was influenced by the work of artists including Henri Matisse (1869–1954) and Fernand Léger (1881–1955).
Kelly became a seminal figure in the development of abstract painting and is renowned for creating often large scale paintings, prints and sculptures. Rather than creating pictures that represented a thing seen, he considered his works as ‘objects’ in themselves. For Kelly, the primary forms found in the built environment – from the Egyptian pyramids to cathedral vaults – cast a significant influence on his work.
Highlights of the display include Méditerranée 1952 inspired by his fascination with how light was refracted on the surface of the River Seine; Broadway 1958, one of a series of paintings titled after the famous avenue in New York; Orange Relief with Green 1991, a multi-panel combining clean lines, block colours and abstract forms.



Installation view of Ellsworth Kelly, Black Square with Blue 1970 on display at Tate Modern © Tate Photography, 2014

A selection of the works displayed have been bequeathed to the Tate collection following the artist’s death in 2015 at the age of ninety. Kelly was the subject of a major retrospective at Tate Modern in 1996, a display at Tate St Ives in 2006 and the new Tate Modern currently has a dedicated room of the artist’s work.
Ellsworth Kelly in Focus forms part of Tate Liverpool’s spring 2017 season which features a new display for Constellations: Highlights from the Nation’s Collection of Modern Art and O.K. – The Musical. Ellsworth Kelly in Focus continues Tate Liverpool’s In Focus displays which offer visitors the chance to see a free display dedicated to a significant modern and contemporary artist. Tracey Emin & amp; William Blake in Focus continues until 3 September. From 22 September 2017 – 10 June 2018 the gallery presents ARTIST ROOMS: Roy Lichtenstein in Focus.
Ellsworth Kelly in Focus is curated by Darren Pih, Exhibitions and Displays Curator, Tate Liverpool.


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13 June 2017
Curated by
Kerryn Greenberg, Tate Modern International Art
Vassilis Oikonomopoulos, Assistant Curator
Exhibition: 13 June – 8 October 2017
Bankside London SE1 9TG
Fahrelnissa Zeid Untitled c.1950s Oil paint on canvas Tate. Presented by Raad Zeid Al-Hussein 2015
Tate Modern
UK’s first retrospective of FAHRELNISSA ZEID
b. 1901, Istanbul, d. 1991, Amman
re-appraising her work in an international context. Zeid was a pioneering artist best known for her large-scale colourful canvases – some over 5 metres wide – fusing European approaches to abstract art with Byzantine, Islamic and Persian influences.
This major exhibition will bring together paintings, drawings and sculptures spanning over 40 years – from expressionist works made in Istanbul in the early 1940s, to immersive abstract canvases exhibited in London, Paris and New York in the 1950s and 1960s, finishing with her return to portraiture later in life. Celebrating her extraordinary career, Tate Modern will reveal Zeid as an important figure in the international story of abstract art.
Zeid was one of the first women to receive formal training as an artist in Istanbul, continuing her studies in Paris in the late 1920s. The show will reveal her breakthrough moment in the early 1940s, when she championed experimental approaches to painting and exhibited with the avant-garde d Group in Turkey. The exhibition will look at how Zeid’s work from this period, such as the tapestry-like Third-class Passengers 1943, demonstrate her affinities with and divergence from international art movements, blending European painting traditions with Oriental themes. Several works from her first solo exhibitions, held in her own apartment in Istanbul in the mid-1940s, will be reunited, including Three Ways of Living (War) 1943 and Three Moments in a Day and a Life 1944.
In 1945 Zeid and her husband, Prince Zeid El-Hussein of the Hashemite royal family, moved to the UK where he had been posted as Iraqi Ambassador. Splitting her time between London and Paris, Zeid’s exhibitions were well received by critics and artists alike, cementing her position as one of the great female artists working at the time. Two works from this period signal her turning point from figuration to abstraction: Fight against Abstraction 1947, which shows the confident use of strong black lines that became a motif throughout her career, and Resolved Problems 1948, with its vibrant colours and patterns that looked towards op and kinetic art. Key pieces from her 1954 show at the ICA in London will also feature, such as My Hell 1951, The Octopus of Triton 1953 and Sargasso Sea 1953, representing the artist at the height of her career as well as the captivating East-West dialogue in her work.
When the Hashemite royal family were assassinated in a military coup in Iraq in 1958, Zeid and her husband were forced to vacate the embassy – and her studio – in London. They found a modest flat and for the first time in her life, Zeid had to learn to cook. Although she had previously painted on stones, time spent in the kitchen inspired her to do the same on turkey and chicken bones, which she later cast in polyester resin panels evocative of stained glass windows – a selection of which will feature in the exhibition. In response to the coup, and perhaps in recognition of her own mortality, Zeid also made a return to figurative painting. For the last 20 years of her career she painted portraits of her friends and family with exaggerated features that recall the anti-naturalistic character of Byzantine art. The exhibition will culminate with several of these imposing portraits, including Charles Estienne c.1964.
Zeid spent the last years of her life in Amman, Jordan, where she transformed her home into an informal art school and surrounded herself with a cosmopolitan group of female students. Zeid died in 1991, aged 89, having exhibited across Europe, the USA and the Middle East. She left behind a remarkable visual legacy of her extraordinary life as well as a significant contribution to the global history of modernism.
Fahrelnissa Zeid is curated at Tate Modern by Kerryn Greenberg, Curator, International Art and Vassilis Oikonomopoulos, Assistant Curator, Collections International Art. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery. The exhibition will travel to Deutsche Bank KunstHalle in Berlin in November 2017.
26 JUNE 2017 | 18.30–20 pm
Exhibition: 13 June – 8 October 2017
Bankside London SE1 9TG
Members Private View: Fahrelnissa Zeid
15 Jun 2017
Free for Members with the London Private View Pass only
Exhibition: 13 June – 8 October 2017
Bankside London SE1 9TG
4 JULY 2017 | 18.30–20 pm
Exhibition: 13 June – 8 October 2017
Bankside London SE1 9TG
This exhibition is part of a partnership between Tate and Deutsche Bank spanning several years, which supports exhibitions at Tate Modern with a particular focus on art from Africa, Asia and the Middle East. The programme launched in September 2014 when Deutsche Bank KunstHalle presented Meschac Gaba: Museum of Contemporary African Art, a major acquisition for Tate’s collection, and then continued in 2016 with Bhupen Khakhar: You Can’t Please All as the second exhibition in this partnership. In 2017 Fahrelnissa Zeid will be on view at Tate Modern and subsequently at Deutsche Bank KunstHalle in Berlin.
Franziska Kunz, Global Head of Art, Deutsche Bank:
‘In the third collaboration between Tate and the Deutsche Bank KunstHalle we present Fahrelnissa Zeid’s first comprehensive retrospective. The artist combined traditional Islamic calligraphy with Western avant-garde ideas in a unique way. In the exhibitions that we have presented together we are especially interested in attracting a new audience to non-Western positions that have had a strong influence on the international art scene and so Deutsche Bank is proud to be sponsoring the exhibition in London.’
Deutsche Bank provides commercial and investment banking, retail banking, transaction banking and asset and wealth management products and services to corporations, governments, institutional investors, small and medium-sized businesses, and private individuals. Deutsche Bank is Germany’s leading bank, with a strong position in Europe and a significant presence in the Americas and Asia Pacific.
Sponsored by Deutsche Bank.


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Press conference:
Wednesday 3 May 2017 | 08.45
with Alex Farquharson, Director of Tate Britain
Martin Green, Director of Hull UK City of Culture 2017
Exhibition opens on 26 September 2017
at Ferens Art Gallery in Hull
as part of the UK City of Culture celebrations.
Award ceremony on 5 December 2017
26 September 2017 – 7 January 2018
Queen Victoria Square
Hull TR19 6PP
Millbank, London, SW1P 4RG
Tate Britain
for the announcement of the Turner Prize 2017 shortlist.
This year the exhibition will be held at Ferens Art Gallery in Hull as part of the UK City of Culture celebrations. The exhibition opens on 26 September 2017 and the winner will be announced at an award ceremony on 5 December 2017 live on the BBC, the broadcast partner for the Turner Prize.
The Turner Prize is awarded annually to an artist born, living or working in Britain, for an outstanding exhibition or public presentation of their work anywhere in the world in the previous year. The shortlisted artists will be announced in May. Artists of any age will be eligible to be shortlisted and the Turner Prize exhibition will be taken into consideration by the jury as part of the terms of the Prize, alongside the projects for which the artists are nominated. Since 2011 the Turner Prize has been staged outside of London every other year. For 2017 it will be presented at Ferens Art Gallery in Hull as part of the UK City of Culture 2017 programme.
Since it was established in 1984 the Turner Prize has become one of the most prestigious international visual arts awards and has both reflected and contributed to a growing public awareness and interest in contemporary art.
The members of the Turner Prize 2017 jury are:
Dan Fox, Co-Editor at Frieze
Martin Herbert, art critic
Mason Leaver-Yap, Walker Art Center’s Bentson Scholar of Moving Image in Minneapolis, and Associate Curator at KW Institute for Contemporary Art in Berlin
Emily Pethick, Director, Showroom
The jury is chaired by Alex Farquharson, Director of Tate Britain.

From September, Hull will host one of the art world’s most prestigious awards, the Turner Prize. The exhibition of the four shortlisted artists’ work will be held at the Ferens Art Gallery until January 8, and will be free to the public.

Established in 1984, the prize, awarded by Tate, aims to grow awareness and interest in contemporary art. And as the UK’s most publicised arts award, it certainly gets people talking.



Anthea Hamilton – Project for Door (After Gaetano Pesce). Photo: Kyle Knodell


From Damien Hirst’s cows in formaldehyde to Anthea Hamilton’s 16ft sculpture of a bare bottom, the prize’s provocative exhibits always generate debate – often coming back to the same question: “but is it art?”

Following Helen Marten’s 2016 win for her complex sculptural work, the contemporary art world awaits the announcement of the 2017 shortlist and overall winner. Will sculpture continue to dominate? Will we see a return to traditional painting?

As ever, the Turner Prize generates more questions than answers – a good thing, surely, when it comes to art and culture. We hope you’ll join us at the Ferens from September and add to the debate.

David Sinclair, Director, Humber Street Gallery

Ferens Art Gallery in Hull
Queen Victoria Square
Hull TR19 6PP


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Thursday, 4 May 2017 | 11 am
Do, 4.Mai 2017 | 11 Uhr
Do, 4.Mai 2017 | 11 Uhr
Das Projekt von Atelier Peter Zumthor & Partner
vorgestellt. im Renzo Piano Hall
Baselstrasse 77
CH-4125 Riehen / Basel Switzerland
Die Fondation Beyeler hat für den geplanten Erweiterungsbau mit Peter Zumthor einen der weltbesten Architekten als Partner gewonnen. Der Neubau entsteht auf dem bisher privaten Grundstück des Iselin-Weber-Parks in Riehen/Basel, der damit auch der Öffentlichkeit zugänglich gemacht werden soll.
Ein prominent besetztes, internationales Gremium wählte im September 2016 einstimmig das Projekt des vielfach ausgezeichneten Architekten Peter Zumthor (geboren 1943 in Basel). Er bringt grosse Erfahrung in der Realisierung von Museumsbauten mit. So zeichnet er unter anderem für das Kunsthaus Bregenz, das Kolumba Kunstmuseum in Köln und aktuell das LACMA (Los Angeles County Museum of Art) verantwortlich. Einer breiteren Öffentlichkeit wurde Zumthor durch die Therme Vals und den Schweizer Pavillon der Expo 2000 in Hannover bekannt. Er erntet weltweite Anerkennung für sein Schaffen. «Der Himmel über Basel, die Stadt und ihre Umgebung – das sind die Landschaften meiner Jugend. Dass ich hier ein wichtiges Haus bauen darf, wärmt mir das Herz», freut sich Zumthor.
Zurückgenommen und bemerkenswert zugleich, sprechen Peter Zumthors Bauten alle Sinne an. Meisterlich im Umgang mit Materialien und versiert im Dialog mit der Vielschichtigkeit von Ort und Geschichte, zeugt sein Werk von der Rolle von Architektur als bereichernde Erfahrung in unserer Welt. «Das Zusammenspiel von Mensch, Natur, Kunst und Architektur ist ein Grundstein des Erfolgs der Fondation Beyeler und war auch für die Entwicklung des preisgekrönten Museumsgebäudes von Renzo Piano essenziell. Peter Zumthor bringt die Sensibilität und Erfahrung mit, um an diesem besonderen Ort ein Bauwerk von hervorragender Qualität zu realisieren», kommentiert Sam Keller, Direktor der Fondation Beyeler, die Entscheidung.
Der Erweiterungsbau (Erwerb von Land und Liegenschaften, Finanzierung des Neubaus sowie Betrieb und Unterhalt für die ersten 10 Jahre) wird privat finanziert. Dafür liegen bereits feste Zusagen in der Höhe von CHF 50 Mio. vor. Grosszügige Schenkungen der Wyss Foundation sowie der Daros Collection der Familie Stephan Schmidheiny legen den Grundstein für die Realisierung. Insgesamt werden die Kosten für Bau und Inbetriebnahme des Projekts auf CHF 80 Mio. beziffert.
Das Projekt von Atelier Peter Zumthor & Partner wird nach der Ausarbeitung im Frühjahr 2017 vorgestellt.


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Kunst im Traklhaus
Wendelin Pressl, Stylianos Schicho
Donnerstag, 4. Mai 2017 | 10:30 Uhr
Vernissage: Donnerstag, 4. Mai 2017 | 19 Uhr
kuratiert von Lucas Cuturi
Katalogpräsentation und Künstlergespräch:
Donnerstag, 22. Juni 2017 | 19 Uhr
5. Mai – 24. Juni 2017
Waagplatz 1a, 5020 Salzburg
Pressl Weltanschauungsapparat.jpg
Wendelin Pressl, Weltanschauungsapparat, 2015,
Pappe, Holz, Metall, Lack, ca. 210 x 165 x 75 cm
Kunst im Traklhaus – Studio
Simona Obholzer
Was willst du denn mit all dem Schnee auf der ganzen Welt
5. Mai – 24. Juni 2017
Waagplatz 1a, 5020 Salzburg
Die Ausstellung von Wendelin Pressl und Stylianos Schicho ist die zweite Zusammenarbeit mit dem Salzamt Linz,
kuratiert von Lucas Cuturi.
Einerseits: Ein 2 m hoher „Weltanschauungsapparat“, mit dem der Künstler Wendelin Pressl den Betrachtern ungewöhnliche Perspektiven eröffnet, sowie zahlreiche weitere, teils ähnlich merk- und denkwürdige Objekte Pressls aus Pappe, Holz, Metall und Lack.
Andererseits: Im Kontrast gegenüber gestellt die Werke von Stylianos Schicho, großteils figurative Malerei, aber auch Zeichnungen in dichter Serie, sowie großformatige Leinwände.
Im Traklhaus-Studio passen dazu sehr gut die Arbeiten von Simona Obholzer, die hier den Gegensatz von Natur und modernen Freizeit-Einrichtungen wie zum Beispiel Schneekanonen thematisiert. Zu sehen sind Fotografien und Video-Arbeiten. Zum vierten Mal wird aus dem MUSA (Museum, Startgalerie, Artothek) in Wien eine Ausstellung mit Arbeiten einer jungen österreichischen Künstlerin übernommen.
Die in Wien lebenden Künstler und die etwas jüngere Künstlerin haben sich für das Kooperationsprogramm im Traklhaus beworben. Mit den Partnern
Salzamt in Linz und MUSA in Wien
wurden sie für eine Ausstellung an beiden Orten ausgewählt.
Wendelin Pressl
1971 in Graz geboren, lebt und arbeitet in Wien
1991–1993 Meisterschule für Malerei, Ortweinschule, Graz
1994–2000 Akademie der bildenden Künste, Wien

Schicho 1.jpg
Stylianos Schicho, aus der Serie “Elevator Paintings”  (Installationsansicht), 2015, Kohle und Acryl auf Leinwand,  200 x 330 cm© Foto:Peter Kainz
Stylianos Schicho
1977 in Wien geboren wo er lebt und arbeitet
1998–2005 Universität für angewandte Kunst, Wien
Prof. Wolfgang Herzig
Simona Obholzer
1982 in Tirol geboren, lebt und arbeitet in Wien
Akademie der bildenden Künste Wien, Video und Videoinstallation bei Dorit Margreiter
2005 Schule für künstlerische Fotografie Friedl Kubelka, Wien
2010 Glasgow School of Art, Fine Art Photography


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Galerie Michaela Stock
Eröffnung / Opening:
Freitag, 5. Mai 2017 | 18 Uhr
Brunch: Samstag, 6. Mai 2017 | 11 Uhr
Ausstellung/ Exhibition: 06.05. – 02.06.2017
Schleifmühlgasse 18, 1040 Wien
Das tragende Konstrukt des gemeinsamen Ausstellungsprojekts Voices & Words von Kata Mijatović und Zoran Pavelić spiegelt sich in den umgesetzten Klang-, Stimm- und Textbegriffen in den ausgestellten Werken wider, welche entweder direkt und wörtliche oder indirekt ihre künstlerischen Statements über das “Hier und Jetzt” verorten. Die Darstellung der Ideen erfolgt über die Sprache, den Ton und den Text und werden in dem Medium präsentiert, welches der visuellen Komponente des jeweiligen Kunstwerkes am besten entspricht: raumgreifende Installation, Performance, Fotografie und Video.
Die individuellen künstlerischen Interessen und unterschiedlichen medialen Ausdrucksformen beider KünstlerInnen zeigen sich in diesem gemeinsamen Projekt durch die Synergien der verschiedenen Kunstwerke, deren Grundmerkmal die Verwendung von Klang, Sprache und Text im wörtlichen und figurativen Sinne ist.
Kata Mijatovićs beschäftigt sich in ihrem Oeuvre mit der komplexen Beziehung zwischen dem bewußten und unbewußten “Selbst”, seiner Gegensätzlichkeit und dem Zusammenspiel. Zoran Pavelić erforscht in seinen Arbeiten vor allem den Einfluss und die Beziehung zwischen verschiedenen geopolitischen, kulturellen Faktoren, Massenmedien sowie die Position der KünstlerInnen und Kunst in der heutigen Gesellschaft. Beide Arbeiten als Multimedia-Künstler und ihre primären Medien sind Performance-, Video-, Installations- und standortspezifische Interventionen.
Dieses Ausstellungskonzept wurde bereits in verschiedenen Städten und in unterschiedlichen Ausstellungsräumen realisiert, aber immer mit unterschiedlichen Werken und mit verschiedenen Ansätzen zum Ausstellungslayout.
CV / Kata Mijatović
geboren 1956 in Branjina, Kroatien. Von 1988-1991 ist das Mitglied der Kunstgruppe Močvara / Swamp. Von 1991-1993 studierte sie Malerei an der Accademia di Belle Arti, Florenz. 1997 diplomierte sie Malerei an der Akademie der bildenden Künste, Zagreb. Seit 2005 leitet sie die AŽ Galerie bei der künstlerischen Organisation Žitnjak Ateliers, Zagreb. Seit 2007 ist sie Mitglied der Art Gruppe PLEH.
Im Jahr 2013 vertrat sie Kroatien an der 55. Internationalen Kunstausstellung La Biennale di Venezia mit dem Projekt Zwischen dem Himmel und der Erde, kuratiert von Branko Franceschi.
Lebt und arbeitet in Zagreb.
Zoran Pavelić, You can say anything here, 2014, Videoinstallation
CV / Zoran Pavelić
geboren 1961 in Osijek, Kroatien. Von 1988 bis 1991 Gründer und Mitglied der informellen Kunstgruppe Močvara / Swamp. 1998 diplomierte er Malerei an der Akademie der bildenden Künste, Zagreb. Mitglied und künstlerischer Direktion des Baranja Art Collony / BUK / 2004 / 2010.
Seit 2007 Art-Direktor und Mitglied der Künstlerischen Gruppe PLEH
Lebt und arbeitet in Zagreb.


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