Offprint London returns to the Turbine Hall for its eighth edition. From 17 to 19 May 2024, it will host independent, experimental and socially-engaged publishers in arts, architecture, design, humanities, and visual culture.

Offprint is LUMA Foundation’s platform that supports qualitative and unique publishing practices specific to the arts.

There will be a series of free Tate-led talks between curators, writers and artists over the weekend, taking place in the McAulay Studio, Level 0.

17.05.2024  2 PM - 7 PM

18.05.2024  10 AM - 7 PM

19.05.2024  10 AM - 7 PM

More information can be found here.

During India Dance Festival, we celebrate Indian dance and culture for ten days. Discover the unparalleled richness of Indian dance in lavish performances that are both classical and contemporary.

Since 2011, India Dance Festival has been an unprecedented value in the dance world where traditional styles like Bharatanatyam and Odissi merge with fresh, new interpretations by talented makers. A festival where leading companies and upcoming choreographers from home and abroad meet. We open with the grand spectacle opera Cloud Messenger and present an international hit on the Korzo floor with Fires of Varanasi. Well-known names like Poernima Gobardhan (former maker at Korzo) and Sooraj Subramaniam (dancer with Kalapana Raghuraman and others) will present new work, and there will be a great fringe programme with introductions, workshops and discussions with artists. Keep an eye on our website as we will announce the full programme soon.

More information can be found here.

In cultural theorist Lauren Berlant’s consideration of intimacy, the inwardness of the intimate is “met by a corresponding publicness.” This intersection of private and public is critical to their call for us to rethink intimacy as part of a broader social context, challenging the customary understanding of intimacy being attached to hegemonic ideals of love, desire, and belonging. From conventional perspectives, intimacy is tacit and should remain unproblematic—which, as Berlant argues, can rarely make sense of things that do not fit. 

This exhibition brings together five artists whose examinations of intimacy align with Berlant’s perceptions—each demonstrating it to be full of complexity, underscored by ambivalences and vulnerabilities that give space to non-normative perspectives.

More information can be found here.

A Lygia Clark Workshop: art and experience aesthetics com Ana Carmen Nogueiraaccumulators is a plastic and sensorial experimentation based on the work of Lygia Clark. The activity is part of the Anti-Asylum Month program. 

More information can be found here.

“Easel painting is dead,” Marta Minujín explained in 1966, “Today man can no longer be satisfied with a static painting hanging on a wall. Life is too dynamic.” This pronouncement on painting’s demise centers a “death v. life” dialectic that propelled Minujín’s artistic experiments throughout the tumultuous 1960s. Her pursuit of a radically dynamic and temporal art that could, in her own words, “register changes that take place minute by minute” turned Minujín into a trailblazer of happenings, performances, participatory environments, and mass media art in her home country of Argentina as well as in France and the U.S.

Such a pioneering trajectory was first set into motion by two bodies of work created before 1965: Minujín’s soft sculptures, known as Los eróticos en Technicolor [The Erotics in Technicolor] and her chthonic paintings and assemblages in an informalist style. Together these discrete chapters of her oeuvre form a tensely intertwined conceptual dyad ruled by opposite forces, Eros and Thanatos, respectively. Their common ground—what they evoke as a site registering changes—was the body. Both series generated radically anthropomorphic artworks while implicating the body of the artist, the viewer, and the body politic, too.

For the first time since 1963, when Minujín’s informalist assemblages shared her Paris studio with Los eróticos, these two series of work have been brought exclusively together, allowing for their dialogue on the vulnerabilities and joys of the embodied condition to unfold. They speak of crises that go well beyond painting’s purported expiration—houselessness, chronic disease, ailing democracy, and the sexual revolution, among others—and that, though proper to the 1960s, resonate with present circumstances. Yet, by virtue of their Janus-faced nature, Minujin’s early works also suggest the possibilities of community, healing, and jubilant defiance before such upheavals and predicaments. 

More information can be found here.

Curator Hosaka Kenjiro says, “Idetsu Kyoko is a mother of two children, ages 10 and 7. The reason why I introduce such a personal information is because such “life” is exuded in her works. For example, in the text accompanying “Midday festival,” she says, “Still, we have children, and we have no choice but to expose our faces to the daylight. It’s not fashionable or anything.

It is the expression of such complex or natural feelings that gives her works a disquieting atmosphere beyond the silliness of children’s drawings….The exhibition was a mixture of fun, nostalgia, sadness, and honest feelings about the future. Please come and experience her world, where various emotions are mingled in a roundabout way.”

More information can be found here.

For the 2024 edition of Condo—a collaborative exhibition by 40 galleries across 20 Mexico City spaces—kurimanzutto is glad to host Los Angeles gallery Château Shatto presenting works by Aria Dean and Zeinab Saleh. 

Aria Dean’s (b. 1993) multifarious practice employs sculpture, video, and writing to brace a playful and probing dialogue with representational systems. Dean’s inventive sculptural language feasts on the formal and material histories of Minimalism, anti-illusionism, and image piracy. Her most recent, monochromatic compositions are realized by migrating ballistics simulations from virtual space into material form. Each work captures a moment in which a three-dimension composition is subject to torque and compression, representing a durational event through its individual stages of manipulation. 

Zeinab Saleh (b. 1996) moves charcoal, chalk, and acrylic across paper and canvas, her gestures oriented towards the affective states of emotion and mood. In Saleh’s work, emotive dispositions are suffused in tone and shade; sonic material refracted through gesture; and observational studies softened into phantasmic forms. Through this consummation of form and concern, Saleh’s works settle as gathering sites for observation, memory and expository rumination. 

More information can be found here.

This exhibition, a dialogue between two female photographers of different generations, is supported by Women In Motion, a Kering program to shine a light on women in the fields of arts and culture. Since 2015, Women In Motion has provided a platform for reflection on the role of women – challenging mindsets and providing opportunities for greater recognition of their contributions in all areas of the arts.

More information can be found here.

Cecilia Vicuña asks passersby on the streets of Bogotá—including fellow artists and poets, sex workers, children, a police officer, and a scientist—the question: “What is poetry to you?” The surprising answers she elicits reveal the richness of oral culture in Colombia.

More information can be found here.

Tracing a Decade: Women Artists of the 1960s in Africa focuses on the often-overlooked contributions of women artists during this pivotal decade across the African continent. The symposium illuminates the paths and works of women artists whose practice has been blurred for decades and whose contributions to early postcolonial narratives are yet to be recognized. Guided by a set of key questions, the researchers investigate the identities and stories of women artists from the 1960s, uncover the intricacies of their creative processes, and explore how they navigated the artistic landscape of the changing Africa. Additionally, the symposium examines the thematic concerns and reception of women artists’ work during a time of socio-political transformation.

The 1960s in Africa were a transformational period defined by the triumphs of independence, the complexities of nation-building, and the aspirations for a brighter future. As the continent underwent radical shifts, it laid the groundwork for subsequent decades, shaping the diverse and dynamic Africa we know today. The 1960s served as a crucible for the shaping of postcolonial narratives through the founding and development of several groundbreaking cultural initiatives, including Transition Magazine, founded in Uganda in 1961; the 1962 Conference of African Writers of English Expression, held at Makerere University College in Kampala; the Black Orpheus journal based in Nigeria; and the World Festival of Negro Arts held in Dakar in 1966. Together, these platforms contributed significantly to the intellectual and cultural renaissance of Africa in the 1960s, shaping narratives and fostering a sense of solidarity among black artists and thinkers.

Drawing inspiration from Chika Okeke-Agulu’s insights into the evolution of modern African art history in “The Challenge of the Modern”, the symposium acknowledges the broader context of the 1960s, emphasizing the need to fill a critical gap in the recognition of women artists during this transformative decade. By tracing their paths, understanding their methodologies, and exploring the reception of their work, the symposium aspires to contribute to a more comprehensive and inclusive narrative of African art history. It aligns with Okeke-Agulu’s call for a deeper examination of overlooked precursors, specifically focusing on the women who played integral roles in shaping the artistic landscapes of Africa during the 1960s.

More information can be found here.

Textiles weave through our everyday lives yet remain one of the most underexamined mediums in art history and contemporary practice. The universality of fabric has made it a potent messenger across global contexts – whether communicating personal stories or conveying hidden messages. Embedded in a single thread is the material history of the medium, revealing ideas relating to gender, labour, value, ecology, ancestral knowledge, and histories of oppression, extraction and trade.

Opening on 13 February 2024, Unravel: The Power and Politics of Textiles in Art will shine a light on artists from the 1960s to today who have explored the transformative and subversive potential of textiles, harnessing the medium to ask charged questions about power: who holds it, and how can it be challenged and reclaimed? Spanning intimate hand-crafted pieces to large-scale sculptural installations, this major exhibition will bring together over 100 artworks by 50 international practitioners. Drawn to the tactile processes of stitching, weaving, braiding, beading and knotting, these artists have embraced fibre and thread to tell stories that challenge power structures, transgress boundaries and reimagine the world around them.

More information can be found here.

The title of the exhibition, Vuslat, eloquently captures the essence of reunion, unity, and coming together. Beyond its literal interpretation of reuniting with a loved one, the term unfolds into a rich tapestry of meanings, including the states of reaching freedom, happiness, and a carefree tranquility. Each artwork on display intertwines with these nuanced interpretations, encapsulating diverse desires and aspirations that every being wishes to attain throughout life.

Vuslat reflects an imaginative realm through grand-scale installations and sculptures adorned with fantastical and mythological characters and elements. Among the artworks, Şehretün’nar takes center stage with its captivating visage and narrative, reminiscent of the artist’s earlier sculptures crafted from tulle, fabric, sequins, and beads. Only this time it occupies a distinct position as a more magnificent installation with its size and lighting. In Islamic mythology, Şehretün’nar, a being created from light, is depicted as the mother of jinn. With thousands of faces expressing different emotions, Şehretün’nar unfolds a mesmerizing tale about the formation of nature, the existence of the divine, and the pursuit of life. The tale “Şehretün'nar”, written and performed by the artist, accompanies the artwork as an auditory complement. One of the works that is an inspiration for the exhibition’s title is the calligraphic sculpture, Vuslat. Inspired by the figure of “Burak” in Islamic mythology, this artwork symbolizes a reunion encompassing joy, happiness, and gratitude.

More information can be found here.

Known as the “mother of African cinema,” Sarah Maldoror (1929–2020) completed nearly four dozen shorts, features, and documentaries in her lifetime. Her 1972 feature Sambizanga was recently restored with support from Martin Scorsese’s The Film Foundation. Tricontinental Cinema is the first large-scale museum exhibition to reveal Maldoror’s groundbreaking work as a filmmaker, but also as a global activist and a champion of Black women’s rights.  

This immersive multimedia show, which expands on an original presentation at Palais de Tokyo, Paris, provides an overdue opportunity to celebrate Maldoror’s antiracist, unapologetically irreverent work in film and her involvement with theater, poetry, and politics.

More information can be found here.

In February 2024, Haus am Waldsee presents parallel exhibitions by the American artist Jenna Bliss (b. 1984) and the Scottish painter Carol Rhodes (1959–2018). The use of temporally or spatially distanced perspectives to reveal new angles on established narratives are characteristic of both artists’ work. By combining everyday observations, speculations, and meticulous research, the two exhibitions form a space in which fact and fiction meet and the larger bearing of structural human intervention becomes tangible.

More information can be found here.

“See Another” reveals Yeter’s observations and encounters in Istanbul’s local markets during the year 2000, which are accompanied by innovative sound installations throughout the exhibition space. Yeter has meticulously captured each market stall as an art installation with the precision of an artist who has mastered her craft. By framing these scenes through the lens of her camera, Yeter invites the audience to embark on a nostalgic journey through time, providing a unique perspective on a local market that thrived at the cusp of the millennium. 

Tracing the weariness of evenings and the soulful charm that lies within weathered market stalls, this exhibition is a testament to the artist’s attentive societal observations during her visits to Istanbul. Through a realistic and aesthetic photographic eye, “See Another” weaves a rich tapestry that captures the essence of the artist’s encounters. This panorama is intricately designed to portray the daily challenges faced by market vendors, showcasing a mosaic of human stories that encapsulate diverse cultures, characters, impossibilities, and desires. The exhibition unfolds as a captivating narrative, providing viewers with a profound and striking glimpse into the manifold tapestry of these shared experiences.

More information can be found here.

Pérez Art Museum Miami (PAMM) presents Marcela Cantuária: The South American Dream, the artist’s first solo exhibition in the United States featuring all newly commissioned works. The South American Dream will be on view March 23, 2023 through Spring 2024.

The work of Marcela Cantuária (b. 1991, Rio de Janeiro; lives in Rio de Janeiro) often portrays female figures who navigate regional, international, and social boundaries. Highlighting symbols from tarot and astrology as well as themes that reflect political and environmental activism in Latin America, Cantuária weaves together narratives of social spheres, political associations, and ethereal wishes. Cantuária’s vivid and colorful works are evidence of her versatility and investigations through various mediums and techniques, including painting, textile, and ceramics.

In her exhibition at PAMM, Cantuária invites the viewer to ponder the nature of the South American dream. Explored within the three main paintings, she accents the narratives of critical South American activists and environmentalists, such as Chico Mendes, Dorothy Stang,  Maria do Espírito Santo da Silva, Túpac Amaru, and Juana Azurduy de Padilla—all of whom pursued their dreams through resistance and by fighting for their countries and land.

The South American Dream features three large-scale oil paintings, a vibrant textile map of South America, a wood piece resembling an altar, as well as various panels along the walls of the gallery framing the exhibition. Throughout the space, an arched vinyl wallpaper encloses the paintings while recessed lights illuminate the paintings, creating a halo for each. Overall, the exhibition extends a feeling of sanctitude, inviting the viewer to reflect upon corporeal narratives, ambitions, and the potential of achieving each through faith.

More information on the event can be found here.

The first of its kind, this exhibition is a wide-ranging exploration of feminist art by over 100 women artists working in the UK. It shines a spotlight on how networks of women used radical ideas and rebellious methods to make an invaluable contribution to British culture. Their art helped fuel the women’s liberation movement during a period of significant social, economic and political change.

In the 1970s and 1980s a new wave of feminism erupted. Women used their lived experiences to create art, from painting and photography to film and performance, to fight against injustice. This included taking a stand for reproductive rights, equal pay and race equality. This creativity helped shape a period of pivotal change for women in Britain, including the opening of the first women's refuge and the formation of the British Black Arts Movement.

Despite long careers, these artists were often left out of the artistic narratives of the time. This will be the first time many of their works have been on display since the 1970s.

Through their urgent and powerful art visitors will encounter a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.

More information on the event can be found here.