Events by this organizer
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1x1 Art Gallery
Agial Art Gallery
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Andakulova Gallery
Anna Laudel
Art Dubai
Artissima
Athens Biennale
ATHR Gallery
Ayyam Gallery
BNKR
Boulos Fayad Building
Brussels Gallery Weekend
Business Design Centre, London
C.A.M. Gallery
Carbon 12
Casa Árabe
Christie’s
Contemporary Istanbul
Cornette de Saint Cyr
Cornette de Saint Cyr, 6 avenue Hoche, 75008, Paris, France
Cromwell Place - London
Dastan’s Basement
Dubai Design District (d3)
Dubai Opera Studio, Dubai
Egypt International Art Fair
Fann A Porter
Fann A Porter - Dubai
Fann A Porter Amman
Fire Station
Firetti Contemporary
Fort Gansevoort New York
Forum Gallery
GALERIE BRUNO MASSA
galerie frank elbaz
Galerie Janine Rubeiz
Galerie Mark Hachem
Galerie Nathalie Obadia
Galerie Nathalie Obadia - Paris
Galerie Tanit
Galerie Tanit Munich
Galerie Tanit, Beyrouth
Gallery 1, 2 & 3 Al Mureijah Square
Gallery 4, 5 & 6 Al Mureijah Square
Gallery Isabelle van den Eynde
Gazelli Art House
Glass Gallery at Cibeles Palace
Grand Palais Éphémère
Grand Palais Éphémère on the Champ-de-Mars
Grand Palais Ephemere, Paris
Great Pyramids of Giza Cairo, Egypt
Green Art Gallery
Grey Noise
Hafez Gallery
Hauser & Wirth
Hauser & Wirth - New York, 22nd Street
INSTITUT DU MONDE ARABE
Institut français Berlin
Ishara Art Foundation
Istanbul Museum of Modern Art
Jameel Arts Centre
Javits Center
Karim Gallery
Kohn Gallery
Kristin Hjellegjerde Gallery - London Bridge
Lawrie Shabibi
Leila Heller Gallery
Leila Heller Gallery - Dubai
Lévy Gorvy
Louvre Abu Dhabi
Madinat Jumeirah, Dubai
Manarat Al Saadiyat, Abu Dhabi, United Arab Emirates
Marfa’
Marie Jose Gallery
Mark Hachem Gallery
Mashrabia Gallery Of Contemporary Art
Meem Gallery
Mina Image Centre
Musée d’art moderne et contemporain de Saint-Étienne Métropole
Obscura Gallery
Opera Gallery Beirut
Pera Museum
Perrotin
Pi Artworks Istanbul
PILEVNELI
Sabrina Amrani
Saleh Barakat Gallery
SALT Beyoğlu
SALT Galata
Selma Feriani Gallery, Tunis
Serpentine Gallery
Serpentine South Gallery
Sfeir Semler Gallery
Sharjah Art Foundation
Sharjah Art Museum, Arts Area, Al Shuweiheen
Sotheby’s
Tabari Artspace
Tashkeel
Tashkeel Studio and Gallery
Taymour Grahne Projects
Tersane Istanbul
The British Museum
The Herron Galleries
The Lütfi Kırdar Rumeli Hall
The Palestinian Museum
The Third Line
The Upper Gallery - Saleh Barakat Gallery
Tila Barrena
Timothy Taylor
Warehouse 32 at Alserkal Avenue
White Cube Mason's Yard
WIELS
Zalfa Halabi Art Gallery
Zawyeh Gallery
Zawyeh Gallery - Dubai
Zilberman Gallery - Istanbul
ZILBERMAN GALLERY BERLIN
Event Organizer
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1x1 Art Gallery
ABU DHABI ART FAIR
Agial Art Gallery
Andakulova Gallery
Anna Laudel
ARCOmadrid
Art D’Égypte
Art Dubai
Art Madrid
ART PARIS
Artissima
artReoriented
Athens Biennale
ATHR Gallery
Ayyam Gallery
Brussels Gallery Weekend
C.A.M. Gallery
Carbon 12
Casa Árabe
Christie’s
Contemporary Istanbul
Cornette de Saint Cyr
Dastan’s Basement
Dubai Design Week
Egypt International Art Fair
Fann A Porter
Fann A Porter - Dubai
Fann A Porter Amman
Firetti Contemporary
Fort Gansevoort New York
Forum Gallery
GALERIE BRUNO MASSA
galerie frank elbaz
Galerie Janine Rubeiz
Galerie Mark Hachem
Galerie Nathalie Obadia
Galerie Nathalie Obadia - Paris
Galerie Tanit Munich
Galerie Tanit, Beyrouth
Gallery Isabelle van den Eynde
Gazelli Art House
Green Art Gallery
Grey Noise
Hafez Gallery
Hauser & Wirth
Hauser & Wirth - New York, 22nd Street
INSTITUT DU MONDE ARABE
Institut français Berlin
Intersect Art and Design
Ishara Art Foundation
Istanbul Museum of Modern Art
Iwan Maktabi Lab and cc-tapis
Jameel Arts Centre
Karim Gallery
Khawla Art & Cultural Foundation
Kohn Gallery
Kristin Hjellegjerde Gallery - London Bridge
Lawrie Shabibi
Leila Heller Gallery
Leila Heller Gallery - Dubai
Lévy Gorvy
London Art Fair
Louvre Abu Dhabi
Mamut Art Project
Marfa’
Marie Jose Gallery
Mark Hachem Gallery
Mashrabia Gallery Of Contemporary Art
Meem Gallery
MENART FAIR
Mina Image Centre
Musée d’art moderne et contemporain de Saint-Étienne Métropole
Obscura Gallery
Opera Gallery Beirut
Paris Photo
Pera Museum
Perrotin
Pi Artworks Istanbul
PILEVNELI
Qatar Museums
Sabrina Amrani
Saleh Barakat Gallery
SALT Beyoğlu founded by Garanti BBVA
SALT Galata
Selma Feriani Gallery, Tunis
Serpentine Gallery
Serpentine South Gallery
Sfeir Semler Gallery
Sharjah Art Foundation
Sotheby’s
Tabari Artspace
Tashkeel
Taymour Grahne Projects
The Armory Show
The British Museum
The Herron Galleries
The Lütfi Kırdar Rumeli Hall
The Palestinian Museum
The Third Line
The Upper Gallery - Saleh Barakat Gallery
Tila Barrena
Timothy Taylor
VOLTA ART FAIR
White Cube Mason's Yard
WIELS
Zalfa Halabi Art Gallery
Zawyeh Gallery
Zawyeh Gallery - Dubai
Zilberman Gallery - Istanbul
ZILBERMAN GALLERY BERLIN
Past and Future Events
All
Only Past Events
Only Future Events
may
01mayAll Day30julHEBA Y. AMIN | WHEN I SEE THE FUTURE, I CLOSE MY EYES: CHAPTER II
Event Details
Zilberman | Berlin is delighted to announce the solo exhibition When I see the future, I close my eyes: Chapter II by Heba Y. Amin and curated by Anthony Downey. Heba
Event Details
Zilberman | Berlin is delighted to announce the solo exhibition When I see the future, I close my eyes: Chapter II by Heba Y. Amin and curated by Anthony Downey.
Heba Y. Amin’s research-based practice proposes speculative, often satirical, approaches to examining how ideals of ‘progress’ have been advanced through the various technologies of colonization. Foregrounding interdisciplinary methods and performative investigations, When I see the future, I close my eyes: Chapter II presents a series of works that explore the political determinations of these technologies and how they define contemporary frames of representation.
Starting with the story of the first known photograph taken on the African continent in 1839, the exhibition addresses the history of machinic vision as a means for advancing the political and discursive ambitions of colonial exploitation. Windows on the West (2019), a woven reconstruction of a French orientalist painter’s photograph, portrays the exterior of Muhammad Ali Pasha’s harem palace in Alexandria. Although there was nothing erotic about the image, its contrived sexual implications excited audiences in Paris at the time. The original photograph, upon which this work is based, came to represent France’s domination over a territory through the subjugation of North African women. Restaging this historical context, Windows on the West (2019) examines how the extractive technologies of colonial vision can be reconsidered from within their structural logic.
Alluding to similar elements, including the territorialisation of space, The Devil’s Garden (2019 -ongoing) explores how colonial violence is engendered through both the material and immaterial occupation of future realities. Examining narratives relating to the German Afrika Korps and their lingering presence in northern Egypt, this project observes how, during the WWII campaign in al-Alamein, millions of landmines were planted by Erwin Rommel’s army. Through her research and fieldwork in what remains one of the most landmine-infested regions in the world, Amin came across a peculiar pyramid built by the Luftwaffe to commemorate a WWII German fighter pilot. By creating a replica of the Nazi-era memorial and bringing it back to Germany, the artist inverts the historical framing of these events and focuses on how European propaganda, perpetuated by mainstream films in particular, continues to disavow responsibility for the techno-fossils that remain in the aftermath of colonial violence.
Amin’s newest work in the exhibition confronts France’s nuclear experiments in Algeria and the far-reaching impact of radioactive fallout. A haunting photograph from 1960 depicts two rows of human-like figures awaiting the detonation of an atomic bomb in the Algerian desert. Through a miniature model and live photo reconstruction of the original image, Atom Elegy (2022) captures the anticipation of nuclear violence pending in real-time. The catastrophic vision of nuclear destruction, a potent symbol of hubristic modernity, is both sublimated and foregrounded as a testimony to the colonial legacies of territorial destruction and, crucially, the neocolonial will to occupy the future.
Initially launched in 2020 by Heba Y. Amin and Anthony Downey at the Mosaic Rooms London, When I see the future, I close my eyes is a collaborative platform that explores art- and exhibition-making as a methodology for new and ongoing research aimed at broadening conversations around the emerging forms of digital authoritarianism and the post-digital future of technologies of warfare. With a commitment to publishing content emerging out of the exhibitions’ themes, When I see the future reflects upon the history of technology and its role in shaping Western visuality.
Courtesy of Zilberman | Berlin
more
Time
May 1 (Sunday) - July 30 (Saturday)
Location
ZILBERMAN GALLERY BERLIN
Goethestraße 82, 10623 Berlin
Organizer
ZILBERMAN GALLERY BERLIN Goethestraße 82, 10623 Berlin
june
01mayAll Day30julHEBA Y. AMIN | WHEN I SEE THE FUTURE, I CLOSE MY EYES: CHAPTER II
Event Details
Zilberman | Berlin is delighted to announce the solo exhibition When I see the future, I close my eyes: Chapter II by Heba Y. Amin and curated by Anthony Downey. Heba
Event Details
Zilberman | Berlin is delighted to announce the solo exhibition When I see the future, I close my eyes: Chapter II by Heba Y. Amin and curated by Anthony Downey.
Heba Y. Amin’s research-based practice proposes speculative, often satirical, approaches to examining how ideals of ‘progress’ have been advanced through the various technologies of colonization. Foregrounding interdisciplinary methods and performative investigations, When I see the future, I close my eyes: Chapter II presents a series of works that explore the political determinations of these technologies and how they define contemporary frames of representation.
Starting with the story of the first known photograph taken on the African continent in 1839, the exhibition addresses the history of machinic vision as a means for advancing the political and discursive ambitions of colonial exploitation. Windows on the West (2019), a woven reconstruction of a French orientalist painter’s photograph, portrays the exterior of Muhammad Ali Pasha’s harem palace in Alexandria. Although there was nothing erotic about the image, its contrived sexual implications excited audiences in Paris at the time. The original photograph, upon which this work is based, came to represent France’s domination over a territory through the subjugation of North African women. Restaging this historical context, Windows on the West (2019) examines how the extractive technologies of colonial vision can be reconsidered from within their structural logic.
Alluding to similar elements, including the territorialisation of space, The Devil’s Garden (2019 -ongoing) explores how colonial violence is engendered through both the material and immaterial occupation of future realities. Examining narratives relating to the German Afrika Korps and their lingering presence in northern Egypt, this project observes how, during the WWII campaign in al-Alamein, millions of landmines were planted by Erwin Rommel’s army. Through her research and fieldwork in what remains one of the most landmine-infested regions in the world, Amin came across a peculiar pyramid built by the Luftwaffe to commemorate a WWII German fighter pilot. By creating a replica of the Nazi-era memorial and bringing it back to Germany, the artist inverts the historical framing of these events and focuses on how European propaganda, perpetuated by mainstream films in particular, continues to disavow responsibility for the techno-fossils that remain in the aftermath of colonial violence.
Amin’s newest work in the exhibition confronts France’s nuclear experiments in Algeria and the far-reaching impact of radioactive fallout. A haunting photograph from 1960 depicts two rows of human-like figures awaiting the detonation of an atomic bomb in the Algerian desert. Through a miniature model and live photo reconstruction of the original image, Atom Elegy (2022) captures the anticipation of nuclear violence pending in real-time. The catastrophic vision of nuclear destruction, a potent symbol of hubristic modernity, is both sublimated and foregrounded as a testimony to the colonial legacies of territorial destruction and, crucially, the neocolonial will to occupy the future.
Initially launched in 2020 by Heba Y. Amin and Anthony Downey at the Mosaic Rooms London, When I see the future, I close my eyes is a collaborative platform that explores art- and exhibition-making as a methodology for new and ongoing research aimed at broadening conversations around the emerging forms of digital authoritarianism and the post-digital future of technologies of warfare. With a commitment to publishing content emerging out of the exhibitions’ themes, When I see the future reflects upon the history of technology and its role in shaping Western visuality.
Courtesy of Zilberman | Berlin
more
Time
May 1 (Sunday) - July 30 (Saturday)
Location
ZILBERMAN GALLERY BERLIN
Goethestraße 82, 10623 Berlin
Organizer
ZILBERMAN GALLERY BERLIN Goethestraße 82, 10623 Berlin
july
01mayAll Day30julHEBA Y. AMIN | WHEN I SEE THE FUTURE, I CLOSE MY EYES: CHAPTER II
Event Details
Zilberman | Berlin is delighted to announce the solo exhibition When I see the future, I close my eyes: Chapter II by Heba Y. Amin and curated by Anthony Downey. Heba
Event Details
Zilberman | Berlin is delighted to announce the solo exhibition When I see the future, I close my eyes: Chapter II by Heba Y. Amin and curated by Anthony Downey.
Heba Y. Amin’s research-based practice proposes speculative, often satirical, approaches to examining how ideals of ‘progress’ have been advanced through the various technologies of colonization. Foregrounding interdisciplinary methods and performative investigations, When I see the future, I close my eyes: Chapter II presents a series of works that explore the political determinations of these technologies and how they define contemporary frames of representation.
Starting with the story of the first known photograph taken on the African continent in 1839, the exhibition addresses the history of machinic vision as a means for advancing the political and discursive ambitions of colonial exploitation. Windows on the West (2019), a woven reconstruction of a French orientalist painter’s photograph, portrays the exterior of Muhammad Ali Pasha’s harem palace in Alexandria. Although there was nothing erotic about the image, its contrived sexual implications excited audiences in Paris at the time. The original photograph, upon which this work is based, came to represent France’s domination over a territory through the subjugation of North African women. Restaging this historical context, Windows on the West (2019) examines how the extractive technologies of colonial vision can be reconsidered from within their structural logic.
Alluding to similar elements, including the territorialisation of space, The Devil’s Garden (2019 -ongoing) explores how colonial violence is engendered through both the material and immaterial occupation of future realities. Examining narratives relating to the German Afrika Korps and their lingering presence in northern Egypt, this project observes how, during the WWII campaign in al-Alamein, millions of landmines were planted by Erwin Rommel’s army. Through her research and fieldwork in what remains one of the most landmine-infested regions in the world, Amin came across a peculiar pyramid built by the Luftwaffe to commemorate a WWII German fighter pilot. By creating a replica of the Nazi-era memorial and bringing it back to Germany, the artist inverts the historical framing of these events and focuses on how European propaganda, perpetuated by mainstream films in particular, continues to disavow responsibility for the techno-fossils that remain in the aftermath of colonial violence.
Amin’s newest work in the exhibition confronts France’s nuclear experiments in Algeria and the far-reaching impact of radioactive fallout. A haunting photograph from 1960 depicts two rows of human-like figures awaiting the detonation of an atomic bomb in the Algerian desert. Through a miniature model and live photo reconstruction of the original image, Atom Elegy (2022) captures the anticipation of nuclear violence pending in real-time. The catastrophic vision of nuclear destruction, a potent symbol of hubristic modernity, is both sublimated and foregrounded as a testimony to the colonial legacies of territorial destruction and, crucially, the neocolonial will to occupy the future.
Initially launched in 2020 by Heba Y. Amin and Anthony Downey at the Mosaic Rooms London, When I see the future, I close my eyes is a collaborative platform that explores art- and exhibition-making as a methodology for new and ongoing research aimed at broadening conversations around the emerging forms of digital authoritarianism and the post-digital future of technologies of warfare. With a commitment to publishing content emerging out of the exhibitions’ themes, When I see the future reflects upon the history of technology and its role in shaping Western visuality.
Courtesy of Zilberman | Berlin
more
Time
May 1 (Sunday) - July 30 (Saturday)
Location
ZILBERMAN GALLERY BERLIN
Goethestraße 82, 10623 Berlin
Organizer
ZILBERMAN GALLERY BERLIN Goethestraße 82, 10623 Berlin