Vladimir Miladinović
Nondescript Places
22/01 — 08/03/2025
Text: Official history, which shapes historical memory within a given cultural or national context, is proven to be a fragile and flexible concept. Through tendentious historicising, public opinion can be manipulated, repression relativised and the people instrumentalised for new conflicts and sacrifices. In his artistic practice, Vladimir Miladinović analyses the complex mechanisms that shape public discourse and historical memory. He focuses on the civil wars in the former Yugoslavia in the 1990s in order to provide an insight into the details of particular war crimes that were carried out in the name of nationalist ideology. Numerous massacres, ethnic cleansings and genocides were committed at that time, many of which have not been fully investigated to this day.
With his drawings, paintings and “readymade” objects, Miladinović highlights selected events that have shaped (and continue to shape) the lives of so many people. In a veristic manner, he depicts the headlines of newspapers reporting on the war in the former Yugoslavia and manually reproduces images of mass graves and archival documents. Even though he presents the hard evidence – with the awareness that evidence can be easily manipulated as well – of conflicts, massacres, propaganda, hate speech campaigns and political agreements, his works do not focus on bare data, but mainly reflect his own astonishment and disgust at the recorded horrors, which are still inadequately represented in the public discourse. To this day, the ideologies of former warring sides have not changed significantly.With his works the artist perhaps raises some fundamental questions about so-called “human nature” and the capacity of an individual to commit atrocities in the name of a nation, state, religion or simply personal interest. Apart from the ideologists and planners of realpolitik, who often perceive the world and its inhabitants as a game of Monopoly, pogroms and political murders cannot happen without their direct enforcers and executioners. So how do ordinary people become persecutors, rapists and murderers? How does a community, which has lived for decades in comfortable cohesion, tightly connected and intertwined, end up in a brutal civil war? What are the mechanisms that can lead to such unscrupulous reckoning and killing? ...
full text (Miha Colner) https://ravnikar.org/vladimir-miladinovic-places
Whitehouse Gallery
Chaussée de Charleroi 54, 1060 Brussels
Thu, Fri, Sat 1-6 PM
art@whitehousegallery.be
"To (be)hold color"
In ‘On Color’ (2022), painter and author Amy Sillman describes how she often fails to distinguish between color and paint. Pigment and material are interchangeable for painters; they seem to be one and the same. In German, therefore, ‘Farbe’ encompasses both meanings. It is this versatility of the word ‘Farbe’ that is the starting point for Marie Zolamian and Witold Vandenbroeck. Color and paint are the building blocks of their work, bounded or spurred on by time. Both are painters who can talk endlessly about the material: how it feels, smells, its history and what does or does not work for how they envision their paintings. Their practices and interests may be miles apart, but in their passion for paint they find each other.
The colors and brushstrokes they want to put down determine their choice of materials. Glue size, a traditional material known primarily through the old masters, is something they both find inimitable. Zolamian prepares her canvases with it, Vandenbroeck mixes it with pigment, so it becomes Distemper. The oil paint that Zolamian then uses for her wet-on-wet technique has a long drying time. By employing it very precisely, this method allows her to explore the possibilities of transparency. Sometimes she works with several layers that she lets dry and then covers up, creating depth, but most of the time she leaves out perspective and shadows. The forms are then stacked on top of each other and become alive with color accents, gradations and semi-translucent segments. The forms - usually plants, animals or figures between humans and animals - arise associatively and are more a prompt for the application of surfaces than fragments from a preconceived narrative. It is only at a later point that the meaning of the figures unfolds to her and helps her better understand her surroundings and the world. For her, painting is like a journey she undertakes where both recognizable things and new events present themselves, where successful and unsuccessful experiences occur through chance and experimentation, after which she can approach the world that surrounds her in a different way.
Andrew Is Trapped in Tiger Fur Church
Regerplatz 981541
Munich
February 14 – March 29, 2025
In his works on paper and large-scale installations, Andrew Gilbert (b. 1980, Edinburgh, UK, lives and works in Berlin) combines historical facts with fictive situations as well as the visionary with the absurd. The impulse is provided mostly by incidents connected with colonialism, especially that of the British Empire. Gilbert depicts the repetition of history and the impact of 19th-century imperialism on today. Past and upcoming exhibitions include Gallery of Modern Art in Hradec Králové, CZ (2025); The Delta INST, Hangzhou, China (2024); Lakeside Arts, Nottingham (2023); Sperling, Munich (2025, 2022, 2020, 2018, 2016); Syker Vorwerk, Syke (2022); Kunstverein Friedrichshafen (2020); Overbeck Gesellschaft, Lübeck (2016); Singapore National Gallery (2017); Tate Britain, London (2015); Blank Projects, Cape Town (2015); Sommerall, Edinburgh (2014)
Installation view at Sperling, Munich, photo: Sebastian Kissel
6 February - 5 April 2025
Open:Tuesday-Saturday 10am-2pm & 3pm-7pm
P420 - via Azzo Gardino 9g, 40122 Bologna
For its 15th anniversary, P420 presents 15 Years, a group show that celebrates for the first time all the artists who have contributed to set the course of the gallery founded in 2010 by Fabrizio Padovani and Alessandro Pasotti.
Like the neutral gray of Pantone 420, which lends its name to the gallery, a perfect backdrop to enhance any color, P420 sets out to be an ideal background to bring out the unique quality of every artist.
The works on view intertwine like the threads of a narrative that crosses geographical and temporal boundaries, generating a multiplicity of different visions.
Behind each work there is an artist, and behind each artist an encounter with the founders, a very personal tale to tell. From the first artists included in the program, initially most of whom already had a place in history, to the artists of closer generations, thanks to collaboration with curators like Simone Menegoi, Chris Sharp, Cecilia Canziani, Antonio Grulli, Davide Ferri, Joao Laia, all the way to the youngest talents inserted more recently, also due to the organization of events that have made it possible to investigate students from the Academy of Fine Arts of Bologna, the exhibition thus becomes a great map in which the legacy of the great masters establishes a dialogue with the emerging voices of younger exponents, in a generational confrontation that sheds light on the past and the present.
This celebration is not just a tribute to the path taken thus far, but also a look into the future, enlivened by the same passion, innovation and dedication that have guided the gather through its first 15 years. An important phase for reflection on a collective journey made of boldness, initiative, trust and friendship.
Artist(s) Name(s): Helene Appel, Riccardo Baruzzi, Irma Blank, Adelaide Cioni, Marie Cool Fabio Balducci, John Coplans, June Crespo, Filippo de Pisis, Victor Fotso Nyie, Laura Grisi, Milan Grygar, Rodrigo Hernández, Paolo Icaro, Merlin James, Ana Lupas, Piero Manai, Richard Nonas, Mairead O’hEocha, Francis Offman, Alessandro Pessoli, Stephen Rosenthal, Joachim Schmid, Alessandra Spranzi, Monika Stricker, Goran Trbuljak, Franco Vaccari, Pieter Vermeersch, Shafei Xia
15 Years, 2025, installation view (Courtesy P420, Bologna; photo credit Carlo Favero)
Moderate tear, refurbished to be heard
22 February 2025 - 29 March 2025
Open: Wednesday to Saturday from
14 -18 hrs, and by appointment.
Pieter Aertszstraat 70
1073 SR Amsterdam
www.josildadaconceicao.com
Text: We are pleased to present ‘Moderate tear, refurbished to be heard’, a duo exhibition where recent works by Johann Arens and Nadim Choufi are brought together. Both artists share a commitment to a poetic rendition of everyday materials that reinserts autonomy and agency. They each find tenderness in found language – ranging from furnishing and signages to lines of poetry – which they press, laminate, and rearrange to not only distill their meaning but also to remind us that redefining these artifacts, whether from public space or spoken language, is integral to our right to participate in shaping our neighbourhoods, our collective ideologies, and the societal and spatial structures that underpin our ways of living
frgmntd lmnts / lmntl frgmnts
8 February – 5 April 2025
Special Opening Hours: Galerierundgang Charlottenwalk: Friday, 14 March 2025, 12am–9pm and Saturday, 15 March 2025, 12am–6pm
Grolmanstraße 58D-10623 Berlin
Text: Nicole Heinzel presents ambiguous and fragmented elements of our natural world, exploring how we decode and reinterpret reality. “...my own fragmented understanding of science, religion, psychology and philosophy is very relevant to my approach.” - Nicole Heinzel
Heinzel establishes predefined parameters or a framework to help navigate within her practice, employing various methods of abstraction and defamiliarization through both digital and analog means. Mass and space are interchangeable, black and white images are inverted, distinctions between micro and macro are blurred, or the photographic motive is turned upside down and back to front.
Nicole Heinzel was born in 1969 to German parents who had emigrated to Benghazi, Libya. After also living in Iran and Trinidad, the family moved to the UK, where she studied art and design. In 2002, Heinzel relocated to Berlin, Germany, where she continues to live and work as a full-time artist.
Heinzel's practice encompasses painting, drawing, photography, film, and collage. Her work has been exhibited internationally in both private and public spaces.
Nicole Heinzel | frgmntd lmnts / lmntl frgmnts | Ausstellungsansicht / Exhibition view Galerie kajetan 2025 | Courtesy the artist & Galerie kajetan | Photo: Gunter Lepkowski
Opening: Friday February 14th, 18-22h
Exhibition dates: February 14 - March 7, 2025
Location: No Institute, Steindlgasse 2/13, 1010 Wien
“Not I,” a solo exhibition by Nino Sakandelidze
(b. 1985, Tbilisi), delves into themes of memory, meaning, and the transformation of found objects. Her practice resembles a form of archaeology, involving the collection of objects and exploring the questions that arise when they are removed from their original environment and placed in a new context. Drawing inspiration from Samuel Beckett’s play "Not I", the artist addresses the emotional weight carried by these displaced items. Beckett’s exploration of a woman’s epiphany through speech mirrors Sakandelidze’s exploration of interrelationships, questioning the boundaries between responsibility and indifference.
The exhibition at No Institute features wall-mounted images and three-dimensional works in dialogue with one another. Each sculpture, composed of found materials and compositions, prompts reflection on its previous life and the stories it carries, while the images act as visual extensions of the sculptures.
“Not I” offers an exploration of how objects, language, and relationships interact and challenge our perceptions of accountability and connection. Sakandelidze invites us to reflect on our role in shaping the meaning of the things and people around us, as well as the consequences of removing or dis regarding these elements.
For more information or press inquiries
email: contact@noinstitute.org
Opening: Friday February 14th, 18-22h
Exhibition dates: February 14 - March 7, 2025
Location: No Institute, Steindlgasse 2/13, 1010 Wien
photos: Courtesy of the artist and KunstDokumentation.com
