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Flash Art

331 Summer 2020, On View

14 August 2020, 9:00 am CET

João Laia / Chief Curator at Museum of Contemporary Art Kiasma, Helsinki

August 14, 2020

Jenna Sutela
“NO NO NSE NSE”
Kunsthall Trondheim, Norway
Through August 29, 2020

Jenna Sutela, I Magma, 2019. Detail. Blown, glass, goo, electronics. Dimensions variable. Co-commissioned by Serpentine Galleries, London and Moderna Museet, Stockholm. Photography by Aage A. Mikalsen. Courtesy of Kunsthall Trondheim.

Can the world be understood in ways more than human? Jenna Sutela’s work has recurrently re-hearsed this hypothesis, exploring rhizomatic forms of machinic and organic intelligence. At once fictional and scientific, “NO NO NSE NSE” devises a psychedelic multiverse articulated in porous language. The ongoing impact of microbiological entities underscores the relevance of Sutela’s proposal, suggesting the relevance of a decentered engagement with our various environments.

Alvaro Urbano
“The Awakening”
La Casa Encendida, Madrid
Through January 10, 2021

Alvaro Urbano, “El despertar.” Installation view at La Casa Encendida, Madrid, 2020. Photography by Trevor Lloyd. Courtesy of La Casa Encendida, Madrid.

Departing from Corrales and Vázquez Molezún’s Hexagon Pavilion for the Brussels World’s Fair in 1958, “The Awakening” examines the building’s current state of abandonment, in Madrid’s Casa de Campo Park, as a contrast to its celebrated past. Smoke, light, vegetation, and metal grid panels are some of the elements of this mesmerizing, nightmarish landscape. The stage-like properties of the immersive installation suggest the aftermath of a world-shattering event, where myriad life forms are free to develop in a collapsed modernist utopia.

 

“Vaivém/To-and-fro”
CCBB – Centro Cultural Banco do Brasil, Belo Horizonte
Through October 18, 2020

Maureen Bisilliat, Indigenous People in Xingu series, 1970. Installation. 23 × 13 in each. Photography by Daniel Pinho. Courtesy of the artist; Acervo Instituto Moreira Salles; and Moreira Salles Institute Collection.

Currently on display in Belo Horizonte after several previous iterations, “Vaivém” (To-and-fro) expands on PhD research and traces the many discursive layers of the hammock. The encyclopedic exhibition weaves together topics such as Amerindian ancestries, violent slave-based colonization, regional identities, and a critique of modernity, mapping a complex cultural landscape. Such forceful and rigorous deconstruction of normative notions of Brazil have gained renewed urgency in light of the country’s current sociopolitical situation.

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