Genieve Figgis: Angel Gallery Toronto, 8 May – 7 June 2014

Image: Genieve Figgis The Lads 2014, Oil on wood , 24" × 16", courtesy of the artist


























12 Ossington Avenue
Toronto, Ontario
M6J 2Y7, Canada


May 8 to June 7, 2014.

Preview Thursday May 8, 6:00 to 9:00 PM.


Exhibiting artists:

Esteban Cabeza de Baca – New York, Kim Dorland – Toronto, Echo Eggebrecht – Brooklyn, Andre Ethier – Toronto, Genieve Figgis – Dublin, Ireland, Bradley Harms – Vancouver, Paul Housley – London UK, Mathieu Lefèvre – died in a tragic bike accident in 2011, Gavin Lynch – Ottawa, Humberto Poblete-Bustamante – London UK, Mark Puchala – Toronto, Eva Räder – Berlin, Jeanie Riddle -Montreal, Kyle Scheurmann – Toronto, Jason Stopa – Brooklyn, Felipe Talo – Berlin, Russell Tyler -Brooklyn, Bradley Wood – New York.
This exhibition brings together a group of artists immersed in the medium of painting to create a dialogue about paint – across different styles, approaches and career levels – to showcases the medium’s possibilities.

From the visceral paint handling of Humberto Poblete-Bustamante and Eva Räder to the calculated applications of Echo Eggebrecht and Gavin Lynch; from the historical vibes of Paul Housley and Felipe Talo to the pop sensibilities of Jason Stopa and Mark Puchala; from the representations of Bradley Wood and Esteban Cabeza de Baca to the abstractions of Bradley Harms and Russell Tyler; from the figures of Andre Ethier, Genieve Figgis and Kyle Scheurmann to the objects of Mathieu Lefevre and Jeanie Riddle – these painters all get to the “heart” of what painting is and can be.

Equally of  interest is the idea of influence. Each participant was invited to nominate a contemporary influence in their work, Gavin Lynch – Echo Eggebrecht, Andre Ethier – Mark Puchala, Humberto Poblete-Bustamante – Felipe Talo.  This democratic and organic curatorial process delivered unexpected links and dialogues between the artists works.
- Kim Dorland, Artist Curator


Genieve Figgis holds a Masters and Bachelor Degree in Painting from The National College of Art and Design Dublin.

Her work explores how people choose to represent themselves In history, Art and Culture.

Attempting to address what is hidden, the work is in response to the idea of portraiture. Drawing from contemporary and historical resources where truths are buried and images fictionalised. The paint allows opportunities to develop which the portrait offers with its drama and its spectacle. Painted on frame mounted wood, the stage becomes a place to herald the narcissism of portraiture, allowing the paint to describe the spectacle.

Having an interest in historical drama and theatre Figgis attempts to give you a glimpse into the past where it’s a safer place to be.


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Sofie Loscher: EVA International 36th Edition, Limerick City, 12 April – 6 July 2014














Image: Sofie Loscher

‘waiting in the wings’ (part 3) Year: 2014

Location: Former Golden Vale Milk Plant, Limerick

Materials : 15mm toughened glass, site specific lights


EVA International – Ireland’s Biennial 2014

12th April – 6th July 2014

Limerick City Gallery of Art and City wide venues


AGITATIONISM curated by Basam El Baroni



Participating artists:

Bisan Abu-Eisheh; Doa Aly; Kjersti Andvig; Martí Anson; Amanda Beech; Ann Böttcher; Jenny Brady; Benjamin de Búrca & Barbara Wagner; +billion-; Luis Camnitzer; Chimurenga; Jacqueline Doyen; Tom Flanagan & Megs Morley; Zachary Formwalt; GRRRR; Nilbar Güreş; Iswanto Hartono & Raqs Media Collective; Rana Hamadeh;Siobhán Hapaska; Nicoline van Harskamp; Cécile Hartmann; Malak Helmy; David Horvitz; Luis Jacob; Jeffrey Charles Henry Peacock; Ramon Kassam; Patrick Jolley; Hassan Khan; Per–Oskar Leu; Alon Levin; Sofie Loscher; Mona Marzouk; Pauline M’barek; Asier Mendizabal; Metahaven; Nastio Mosquito; Catalina Niculescu; Seamus Nolan; Mark O’Kelly; Uriel Orlow; Neša Paripović; Michael Patterson-Carver; Garrett Phelan; Elizabeth Price; Eva Richardson McCrea; Walid Sadek; Miri Segal; Ann-Sofi Sidén; Praneet Soi; Paul Tarpey; Stefanos Tsivopoulos’ Humberto Vélez; Carla Zaccagninil;


Every two years EVA International works with guest curators to create a 12-week programme of exhibitions and events that engage with the people and city of Limerick, Ireland. Since its foundation in 1977, EVA International (formerly e v+ a) has worked with some of the world’s leading artists and curators, bringing outstanding exhibitions to audiences on the west coast of Ireland. 55 Artists’ projects were selected through an international open call for proposals and exhibitions take place in both gallery and non-gallery spaces.

The 36th edition theme is Agitationism, which intends on simulating the struggle between the tides that pull the present towards romanticisations, utopias, ideologies, and nostalgias; and the tides that attempt to push it beyond those limitations and towards an unknown, a desire for something that remains too complex to determine today. Agitationism is the condition of living under a constant flow of agitations, including the ones that you inevitably sometimes produce yourself. However, it is also the process of ‘working through’ them with the aim of seeking adaptation to a logic situated somewhere else beyond the entrapment between past, present, and future—three tenses that overlap in the contemporary moment, creating a kind of palimpsest of half undone histories, half imagined futures, and a present of phantasms as a consequence.

Further information is available from





Liam O’Callaghan: Light Rhythms, Irish Museum of Modern Art, 15 February – 6 April 2014

Image: Liam O'Callaghan 'Here beside you in the room' 2014, courtesy of the artist

































Light Rhythms – Family Exhibition

Irish Museum of Modern Art

Royal Hospital, Kilmainham,


15 February – 6 April 2014


Light Rhythms is an exhibition about sound, light and line that is activated by families and young people of all ages. In this space you will encounter artworks to view, alongside artworks and resources that you can interact with to make your own colour and sound installations. We invite you to join us in considering how lines, sound, colour, textures and light influence our experience of space.

Stop and listen, consider how you can change the sound in the room. Use your body to create your own Patrick Scott inspired image. Can you find two Ghost Ships that glow in the dark here in these rooms, perhaps in an unexpected place?

Over the course of the exhibition we are running a series of Saturday drop-in workshops called Sound Bites, whereby different artists will add a new interactive element to the exhibition and test it out live with visitors. This means that Light Rhythms will evolve and change, so drop in, take part and remember to come again as you will find something new each time!

This exhibition has been inspired by concurrent and upcoming exhibitions by artists Patrick Scott, Haroon Mirza and the site-specific neon work Line Writing by Vong Phaophanit, and we hope that you will visit these exhibitions alongside Light Rhythms.


Sven Anderson
Karl Burke and Russell Hart
Fionnuala Conway and Mark Linnane
Dorothy Cross
Patrick Hughes
Slavek Kwi
Gavin Murphy
Liam O’Callaghan


Light Rhythms Events

Sound Bites – a series of artist interventions
Saturdays, 12.00pm – 4.00pm
(Please note that on the dates below Light Rhythms will open at 12pm to allow time for set up)


Saturday 8 March – Sven Anderson
What happens if you record people and voices, including your own in a museum – a space that is traditionally silent?  Join sound artist Sven Anderson to use your voice around IMMA and experiment with sound, (aural) texture and chance. Bring your mobile phone to participate, or borrow one of ours. These multi-layered recordings will be combined after the event and left as an installation in Light Rhythms for future visitors!


Saturday 22 March – Slavek Kwi
Have you ever wondered how it would feel to be surrounded by the sounds of the rainforest in a gallery? What happens to how we experience a space if it is wrapped in paper? If you are curious to find out more, then pop in to join artist Slavek Kwi as we will hide and reveal the objects in our Project Spaces and beyond.


5 April, Karl Burke and Russell Hart

Friday 21 March 1.15 – 2.00pm
Pádraic E. Moore (writer and independent curator) leads an informal and speculative discussion on the art-historical context of Patrick Scott’s work.


Sundays, 2.00 – 4.00pm

Why not drop in to Explorer our weekly family workshop programme, which will be responding to Light Rhythms for the exhibition’s duration.


For further information, please visit:



Dennis McNulty: Metadata Venn Diagram – A screening and discussion at Broadstone Studios, Thurs. 13 March 6.30pm













Fingal Arts, supported by Broadstone Invited Artists, presents


Metadata Venn Diagram

A screening and discussion at Broadstone Studios


Broadstone Studios

22 Harcourt Terrace, Dublin 2


Thursday 13 March, 2014 – 6.30pm



Metadata Venn Diagram, is an event structured around INTERZONE, a video by Dennis McNulty, which renders a prosaic journey on foot against a backdrop of communication networks and interstellar exploration. INTERZONE will be screened alongside Solving Ourselves, a programme of videos co-selected by McNulty and curator Jennifer Lange to accompany INTERZONE‘s exhibition at The Wexner Center in Columbus, Ohio last year. Solving Ourselves, which was also screened at The Druid Theatre in Galway as part of Golden Mountain (Tulca 2013), includes work by artists Kennedy Browne, Bea McMahon, Sean Meehan and Dan Walwin, as well as videos from other sources.


The screenings will be followed by a short discussion between Gareth Kennedy and Sarah Browne (Kennedy Browne), Dan Walwin and Dennis McNulty.


INTERZONE was commissioned by Fingal County Council. Metadata Venn Diagram is produced with the support of Fingal Arts. Thanks to Robert Sikkema at TechTV (MIT), Mark Curran, Ralph Borland and all of the artists who have agreed to allow their work to be shown.



Places are free but limited, so please book in advance.

To book a place please go here | |







Dragana Jurisic: ‘YU: The Lost Country’ exhibition, NOHO Club, Hamburg, with Feld+Haus Gallery, Feb. 2014
















Let’s get Metaphysical

Dragana Jurisic

Andreas Diefenbach

Noho-Club, Nobistor 10, 22767




February 2014,



‘YU: The Lost Country’ exhibition, NOHO Club, Hamburg, with Feld+Haus Galler (February 2014): This series of photographs are the outcome of Dragana Jurisic’s journey around the former Yugoslavia, retracing the route of an extraordinary expedition made by Anglo Irish writer Rebecca West in 1937 written about in the acclaimed book Black Lamb and Grey Falcon (1941). The final images capture unexpected and often uncanny parallels to West’s text and delve into the artist’s understanding of her own history.



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Ella de Burca: MUST GO ON, Rua Red Dublin, 8 March – 19 April 2014


















South Dublin Arts Centre
Dublin 24.





Curated by Ruairi O’Cuiv and Cliodhna Shaffrey

Peter Land, Sonia Shiel, Clodagh Emoe, Anita Delaney, Felicity Clear, Ella de Burca and Nicholas Keogh.

From objects to the performative Must Go On is an exhibition of moving images, painting and sculptural installations, animations and photography by seven artists who wrestle with ideas of the absurd, the failed and the humorous. Proposing a mix of the tragic-comic the works playfully engage with contemporary anxieties offering a tonic through strategies that include endeavour and failure, illusion, slapstick and the provocative, with objects and actors sometimes engaged in deliberate action to test the potential of art as a critical instrument for the analysis of social, political and cultural issues.


The title, Must Go On, alludes to Samuel Beckett’s novel, The Unnameable. The last line of which seems to offer a note of relief after general despair of the novel-  ‘you must go on, I can’t go on, I’ll go on’.  In The Unnameable, Beckett never discloses whether the interaction between his protagonist and the other “characters” is, in fact, a dialogue between the various aspects of the protagonist himself.  Through a disconnected sort of interior monologue, Beckett frees his narrative from the confines of conventional setting and plot as he explores, among other things, the human will to survive.  It is a climb from despair towards hope.


The exhibition is conceived in celebration of five years of Rua Red – South Dublin’s Arts Centre and is intended to provide a gesture to the Centre’s continuing importance to its community, and, at a time in Ireland –still in recession – where what can we do, but, go on.


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Isabel Nolan: Armory Show, Kerlin Gallery, Pier 94, Booth 808, Twelfth Ave at 55th St. NY 6 – 9 March, 2014































Image: Isabel Nolan

“The death of the sun is a death of mind”
2013 mild steel, wadding, wool-blends, cotton, embroidery yarn and thread dimensions variable
185 cm / 72.8 in



Isabel Nolan

Armory Show

Kerlin Gallery,

Pier 94, Booth 808, Twelfth Ave at 55th St New York City


6th – 9th March 2014.



Kerlin Gallery Dublin will present new and important works by the artists,

Mark Francis, Callum Innes, Merlin James, Eoin Mc Hugh, Isabel Nolan and Paul Winstanley.


For further informations:





UNIT 1 presents Alex Conway, James McCann & Mick O’Shea, 7pm – Sat. 1 March, 2014


UNIT 1 presents

Alex Conway, James McCann & Mick O’Shea

Sat. 1st March, 7pm

Broadstone Studio

22 Harcourt Terrace,

Dublin 2

Unit 1 (supported by Broadstone Invited Artists) is excited to present a one night exhibition focusing on sound in performance.

Alex Conway, James McCann & Mick O’Shea will perform from 7pm Saturday March 1st at Broadstone Studios


Unit 1 is an artist-led platform that supports artists interested in making live performance and provides opportunities for audiences to experience new live performance. Unit 1 is co-curated by Dominic Thorpe & Ciara McKeon. Please email any submissions, questions or feedback to This exhibition is supported by DCC and an Arts Council Project Award.

Broadstone Invited Artists is a project developed as an extension of the studios, to invite artists whose practice spans both artistic and curatorial practice. Initiated in 2013, the program will throughout 2014 bring individual artists and groups to Broadstone Studios to work within its unique 1870′s dining room / project space.


For further information:


Broadstone Invited Artists:



Last chance to see: FUCKIER, SHITTIER, PISSIER (STICK UP FIR-TREE, IRISHISE): Broadstone Invited Artists, exhibition closing Sat. 22 Feb. 2014















Broadstone Invited Artists

22 Harcourt Terrace

Dublin 2


Jan 31 – Feb 22, 2014


Opening times 1pm – 5pm Thursday, Friday, Saturday and by appointment


Simon Cummins, Lee Welch, Paul Hallahan, Teresa Gillespie, Stéphane Hanly, Aoife Mullan, Oisin O’Brien, Maya Deren, Mike Fitzgerald.


FUCKIER, SHITTIER, PISSIER (STICK UP FIR-TREE, IRISHISE) looks at three very unique but commonly used words, Fuck, Shit, Piss – defined by an overall theme and design set in place by artist Paul Hallahan. The inception of the idea was exhibited as part of an Engage Studios larger project; Too many Dinner parties at 126 Gallery in Galway in June 2013. Titled Fuck, Shit, Piss, the exhibition brought the works of Cummins, Welch and Hallahan together in an attempt to look at the acquired meanings to the chosen words – one taken by each artist – and also the relationship between them; creating links to patterns and relationships between the works within the gallery space.


The exhibition expands on this original idea, with each of the original artists inviting two more artists (Lee Welch – Stéphane Hanly and Maya Deren / Simon Cummins – Mike FitzGerald and Aoife Mullan / Paul Hallahan – Oisin O’Brien and Teresa Gillespie) each on board for a new incarnation to be presented in Broadstone Studios as part of their Broadstone Invited Artist (BIA) series, which Paul Hallahan was invited to partake in. This exhibition is the second part of Hallahan’s alliance with Broadstone, following ‘A Lamb Lies Down’ which ran in November 2013.


“Religion, for many people, is not taken as seriously anymore so it doesn’t matter if they blaspheme and use profane language in its old sense. And I think sex is gradually going the same way. Micturition, and defecation, and so forth have kind of lost their sting. Pissed is widely used. Shit is used for all sorts of stuff—the shit hits the fan, in the shit, holy shit, and so on. Bodily effluvia is becoming much less taboo. So, you know, what’s left?” (K Allan, 2006)


Broadstone Invited Artist is a project developed as an extension of the studios, to invite artists whose practice spans both artistic and curatorial practice. Initiated in 2013, the program will throughout 2014 bring individual artists and groups to Broadstone Studios to work within its unique 1870′s dining room / project space.




PAUL HALLAHAN, Irish, dabbles in video, sculpture, drawing, painting, curation. Founder and director of Soma Contemporary (2009-2012). Based in Dublin. Recent projects include, I want to be your dog (Glasgow), a lamb lies down (Dublin), (((0))) (Dublin).


LEE WELCH (IRL/USA) completed an MFA at the Piet Zwart Institute, Rotterdam. He has received support from the Arts Council, Culture Ireland, Dublin City Council and Fire Station Artists’ Studios. He was recently awarded CCA’s annual commission, Production Ireland, a Bursary from the Arts Council (2012), a residency at The Banff Centre, Canada (2010) and his work has been featured in numerous exhibitions, most recently Two exercises in awareness and observation, Dublin City Gallery The Hugh Lane; If what they say is true, CCA, Derry; Screening Room: Dublin – Kölnischer Kunstverein, Cologne, Germany; Amikejo, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León, Spain (2012); Clifford Irving Show, Objectif Exhibitions curated by Raimundas Malasauskas, Antwerp; A Whole New Ball Game, Banff Centre (2010); Non-knowledge, Project Arts Centre, Dublin (2008). Forthcoming residency in the Irish Musuem of Modern Art.


SIMON CUMMINS, based in Dublin is co-director of Basic Space, an artist-run initiative comprising of a gallery and studios on Marrowbone Lane, Dublin 8. Since completing a BFA at NCAD in 2012 he has exhibited at The Limerick Milkmarket at Gracelands 2012, Dublin’s Civic Trust, La Ville en Bois Gallery, Nantes, 126 Gallery, Galway and Dublin City Hugh Lane Gallery. He has also recently completed a four-month residency with Basic Space at the Irish Museum of Modern Art, Kilmainham.


OISÍN O’BRIEN combines hand crafted, manipulated and procured objects using sensical methods to develop nonsensibles.


TERESA GILLESPIE has exhibited in Ireland and abroad and undertaken numerous artist’s residencies including the Frankfurter Kunstverein Deutsche Borse Program. She has also been the recipient of many awards, most recently the Arts Council Ireland Visual Arts Bursary Award and The Wexford Arts Centre Emerging Visual Artist Award. Upcoming projects include a response to the work of William Beeren for On Curating Histories curated by Kate Strain and return to the borderland bends, a solo project curated by Cassandra Needham for the John Jones Project Space, London.


MAYA DEREN (April 29, 1917 – October 13, 1961) studied journalism and political science in at Syracuse University in New York, finishing her B.A up at NYU in 1936, and afterwards received her Master’s degree in English literature from Smith in 1939.

In 1943 she made her first film with Alexander Hammid called “Meshes of the Afternoon “(1943). Through this association she changed her name to “Maya” at Hammid’s suggestion–”Maya”, a Buddhist term meaning ‘illusion’. She made six short films: “Meshes of the Afternoon” (1943), ” At Land” (1944), “A Study for Choreography for Camera” (1945),”Ritual in Transfigured Time”(1945-1946), “Meditation on Violence” (1947), “The Very Eye of Night”(1959). She also made several incomplete films including one with Marcel Duchamp entitled “The Witches Cradle” (1944).


AOIFE MULLAN is recent graduate of Fine Art Painting, NCAD. Since graduating in 2013 she has participated in BYOB (Bring Your Own Beamer) at Pallas Projects/Studios and is engaged in a collaborative practice CIRCUMSTANCE Allowing with fellow graduate Niamh Forbes


MICHAEL FITZGERALD graduated in 2012 with a BFA from NCAD. He has been a member of the Board of Directors at Basic Space since graduating. Recent selected Exhibitions include; Michael FitzGerald is Moulting (Moxie Studios, 02/13), Repetition (Cross Gallery and Monstertruck, 01/13), IRL (Atelier de la Ville en Bois, Nantes, 12/12),Cluster (Cross Gallery, 11/12) andUnderground (Basic Space, 11/11). Michael FitzGerald is living and working in Dublin.


STÉPHANE HANLY recently graduated from Fine Art Sculpture NCAD in 2013, working primarily in head sculpting and moulding. When making a head he finds it important to find the most prominent feature, to allow to leave out other important features.



For more information:


Facebook: Broadstone Studios, Broadstone Invited Artists






Ella de Burca: CRAMPOGRAPHIES / KRAMPFOGRAPHIEN, KW Institute for Contemporary Art, Berlin, FEBRUARY 13, 2014












Curated by Ulrike Gerhardt, Susanne Husse, and Imke Kannegiesser

In the frame of ONE NIGHT STAND,
a project of KW Institute for Contemporary Art, Berlin
in collaboration with the Network of Berlin Independent Project Spaces and Initiatives.



FEBRUARY 13, 2014, 7–11 pm

KW Institute for Contemporary Art,

Augustraße 69, 10117 Berlin


With Ulf Aminde and Sabine Reinfeld, Nine Budde and Natascha Rossi, Ella de Burca, Tove El, FORT,
Alicia Frankovich, Andrea Fraser, Daiga Grantina, Faye Green, Nilbar Güreş, Mathilde ter Heijne, Stine Marie Jacobsen, Annika Kahrs, Dafna Maimon, Falke Pisano, Elodie Pong, Britta Thie, Michel Vvolta, and Helga Wretman


A torsion in breath, a knot in the air expanding. Choking on nothing. Retraction in relaxation. Muscular abandon. Abandoned to stitches. A curious sensation! A feat of nature! These controversial contortions are obscene, absurd. Observe the over-extension, over-exertion: explicit, inexplicable. Spurring coherence, ridiculing narrative. Disavowal of bones. stitchknotknit gripgripetwinge ribbingruckingclenching (fisting). What are we in the throes of? A matted, tangled touch. A body tongue, with a different inflection.

(You are reading me wrong.)

It is temporary, momentary. Lasting, leaping stillness. This bodily hiatus – a notch, a crutch, the crux of a contradiction. Aporetic, apoplectic. Body of seizures, body in stitches. Time cramping, collapsing, elapsing. They are – this is, all this is unrelenting, and we are in spasm, spitting, splitting (in) time. Productivity is spluttering and our muscles are muttering, syncopated stitches, a cramped-up cacophony. Don’t polarize the space between relentless and relenting – inertia is not the only option in the menace of the machinery, consuming production, producing consumption. We are not falling back in frigidity – our muscular rigidity… deranged, deranging, desiring. Not yielding, but wielding wildly, willfully: (ec)static motion. Intricate, insistent,

the twist, the fist in my side packs a punch. Don’t underestimate this potent paralysis, don’t demean this fevered de-meaning, this rattling, riddling fractured friction.

How could it be ahysterical? How could it be ahistorical? Misreadings are militant, a revenge of reading. There is a regimented tabling of torsions afoot, a graphing of the grip and the wrack.

They are bickering over the bend of my arm.

A wrestle, arrested. They are trying to make a system of me. Isolating, extrapolating, insistently establishing patterns, over me and over me. They are trying to conclude me, occlude me, they are trying to confine me. They are cramping my style.

But we are cottoning-on, and the in-joke is breaking out, breaking up, expanding exactly at the point of collapse. We are in stitches. The roar-body cackling, cracking, crackling. Doubled-up, doubled-over, and multiplied, becoming-other, a copy cat – it’s a bad body-double or my bad-body, doubled. I’ve got the woman’s curse, the woman’s curl. Extreme extensions. A body of wires… and I’ve been heisted, hijacked, hotwired now…

I’m in the grasp of history, too. My hysteries. Brackets unlatched… An astonishing aporia. Baffling, battling, body of protest, the no-body, knowing, now… now…


How to translate these torsions differently? Dissidently? This is my radical, unreadable contribution. My trigger- body eliciting a re-citation of seizure, of suture. Is it elastic, ecstatic? How far can this stitch stretch? What can be read in the twist? No brittle-body but a body of feats. A body of phantoms. I am recurring in paradox, paroxysm passed down to me through the endless, boundless sides of my sisters. I am in the clutch, the grip of —

My tame frame, undone…
(I go back to reading the stitch in my side

Faye Green, (I go back to reading the stitch in my side, 2013

CRAMPOGRAPHIES are artistic acts of notation, measuring, and immersion into states and topoi of physical tension that yield and resist the acceleration and exilement of the collective-singular body in capitalism. The chosen artistic performances and video works reflect and stimulate the corporeal knowledge as well as the chaotic energy of the (world-)physical cramp from a queer-feminist perspective.

NOTE ON will present KRAMPFOGRAPHIEN / CRAMPOGRAPHIES on February 13, 2014 from 7 to 11 pm at KW Institute for Contemporary Art and the neighboring sports field in Auguststraße.


7 pm
Ella de Burca (video performance)

7:30 pm
Michel Vvolta invites the Shivydra (performance)

From 8 pm

Avatar Chiefcurator Ellen Bluumenstein

will be present on the sports field

8:30–11 pm
Video Program with
Nine Budde and Natascha Rossi, Tove El, FORT, Alicia Frankovich, Andrea Fraser, Daiga Grantina, Nilbar Güreş,
Faye Green, Mathilde ter Heijne, Stine Marie Jacobsen, Annika Kahrs, Dafna Maimon, Falke Pisano, Elodie Pong, Britta Thie, and Helga Wretman


For more information please visit: