Art lifts our eyes to eternity and shows us the importance of the here and now. Ally Gordon

Exhibitions 2020

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1 October 2020 – 28 August 2021, Dom Museum, Stephansplatz 6, Vienna: Fragile Creation. Artworks from the Middle Ages to the present illustrate the complex connection between human beings and their environment. From loving care to exploitation, from menace to fascination, the relationship between people and nature is an ever-present topic—and was of existential importance long before the life-threatening consequences of global warming and pollution we are faced with today. Hours:

2 June – 13 November (August geschlossen): KULTUM. Zentrum für Gegenwart, Kunst und Religion in Graz, Kulturzentrum bei den Minoriten, Mariahilferplatz 3, Graz: EINATMEN – AUSATMEN. Ausstellung zur Wiedereröffnung des Minoritenzentrums. Was heißt „ATEM“ nach mehr als einem Jahr Corona? Wie kehren wir zum Atem als die Grundbewegung von Leben zurück? Atem ist Leben, Atem ist Geist! Mit Pfingsten, dem Fest des Atems und des Feuers, beginnt der Atem-Schwerpunkt des KULTUM in Graz. In der ersten Ausstellung nach dem Museumsmbau bringen Werke von über einem Dutzend Künstler*innen tief existenzielle Beiträge zum Atem und zur Atemnot ebenso zur Anschauung wie künstlerische Statements in einer zunehmend den Atem verlierenden Gesellschaft. Im August aufgrund der Baustelle geschlossen. Di – Sa, 11 – 17 U. So, 15 – 18 U.



20 September 2019 – 20 September 2024: St Peter’s Church, Grote Markt 1, Leuven: Between Heaven and Earth. The restored St Peter’s Church in Leuven is the setting for an experience that touches all the senses. Immerse yourself in the fascinating story of this Gothic church and renew your acquaintance with its art treasures: outstanding works by Flemish Masters in their authentic context. ‘Mixed Reality’ brings Dirk Bouts’ Last Supper to life and lets you discover the vibrant Leuven of the past and present. The Last Supper by Dirk Bouts, an absolute masterpiece, is undoubtedly the most important highlight of Saint Peter’s Church. Moreover, with the exception of The Martyrdom of Saint Erasmus, it is the only artwork by a Flemish Primitive which, 600 years after it was painted, still hangs in exactly the same place for which it was intended.

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Online exhibition, Society of Catholic Artists UK,

20 November 2021 – 27 February 2022, National Gallery, Trafalgar Square, London: Dürer’s Journeys: Travels of a Renaissance Artist. The first major UK exhibition of German Renaissance artist Albrecht Dürer in nearly 20 years. Through paintings, drawings, prints, and letters, this exhibition follows Dürer’s travels across Europe, bringing to life the artist himself, and the people and places he visited. Check before visit:

21 April – 15 August, The Wallace Collection, Hertford House, Manchester Square, London: Rubens: Reuniting the Great Landscapes. For the first time in over two hundred years, Peter Paul Rubens’s (1577-1640) two great masterpieces of landscape painting, The Rainbow Landscape (The Wallace Collection) and A View of Het Steen in the Early Morning (The National Gallery) will be reunited as part of an exhibition at the Wallace Collection. Although kept together in Rubens’s own collection, the paintings were brought to London in 1803, and separated for good with The Rainbow Landscape eventually entering the Wallace Collection and A View of Het Steen in the Early Morning, the National Gallery collection. Painted as a companion pair, these sweeping panoramic works show Rubens’s newly acquired manor house and estate, Het Steen, at Elewijt (between Brussels and Antwerp) as it was in about 1636. They both celebrate the fertile countryside of Brabant, and pay homage to the great Flemish tradition of landscape painting. The visitor to this exhibition will have a unique opportunity to experience these great paintings together and on their own, and to be immersed in their wealth of detail and ambitious scale. The exhibition will be accompanied by a documentary film, and by a richly illustrated, detailed monograph dedicated to the two paintings, available now. Hours: ;

21 April – 31 July, Hanina Fine Arts, 21 Woodstock St, Mayfair, London: Spirituality & Abstraction in post-war Europe. In light of the recent re-appraisal of Hilma af Klint’s spiritualist paintings in the history of abstract art, this exhibition explores the prevalence of spirituality in post-war abstraction. The influence of "occult" theosophy and esoteric thought upon pioneers of abstract art in the early twentieth century such as Kandinsky, Kupka, Malevich and Mondrian has been almost erased from modern art history. But it is evident that theosophist writings such as Annie Besant & Charles Leadbeater's "Thought Forms" (1901), and "Man Visible & Invisible" (1902), along with the teachings of their protégé Rudolf Steiner, were fundamental to these artists' motivations, in giving expression to the spiritual dimension and manifesting the "universal mystery" through art. This exhibition looks at how spirituality continued to be an important source of inspiration for artists in the post-war years. Mo – Fr, 10 – 18 h, Sa by appointment. --- Read more

19 May – 31 October, Henry Moore Studios & Gardens, Dane Tree House, Perry Green, Hertfordshire: This Living Hand: Edmund de Waal presents Henry Moore. This Living Hand, curated by acclaimed artist and author, Edmund de Waal, will explore the role of touch and the iconography of the hand in Henry Moore’s art. Moore believed that ‘tactile experience is very important as an aesthetic dimension in sculpture’. Throughout his career he repeatedly emphasised the importance of experiencing sculpture haptically, and often returned to the hand as a subject in his sculpture and drawings, studying its expressive power and symbolic values as Auguste Rodin and Michelangelo, two of his favourite artists, had done before him. The exhibition will present a selection of original sculptures and other objects which visitors will be invited to touch, as well as a group of drawings and sculptural works charting Moore’s interest in the hand as a subject, from Reclining Figure: Hand 1979 to the numerous two and three-dimensional studies of his own and other subjects’ hands – including the drawings and lithographs he made in 1978 of the winner of the Nobel Prize in Chemistry, Dorothy Hodgkin, who wanted her hands to be used as her portrait. We – Su, 11 – 17 h.

10 June - 10 July, Serena Morton, 343 Ladbroke Grove, London, W10 6HA: a solo exhibition of Mark Cazalet’s Kyoto work: The Stillness the Dancing. 

30 October 2021 – 13 February 2022, The Gabrielle Jungels-Winkler Galleries, Burlington Gardens, Royal Academy of Arts, 6 Burlington Gardens, London: Late Constable. The exhibition will explore Constable’s late career, from 1825 until his unexpected death in 1837, through his paintings and oil sketches as well as watercolours, drawings and prints. It will be arranged in chronological order exploring the extensive cross-fertilisation of his ideas between different media. Hours:



23 April – 31 October, Kadriorg Art Museum, A. Weizenbergi 37, Tallinn: From Memling to Rubens: The Golden Age of Flanders. The magnificent exhibition introduces the abundant 15th‒17th century Flemish art collection of The Phoebus Foundation, and provides an overview of the versatility of the Belgian art culture of the time. The display juxtaposes the long tradition of religious art and portraits reflecting the importance and rising self-awareness of the individual with moralising satire and political comments. The richness and curiosity of the era is reflected in the art cabinet, and new discoveries and the spreading of knowledge are the goals of the print cabinet. The display includes portrayals of the cultural and political elite of the time, as well as of the famous court jester Elisabeth, and valuable masterpieces by outstanding artists, including Hans Memling, Catharina van Hemessen, Frans Floris, Peter Paul Rubens and Anthony van Dyck. The 15th-17th centuries formed a period of economic and cultural prosperity in Flanders (nowadays the northern part of Belgium), well exemplified by the preserved artistic heritage. The mission of the privately owned The Phoebus Foundation is to preserve that heritage and introduce it to wider audiences around the globe. Hours: ;



2 June 2020 – 31 December 2022, Ateneum Art Museum, Kaivokatu 2, Helsinki: Stories of Finnish Art. Stories of Finnish Art illustrates the development of art in Finland from 1809 until the 1970s. At the exhibition, the story of Finnish art is juxtaposed with international developments in art and contemporary social events. On display, side by side, are Finnish and international masterpieces from our collections, such as Le Corbusier’s Two Women (1939), Hugo Simberg’s The Wounded Angel (1903), Edvard Munch’s Bathing Men (1907–08), and Vincent van Gogh’s Street in Auvers-sur-Oise (1890). The works on display in the halls of modern art highlight the post-Second World War reconstruction period and the emergent media society. The exhibition features paintings, sculptures and prints by Finnish and foreign artists such as Anitra Lucander, Unto Pusa, Ulla Rantanen, Anita Snellman and Sam Vanni. Prints by foreign artists are exhibited on a regularly changing basis. The exhibition also includes Eino Ruutsalo’s experimental films and advertisements. Tu – Fr, 10 – 18 h (We, Th until 20 h), Sa, Su, 10 – 17 h.



10 September 2021 – 24 January 2022, Musée Jacquemart-André, 158 Boulevard Haussmann, Paris : Botticelli. A major survey of the Italian Renaissance artist Sandro Botticelli is due to open this autumn at the Musée Jacquemart-André in Paris. It will include masterpieces from important US and European collections, such as Madonna and Child (1467-70) from the Musée du Louvre; The Return of Judith to Bethulia (1469-70) from the Cincinnati Art Museum; Judith Leaving the Tent of Holofernes (1497-1500) from the Rijksmuseum; and Portrait of Giuliano de' Medici (1478-80) from the Fondazione Accademia Carrara. Botticelli will be presented as a “designer, the head of a major studio in Florence producing paintings—of course—but also drawings for embroideries, marquetry, prints and illuminations,” says the exhibition co-curator Pierre Curie. The exhibition will demonstrate how the artist alternated between the production of one-off paintings and works produced in series, often by his many assistants, reflecting how his studio was transformed into a laboratory of ideas and training centre characteristic of the Italian Renaissance, say the organisers. Works by other leading 15th-century artists such as Verrocchio and Fra Filippo Lippi will also feature. Hours:



13 March – 27 June, Museum Barberini, Humboldtstraße 5-6, Potsdam: Rembrandt’s Orient. West Meets East in Dutch Art of the 17th Century. With 120 works including masterpieces by Rembrandt, Ferdinand Bol, Jan van der Heyden, Willem Kalf, Pieter Lastman, and Jan Lievens, the exhibition Rembrandt’s Orient examines how the painters of the Dutch Golden Age reacted to the regions of the Middle and Far East—known collectively as the “Orient” in the language of that era. Turbans and carpets, sabers and silk robes––Rembrandt and his contemporaries repeatedly painted objects from distant lands. The resulting works of art provide evidence of the first wave of globalization and reflect the influence of foreign cultures on the Netherlands in the seventeenth century. This significant art-historical period was shaped by a thirst for knowledge, a passion for collecting, and a pride of possession; it also inspired painters to create novel history scenes, portraits, and still lifes. However, encounters between the West and the East did not occur at eye level, nor was the exchange based on equality. Foreignness offered an intriguing contrast to the world of the Dutch, but it hardly aroused a more profound level of sympathy. This was no different for Rembrandt than for his other contemporaries, and this attitude––which this exhibition invites visitors to reflect upon––remains unchanged to this day in many parts of the Western world. The show provides an opportunity to question this persistent Eurocentrism. Hours: ;

2 April – 12 September, Stiftung St. Matthäus Kirche Matthäikirchplatz, Berlin: Der Erfinder der Elektrizität. Joseph Beuys und der Christusimpuls.  Mit einer Dokumentation von Lothar Wolleh. Die Stiftung St. Matthäus untersucht in einer gemeinsam mit dem ehemaligen Leiter des Hamburger Bahnhofs und Beuys-Experten Eugen Blume konzipierten Ausstellung die wenig beachteten religiösen Wurzeln im Schaffen Beuys‘. Für Beuys steht Christus am Beginn einer noch immer nicht eingelösten Emanzipationsgeschichte des Menschen gemäß der Gleichung: „Kunst = Mensch = Kreativität = Freiheit = Denken = Plastik“ – Joseph Beuys ging es mit seinem „erweiterten Kunstbegriff“ um eine Freisetzung des Menschen in seinem Denken und Handeln: „Jeder Mensch ist ein Künstler“, sofern es ihm gelingt, seine ureigene Fähigkeit zur kreativen Freiheit zu verwirklichen – so wie es Christus in seiner Freiheit gegenüber den Weltverhältnissen vorgelebt hat. Auf die Frage des Jesuitenpaters Friedhelm Mennekes was sein wichtigster Beitrag zum Christusbild gewesen sei, antwortete Joseph Beuys: „Der erweiterte Kunstbegriff. Ganz einfach.“ Dass sich die Suche nach dem Christusbild vor diesem Hintergrund nicht in der nahtlosen Anknüpfung an christliche Ikonographie erschöpfen kann, sondern als ‚Arbeit am Christusbild‘ und als Arbeit an einer neuen Gestalt von Gemeinschaft („Soziale Plastik“) verstanden werden muss, ist Ausgangspunkt dieser Ausstellung. Di – So, 11 – 18 U.

11 May – 18 July, DG Kunstraum, Deutsche Gesellschaft für christliche Kunst e.V., Finkenstraße 4, München: Paradise Lost #gender shift. Das Aufbrechen alter Rollenbilder, die Infragestellung moralischer Vorgaben auch in den Religionen und die sexuelle Selbstbestimmtheit des Menschen sind Themen, die heute nicht nur in den Medien Hochkonjunktur haben, sondern zu einem tiefgreifenden Wandel unserer  Lebensrealität führen. Im DG Kunstraum liegt der Schwerpunkt auf dem unmittelbaren Abbild des Menschen in Form der Fotografie. In der Galerie der Künstler ergänzen ausgewählte künstlerische Positionen als eigenständiges Filmprogramm die Ausstellung. Die PLATFORM bietet als Satellit einen Einblick in einzelne Teilbereiche des GenderDiskurses. Interessierte Besucher*innen sind in den als Safe Space konzipierten Ausstellungsraum eingeladen zu verweilen, sich in einer Bibliothek über die Vielfalt der Gender-Thematik zu informieren und sich auszutauschen. Ein Online-Programm mit Vorträgen und Workshops ergänzt die Ausstellung. Di – Fr, 14 18 U.

21 May – 5 September, Gemäldegalerie, Matthäikirchplatz, Berlin: Late Gothic, The Birth of Modernity. Berlin’s Gemäldegalerie is holding the first ever comprehensive exhibition in the German-speaking world on late Gothic art. Featuring some 130 objects – including impressive loans and key works from the collections of the Staatliche Museen zu Berlin – the show will juxtapose various artistic genres and media, revealing the full breadth of the media innovations of the 15th century and the art of the late Gothic era. The exhibition will revolve around the progressive tendencies of the long transition period between the Middle Ages and the early modern age. Like perhaps no other epoch, in German-speaking regions, the period between 1430 and 1500 was marked by profound changes that continue to influence our understanding of art and images to this day. The exhibition includes a broad selection of works by well-known proponents of late Gothic art, such as Stefan Lochner, Konrad Witz, Niclaus Gerhaert von Leyden, and Tilman Riemenschneider. Tu – Fr, 10 – 18 h, Sa, Su, 11 – 18 h.

4 June – 12 September, Gemäldegalerie Alte Meister, Theaterplatz 1, Dresden: Johannes Vermeer. On Reflection. Although the Gemäldegalerie Alte Meister’s Vermeer exhibition will include important loans such as Woman in Blue Reading a Letter (around 1663), from the Rijksmuseum in Amsterdam, and Young Woman Standing at a Virginal (around 1670-72), from London’s National Gallery, the star of the show will be a painting from the city’s public collection. Girl Reading a Letter at an Open Window (around 1659) was recently restored and cleaned to reveal a painting within the painting. The hidden picture of a cupid had been detected by X-rays four decades ago but its overpainting had been assumed to have been done by Vermeer himself. However, more recent research pointed to it having been covered over long after the Dutch artist’s death. So, in 2017, restorers began to carefully remove the layers of paint, uncovering the naked cupid that had been hidden for 250 years. Vermeer’s ten paintings will be contextualised by more than 40 works by other Dutch genre artists including Pieter de Hooch.  Tu – su, 10 – 17 h.

13 June – 27 June, Hohenloher Kunstverein, Hofratshaus, Schloss 12, Langenburg: Suchen:finden – spuren hinterlassen. Durch Simone Distler & Bertl Zagst. So, 14 – 17 U.

25 June – 1 November, Bundeskunsthalle Museumsmeile Bonn, Helmut-Kohl-Allee 4, Bonn: Beuys – Lehmbruck. Thinking is Sculpture. There are not many artists who caused as radical an upheaval in the history of art as Joseph Beuys. With his concept of Social Sculpture, he sought to apply the liberating potential of art to all areas of life. At the very heart of his thinking was the dissolution of the boundaries between art and society, politics, science and education. Thus Beuys gave rise to a new, expanded concept of art. In 1986, just a few days before his death, Beuys was awarded the Wilhelm Lehmbruck Prize. In his acceptance speech, he stressed the importance the art of the Expressionist sculptor had for him. He explained how his encounter with Lehmbruck’s work had led him to art in the first place and traced a connection between Lehmbruck and the development of his own concept of Social Sculpture. Marking the 100 th  birthday of Joseph Beuys, the exhibition Beuys – Lehmbruck. Thinking is Sculpture explores that idea and presents the work of the two artists. Tu, We, 10 – 21 h, Th – Su, 10 – 19 h.

18 July – 24 October, Suermondt Ludwig Museum, Wilhelmstrasse 18, Aachen: Dürer was here. A journey becomes legend. The exhibition about his journey to the Netherlands and Aachen was originally scheduled to open on 7th October – 500 years to the day since the Renaissance star arrived in Aachen. His particular reason for coming here? A coronation, of course. His general reason for the whole year he spent travelling from Nuremberg to the coast of the Netherlands? Money. Or so the story goes. So, the artist who rose to widespread fame on an unprecedented scale through prints of his stunningly adroit copperplate engravings – the “trademarked” master with his world-famous “AD” monogram – actually hit the road with his eyes firmly fixed on filthy lucre? This exhibition, organized in collaboration with the National Gallery in London, offers a precise – and fresh – look at the so-called “Journey to the Netherlands” (1520/21). An enigmatic journey to whose legendary character the painting and drawing genius himself contributed his own share – in writing a diary, a kind of accounts book with travel notes. 100 masterpieces (about 65 drawings and paintings along with 35 prints) bear testimony to Dürer’s exceptional artistry – even while on the move, without his own studio. A complement of about 40 drawings, paintings and sculptures by contemporary artists Dürer met underway – artists who were inspired by him and who inspired him – round the exhibition off into an artistic-, cultural- and social-historical “full picture” of the journey, never before seen in this form. The aim of the exhibition in the Suermondt Ludwig Museum is to trace Dürer's trip to the Netherlands - in a unique cultural and historical picture sheet. This is achieved by using Dürer's detailed travel diary and artistic works, with which the travel stations can be traced and visualized down to the last detail. The team of curators compiles around 140 works of the highest quality that Dürer produced during his journey in 1520/21. These are drawings and paintings that were made during this period, for example the impressive portrait of St. Jerome from Lisbon. There are also sculptures and paintings by contemporaries as reference works. Lenders are high-ranking institutions such as the National Gallery London, the Albertina Vienna, the Louvre, the British Museum, the Royal Collection / Windsor Castle, the Uffizi Gallery, the Staatliche Kunstsammlungen Dresden, the Germanisches Nationalmuseum in Nuremberg, or the Berlin Kupferstichkabinett and others.

29 October – 5 December, Galerie im Kornhaus, Gmünder Kunstverein eV, Kornhausstraße 14, Schwäbisch Gmünd: Aus einer Stilleren Welt. Durch Simone Distler & Linda Berger. Di – Fr, `4 - `7 U, Sa, 10 – 14 U. So, 11 – 17 U.



19 February 2018 – 26 February 2025, Uffizi Galleries, Piazzale degli Uffizi 6, Florence: Caravaggio and the 17th century. Hours:



12 February – 29 August, Rijksmuseum, Museumstraat 1, Amsterdam: Slavery. Slavery brings together ten real-life stories about people in slavery, about slaveholders, about people who freed themselves from slavery, and about people brought to the Netherlands in slavery. This exhibition centers on slavery in the Dutch colonial period spanning from the seventeenth to the nineteenth century, and sheds light on the countries and regions where the Netherlands was actively involved in slavery and the slave trade. 9  - 17 h.

2 March – 4 July, Bonnefanten, Avenue Ceramique 250, Maastricht: Brueghel and Contemporaries: Art as Covert Resistance? The starting point of this exhibition is the Carrying of the Cross by Pieter Brueghel the Younger. A seemingly religious subject that can also be interpreted as a critical commentary on the power structures and religious reality in Flanders around 1600. In the exhibition Brueghel and contemporaries: art as hidden resistance? the work of Pieter Brueghel the Younger is shown alongside other interpretations of the crucifixion by predecessors, contemporaries and followers. Hours:;http://

25 June 2021 - 9 January 2022, Museum Catharijneconvent, Utrecht: Mary Magdalene. The Exhibition. Mary Magdalene is one of the most enigmatic women from the New Testament. Through a trans-historical display of artistic representations from the eleventh century to the present day, this exhibition explores the enduring fascination for this mysterious saint. 

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2 July – 18 July, Espacio Travesía de San Mateo, 8, Madrid:  ARCOmadrid es la feria internacional de arte contemporáneo de España, la oportunidad ideal para admirar las obras de arte del famsos artista belga Luc-Peter Crombé. Estas pinturas han sido seleccionadas por Silvia Boyer.



2 July 2019 – 1 July 2021, Reformierte Kirche Veltheim, Feldstrasse 6, Winterthur: Transformation# – Temporäre Kapelle Dorfkirche Veltheim. Vernissage Mittwoch, 4. September, 18.30 Uhr mit einer Installation des iranisch - schweizerischen Künstlers Navid Tschopp. Im 21. Jahrhundert ist mitten in Winterthur neben einer reformierten Kirche eine neue Kapelle entstanden. Während der zweijährigen Projektdauer entstehen insgesamt 12 Installationen in der temporären Kapelle und schaffen einen neuen Raum der Inspiration für Begegnungen zwischen Kunst und Kirche. In der Auseinandersetzung mit der Geschichte und aktuellen Themen soll Neues erfahren und wahrgenommen werden können. Reformation. Tausend Jahre Dorfkirche Veltheim. Weiterbauen an der Kirche. Eine Kapelle auf Zeit. Baumaterial der Asylunterkunft Kirche Rosenberg. Wärmedämmung aus.  alten Noten und Geschichten. Ein spiritueller Raum. Kirche trifft Kunst. Transformation.

8 May – 1 August, Kunstmuseum Olten, Kirchgasse 8, Olten: „Dere schöne Aare naa“. Open-Air-Ausstellung an und in der Aare aber auch im Museum. Mit dem Projekt rücken wir die Aare und die Beziehung der Oltner innen zu ihrem Fluss ins Zentrum unserer Sommerausstellung. Dafür haben wir Kunstschaffende eingeladen, Orte am und im Wasser zu bespielen. Währenddessen sind in den Museumsräumen weitere Arbeiten im Dialog mit Werken aus der Sammlung zu sehen. Mit u.a. Hans Thomann. Di – Fr, 12 – 17 U, Sa, So, 10 – 17 U.



14 May – 6 September, National Gallery of Canada Ottawa, 380 Sussex Drive, Box 427, Station A, Ottawa, Ontario: Rembrandt in Amsterdam: Creativity and Competition. The first exhibition ever to chart the transformative central decades of Rembrandt’s career in the context of the Amsterdam art market, from his arrival in Amsterdam in the mid-1630s to the emergence of his late style in the mid-1650s. This exhibition explores the transformative central decades of Rembrandt’s career, from his arrival in Amsterdam in the mid-1630s to the emergence of his late style in the mid-1650s. Bringing his paintings, prints and drawings into dialogue with masterpieces by friends, followers and rivals, Rembrandt in Amsterdam will immerse you in the thriving art market of Rembrandt’s time, revealing the exhilarating and stimulating atmosphere that inspired a young artist from Leiden to become the world-renowned master we know today. Hours:



7 March 2021 – 2 January 2022, Dallas Museum of Art: Devoted: Art and Spirituality in Mexico and New Mexico. Historically, as well as in the present day, depictions of Christ, the Virgin Mary, and numerous saints and other figures have played a vital role in the ceremony and pageantry of Catholicism, acting as visual representations of beliefs and ideas, and serving as a focal point for devotion and prayer. Devoted: Art and Spirituality in Mexico and New Mexico features devotional works drawn from the DMA’s Latin American collection, exploring interrelated artistic traditions in the two regions. The exhibition spotlights the complexity and artistic qualities of these objects, which embody the active spiritual relationship between their creators, patrons, and communities. Admission is FREE.

4 April – 26 June, Bridge Projects, 6820 Santa Monica Blvd, Los Angeles, CA: Otherwise/Revival. This is a group exhibition that visualizes the impact of the historic Black church— specifically the Black Pentecostal movement—on contemporary artists. Inspiration for the exhibition is drawn from reflecting on the event of the Azusa Street Revival. On April 9, 1906, from a home on Bonnie Brae Street in downtown Los Angeles, Rev. William J. Seymour preached a sermon on the spiritual gift of speaking in tongues that would change the course of spiritual history. People from diverse races and economic classes congregated to hear Seymour’s sermons—sparking the Black Pentecostal movement. Author and artist Ashon T. Crawley has written extensively on this movement. His concept of “otherwise possibilities” as a reverberation of the Black church experience informed the curatorial query and title of Otherwise/Revival. “Otherwise, as word—otherwise as possibilities, as phrase—announces the fact of infinite alternatives to what is.” For Crawley, the elements of the Black Pentecostal Church—the Hammond organ, emphatic breath, shouting, and glossolalia—create space for “otherwise possibility” to emerge. The works in the exhibition respond to these “otherwise possibilities” embodied by the Black church. Sculptures, paintings, video, and performances celebrate the significance of music, praise, breath, and community. Exhibited artists reflect on their traditions, heritages, passions, and talents to cultivate a space where art thrives and expresses a unifying language for all. – Jasmine McNeal and Cara Megan Lewis, Curators of Otherwise/Revival. We – Sa, 11 – 18 h. With a program of lectures and performances, see

24 April – 16 August, Crystal Bridges, Museum of American Art, 600 Museum Way, Bentonville, AR: This Is the Day brings together twenty-four artistic representations of Black faith and spirituality, including the work of Bruce Davidson, Faith Ringgold, and photographer Aaron Turner, that illuminate the resilience of the Black church and the community it has served for more than 300 years. From depictions of joy to quiet moments of prayer to images of departure through funerals and terrorism, this focus exhibition displays the church’s significant role in Black history and culture that still endures today. 



10 June – 10 July, Chalk Horse, 167 William Street, Darlinghurst, Sydney: Daniel Domig Teach Us To Sit Still. Daniel Domig studied Painting at the Academy of Fine Arts, Vienna, Austria, where he currently lives with his family. He has exhibited widely in both Europe and North America over the past two decades. You can see the complete show and installation views on the gallery’s website

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