Vincent Meessen: Mi última vida, es una exposición en el Museo Universitario de Arte Contemporáneo que se presentará del 28 de noviembre hasta el 23 de febrero del 2014.



17 — 20 JUN 2013

Directed by Pablo Martínez and Vincent Meessen

Participants :  Ayreen Anastas & Rene Gabri, Lars Bang Larsen, Diego del Pozo, Susanne Husse & Lorenzo Sandoval, Fritzia Irizar, Luis Jacob, Santiago López Petit, Asier Mendizabal, Andrea Phillips, Katrien Reist, Renée Ridgway, Katleen Vermeir and Ronny Heiremans.

These days the semiotic control associated with cognitive capitalism have become part of the fabric of life in all its aspects. The internet age has, of course, opened up space for the collection and redistribution of knowledge, but to turn a profit from these new spaces, the knowledge economy must imperatively colonise the time of users. This globalised semiocapitalism thus reconfigures various cultural ethoses by subjecting them to uninterrupted information flows, thereby saturating users' attention spans. In this context the self-entrepreneurial artist, combining independence, creativity, flexibility, and above all self-exploitation, has become a cultural “role model” – the perfect embodiment of the neo-liberal script that openly fantasises about a world of creative, competitive operators engaging in self-exploitation by speculating on potential symbolic added value.

The specific forms of positivism associated with populist cultural policies and art speculation pose a threat to the values of autonomy, opposition and radical negativity. Some artistic practices seek to transform the conditions of their alienation into productive resources in response to the widespread trend towards commodification and the precariat. Such artists strive to regain control over their time and over a form of sociability that escapes the temporality of capitalism by experimenting with what initially appear to be incompatible syntheses between original critical forms and financial autonomy.

This “productive alienation” throws the voices of the codes like a ventriloquist, appropriating the protocols of finance and trade. It draws on the social time and knowledge-sharing typical of self-organisation. It subtly plays with the agendas of other actors in the art field. Such “alienated art” develops an “economy of attention”, short-circuiting the official channels in the hope of re-routing missing people towards works that potentially meet their needs.

The artists, critics, and thinkers invited to speak at the 20th Jornadas will question the specificities of forms and protocols established by artists to renew the terms of criticism, thereby shaping the “community to come”.


Leituras do real, Lisboa

A exposição IndieMovingImage celebra o décimo aniversário do IndieLisboa com apresentações de diversos artistas que participaram em edições anteriores do festival através da exposição de trabalhos de imagem em movimento: filmes e vídeos de artistas e realizadores produzidos para um contexto de instalação.
Cada espaço convidado apresenta o trabalho de um artista, mostra que estará patente de 7 a 10 de Março. Leituras do Real pretende reflectir sobre a imagem em movimento como ferramenta para pensar a situação contemporânea em Portugal e no mundo.

Galeria 111 | Michael Robinson
Carlos Carvalho Contemporary Art | Johann Lurf
Carpe Diem Arte e Pesquisa | Camille Henrot
Museu da Eletricidade - Fundação EDP | Filipa César
Galeria Graça Brandão | Ben Rivers
Galeria Miguel Nabinho | Vincent Meessen
Módulo - Centro Difusor de Arte | Atsushi Wada
Museu Nacional de Arte Contemporânea Museu do Chiado | John Smith
Galeria Zé dos Bois | Salomé Lamas

Comissariado por João Laia


When Attitudes Became Form Become Attitudes, CCA Wattis, San Francisco

When Attitudes Became Form Become Attitudes

A Restoration / A Remake / A Rejuvenation / A Rebellion
CCA Wattis Institute for Contemporary Arts

September 13–December 1, 2012
California College of the Arts
Kent and Vicki Logan Galleries

Participating artists
Zarouhie Abdalian, Pablo Accinelli, Meriç Algün Ringborg, Jennifer Allora and Guillermo Calzadilla, Jonathas de Andrade, Kathryn Andrews, Nazgol Ansarinia, Nicolás Bacal, Christopher Badger, Alessandro Balteo Yazbeck, Yto Barrada, Taysir Batniji, James Beckett, Nina Beier, Erick Beltrán, Walead Beshty, Cezary Bodzianowski, Matthew Buckingham, Johanna Calle, Arabella Campbell, Juan Capistran, Mariana Castillo Deball, Etienne Chambaud, Marcelo Cidade, Claire Fontaine, Nicolás Consuegra, Abraham Cruzvillegas, Alexandre da Cunha, Maria Eichhorn, Michael Elmgreen and Ingar Dragset, Cevdet Erek, Annika Eriksson, Lara Favaretto, Aurélien Froment, Simon Fujiwara, Meschac Gaba, Dani Gal, Ryan Gander, Mario Garcia Torres, João Maria Gusmão and Pedro Paiva, Alexander Gutke, Jeppe Hein, Emily Jacir, Maryam Jafri, Alicja Kwade, Luisa Lambri, Adriana Lara, Tim Lee, Mateo López, Renata Lucas, Marie Lund, Kris Martin, Vincent Meessen, Simon Dybbroe Møller, Jonathan Monk, Shahryar Nashat, Roman Ondák, Fernando Ortega, Christodoulos Panayiotou, Nicolás Paris, Pratchaya Phinthong, Amalia Pica, Kirsten Pieroth, Wilfredo Prieto, Pablo Rasgado, Nicolás Robbio, Will Rogan, Pamela Rosenkranz, Fabrice Samyn, Kim Schoenstadt, Tino Sehgal, Sean Snyder, Mark Soo, Mateo Tannatt, Ron Terada, Hank Willis Thomas, Jan Timme, Clarissa Tossin, Guido van der Werve, Natasha Wheat, Carey Young, Akram Zaatari
This exhibition is a sequel to, and a reevaluation of, the legendary 1969 exhibition When Attitudes Become Form, which was curated by Harald Szeemann at Kunsthalle Bern in Switzerland. It brings together 82 international contemporary artists who follow, in various ways, the legacy of Szeemann’s iconic exhibition.
The 1969 show brought together new tendencies in the art known today as Postminimalism, Arte Povera, Land art, and Conceptual art, from Western Europe and the United States. It contributed a great deal to our historical understanding of the art of that time, how exhibitions themselves can influence artists and their works, and also how exhibitions can define art history. It was influential in promoting a wider understanding and acceptance of Conceptual art, as it included many non-material and process-based works.
When Attitudes Become Form has been discussed, researched, and examined in a wide range of essays, books, and conferences; When Attitudes Became Form Become Attitudes is the first major exhibition it has inspired. The new show will present existing pieces by artists working in relation to the history of Conceptual art as well as newly commissioned works by artists such as Zarouhie Abdalian, James Beckett, Abraham Cruzvillegas, Annika Eriksson, Simon Fujiwara, Jeppe Hein, Jonathan Monk, Nicolás Paris, and Hank Willis Thomas, who will respond directly to the history of the 1969 show and to the site of the new show. With the contemporary artworks installed alongside archival materials, floor plans, and installation images from the 1969 show, this new exhibition does not make a distinction between what is past and what is present, but rather considers When Attitudes Become Form as a living past.
The publication accompanying the new exhibition, designed by Jon Sueda / Stripe, will follow the original “office binder” format of the 1969 publication. It will include a conversation between Jens Hoffmann and Harald Szeemann, conducted in 2002; newly commissioned essays by Constance Lewallen, Christian Rattemeyer, and Julian Myers; and alphabetically arranged pages with artist biographies and images. Like Szeemann’s 1969 publication, it will also feature works that are interventions directly into the catalogue.
When Attitudes Became Form Become Attitudes 
will travel to the Museum of Contemporary Art Detroit
February 1–March 31, 2013.


Bewitched System, CA2M, Madrid

Symposium: A Bewitched system

The exorcising role of images

Agency, Aurora Fernández Polanco, Dora García, Fernando García-Dory, Avery Gordon, Tamar Guimaraes, Joachim Koester, Maurizio Lazzarato, Marie-José Mondzain, Jalal Toufic, Eulalia Valldosera

Directed by Vincent Meessen and Pablo Martínez
CA2M Centro de Arte Dos de Mayo
Av. Constitución 23
28931 Móstoles, Madrid, Spain

Un-scene II, Wiels, Brussels

Un-Scene II is the second edition of what is now a triennial tradition at WIELS, an integral part of its ongoing research into the practices and questions that animate the artistic life around the institution. While featuring twelve artists working in sculpture, installation, performance, photography, painting, and video, the exhibition brings together a suite of idiosyncratic practices that seemed, with their specific idioms, to draw on and put into perspective the larger questions driving art making in Belgium today.
Artists :
Nel Aerts, Harold Ancart, Abel Auer, Olivier Foulon, Steinar Haga Kristensen, Gerard Herman, Dorota Jurczak, Vincent Meessen, Sophie Nys, Eléonore Saintagnan, Michael Van den Abeele, Peter Wächtler

A Blind Spot, HKW, Berlin



31.05.-01.07.2012 | Wed-Mon and holidays 11-19 h
Admission: 5 €/3 € | Mon free (Mon 25.6. closed) 
The blind spot of a photograph refers to something not visible or shown but nonetheless latent in the image. Dismissing the dominant pictorial regime, the images in “A Blind Spot” preserve an openness and indeterminacy that precludes reducing them to a description or illustration of a specific reality. This is the point of departure for questioning the documentary aspect in contemporary artistic and photographic practices.
The exhibition, curated by Catherine David, includes works by : Eric Baudelaire, Elisabetta Benassi, David Goldblatt, Hassan Khan, Joachim Koester, Vincent Meessen, Olaf Nicolai, Efrat Shvily, Jeff Wall and Christopher Williams.