Daniel Otero Torres’s multidisciplinary practice encompasses installations, sculptures, and drawings, all of which are community-based movements of resistance carried out by marginalised groups. Aguacero (2024) unfolds from his prior work Lluvia (2020) and is an ephemeral site-specific installation made of collected locally and recycled materials, reflects Otero Torres’s engagement with the impact of ecological crises on the lives of marginalised Colombians. The work evokes the unusual system of vernacular stilt architecture of the Embera community along the banks of the Atrato River, designed to collect rainwater and provide the inhabitants with unpolluted water. Paradoxically, although they reside in one of the most rainfall-abundant regions, the Emberas face severe challenges in obtaining clean water due to extensive pollution caused by illegal gold mining. Through metaphorical recreation, Otero Torres draws attention to the challenge of ensuring access to clean, drinkable water faced by communities worldwide, an issue that is intricately connected to the processes of privatising and financialising nature. As an open structure to the eyes of the world, the work reveals the journey of flowing water and its many meanings.

With over 20 years’ experience, the work of Marie Losier (FR) has transcended the cinematic field to be presented in museums and exhibition spaces such as the Tate Modern, MoMA and the Centre Georges Pompidou, as well as at prestigious international festivals in cities such as Berlin and Rotterdam.

Casa del Lago UNAM presents a wide-ranging retrospective of his work, with screenings of his documentaries and a selection of short films, installations of his loop boxes, a master class and a conference, among other activities organized on our premises and in alternative spaces inside and outside the city.

Partners: Trampoline Association, Institut français d’Amérique latine (IFAL), DGECI-PAECI, Museo de la Ciudad de Querétaro and Ambulante. Documentary film tour.

• Leonie Radine, Curator, Museion, Bolzano

Continuing the annual ACCA International series of solo exhibitions by influential artists on the international stage, the Australian Centre for Contemporary Art is pleased to present Oui Move In You, a major solo exhibition by French artist Laure Prouvost. Encompassing new commissions and a survey of existing work over the past decade, the exhibition transforms ACCA’s unique architecture into a labyrinthine and other-worldly environment, introducing Australian audiences to the imaginative, absorbing and frequently absurdist hallmarks of Prouvost’s diverse artistic practice.

Acknowledging the radical, experimental, and pathfinding figures who came before her, Oui Move In You conceptually explores the roles and legacies of grandmother and grandfather, the maternal spaces of mother and child, and contemporary social spaces in which humans commune with the natural world. The exhibition is composed as a celebration of liberation and imagination, the sensual and sensuous, being and belonging, care and connection. Taking audiences on a journey from the subterranean realm of the underground and the subconscious, opening into the bodily and earthly realm exploring sensuality, desire and the fecundity of nature, the exhibition culminates with a release into the sky and celestial plains of weight and weightlessness, lightness and gravity.

The exhibition Triviale presents the outcomes of the ongoing collaboration between French artist Pauline Curnier Jardin (1980) and the Feel Good Cooperative, founded in Rome in 2020 by the artist herself and composed of a group of Colombian sex workers and their allies, including photographer and sex worker Alexandra Lopez and architect and researcher Serena Olcuire. A balcony, a bed, a streetlight, nocturnal journeys along the margins of Rome, a post-mortem visit to Pope Benedict XVI: the exhibition will consist of a theatrical set in which the public and the domestic nature of sex work are enacted and humorously elaborates on themes of gender identity, migration, the legacy of colonialism, as well as self-representation and self-determination.

This is the first time the Cooperative will be presenting their work, in exhibition form, in the same city in which they have been conceiving and creating their collective practice, at once subverting both power dynamics and spatial normativity.

• Iwona Blazwick, Curator, RCU, Arts AlUla & 2024 Istanbul Biennial

Haus am Waldsee is pleased to present the first comprehensive presentation of the work of French artist Bruno Pélassy (*1966 in Vientiane, Laos, † 2003 in Nice, FR) in Germany. The exhibition, conceived by Anna Gritz (Director, Haus am Waldsee) and curated together with Beatrice Hilke (Assistant Curator, Haus am Waldsee) and Pia-Marie Remmers (Curatorial Assistant, Haus am Waldsee), is conceived as a monographic presentation of Pélassy’s oeuvre, juxtaposing it with works by amongst others Marc Camille Chaimowicz, Beth Collar, Jesse Darling, Brice Dellsperger, Leonor Fini, Jean Painleve, James Richards and Soshiro Matsubara, who will also develop the architecture for the exhibition. The aim is to bring the explosive nature of his work into a current international art discourse and put it up for discussion.

The French artist Bruno Pélassy was born in 1966 and died in 2003 at the age of 36 as a result of AIDS. He was a dazzling and multifaceted figure and his art can only be categorized to a limited extent. Pélassy painted, drew, performed, and created sculptures, fashion, and jewelry, so that disciplinary boundaries sometimes blur and artistic work can hardly be separated from his approach to daily life. The artist had already contracted HIV at the age of 21 – at a time when an infection was basically tantamount to a death sentence. The diagnosis was to decisively and visibly shape his work as well as his attitude to themes such as illness, infection, death, social interaction, structures of desire, preservation, and his understanding of the body as a system closely interwoven with its environment. Based on Pélassy’s works, in which his engagement with these existential themes emerges, the exhibition thus addresses questions that are exceedingly relevant, not least against the backdrop of two years of global pandemic. It reflects on the constitution of health, the transience of the body, and a failing political system in which illness can certainly be understood as an indicator of social power relations.

Curatorially, the project thereby explores the experiment of being neither a monographic survey nor a group exhibition. Thus, Pélassy’s works are presented alongside a number of existing works by contemporaries as well as newly commissioned productions by currently working artists who are close to Pélassy in attitude, interests, or formal choices, and who negotiate issues that were already central to him and in his time.

Envisioned as a geological epic of our universe, Solastalgia: Archaeologies of Loss is a solo exhibition by French artist Abdelkader Benchamma that conjures enigmatic worlds and elemental forces at the precipice of transformation, evoking a yearning for worlds yet to be. Like an archaeologist, Benchamma unearths symbols–found in ancient mythologies and legends–that humanity has from its earliest moments inscribed onto the land, sky, and celestial bodies. In doing so, he creates an elusive topography of dreams that centres our spiritual ties with nature, reclaiming our interconnectedness with the world.

Envisioned as a geological epic of our universe, Solastalgia: Archaeologies of Loss is a solo exhibition by French artist Abdelkader Benchamma that conjures enigmatic worlds and elemental forces at the precipice of transformation, evoking a yearning for worlds yet to be. Like an archaeologist, Benchamma unearths symbols–found in ancient mythologies and legends–that humanity has from its earliest moments inscribed onto the land, sky, and celestial bodies. In doing so, he creates an elusive topography of dreams that centres our spiritual ties with nature, reclaiming our interconnectedness with the world.