This support follows a series of artist encounters organised in 2022 for Alberto Salvadori, curator, and the Founder and Director of ICA Milano, through Trampoline’s curators invitation programme.

When There Is No More Music to Write is the first solo exhibition in an Italian institution dedicated to the work of Éric Baudelaire. The project takes shape from the encounter between the French artist’s cinematic research and the artistic and personal journey of the composer Alvin Curran, a central figure in international musical experimentation and a key player in a cultural era that found one of its most fertile environments in Rome during the 1960s and 1970s. Rather than taking the form of a biographical portrait or historical reconstruction, the exhibition creates a space for dialogue between images, sounds and documents, exploring the way in which artistic practices take shape through relationships, contexts and collective processes of cultural production.

The first presentation of an ambitious multi-faceted curatorial project, Van Lévé at the Alain Locke Gallery brings together internationally acclaimed artists with connections to territories in the Americas formerly under French colonial rule, placing them in dialogue with landmark historical works. It provides a historical grounding and artistic genealogy that amplifies a renaissance of Creole, Maroon, Caribbean, and Amazonian voices. As France continues to reckon with its involvement in the Trans-Atlantic Slave Trade and colonial slavery on the twenty-fifth anniversary of the Taubira Law recognizing both as crimes against humanity, Van Lévé asks: how do artists, connected by their fraught past and present connections with France, deploy critical inquiry and aesthetic elaboration to forge emancipatory dreams that can be transformed into tangible sovereign visions?

A group of curators and directors from Dutch institutions travelled to France for a research trip to Paris, Saint-Étienne, Sablons, and Lyon :

– Laurie Cluitmans, Director, Nest, The Hague
– Johan Gustavsson, Co-director, 1646, The Hague
– Gabi Ngcobo, Director, Kunstinstituut Melly, Rotterdam
– Margriet Schavemaker, General Director, Kunstmuseum Den Hague
– Eszter Szakács, Curator, De Appel, Amsterdam
– Vivian Ziherl, Director, Vleeshal Center for Contemporary art, Middelburg

Accompanied by Haco De Ridder, Visitor Programme, Mondriaan Fonds.

This support follows a series of artist encounters organised in 2019 for Amanda de la Garza, the previous Director-General of Visual Arts at MUAC, through Trampoline’s curators invitation programme.

This exhibition traces the enduring legacy of colonialism in the Caribbean context and explores water as a living archive that preserves movements, displacements, and memories. Far from being conceived as a boundary, the sea is presented as a space of exchange where human and non-human experiences converge.

• X Zhu-Nowell, Executive Director and Chief Curator of the Rockbund Art Museum (RAM), Shanghai.

The show premieres an eponymous five-channel video installation in the basement of the exhibition space, accompanied by sculptural interventions on the ground floor. The central video work unfolds across five screens, tracing seven seemingly unrelated locations—from Europe’s largest flower farm to the National Institute for Blind Youth in Paris. Baudelaire weaves these disparate sites into a meditation on the splendor and cruelty of coexistence: a testament to the beauty and absurdity of how we live, work, and organize our collective lives at a moment when the foundations of society feel increasingly fractured. The exhibition takes its title from Roland Barthes’ final lecture series, How to Live Together (1977), in which he observes: “To be strangers to one another is inevitable, even necessary and desirable—except when night falls.” Held against that threshold, the work opens a space to reflect upon the conditions we create for living together, ones that preserve difference and dignity, as darkness settles in all around us.

Flare-Up is the first institutional exhibition in London to bring together seventeen UK-based and international visual artists whose work engages with the poetics and aesthetics of illness, disability, neurodivergence and Deafness. 

Thus, Flare-Up situates also contemporary British practices in dialogue with international contexts and with earlier movements, including the enduring influence of HIV/AIDS art and activism. Works by Felix Gonzalez-Torres and Derek Jarman trace such intergenerational continuities. This lineage is most explicit in Benoît Piéron’s Pillbox Dungeness Seed Bomb (2018), a chromatic pill organiser containing capsules filled with seeds from plants at Prospect Cottage – Jarman’s final refuge-garden in Dungeness, Kent. The seismic impact of this legacy has been foundational in the formation of crip communities and artistic strategies, drawing on queer approaches to abstraction and opacity as forms of crip aesthetics.

The core of the installation is a five-channel film set in a vast refrigerated building in the Netherlands, where forty-six million flowers—flown in from farms in Africa and South America—are sold at auction every morning.
This process is captured in a hypnotic form of visual anthropology that is at once seductive, because flowers are beautiful, and terrifying, because the scale of this globalized trade is ecologically troubling. The documentary sequences are framed by the presence of a fictional observer who roams the streets at night, inspired by a character from Luigi Pirandello’s short play L’Uomo dal Fiore in Bocca [The Man with a Flower in His Mouth]. The flower, which also gives the installation its title, refers to an epithelioma—a tumour that was incurable at the time Pirandello wrote the play. The protagonist, sensing death upon him, projects himself into the minute details of the world he observes intensely, as a way of escaping his impending fate.

• Vasyl Cherepanyn, curator of the 14th Berlin Biennale for contemporary art (2027)

Featuring four projects by five artists—Dana Prieto & Safaa Alnabelseya, Deja Hosein, Euridice Zaituna Kala, and Randa Maroufi—the group exhibition Every Worker Should Have Equal Labour Rights is curated by Nima Esmailpour in the context of the 41st annual Mayworks Festival of Working People and the Arts. Each artist presented, working across different media, critically engages with the lived experiences of working people, drawing connections across histories of labour injustice and worker-led resistance in the Global South.