News

Post-Water is part of a global debate on a theme of water, the most essential natural element that generates and guarantees the maintenance of life, only one of the goods that suffer from the acute crisis of the sense of responsibility of our time.

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Our times are characterised by pragmatism, rationality and economy. Often, especially in epochs of this kind, people’s desire for magic and magic, for unfathomable powers, is awakened. As alternative models to strictly scientific facts, incomprehensible phenomena are also of great interest to artists. The exhibition demonstrates how artists deal with miraculous phenomena and the human desire for magic.

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Captured through a light microscope, ‘Reclaiming Vision’ features a diverse cast of microorganisms. The film reveals various processes in the water that are hidden to the naked human eye. By investigating the brackish water, its inhabitants, its properties, and the traces left by human activities, the film is a reflection upon the relationship we humans have with our surroundings, especially through what we cannot see.

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Plants know worlds, they contain worlds and they make worlds. Plants exist within plurality; they are part of, and themselves contain many worlds. The cultivation of vegetal consciousness begins with a deepening of awareness of the actions and agency of non-human others.

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Spectral Exchange seeks to use the electromagnetic spectrum as both a structural and thematic framework to draw out connections between disparate domains of knowledge and practice.

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Seeing without a Seer is set up as a cooperative, imaginative and speculative exercise to grasp what is at stake in the act of seeing. What is ‘seeing’ and where is it located when we take non-human agencies into account? Can we, for instance, imagine how plants or stones ‘see’ their surroundings? In which ways could ‘machine vision’ influence our worldview?

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Liquid Properties, a collaboration with Toril Johannessen, consists of the film Reclaiming Vision and the installation  Liquid Properties. Captured through a light microscope, Reclaiming Vision features brackish water, sampled from the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. Starting off from the assertion that looking evolved from the sea – eyes in fact evolved from marine algae – the film is a visual journey through various ways of looking at and relating to nature.

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The exhibition “The End is Where We Start From. On Tsunamis, Nuclear Explosions and other Fairy Tales” brings together works of eight international visual artists whose work navigates on the intersection of art and long-term scientific research.

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Eurasia is a landmass that embraces a space between the western end of “Europe” and the eastern end of “Asia”. Albeit simplistic, taking this definition of Eurasia promises an exploratory, open-ended journey into one of the most complex way of thinking through the region, which questions existing borders and distinctions in all dimensions such as the geographical, cultural, political, and social ones – and in turn calls for new connections and pathways across cosmic, geologic and spiritual dimensions.

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The 21st Biennale of Sydney will examine the state of ‘superposition’ by examining how it might operate in the world today. We are surrounded by conflicting ideas across all levels of humanity: different cultures; readings of nature and the universe; political ideologies and systems of government; interpretations of human history, the history of art and definitions of contemporary art.

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CCS Bard is an exhibition and research center dedicated to the study of art and exhibition practices. In order to make the actual production of art a more palpable part of the graduate program, the Center initiated an artist-in-residence program which allows for one or more artists to spend from a semester to a year at the CCS making new work and engaging with the program in other ways. Research residency for the development of new work.

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Syndrome of the Present is a research based project that aspires to establish a collaborative, cross disciplinary platform, shared between artists and experts from diverse geographies and disciplines, which enables collective thinking in order to analyze the present’s syndrome and the present as syndrome. Participants: Oreet Ashery, Juan Pérez Agirregoikoa, Marc David Baer, Melis Birder, Yael Bartana, Ayse Cavdar, Yael Davids, Marjolijn Dijkman, Koken Ergun,  Amir Engel, Gil Hochberg, Alexander van der Haven, Natasa Ilic, Savas Michael Matsas, Yolande Jansen, Bik Van der Pol, Pawel Maciejko, Erden Kosova, Wendelien van Oldenborgh, Danielle Riou, Julian Reid, Roee Rosen, Dimitris Stamatopoulo and Artur Zmijewski. Curated by Galit Eilat.

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Wandering stars have occupied the human mind across centuries and millennia, along with the quest to explore and colonize cosmic space. Is there something in us that refuses to believe that we are alone in the universe? Does our longing for the stars conceal something different? To what extent can fiction shape future realities?

The construction of such inquiries are at the centre of Marjolijn Dijkman’s work, which pivots around humankind’s fascination for cosmic space, the position of our planet in the universe, and human subjectivity in relation to celestial bodies. Radiant Matter comprises a series of recent artworks that desire to analyse and reflect on the nature of scientific inquiry, the role of speculation, fiction and spiritualism.

Together with a poetic image essay and a conversation between the artist and the editor Kris Dittel, this widely illustrated book includes texts by Maarten Vanden Eynde, Ken Hollings and Raqs Media Collective.

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Radiant Matter is the first duo exhibition of work by Marjolijn Dijkman and Maarten Vanden Eynde. It brings together objects, sculptures, a video and photos that explore the complex relation between the impact of the human on its environment and vice versa. Accompanied by a book launch of ‘Radiant Matter’ by Marjolijn Dijkman, published by Onomatopee and edited by Kris Dittel, on the 25th of November.

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CCS Bard is an exhibition and research center dedicated to the study of art and exhibition practices. In order to make the actual production of art a more palpable part of the graduate program, the Center initiated an artist-in-residence program which allows for one or more artists to spend from a semester to a year at the CCS making new work and engaging with the program in other ways. > Research to be continued spring 2018.

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Researchers night with amongst others: Birkeland’s Northern Lights Experiment, presentations of Modern Space Physicists, artists talk about meetings between Art and Science, opening of the Aurora Polaris Exhibition. With: Ann-Cecilie Larsen, Are Raklev, Toril Johannessen, Marjolijn Dijkman, Thale Sørlie, Koka Nikoladze, Maria Hammerstrøm, Anna Follestad, Anders Kvellestad og André Granum.

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Group exhibition with: Guillaume André, Pierre Balandier, Claude Boudeau, Adrien Colin, Gérald Colomb, Amandine Courtois, Nicolas Daubanes, Marjolijn Dijkman, Thomas Fontaine, Magdalena Gerber, Per Hüttner, Jo Errant, King’s Queer, Justyna Koeke, Adeline Leprêtre, Marie Minary, Monsieur Bidule, Frédéric Nauczyciel, Nushy Soup, Thomas Perrin, Florence Picard, Collectif RADA, Lois Renou & Rodrigue Guillot-Cressant, Romuald & PJ, Anna Schuster & Sara Focke-Levin, Jérôme Vaspard, Jean-Luc Verna, Didier Viodé, Dana Wyse, Lulu Zhang.

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After more than twenty-five years as Casco, Casco Projects, and finally Casco – Office for Art, Design and Theory, we are changing our name to Casco Art Institute: Working for the Commons. The title heralds our new modus operandi, presented initially in the form of an exhibition that opens on 26 May 2017. With this change we aim to act on our political-aesthetical intentions and face their urgencies with “working for the commons” as the guiding imperative for all Casco operations.

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The LUNÄ Talk: Triangular Trade – Cotton will concentrate on the influence of cotton production and trade in relation to the abolition of slavery and colonisation / decolonisation, both historically and as an ongoing influence on contemporary global economy. With: Helen Elands (Art Historian), Wouter Elsen (Film- and Photo Journalist), Dr. Patricia Fara (Historian of Science), Remy Jungerman (Artist), Karin Lurvink (Researcher on Dutch Republic transatlantic slave-based activities), Prof. Dr. Eric Vanhaute (Prof. Economic and Social History and World History), Maarten Vanden Eynde (Artist) and Marjolijn Dijkman (Artist).

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Invited contributors: Prof. Sven Beckert (author of ‘Empire of Cotton, A Global History’ / Harvard University, US ), Prof. Peter Pels (anthropologist, Leiden University, NL), Christine Chivallon (anthropologist and directrice de recherche au CNRS, FR), Helen Elands (art historian, independent researcher, UK), Alioum Moussa (artist, CM), Marjolijn Dijkman and Maarten Vanden Eynde (artist and co-hosts, BE).

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The phrase “Why Not Ask Again” is a bid, and a query, whose ascending, joyously twisting arc embraces the maneuvers, disputations and stories that contain and encode the turbulences and transports of our time. A listener eavesdropping on deep space walks out of the pages of the recent sci-fi novel, The Three Body Problem by Liu Cixin. A wanderer steps out into the deep time of eternity and the straight path of a police bullet in the terminal sequence of the picaresque Bengali film Jukti, Takko aar Gappo from 1974 by Ritwik Ghatak. They embody the spirit of a mobile triangulation between reason, intuition and the fabulous that the Biennale seeks to discover, transmit, and learn from. Chief curators – Raqs Media Collective.

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In 2017, Artefact looks at the Act of Magic. From poetry to strategy, from magical object to obscure systems, from harmless distraction to manipulation: the artists in The Act of Magic investigate what enchants us today.

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Even though when we look into outer space, what we see are light sources, carriers of traces from the past, we associate outer space with the future. This projection screen of human destiny has evolved into the ambition to conquer and colonise cosmic space, escaping the possible disastrous developments on Earth. For many ‘visionaries’ the only way for humankind to survive is to expand human territories to the Universe.

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In conjunction with “We are the Center for Curatorial Studies”, this two month series reflects upon and proposes new directions for an institution of curatorial practice. Guided by artist projects, this fictional center takes the medium of the exhibition as pivotal to its futures. With: Can Altay, David Blamey, Katarina Burin, Jasmina Cibic, Céline Condorelli, Marjolijn Dijkman, Chris Kraus, Gareth Long, Ronan McCrea, Harold Offeh, William McKeown, Eduardo Padilha, Sarah Pierce, Richard Venlet, Grace Weir, and others.

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