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Barbara Prenka @barbara_prenka Reunion with aunts and uncles, 2023 cotton fabric with holes, crocheted with synthetic yarn 160 x 130 cm the work is part of a triptych entitled Dita e Re (New Day). The work as a whole deals with the theme of censorship, showing how this practice involves not only the control of public communication, but also the destruction of everyday objects that constitute the identity of a place. In this particular case, the artist has reproduced a carpet, burnt by the Serbian army during the war, which one adorned his aunt’s house. It represents a pre-conflict life, which Prenka has revived from the ashes. as part of Double Take Censorship Self censorship Propaganda Until 15th July A plus A Gallery curated by School for Curatorial Studies Venice Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka

Kasia Fudakowski Reasons to Reproduce, Reasons Not to Reproduce, 2023 engraved brass plates 25 × 21 × 0.4 cm (each). Reasons To Reproduce and Reasons Not To Reproduce (2023), two engraved brass plaques, list the artist’s reasons (for and against) for having children. The two lists bounce off each other and some reasons appear on both lists as if to underline their absurdity. Made of polished me- tal, like plaques used to commemorate an event, the plates reflect the reader’s face, obstructing the legibility of the text. The work addresses the theme of the crossroads, status and power involved in any decision-making process. Courtesy of The Artist and ChertLüdde, Berlin_Photo by Marjorie Brunet Plaza as part of Double Take Censorship Self censorship Propaganda Until 15th July A plus A Gallery curated by School for Curatorial Studies Venice @curatorial.school Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka

Enej Gala @enejgala Starmaker, 2018, meat grinder, acrylic on wood, sawdust, pva glue, 25 x 75 31 cm Starmaker is part of the series Oggetti Riparati (repaired objects) and is a meat grinder involving an instant transformation of anything torn into stardust. The work plays on the ambition to become a star through an exercise in self-mutilation similar to the usual processes by which people get mangled to become famous. Thus making it becomes a simple self-sacrifice in which one self-transforms into a docile and maleable form (mincemeat) to take whatever shape is necessary for guaranteed success. Like other works in the series, Starmaker investigates the self-censorship of those who, in order to achieve another status quo, fragment or renounce their own identity. as part of Double Take Censorship Self censorship Propaganda Preview April 15th 2024, 11.30am – 8.30pm Opening reception: April 15th 2024, 5.30pm A plus A Gallery, San Marco 3073 Venezia 30124 curated by School for Curatorial Studies Venice April 16th to July 15th 2024 Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka Curated by @curatorial.school

Monilola Olayemi Ilupeju Untitled Figure (Folded in Frame) 2023, oil and acrylic on canvas, frame, 45 x 62 cm @monilola The piece is part of a larger body of work first showcased in the artist’s solo exhibition Gymnasia at A plus A Gallery in 2023. Drawing inspiration from the many contradictions of the gymnasium, Ilupeju depicts bodies painted on loose canvas that are then cut out and free to interact with the surrounding environment and objects inside. The artist’s gymnasium thus becomes a metaphor for the world, where marginalised bodies must find generative ways to move within it. In Untitled Figure (Folded in Frame) the painting’s composition collapses into itself. The frame, which cannot be opened, becomes a container holding an image suspended in a state of strategic distortion. The viewer must then question the motive behind the artist’s decision to obscure and accentuate certain parts of the figure and the breadth of ephemeral collage. Sometimes playful and at other times abject, Ilupeju’s figures are a vehicle to reflect on the ways art and its inherent ambiguities can make us more attuned to the social processes that determine what is revealed and what remains hidden. as part of Double Take Censorship Self censorship Propaganda Until 15th July A plus A Gallery curated by School for Curatorial Studies Venice Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka

Ahmet Öğüt I’m still alive, yet, 2024-ongoing Continuously updated certificate for organ donation with the artist’s heart rate updated daily @ahmet__ogut In I’m still Alive, yet, a certificate for organ donation is shown with the artist’s heart rate updated daily. The artist, after taking his last breath, grants permission to remove his heart to donate it to the Al-Shifa hospital in Gaza as a gift for the benefit of someone in need. The collector of this work is asked to agree to take on the responsibility of planning, with an international organ exchange organisation, the process of preserving and delivering the heart before transplantation into the recipient within acceptable cold ischemic time limits. Furthermore, it is the artist’s wish that the recipient be under 17 years of age. as part of Double Take Censorship Self censorship Propaganda Until 15th July A plus A Gallery curated by School for Curatorial Studies Venice Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka Ph: Clelia Cadamuro

Simon Denny Document Relief 9, (GDPR legislative acts), 2019 Document Relief 12 (GDPR European Commission Fact Sheet), 2019 Ink, print on archival paper, glue, metal plates 29.7 x 21 x 12.5 cm @sden023 Document Relief 9 (GDPR legislative acts) and Document Relief 12 (GDPR European Commission Fact Sheet) are sculptures made of layers of 3D printed paper assembled by hand. The works depicts the European Commission’s fact sheet on the General Data Protection Regulation (GDPR) Simon Denny removes and shapes the sheets of paper, causing the symbol of the European Union interconnected with a padlock to emerge from the bottom of the sculpture. as part of Double Take Censorship Self censorship Propaganda @aplusagallery A plus A Gallery, San Marco 3073 Venezia 30124 curated by School for Curatorial Studies Venice April 16th to July 15th 2024 Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka Curated by @curatorial.school

The Bots 2020, by Eva and Franco Mattes is a 7 episodes video installations series based on interviews with internet content moderators. The interviews were conducted in collaboration with journalist Adrian Chen during a year-long investigation. Several actors reenacted the interviews from home, filming themselves using their phones. Each video is installed on the back of a customized office desk of the same brand used at Facebook’s Berlin moderation center, @instagram @facebook where the interviewees worked. To tell their stories we have borrowed the aesthetics of fake make up tutorials used on social media to bypass censorship. Serious discourse – addressing topics such as violence, sexual abuse, hate speech and terrorism – is constantly interrupted by makeup tips. Makeup is a way of concealing imperfections on our faces, in a way not so different from content moderation, which beautifies the surface of the internet by removing unwanted content. as part of Double Take Censorship Self censorship Propaganda Preview April 15th 2024, 11.30am – 8.30pm Opening reception: April 15th 2024, 5.30pm A plus A Gallery, San Marco 3073 Venezia 30124 curated by School for Curatorial Studies Venice April 16th to July 15th 2024 Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka Curated by @curatorial.school Ph: @cleliacadamuro #labiennaledivenezia #labiennaledivenezia2024 #andyeahmybosswasmarkzuckerberg

Posted @withregram • @evainternational A press release announcing the curatorial team for the 41st EVA International is available to view on e-flux Announcements (see link in bio). The appointments include Eszter Szakács as Curator of the Guest Programme, Iarlaith Ní Fheorais and Roy Claire Potter as Selectors of EVA’s Platform Commissions initiative, and members of the EVA team led by EVA Director Matt Packer. The 41st edition of EVA is due to open across Limerick city from 29 August through to 26 October 2025. 📷 Portrait of Eszter Szakács. Photo by Fransisca Angela. Portrait of Roy Claire Potter. Photo by Ilaria Falli. Portrait of Iarlaith Ní Fheorais. Photo by Tomás Eyzaguirre. @artscouncilireland @limerickarts @esztr @potnast @iarlaith_nifheorais @mattpa_ker #41stEVAInternational #GuestProgramme #PlatformCommissions #Biennial #Limerick #ContemporaryArt

Posted @withregram • @standpointgallery 🥁🥁Mark Tanner Sculpture Award 2024/25 Shortlist Announced 📣📣 Standpoint is delighted to announce this year’s Mark Tanner Sculpture Award shortlisted artists are: Harriet Bowman, Guendalina Cerruti, Enej Gala, Agata Madejska, Laura Ní Fhlaibhín, Anna Perach, Madeleine Pledge and Davinia-Ann Robinson. The shortlisted artists were selected from close to 300 entries by a judging panel comprising: Alice Channer; Gemma Brace, Head of Exhibitions, Arnolfini; Rebecca Scott, Director, Cross Lane Projects and Mark Tanner Trust; and Steph Huang, MTSA winner 2023/24. The eight artists are shortlisted for the £10,000 award, which offers the winner financial support towards the production of new work, a funded solo exhibition at Standpoint, London, plus a National Touring Programme.  The Mark Tanner Sculpture Award is the most significant award for emerging UK artists working in the field of sculpture. It seeks to reward outstanding and innovative practice, with a particular interest in work that demonstrates a commitment to process, or sensitivity to material.  The winner will be announced at the exhibition opening for the current recipient, Steph Huang, at Standpoint on Thursday 16 May 2024.  Congratulations to all! ⚡️ Image details:  Enej Gala, Stable Neighbours, 2015, installation view at AplusA Gallery, Venice, Italy; Davinia-Ann Robinson, distinction between felt flesh, 2022, photo: Theo Christelis; Guendalina Cerruti, Life is a Rollercoaster, 2023;  Laura Ní Fhlaibhín, Slug Love, 2023, photo: Peter Otto;  Agata Madejska Housing T (Current Affairs), Installation view, Flat Time House, London, 2024; Harriet Bowman, (installation shot) screen (a), screen (h), screen (b), 2023; Anna Perach, Venus (close up); Madeleine Pledge, ‘receiver (double moulded wadded) (double chrome, unfixed upright)’ on ‘untitled (double stack)(Keeler/ Vogue, October 2023) (pair)’, 2023. @harrietbowman @guendaina @enejgala @agata__madejska @lauranifhlaibhin @anna_perach @madeleinepledge @davinia_ann #mtsa @al_thru_glass @gemmabrace @rebeccscott @theinvisibleisland

The black censor’s ship just landed in Venice yesterday. The Bots 2020, by Eva and Franco Mattes is a 7 episodes video installations series based on interviews with internet content moderators. The interviews were conducted in collaboration with journalist Adrian Chen during a year-long investigation. Several actors reenacted the interviews from home, filming themselves using their phones. Each video is installed on the back of a customized office desk of the same brand used at Facebook’s Berlin moderation center, @instagram @facebook where the interviewees worked. To tell their stories we have borrowed the aesthetics of fake make up tutorials used on social media to bypass censorship. Serious discourse – addressing topics such as violence, sexual abuse, hate speech and terrorism – is constantly interrupted by makeup tips. Makeup is a way of concealing imperfections on our faces, in a way not so different from content moderation, which beautifies the surface of the internet by removing unwanted content. as part of Double Take Censorship Self censorship Propaganda Preview April 15th 2024, 11.30am – 8.30pm Opening reception: April 15th 2024, 5.30pm A plus A Gallery, San Marco 3073 Venezia 30124 curated by School for Curatorial Studies Venice April 16th to July 15th 2024 Artists Paolo Cirio Jesse Darling Simon Denny Kasia Fudakowski Enej Gala Monilola Olayemi Ilupeju Eva&Franco Mattes Ahmet Öğüt Barbara Prenka Curated by @curatorial.school Ph: @cleliacadamuro #labiennaledivenezia #labiennaledivenezia2024 #andyeahmybosswasmarkzuckerberg

La Biennale Poliziotta 1968. Foto Graziano Arici @grazianoarici Double Take Censorship Self censorship Propaganda Preview April 15th 2024, 11.30am – 8.30pm Opening reception: April 15th 2024, 5.30pm A plus A Gallery, San Marco 3073 Venezia 30124 curated by School for Curatorial Studies Venice April 16th to July 15th 2024 Artists Paolo Cirio @paolo.cirio.art Jesse Darling @jessedarling Simon Denny @sden023 Kasia Fudakowski #kasiafudakowski Enej Gala @enejgala Monilola Olayemi Ilupeju @monilola Eva&Franco Mattes @evaandfrancomattes Ahmet Öğüt @ahmet__ogut Barbara Prenka @barbara_prenka Curated by @curatorial.school #labiennaledivenezia #labiennaledivenezia2024

Last two days to visit Sidereal Messenger @anastasiyaparvanova — This exhibition is conceived as a dream that mankind has about life and nature. The spatial arrangement of the gallery follows this path. It is a liminal space between dream and awakening, wakening and falling asleep. It is a goodnight prayer of awareness, a morning breeze of knowledge ahead of us — a portal for the ever coming of the New. Image: Anastasiya Parvanova Radici (Fili, ife e grifi), 2023, oil and acrylic on canvas, 140 x 100 cm Ph @cleliacadamuro