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“Les filets d’hyphes (Nets of Hyphae)” interweaves several stories and representations linked to the use, at the edge of modern medicine, of plants, fungi and bacteria by women and minorities, as a form of alternative knowledge and technology giving access to one’s own body. With a collection of videos, sound pieces and silkscreen prints on fabric, Diana Policarpo explores the history of Claviceps purpurea, also known as ergot of rye, a fungus that lives as a parasite on grasses, and was the cause of St. Anthony’s Fire disease in the Middle Ages. Ingestion of this fungus, present in the rye used for making bread, provoked burns and hallucinations.Ergot of rye was traditionally used in small doses by women to facilitate childbirth or abortions, or to treat post-partum bleeding. This curative knowledge practiced by healers and midwives was broadly wiped out by the hegemonic narratives produced by modern science, making way for obstetric medicine as a patriarchal tool for the control and reproduction of bodies. Albert Hoffmann’s discovery of LSD in the 1930s and the synthesis of ergot in the laboratory ended up rendering invisible a completely different epistemology, the oral history not only of the transformation and alchemical processes of this parasite, but also of interspecies relations that feminist activists are attempting to find again and revive in artisanal workshops dedicated to gender hacking and DIY gynaecology.The exhibition “Les filets d’hyphes (Nets of Hyphae)” by Diana Policarpo at the Crac Occitatnie is an extension—a parasite!—of “Minuit (Meia-Noite),” 4th Coimbra Biennial 2021–22, as part of the France-Portugal Season. In constructing this biennial, guest curators Filipa Oliveira and Elfi Turpin were inspired by a colony of bats living in the Biblioteca Joanina in Coimbra. This 18th century library—a treasure of the University of Coimbra—was erected as an imperialist gesture aiming to encapsulate European knowledge and support the colonial project. This fortress of knowledge (and power) is also the refuge of a small colony of nocturnal animals: bats, which found an ideal habitat in the library’s ecological conditions. The insects and worms that live in the 55,000 books feed the bats, while the nocturnal silence gives them unlimited freedom. Night is when they come out of their hiding place and get work, hunting bibliophile insects and protecting the books from a slow destruction.Elfi Turpin & Filipa Oliveiraat Crac Occitanie , Sèteuntil July 31, 2022Günter Umberg’s paintings are not limited by format. In his exhibition “FELD 2 (FIELD 2)”, he links architecture, space, and picture in a situation that highlights and makes palpable the main theme of his oeuvre: the relationship between the work and its beholders. It is this particular relationship through which the picture comes into existence in the first place. Although autonomous, the work is not independent of the site; rather, it is positioned in close relation to beholders through the spatial context. As in previous shows at the Städtische Galerie im Städel in Frankfurt, the Secession in Vienna, and the Museum moderner Kunst in Frankfurt, Umberg has constructed a spatial situation in our gallery on Domgasse that consists of a three-dimensional architectural structure that seems to intervene in the gallery space. Created as a sculptural object that we can walk around and that is not a picture support in the traditional sense, it structures the gallery into individual areas. The resulting spaces, sight lines, and vertical and horizontal structures guide our gaze and movements. They impact the length of time we reflect and integrate the dimensions of temporality, closeness, and distance in Umberg’s overall artistic concept. Shaped like a letter L, the spatial intervention consists of high partitions that separate two works—a photograph and a monochrome painting—positioned on either side of the gallery. While this prevents us from looking at both works at the same time, or the works from interacting with one another, new and unexpected perspectives arise that enrich our engagement with them. The exhibited works reflect Umberg’s idea of a network of relations in which even the monochrome painting exists only in physical experience and perception. If we choose one of the two entryways created by the partitions, we encounter a photograph that refers to a heterogeneous, three-dimensional structure both formally and thematically: The picture shows the spectacular room installation Ein Bilderhaus (A Picture House), which the artist created in 2004 for Art Basel Unlimited. Through his idiosyncratic, large wood construction, which creates rooms, passageways, and structures but does not present an autonomous artwork in the traditional sense, Umberg navigates themes such as appearance, presence, absence, memory, expectations, and fantasy.“FELD 2” transforms the gallery into a field of experience, into an “architecture-cum-picture-cum-painting” that, as an overall spatial construction, functions for Umberg as a picture support and metaphor for his idea of what is a picture.at Galerie nächst St. Stephan Rosemarie Scwarzwälder, Viennauntil July 30, 2022“MANIFESTIAMO” is a collective format including installations, workshops, round tables, films and talks by more than 70 artists and researchers addressing issues of artistic practice and its current conditions over the course of three months. It is an open format that—following the Scuola Popolare in the summers of 2020 and 2021—shuns hierarchies and strategies of dominance, proposing institutional work as a collaborative process.Since its beginnings, Villa Romana has been a space devoted to artistic thought and action, generating resonant spaces. A ‘protected’ space of this kind raises questions: who is protecting whom from what? Which space is allocated to art and from which is art excluded and separated? Is it possible to imagine an institutional practice that— in both its inner structure and its public work—does not aim for distance, consumption and canonisation, but seeks alliances that welcome all languages and speechlessness, all bodies and inadequacies? That creates or simply uses spaces to learn from and with each other, to exchange, to listen?at Villa Romana, Florenceuntil July 21, 2022Waves, shells and sugar. Fragmented memories, lost, then rediscovered and mended. These are some of the themes that weave the red thread of this Mauritian exhibition. But just like the island of Mauritius, the exhibition wayfarers and intersects multiple geographies and histories. The title of the collection recalls the natural elements of the island and the movements of its inhabitants and diasporas, where the latter reconnect via an oceanic, yet digital dimension. The movement that is performed is partly circular. It reminisces Glissant’s words in Introduction to a Poetics of Diversity, where the author explains the diasporic paradox of an “all [that] starts from one place and comes back to it, moving in a circle.” Yet at the same time, such movement moves from its point of origin and extends outwards. Not a closed circle, but a spiral that infinitely extends from its centre. The collection is curated by Vashish Soobah, a multidisciplinary artist, who during his London years, found himself elaborating a new dimension of racialization and multiculturalism, quite different from the Italian one in which he grew up. There, he met numerous communities and creatives who had migrated multiple times, and whose identities had been perpetually shaped into new geographies. A process as old as history, and as old as the Mauritian archipelago. As part of his wider mapping practice, Vashish weaves together works by different artists and experiences. Some narrate the island whilst having their feet immersed in its waters and hands in its sands, and others recount it from afar, seeking the islands in the stories of the elders.Nadi by Shiraz Bajoo and Shivanjani Lal is an audiovisual installation that spans across different geographies, bound by indentured histories. Ancestral language becomes a place of resistance.Où est la pouce is a non-linear journal by Sophie Soobramanien, recounting her return to Mauritius and her conflicting feelings. A cacophonic collage that explores what it means to go back to a place where one has never lived.We can escape to the great sunshine by Mati Jhurry is a skilful mosaic of images and juxtapositions that emphasise the sense of vulnerability and the fragmentation of experiences encountered when reconnecting to one’s land of origin.A Refinement by Amanda Ramaswamy, on the other hand, investigates time frames and historical processes, getting her hands dirty with the chemistry and materiality of things. She opens a poetic investigation on sugar and its properties to be intended physically, metaphorically and historically, Sugar becomes a vehicle to explore concepts of race, work and identity on the island.Wet tongues by Kama La Meckerel, uses poetry and tactile gestures to promote a practice of collective healing from colonial pasts.Mandir Capitolo II by Vashish Soobah is a short autobiographical documentary that explores the concepts of belonging and home, trough interviews spanning from the artist’s public sphere trough to his family life.“Of Waves and Spirals” is an exhibition that not only develops on a Mauritian and international level, but also on the Italian one, as it calls into question the local curatorial practices, emphasising the importance of self-narration at all stages of the art-making process. In fact, with the support of Almanac, this exhibition is entirely assembled by people coming from racialised and plural backgrounds.Via creole visual tales, adrift between space and time, the artists and the curator tell their stories and lull the spectator in a fragmentary yet choral manner.S. Himasha Weerappuligeeat Almanac Inn, Turinuntil July 17, 2022

Capital Knowledge in Art (CapitalKA)

by DHAdmann