110 Years, 110 Works. Société Générale Collection
Morocco
Rabat
2024
8
110 ans, 110 œuvres, at the Mohammed VI Museum of Modern and Contemporary Art in Rabat, commemorates Société Générale Maroc’s 110th anniversary and its long-standing commitment to art and Moroccan culture. This exceptional exhibition, a collaboration with the National Museum Foundation, features a precious part of the bank’s collection, including previously unseen works. It takes visitors on a timeless journey, tracing Moroccan art’s evolution from the early 20th century, starting with pioneers like Ben Ali R’bati, across four distinct periods to the present day. The exhibition highlights Moroccan artists’ contribution to national identity. It celebrates a rich artistic heritage and Société Générale Maroc’s enduring role in art’s promotion, anticipating the opening of its own museum in 2024. Visitors gain insight into Morocco’s artistic dynamism and the intricate relationship between banking and cultural patronage over more than a century.
Why should you watch this?
The exhibition 110 ans, 110 œuvres matters today because it shows how art can carry a nation’s memory while speaking to its future. Moving between the early brushstrokes of Ben Ali R’bati and the global perspectives of contemporary Moroccan artists, it evokes both pride and questioning: how does creativity define who we are in a world of constant change? Visitors may feel inspired by the intimate voices of the 1980s generation, who turned personal experience into universal expression, or by today’s works shaped through worldwide dialogue. Ultimately, the exhibition reminds us that art’s power to connect time, place, and people remains urgently relevant.
Maya Schweizer – Voices
Germany
Munich
2020
43
Human perception of time often resembles a collage — fragmented and layered, shaped by memory and experience. Berlin-based artist Maya Schweizer captures this complexity through her unique language of short film. In her work, everyday spaces become carriers of memory, interweaving found footage, situational observations, and soundscapes to create immersive, multifaceted narratives. Schweizer’s art subtly explores the intricacies of cultural identity and the role individuals play as political actors, encouraging deeper reflection on how we engage with our surroundings and their embedded histories. In her solo exhibition Stimmen (Voices) at the Museum Villa Stuck, composed of 10 films spanning the past 14 years, Schweizer gives voice to those who have disappeared, recounting stories of violence, memory, and loss, particularly within the context of German history and Munich’s past. By blending personal and collective histories, her work oscillates between documentation and staged reality, using urban spaces as laboratories for examining overlapping historical layers. As viewers dive into the culture of remembrance, Schweizer uncovers new and often unsettling depths of human memory, sparking a reflection on the invisible ties between people, places, and their histories.
Why should you watch this?
When I see the future, I close my eyes: Chapter II
Germany
Berlin
2023
45
In When I see the future, I close my eyes: Chapter II, Heba Y. Amin critically explores the intersection of colonialism, technology, and modern warfare, drawing attention to the lingering effects of these forces on contemporary society. Through installations, photography, and reconstructions, Amin revisits historical moments, such as early colonial photography and WWII landmines in Egypt, to highlight how visual and technological tools have been used to exert control and perpetuate violence. The exhibition asks us to reflect on how these past dynamics continue to shape narratives of power and oppression, urging us to confront the neocolonial tendencies of today’s technologies.
Why should you watch this?
CLUBS of the FUTURE. Common Spaces in Transitional Societies
Germany
Berlin
2024
54
CLUBS of the FUTURE explores the legacy of communal spaces, particularly the Houses of Culture across Europe and the former GDR, as it reflects on contemporary practices of collectivity and reform. Emerging from research into the 1,800 GDR Houses of Culture—two-thirds of which were closed post-reunification—the project addresses the societal gaps exploited by right-wing groups. Featuring innovative workshop formats, the exhibition includes Ina Wudtke’s video Greif zur Feder (Grab a Pen), Andrea Pichl’s Klub Zukunft (Future Club), and Ming Wong’s KONTAKTHOPE. Highlighting future-oriented projects, it also showcases garden initiatives like Katya Gardea Browne’s A Floating Garden & Exchange of Seeds, emphasizing the ongoing negotiation of shared civic spaces in times of transition. More at https://www.clubsofthefuture.net/
Why should you watch this?
GASTEV. How to Work
Russia
Moscow
2019
66
The exhibition GASTEV. How to Work examines the profound influence of Alexey Gastev, a key figure in Soviet thought and the founder of the Central Institute of Labor (CIT). Gastev’s work in the 1920s and 1930s revolutionized labor practices through his development of scientific labor organization (NOT), blending Marxist ideology with avant-garde approaches to efficiency, biomechanics, and human-machine interaction. His theories sought to transform workers into precise, efficient elements of industrial production, reflecting the broader Soviet utopian vision of reshaping society through labor. The exhibition contextualizes Gastev’s role not just as an organizer but as a visionary whose ideas on human potential and mechanization resonate with contemporary discussions on automation and the future of work. Despite his execution during the Stalin’s Great Purge/Terror, Gastev’s legacy continues to provoke thought on the relationship between labor, politics, and the shaping of the modern human.
More at http://avantgarde.center/gastev (in Russian only)
Why should you watch this?
Notes from the Underground. Art and Alternative Music in Eastern Europe 1968-1994
Germany
Berlin
2018
56
The exhibition Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994 examines the intersection of underground music and visual arts under communist regimes in Eastern Europe. It highlights how rock, punk, and new wave music, alongside performance art, fashion, and film, became tools of countercultural expression against state control. In response to censorship and scarcity, artists and musicians created homemade instruments, produced Samizdat magazines, and distributed recordings. The exhibition underscores the role of improvisation and irony in resisting authoritarianism, with works from Poland, Yugoslavia, the Soviet Union, and Czechoslovakia, offering a new perspective on how art and music intertwined as forms of dissent.
Why should you watch this?
In a time where freedom of expression remains a contested issue, Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994 draws vital parallels between past and present struggles against authoritarianism. By showcasing how rock, punk, and new wave music intertwined with visual arts to resist state control, the exhibition highlights the subversive power of creativity. From DIY instruments to Samizdat magazines, it captures the spirit of rebellion and improvisation that thrived under repressive regimes, making it a timely exploration of art’s role in confronting oppression and fueling collective resistance.
If our soup can could speak: Mikhail Lifshitz and the Soviet Sixties
Russia
Moscow
2018
59
The exhibition is dedicated to one of the most enigmatic, mysterious, and controversial philosophers of the USSR and his famous anthology of polemical texts, The Crisis of Ugliness, which criticizes the art of the 20th century. The retrospective showcases never presented before archive documents, Lifshitz’s texts, and artworks in ten interiors, each representing a milestone in the development of modernism or Lifshitz’s thought: 10 rooms – 10 stages of Soviet history – 10 knots in Lifshitz’s biography. The project is the first large-scale analysis attempt of the tense relationship between so-called progressive art and politics in the XX-XXI century.
Why should you watch this?
This exhibition is a must-see for anyone interested in the deep connections between art, politics, and society. Lifshitz’s The Crisis of Ugliness offers a rare Soviet critique of modernism, challenging Cubism and Pop Art in ways that still resonate today. The exhibition’s exploration of these ideas through archival materials, artworks, and Lifshitz’s own writings sheds light on the complex relationship between avant-garde art and political ideology. In a time of global crisis, Lifshitz’s critiques are more relevant than ever, inviting viewers to reconsider the role of art in shaping social consciousness.
Vladimir Bogdanov. Retrospective. Part of “The Classics of Russian Photography” Program
Russia
Moscow
2017
80
As part of the Classics of Russian Photography program, MAMM presents the first large-scale retrospective of renowned contemporary photographer Vladimir Bogdanov. The exhibition features over 100 photographs from the Multimedia Art Museum, Moscow, highlighting his work from the 1960s to the 1990s. Born in 1937, Bogdanov’s artistic journey began during the Khrushchev thaw, a period that allowed artists to explore themes beyond socialist realism. This era marked a shift where humanism replaced official dogma, enabling photographers to capture the lives of ordinary people. In 1955, while studying at the Textile Institute, he joined the Leningrad photo club VDK, transforming his passion into a profession. His compelling images reflect a deep connection to Russian society and its complexities during a time of change.
Why should you watch this?
The retrospective exhibition of Vladimir Bogdanov at MAMM is a must-see for anyone interested in the evolution of Russian photography. With over 100 photographs spanning three decades, it showcases Bogdanov’s profound ability to capture the nuances of everyday life against the backdrop of a rapidly changing society. Emerging during the Khrushchev thaw, his work offers a rare glimpse into a time when artists could break free from the constraints of socialist realism. Each image is not just a photograph but a reflection of human experience and resilience, making this exhibition a poignant exploration of cultural identity and history. Engaging with Bogdanov’s art invites viewers to reflect on the complexities of Russian society, enriching their understanding of both past and present.
Revolved Revolutions. On the Occasion of Centenary of the Great October Socialist Revolution
Russia
Moscow
2017
47
The exhibition illuminates the profound influence of the Great October Revolution on Eastern art. Featuring over 100 works from Soviet Turkmenistan, Uzbekistan, Azerbaijan, Mongolia, China, and Vietnam, the exhibition showcases a rich tapestry of artistic expressions—embroideries, posters, paper cutouts, and more—that reflect a unique amalgamation of local traditions and Soviet ideologies. Visitors will encounter the cult of personality through portraits of revolutionary leaders, discover the vibrant propaganda posters that redefined societal roles, and engage with stunning engravings depicting the industrial ambitions of China. This exhibition not only highlights the artistic responses to political shifts but also serves as a testament to the complex legacy of the Russian Revolution, revealing how hope, trauma, and cultural identity were woven into the fabric of artistry across nations. Many of these pieces are being showcased to the Russian public for the first time in decades, offering fresh insights into this historical narrative.