Museum moderner Kunst Stiftung Ludwig Wien (mumok) is presenting its collection focus on Vienna Actionism in the context of international developments in performance-based art. Whereas previous mumok shows of Vienna Actionism always concentrated on the pictorial artifacts of the movement’s main protagonists, the focus of this exhibition is on the performative aspects of their creative work. Actions by Günter Brus, Hermann Nitsch, Otto Muehl, and Rudolf Schwarzkogler will be contrasted with works by significant international practitioners of performance art, with works by Marina Abramovic, Joseph Beuys, Chris Burden, Jon Grigorescu, amongst others.

Falke Pisano’s new commission considers the notion of ‘ethnomathematics’ with works that examine the cultural construct of mathematical practice. The exhibition includes a series of sculptures, diagrams and text pieces that approach issues such as exchange, measurement, design, navigation and calculation, and how methods and applications of these notions vary in different contexts. Her diagrammatic works expose a loop, in which shifting abstract sculptural forms are conceived directly in relation to written and spoken language, implying an ongoing and morphing production of meaning.

The work of Ree Morton (Ossining, NY, 1936 – Chicago, 1977) can be found in the specific art scene in the USA around 1970, characterised by a strong reaction to Abstract Expressionism, via Minimal art, on the one hand, and Conceptual art and Pop art on the other. Different hard-to-classify movements materialised and were defined by Lucy Lippard as “Eccentric Abstraction”, or, for instance, Post-minimalism and phenomenological and performative practices inclined towards ritualism, animism and the body. The show devoted to the artist in the Museo Nacional Centro de Arte Reina Sofía aims to represent a new landmark in the study of her work.

With the series The Power of Powerlessness, HAU Hebbel am Ufer is focusing on the widely-sensed phenomenon of powerlessness. Using the means of theatre, the festival will open new perspectives which do not view powerlessness solely as weakness but also use it as the starting point for strategies of empowerment. For more information and the full programme, visit: hebbel-am-ufer.de

The Hamburger Bahnhof – Museum für Gegenwart presents the first comprehensive exhibition in Germany devoted to the legendary Black Mountain College. Founded in 1933 in North Carolina, USA, Black Mountain rose to fame on account of its progressive teaching methods and the many prominent figures who taught and studied there. Its influence upon the development of the arts in the second half of the 20th century was enormous; the performatisation of the arts, in particular, that emerged as from the 1950s derived vital impetus from the experimental practice at Black Mountain. The exhibition traces the history of this university experiment in its main outlines.

The Museum of Contemporary Art, Los Angeles, presents Tongues Untied, an exhibition titled after the landmark film by poet, activist, and artist Marlon Riggs. Tongues Untied presents a selection of works from the museum’s permanent collection by John Boskovich, Felix Gonzalez-Torres, and others, alongside Riggs’s deeply personal and lyrical exploration of black gay identity in the United States. Made during a historical period marked by the onset of the AIDS crisis, the works navigate desire, love, loss, and mourning to engage and question sexual and political repression, expression, and deviation.

What kind of knowledge do we allow, what are the boundaries of free exchange? The Silent University, initiated by the Kurdish artist Ahmet Ögüt is an autonomous platform of exchange for academics, who can’t share their knowledge and skills as teachers due to their status of residence or because their degrees are not recognized. Knowledge that was silenced is being heard again. Silent University Ruhr is presented as part of Impulse Theater Festival 2015. For more information and the full programme, visit: festivalimpulse.de

If we think of new modes of art education in the given situation, should we fall back on formats and models of action that we already know, or should we think in terms of a new logic of action? Can we still think in terms of opposing forces, like classes for instance, or should we consider the forces at play in terms of a logic that can better be described as a form of liquid logic? Precarious Pedagogies (…) is a public lecture and debate with dr. Joost de Bloois (UvA), and is presented as part of Priscila Fernandes’ current exhibition in TENT. Reservations: office@tentrotterdam.nl

Naomi Bueno de Mesquita, Carly Everaert, Katja Heitmann, Julian Hetzel, Vinny Jones, Rick van der Linden, Maarten van Otterdijk, Hieke Pars, Eva Schippers, and Florian de Visser are invited to take part of Between Realities, the Dutch entry to the 2015 Prague Quadrennial. Between Realities is an ongoing research in the public space of Praha 1, the city centre of Prague. It consists of small scale interventions, cartographic explorations and public discussions with the audience and local and international guests. For more information and the full programme visit: betweenrealities.nl

The conference Images that mean the world raises the question about the limits of representation in politics as well as in the media and at the theater: How can we develop new forms of representation, which aren’t a permanent repetition of artificial boundaries? Which forms of structural empowerment and redistribution are possible? What are the limits of speaking out for somebody, of somebody, as someone different – and where is it an adequate medium of learning to understand? Images that mean the world is presented as part of the Impulse Theater Festival 2015. For more information and the full programme, visit: festivalimpulse.de

‘Violent Incident’ takes its title from Bruce Nauman’s 1986 video work. Combining three works from the M HKA collection, including the video by Nauman, with several artists not in the collection, the show explores the perverting of our intimacies; the transformation of affect and emotional excess into technical form, as strategies of industrial, institutional critique. Goodbye letters turned into art market machines, claustrophobically formal texts built to declare love, a correspondence course in how to see and draw better are considered as the results of and solutions to institutional indebtedness.

On False Tears and Outsourcing is the first institutional solo exhibition by Cally Spooner in the Netherlands. For her show, Cally Spooner will make a new series of devised, living gestures, which change every three weeks. The gestures mark the start of a long-term project by the artist, which considers the violence of being used as, and using, a Human Resource. The project presents choreographed instances in which language and emotional excess are extracted, then redeployed as strategy. The show runs parallel to and in dialogue with the group exhibition Violent Incident at Vleeshal Zusterstraat, curated by Cally Spooner and Roos Gortzak.

The duo Holzinger/Riebeek is renowned for its radically physical and strongly aestheticizing performances. With reference to the Gonzo genre (familiar to us from the fields of pornography and journalism), where the camera operator becomes part of the event, they attempt to project the spectators into events at a film location in the contemporary wilderness of a parking level. While the audience is given several perspectives of the actors’ actions, the production’s reality is revealed. ‘Gonzo. The Making-of’ is presented as part of the Berliner Festspiele – Foreign Affairs programme 2015.

Each year a few migrants who have hidden in the wheelbays of aircraft fall to ground as the undercarriage is lowered. They fall into the country, town, suburbs, and gardens that surround major airports, disrupting the stable identity of the place where they land and creating a collision of identity and social geography. In 2010 two women from Weisslingen discover the body of a man in a ravine in the forest that lay under the flight path to Zurich airport. Now in 2015 Graeme Miller has visited and recorded this site. Miller’s installation Beheld invites the audience, in an act of witness, into an intimate encounter with the location and its significance.

Die Ausstellung THE GOOD TIMES (are killing me) – benannt nach einem Punksong der Headcoats – beschäftigt sich mit Ritualen des Feierns und deren gesellschaftlicher Bedeutung. Die Ausstellung zeigt Werke von internationalen Künstler_innen, die sich mit Feier- und Musikkulturen befassen und nach den kulturellen Ursprüngen, Freiräumen und Abgründen von „guten Zeiten“ fragen. Dabei geht es auch um die Auseinandersetzung mit Sub- und Fankulturen, um Musik als soziales Phänomen und deren identitätsstiftende Kraft.

Museum moderner Kunst Stiftung Ludwig Wien (mumok) is presenting its collection focus on Vienna Actionism in the context of international developments in performance-based art. Whereas previous mumok shows of Vienna Actionism always concentrated on the pictorial artifacts of the movement’s main protagonists, the focus of this exhibition is on the performative aspects of their creative work. Actions by Günter Brus, Hermann Nitsch, Otto Muehl, and Rudolf Schwarzkogler will be contrasted with works by significant international practitioners of performance art, with works by Marina Abramovic, Joseph Beuys, Chris Burden, Jon Grigorescu, amongst others.

The work of Ree Morton (Ossining, NY, 1936 – Chicago, 1977) can be found in the specific art scene in the USA around 1970, characterised by a strong reaction to Abstract Expressionism, via Minimal art, on the one hand, and Conceptual art and Pop art on the other. Different hard-to-classify movements materialised and were defined by Lucy Lippard as “Eccentric Abstraction”, or, for instance, Post-minimalism and phenomenological and performative practices inclined towards ritualism, animism and the body. The show devoted to the artist in the Museo Nacional Centro de Arte Reina Sofía aims to represent a new landmark in the study of her work.

In the Spring of 2014, the four editors of LTTR’s fifth issue, Emily Roysdon, Ginger Brooks Takahashi, K8 Hardy, and Ulrike Müller gathered around the archive. The groundbreaking and playfully rigorous work of LTTR will now be exhibited for the first time and activated at Tensta konsthall. The exhibition Here We LTTR: 2002-2008 includes the group’s five issues of the journal as well as photographs and other documentation of LTTR’s social energy. Local and international guests connected to LTTR and to queer art, activism, and research, will guide a series of walk-throughs in the exhibition.

The Museum of Contemporary Art, Los Angeles, presents Tongues Untied, an exhibition titled after the landmark film by poet, activist, and artist Marlon Riggs. Tongues Untied presents a selection of works from the museum’s permanent collection by John Boskovich, Felix Gonzalez-Torres, and others, alongside Riggs’s deeply personal and lyrical exploration of black gay identity in the United States. Made during a historical period marked by the onset of the AIDS crisis, the works navigate desire, love, loss, and mourning to engage and question sexual and political repression, expression, and deviation.

‘Violent Incident’ takes its title from Bruce Nauman’s 1986 video work. Combining three works from the M HKA collection, including the video by Nauman, with several artists not in the collection, the show explores the perverting of our intimacies; the transformation of affect and emotional excess into technical form, as strategies of industrial, institutional critique. Goodbye letters turned into art market machines, claustrophobically formal texts built to declare love, a correspondence course in how to see and draw better are considered as the results of and solutions to institutional indebtedness.

Die Ausstellung THE GOOD TIMES (are killing me) – benannt nach einem Punksong der Headcoats – beschäftigt sich mit Ritualen des Feierns und deren gesellschaftlicher Bedeutung. Die Ausstellung zeigt Werke von internationalen Künstler_innen, die sich mit Feier- und Musikkulturen befassen und nach den kulturellen Ursprüngen, Freiräumen und Abgründen von „guten Zeiten“ fragen. Dabei geht es auch um die Auseinandersetzung mit Sub- und Fankulturen, um Musik als soziales Phänomen und deren identitätsstiftende Kraft.

Deels geïnspireerd op Georges Perecs gelijknamige hoorspel, gaat [THE MACHINE] uit van taal en subjectiviteit als een oneindige en continu veranderende ruimte van mogelijkheden. Deze zelf genererende performancemachine – met telkens een andere output bij elke voorstelling – is als het ware een laboratorium. [THE MACHINE] wordt gevormd door mensen die continu elkaars woorden en gebaren reproduceren volgens een bepaald algoritme. Output wordt input in deze live feedback-loop waarbij complex gedrag ontstaat uit simpele regels. [THE MACHINE] ontvlamt in een rollercoaster der verbeelding, speels switchend tussen jij, ik, wij en ‘the machine’.

The 7th Creative Time Summit is devoted to expanded notions of ‘curriculum’. In its original Latin, curriculum signified a course, like the path that one ran around or traversed in a racing chariot. When the term began appearing in 17th-century Scottish universities, it was used figuratively to mean ‘a course of study’. Eventually, it signaled that which prepares a person for working, thinking, and participating as a fully developed member of society. When understood as a network of lived experiences, learned actions, and known facts, curriculum speaks of all that this Summit hopes to address.

So far, Florentina Holzinger’s and Vincent Riebeek’s pieces have been colourful, sexy and well-padded with pop culture. Once the motto was No applause for shit, then there was Spirit followed by Wellness. No wonder, therefore, that the two of them now indulge in aestheticism for a whole evening, more particularly that of the exoticisms prevalent in the early 20th century. They bring some of the most brilliant dancing couples of that time to life again on this “Evening of Beauty”: including Vaslav Nijinsky and Bronislava Nijinska as well as that legendary duo “of vice, of horror and of ecstasy”: Anita Berber and Sebastian Droste.

South Korea has a great love of American culture. English lessons are therefore an absolute must. For this, Koreans go to great lengths, such as having the lingual frenulum of their children cut in order to enable them to pronounce the R, a non-existent consonant in the Korean language. In his performance the young director and composer Ja Ha Koo satirizes this endemic social phenomenon by portraying a fictional family. With the help of video and a CD player, he tartly sketches — in English, of course — a society caught between desire and reality.

The Brigittines International Festival brings you a programme of contemporary performances: innovative languages, bizarre universes, strange and original forms that speak to the imagination. The Festival is a collection of shows that hinge on a certain idea, presented as an object of thought, inventiveness or a sharing of fantasy. Every year, the Festival centres on a new theme, raising a new question and encouraging spectators to consider the issue on hand in a new light via the connections, the emotional paths and any suggested reading they are offered. The Festival theme this year will be ‘Outrages and Ravishments’.

PAF (Performing Arts Forum) invites you to the second annual Summer University. The month-long gathering brings together the unique opportunities that PAF can offer with four curatorial teams who will design and animate four different weeklong sections: music, philosophy, dance, text. Indigo Dance 2 explores the imaginary and potential by mingling domestic practice with aesthetic experience, conviviality with critical thinking and invention with desire and curiosity. The second edition like its predecessor, proposes PAF as the setting for an extra luxurious and highly convivial week of rethinking practice, form and expression in dance and choreography.

In 1979, Numax, a Spanish home appliance manufacturer, went bankrupt. The employees tried to save the company as a collective, but failed in their attempt. They recorded the last days of the factory on video. In 2013, Fagor, another workers collective and also a home appliance manufacturer, went bankrupt too. The Spanish artist and theatremaker Roger Bernat asked the Fagor employees to re-enact the last days of Numax, allowing them to more or less replay their own situation, but with a historical twist.

PAF (Performing Arts Forum) invites you to the second annual Summer University. The month-long gathering brings together the unique opportunities that PAF can offer with four curatorial teams who will design and animate four different weeklong sections: music, philosophy, dance, text. This last week of Summer University focuses on writing and text particularly within aesthetic practices independent of expression or dynamic. We are all writers and we use text, in process or as representation, in choreography or cinema, in poetry or law, tweets or novels, social networks and emoticons, etc. Let’s get together and we will for sure find out what will happen.

Please Remember is a solo exhibition of the South African artist Igshaan Adams, following a short residency period at A Tale of a Tub in Rotterdam. During the opening on 29 August (starting at 5pm) the performance Please Remember will take place, in which the artist’s father performs an Islamic funeral ritual. In addition, the exhibition will show existing and newly commissioned work.