Artists: Sammy Baloji (DR Congo), Yael Bartana (Holland/Israel), Eric Baudelaire (France), Ursula Biemann (Switzerland), Ross Birrell (UK), Michael Blum (Canada/Israel), Broomberg and Chanarin (UK/South Africa), Abraham Cruzvillegas (Germany/Mexico), Anita Di Bianco (Germany/USA), Marcelo Exposito (Argentina/Spain), Douglas Fishbone (UK/USA), Zachary Formwalt (Holland/USA), Wynne Greenwood and K8 Hardy (USA), Tamar Guimaraes (Brazil/Denmark), Lamia Joreige (Lebanon), Graziela Kunsch (Brazil), Michael Takeo Magruder (UK/USA), Renzo Martens (Holland), Oliver Ressler (Austria), Katya Sander (Denmark), Slum-TV (Kenya), Hito Steyerl (Germany), Walid Raad/The Atlas Group (USA/Lebanon) and Alejandro Vidal (Spain).
In the course of two months, the exhibition will be presented in three chapters: The Speaker, The Image and The Militant. The three separate displays of artwork refer to the rotation of the news cycle, while each responding to the overall theme.
The Speaker (28th May - 19th June) concerns a specific figure, the speaking subject or author, also in terms of editorial processes and camera angles. What can enable a subject to appear as authentic, authoritative and truthful? The Image (22nd June - 10th July) examines how images are produced, through framing and positioning, but also how counter-images are created. Despite the claim of neutrality and pragmatism, this chapter proposes an 'aesthetics of journalism'. The Militant (13th - 31st July) continues the strand of counter-images, but by using journalistic means such as exposé and research. These methods often work to uncover what a corporate media industry does not, and thus return to some of reportage's initial claims.
All That Fits: The Aesthetics of Journalism is supported by the Danish Art Council, Mondriaan Foundation, Autograph ABP, The Jack Kirkland Collection, the Embassy of Brazil in London and Centre National des Arts Plastiques (France).
image: still from 'Contained Mobility', courtesy Ursula Biemann