Art Brussels is one of the most important international spring fairs. It is an opportunity for discovering the new Kanal Centre Pompidou and for venturing into places that, like Senne, Société and Imal, are participating in the artistic expansion of Brussels.
Never has a technique or technology so intensified artistic practices in a way that is as dazzling as it is long-lasting, beginning with the fields of sound and image, which have been revolutionized profoundly; to the point that there is not a single work today without some digital component, as small as that may be.
The Second Nature festival became the Chroniques biennial that takes place in various spots between Aix-en-Provence and Marseille. This first edition, artistically directed by Mathieu Vabre, welcomed Québec as guest of honor.
The beginning of September, for those who scrutinize societal evolutions that researchers or artists reveal in the analysis or the use of emerging technology occurs in Linz at Ars Electronica. This year, the Austrian festival focuses on error in order to consider an Art of Imperfection.
Created in 2012 by Alain Thibault, the International Digital Art Biennial (BIAN) assures the continuity of the Elektra festival initiated in 1999. It takes place in various venues, including the Society for Arts and Technology (SAT) and the Arsenal Contemporary Art.
Eva Respini, accompanied by Jeffrey De Blois, is the curator of the Art In The Age Of The Internet, 1989 To Today exhibition, at the Boston ICA, where the works are based on five sections questioning the relations that artists have with the Internet, to interrogate societal mutations.
Art Brussels, celebrating its 50th anniversary this year, acts as a catalyst as it is followed by institutions, galleries and collectors who take advantage of the opportunity to organize leading events there. In April, exhibitions took place at the same time, from the Wiels to the Centrale or the Raffinerie, or even the Société d’électricité or Senne.
Exhibitions follow one another at the Zentrum für Kunst und Medientechnologie under the goodwill of Peter Weibel, its director, who is collaborating with intern or extern curators to set up exhibitions, such as Radical Software, Datumsoria, Open Codes and Hybrid Layers.
This year, the curation of the 14th Lyon Biennale, cofounded in 1991 by Thierry Raspail (director of the Museum of Contemporary Art of Lyon) was handed over to the art historian and director of the Centre Pompidou-Metz Emma Lavigne. Second episode of a trilogy articulated around the 'modern' word, it is dedicated to the Floating Worlds.