I økologiske kriser: Omsorg mellem generationer og arter
AUNOVA
lím collective & ARIEL - Feminisms in the Aesthetics
Thinking Like a Forest - new social practices
Soiled Archives
Dorota Gawęda and Eglė Kulbokaitė-
- Hosted by BLADR
Fear and Fauna
ARTS OF REPAIR: PART 2: REFLECTIONS ON THE IMPORTANCE OF CARE WORK AND SEPARATISM
– Collaboration with Laboratory for Aesthetics and Ecology
We choose the birds' language
Eva Posas
Arts of Repair: Part 1: Reproductive Justice
– Collaboration with Laboratory for Aesthetics and Ecology
Hamra
Monia Ben Hamouda
Ariel is searching for her habits everywhere
Melanie Kitti
For Alberta and Victor, a collection of conjurings and opacities
La Vaughn Belle
– guest curated by Daniela Agostinho
A webshop through the Ages
Hannah Heilmann
Mobile Fragments
– Edna Bonhomme, Luiza Prado de O. Martins
In collaboration with Ida Bencke
Kunst Forskelle Fællesskaber
Yvette Brackman & Bettina Camilla Vestergaard
Songs From The Compost
Eglė Budvytytė
ARIEL PRESENTS Songs From The Compost, THE eigth EXHIBITION IN OUR FIRST exhibition cycle
Buenos días mujeres
Val Lee
Guest curated by Jo Ying Peng from Vernacular Institute.
Io Lib.
Marie Kølbæk Iversen
Will you feel comfortable in my corner?
Ndayé Kouagou
Gold Loop (Triad), 2020
Jen Liu
FCNNNews : The Archive
FCNN / FEMINIST COLLECTIVE WITH NO NAME
I know she is light and faithless / there is someone in the shadows/ flip-flops and changes / I bathed my snow skin / in a coral castle / fragrant plums breathe / waiting for the spring / pink air and an ocean of jelly fish
Astrid Svangren
Curtain Drop
Mathilde Carbel
For Alberta and Victor, a collection of conjurings and opacities
La Vaughn Belle
– guest curated by Daniela Agostinho
For Alberta and Victor, a collection of conjurings and opacities, is an exhibition by St. Croix-based artist La Vaughn Belle, guest curated by Daniela Agostinho.
The exhibition presents a new body of work, comprising a video essay and a large-scale collage from a broader series entitled “How to Imagine the Tropicalia as Monumental” (2021). The exhibition engages with the narrative of Alberta Viola Roberts and Victor Cornelius, who were taken as children from the Danish West Indies to be displayed in the 1905 colonial exhibition at Tivoli Gardens, organized by Emma Gad, co-founder of the Women’s Building.
With this intervention in ARIEL’s space, Belle explores how unremembered histories can be inscribed in bodies, paper, landscapes, seascapes, and the built environment. Working with the gaps in knowledge about the lives of the two children before they were taken to Denmark, the video work "In the place of shadows" (2021) employs critical fabulation to wonder about Alberta and Victor’s childhood memories on the Danish West Indies. Shot in St. Croix, the work explores traces of history lodged in the landscape to surface the continual haunting of past presences on the island. Turning away from the violence of archival records, the video is conceived as an offering to Alberta and Victor, an attempt to create a space of care and regard for the memories of their early life.
Covering part of the exhibition space, Belle’s collage work explores the gesture of assembling and reconfiguring material fragments of history to imagine new conceptions of time, space and self. Originating in a set of paper previously damaged by a storm, the piece explores and resignifies the memory of devastation lodged in the material to “transgress temporal limitations, cross infinite distances, and invent multiple horizons”. In layering multiple elements pulled from the artist’s vocabulary, the piece speaks to how the colonial past and present are not separate but juxtaposed, entangled and fluid.
Together, this new body of work extends Belle’s counter-archival practice to explore how to summon a different kind of knowledge from fragments and traces of history. The exhibition offers a room for spatial and temporal collapse— what the artist terms a space of “pastpresentfuture”—, where different spaces and times touch, muddle and speak to one another, surfacing unremembered histories and their unresolved unfolding.
UPCOMING
ARI. Readings 12# For Alberta and Victor, a collection of conjurings and opacities.
Wednesday December 1st. from 6-8pm (CET). ZOOM.Free admission.
Sign-up: arielfeminisms@gmail.com
The exhibition is realised with the generous support of the Danish Arts Foundation and the Copenhagen Council for Visual Arts.
BIOGRAPHIES
La Vaughn Belle makes visible the unremembered. She is a visual artist working in a variety of disciplines that include: video, performance, painting, installation and public art. She explores the material culture of coloniality and her art presents countervisualities and narratives that challenge colonial hierarchies and invisibility. She has exhibited in the Caribbean, the USA and Europe. Her work has been featured in a wide range of media including: the NY Times, Politiken, VICE, The Guardian, Caribbean Beat, the BBC and Le Monde. She holds an MFA from the Instituto Superior de Arte in Havana, Cuba, an MA and a BA from Columbia University in NY. Her studio is based in the Virgin Islands.
Daniela Agostinho is a cultural theorist and curator. Her research and curatorial practice focus on visual legacies of colonialism, the aesthetics of late modern conflict, and with how art and visual culture mediate relationships to power. Her research and curatorial project Archival Encounters is concerned with how artistic practices engage with the visual debris of Danish colonial archives. She is co-editor of the books Uncertain Archives: Critical Keywords for Big Data (MIT Press, 2021), (W)archives: Archival Imaginaries, War and Contemporary Art (Sternberg Press, 2020), and The Uncertain Image (Routledge, 2019). She is Assistant professor in the School of Communication and Culture, Aarhus University.
Photos: Malle Madsen
Las two images courtesy La Vaughn Belle
1) Detail shot of "How to Imagine the Tropicalia as Monumental", 2021
2) Still from video; “In the place of shadows”, 2021
Exhibition is open by appointment: arielfeminisms@gmail.com
The project and exhibition is generously supported by:
Bikubenfonden
Statens Kunstfond
København Kommune, Rådet for Visuel Kunst
Hübsch Danish Interior and Design
Tæppeland
MARI KANTER arkitekter
Decor Farver
faustlight
Flügger farver
STARK
Kvindernes Bygning
ARIEL – FEMINISMS IN THE AESTHETICS is a nomadic platform for curation and learning.
We engage with the personal, bodily, environmental and political ramifications of an unjust world and facilitate meeting points between institutions, practices and people across contexts and generations.
As a nomadic platform we are continuously seeking new relations, contexts and a deepening of knowledge. Our hope is to keep learning and collaborate to further broaden ARIEL’s feminist curatorial practice and research.
ARIEL consists of Nina Wöhlk, Leandro Ferre Caetano and Frederikke Planck Granvig. ARIEL was founded in 2019, and co-directed with Karen Vestergaard Andersen until 2023, from 2021-2023 co-curated with Helen Nishijo Andersen, and from 2023-2024 with Karen Grønneberg and Claudine Zia.
During ARIEL's lifespan, both Mille Højerslev (from 2020–2023) and Louise Biller (in 2024) have contributed to the work of ARIEL.
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ARIEL PRESS publish and co-produce publications in connection with ARIEL's exhibitions and public events.
All publications support ARIEL's overall mission to nuance and illuminate a current and diverse field of intersectional feminist theory and art practice in the 21st century.
For following publications go to:
A BETTER LIFE FOR THE WORKERS (I) JEN LIU
I'M TRYING TO BUY LESS, HANNAH HEILMANN
HAWWA. MINORITETSGJORT FØDSEL OG MODERSKAB
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THE WOMEN'S BUILDING
ARIEL – Feminisms in the Aesthetics was founded in collaboration with the Women’s Building.
From 2019-2022 ARIEL hosted a diverse program of exhibitions available to the public 24/7 with the aim of building upon the groundbreaking work done by The Women’s Building.
By joining hands and contribute to the public discourse a multidisciplinary environment, that would reflect and support the many initiatives and organizations in the building, was assembled:
Danish Women’s Society, Intercultural Women’s Council, Women’s Artists’ Society, Women’s Council, Women in Music, Folkevirke and KFUK’s Social Work.
Visual identity; Alexis Mark.