Korean Museum of Contemporary Art, Seoul, South Korea

5th Oct 2018 –
31st Jun 2019

Sponsored by:
Hyundai Motor Company, The Dong-AIlbo, Bayerische Motoren Werke AG (BMW)

Curated by Kim Yeonjin

Artists: Jae Uk Kim, Ji Eun Ku, Leodav, Young Wook Song, Yalu, YeoJun Yoon, Joo Won Lee, Un Sik Jung, Sang Lim Han, Eu Young Hong, Adem Elahel, AJ Laas, Cagil, Carlos Beltran Gomez, GOLGOTHA, Jack Turpin, Juan Osorio, Kevin Bray, Pierre Pauze, Raphael Fabre, Yuehao Jiang

Le Petit Prince (The Little Prince), first published in 1943, is one of the world’s best-selling books and most translated novels, appearing in 180 different languages. Especially after Korea’s independence. ‘The Little Prince’ has been particularly read among the public and spread by word of mouth. It has been made into a musical, movie, drama, song, and animation by countries all over the world and, peculiarly, a museum to commemorate the novel was established in Japan. These trends definately show how loved ‘The Little Prince’ is. However, even though the novel was created through such diverse cultural and artistic media, it is rare to find such a phenomenon in contemporary art. It may have been thought to be unsuitable to express story oriented artwork. In terms of the separation of art and life, they are no longer seperable, as almost everything in the world is becoming an art medium. In particular ‘media-art’ has overcome ‘narrativeness’, the existing vulnerability of Contemporary Art.

An illustration by the author Antoine de Saint-Exupery, and a book that describes his imagination, when met the media art representing the identity of contemporary art, visually and sensuously actualises deep metaphors, symbols, dreams, idealology, wisdom and insight about life. Contemporary art does not simply approach audiences, but is optimised to directly express the theme by using metaphor and symbolism. Just like the famous lines of ‘The Little Prince’, a contemporary art show will be held to express the ‘S’il vous plait – dessine-moi un mouton’. In other words, the ingenious imagination and an intuition of contemporary art will translate ‘The Little Prince’ into a sensible world that transcend boundaries of time and space


(H)AKT: Art & Haktivism

Ugly Duck, Bermondsey, London, United Kingdom

19th Jul 2018 –
22nd Jul 2018

Sponsored by: s[edition]

Curated by Geraldine Atg

Artists: Matteo Zamagni, Pui Lok Ng, Paolo Cirio, Martha Orbach, Camila Gonzalez Corea, Cuco, Laura Carvalho, Amelie Barnathan, Pierre-Paul Pariseau, Rebecca Flynn, Billy Fraser, Nathaniel Faulkner, AJ Laas, Marco Pantaleoni, Realf Heygate, Alexa Wilson, Dimitris Kyriakoudis, Brigitta Zics, Hamed Maiye, Clareese Hill, Matthias Moos, Lara Proctor, Sam Wootton

Art&(H)aktivism has been developed by Ugly Duck with assistance from guest Curators Ashley Lee Wong (digital curator and researcher at Sedition and Meta Object), Nicole Crentsil (founder of Unmasked Women, an exhibition channelling the Black British female experience) and Professor Tim Jordan (Head of the School of Media, Film and Music and Professor of Digital Cultures at University of Sussex)

Ugly Duck presents (H)AKT, a weekend showcasing works, processes and thoughts from independent artists and practitioners

As part of Ugly Duck’s 2018 Creative Season: Art & Haktivism, (H)AKT’s weekend programme is centered around the act of using creativity to advocate for social change and subvert systems that are in place. It will explore the intersection of Art, Hacking and Activism.

The program will include an exhibition taking over two spaces in our Tanner Street location, as well as talks and performances throughout the weekend.

Thursday 19th July
– Opening Night – 18:00 – 21:00

Friday 20th July
– Exhibition opens 12:00 – 21:00
– Talks Geraldine Atger (Ugly Duck) – Tim Jordan – (Sussex University) – Art the Arm Fair
– Artists Cuco – Martha Orbach – Alexa Wislon

Saturday 21 July
– Exhibition opens 12:00 – 21:00
– Performances – Laura Carvalho / LAURA_AkiÓ-> –TeaTrucke 1pm – 3 pm (in the street around Ugly Duck)
– Alexa Wilson 7.30 Pm – Hub Ugly Duck

Sunday 22 July – 12:00 – 17:00
– LAURA_AkiÓ-> TeaTrucke 1pm – 3 pm (in the street around Ugly Duck)



Centre de la Gravure, La Louviere, Brussels, Belgium

28th Apr 2018 –
16th Sep 2018

Curated by Jean Pierre Muller

Contributing Institutions:
– Université Libre de Bruxelles, Belgium
– ENSAV La Cambre, Belgium
– Koninklijke Academie, Antwerpen
– Central Saint Martins, London
– HGB Leipzig, Germany
– PrintRoom, Rotterdam
– Royal Academy of Art, The Hague (KABK)

Editions as seditions, prints as means of counter-information, from pamphlets to samizdats, from posters to clandestine press: the history of print being one of diffusion of ideas and images, it is therefore logical that print should become the vehicle for rebellious and/or parallel ones. This is the source reflection for OVERPR!NT: “What can you say in print over, under and between the official lines?”

OVERPR!NT is the fruit of years of cooperation between some of Europe’s top art schools, members of the Printmaking Union. The constant flux of exchanges allows the emergence of a non-uniform thinking and creation.

OVERPR!NT is three exhibitions in one:

A selection of printed artworks (Rauschenberg, Barbara Kruger, Kiki Smith, …), confronted with young artists’ creations especially conceived for OVERPR!NT.

The central part of the exhibition space will be devoted to performance, action and in-situ production. Simultaneously transformed into a laboratory, a print workshop, a young artists’ cooperative and a meeting place, the museum will channel the urgency of present times.

La Louvière, daughter of the Industrial Revolution, was officially born en 1969, four years into Léopold 2's reign. Sixteen years later, the king will become the sole monarch of the Congo Free State - by means of terror. Industrialisation, colonisation, : progress is on the march...

It is now 2019 and Leopold's statues are still standing proudly all over Belgium. What to do with this legacy?

CONGOVERP!NT is the start of a horizontal dialogue, visual and philosophical, around the question of this persistence - and its sgnificance today