Rainbow in the Dark

On the Joy and Torment of Faith
17 October 2015–17 January 2016


Jumana Manna & Sille Storihle, "The Goodness Regime", 2013 © Jumana Manna & Sille Storihle

Rainbow in the Dark: On the Joy and Torment of Faith is an exhibition on art, religious rituals, mysticism, spirituality and faith that investigates how contemporary art challenges the opposition between religious and secular societies. The exhibition brings together photographs, videos, paintings, sculptures and installations, and explores the ways that current art addresses the appeal of religion, mysticism and the irrational beyond the horizon of modernity.

Shortguide (pdf, 3.1 MB) (pdf)

Slavs and Tatars, ”Mother Tongues and Father Throats”, 2012 © Slavs and Tatars. Photo: Bernard Kahrmann

The term post-secular society’ has been used lately in reference to the adaptation of European political consciousness to the increased visibility of immigrant communities and the heightened profile of faith in public debates. The broad perception of global conflicts in terms of religious strife also strengthens the general consensus that the return of religion has emerged as one of the most important factors in global politics and culture today.

Late modern and contemporary art are considered fortresses of secular values in society, and the twentieth century introduced us to new art media and forms that aligned themselves with progressive technology, secularity and radical subjectivity. The ideas that have fed into art come from modern philosophy, liberal politics, psychology and popular culture rather than religion or theology.

Wael Shawky, "Cabaret Crusades: The Horror Show File", 2010, video still

Yet, the return of religious power, or the entry of religion from the marginal to the mainstream of cultural and political awareness, also applies to the visual arts, hitherto considered fortresses of secular values in society.

The exhibitionis a sequel to the project first presented at SALT Galata in Istanbul, which referred to the socio-political and religious context of Turkey. For the project at Malmö Konstmuseum, a new constellation of works accentuates the context and image of Sweden as a secularised society and its contemporary challenges related to religious and ethnic conflicts.

Lene Adler Petersen & Bjørn Nørgaard, "The Female Christ II, The Expulsion from the Temple", 1969

This exhibition was made possible by generous loans from the Museum of Modern Art in Warsaw, the Van Abbemuseum in Eindhoven, Studio Filmowe Indeks in Łódź and Statens Museum for Kunst in Copenhagen, with additional support from the Polish Institute in Stockholm.

Curated byGalit Eilat and Sebastian Cichocki

Invited artists

Juan Pérez Agirregoikoa, Tamar Guimarães & Kasper Akhøj, Mirosław Bałka, Yael Bartana, Magnus Bärtås, Carl Johan Erikson, Etcetera, Michael Kessus Gedalyovich, Nilbar Güreş, Michal Heiman, Jonathan Horowitz, Hristina Ivanoska & Yane Calovski, Gülsün Karamustafa, Köken Ergun, Paweł Kwiek, Honorata Martin, Jumana Manna & Sille Storihle, Virginia de Medeiros, Teresa Murak, Nira Pereg, Lene Adler Petersen & Bjørn Nørgaard, Wael Shawky, Slavs and Tatars, Zbigniew Warpechowski, Nahum Zenil and Artur Żmijewski.

Etcetera, "Infierna Financiero" (Financial Hell). Detalil from Petition to Pope Francis for the Final Abolition of Hell, 2014–15 © Etcetera

The curators

Galit Eilat (b 1965) is a writer, curator and the founding director of The Israeli Center for Digital Art in Holon. She is co-founder of Maarav — an online arts and culture magazine, as well as research curator at the Van Abbemuseum in Eindhoven. Her projects tackle issues such as the geopolitical situation in the Middle East, activism and political imagination in art. Selected curated and co-curated exhibitions are the 31st SãoPaulo Biennale in 2014; Yael Bartana, Polish Pavilion at the 54th Venice Biennale together with Sebastian Cichocki; Akram Zaatari, This Day, Mala Galleria, Moderna Galleria Ljubljana, Slovenia in 2011; Politics of Collection, Collection of Politics, Van Abbemuseum, Eindhoven, 2010; Sean Snyder, The Real War, The Israeli Center for Digital Art, Holon , 2010; Evil to the Core, The Israeli Center for Digital Art, Holon (2009–2010).

Sebastian Cichocki lives and works in Warsaw, where he is the chief curator at the Museum of Modern Art. Selected curated and co-curated exhibitions are the Polish pavilions at the 52nd and 54th Venice Biennales, with Monika Sosnowska (1:1) and Yael Bartana (... and Europe will Be Stunned)respectively, the latter project co-curated with Galit Eilat, Procedures for the Head, Kunsthalle Bratislava (2015), New National Art, Museum of Modern Art in Warsaw, 2012, Early Years, KW Institute for Contemporary Art, Berlin (2010), Raqs Media Collective, The Capital of Accumulation, Museum of Modern Art in Warsaw(2010). Cichocki has been running the Sculpture Park in Bródno, a long-term public art programme initiated in 2009 with Paweł Althamer. He has curated exhibitions in the form of a novel, a radio drama, an anti-production residency programme, an opera libretto and a ventriloquist session.

Senast ändrad: 2015-11-24 08:41