Saim Demircan

Saim Demircan is a curator and writer. He lives in Turin, Italy. He recently curated ‘Exhibition as Image’ at 80WSE, New York, USA.

The artist speaks to Saim Demircan about the storied exhibition space, the Orchard gallery, and his innovative films documenting its three-year run

BY Saim Demircan AND Jeff Preiss | 13 JAN 22

At Galleria Franco Noero, Turin, the artist's current series is exposed to the elements and requires avian participation

BY Saim Demircan | 22 SEP 21

At Participant Inc, the artist presents photographic and video works that reflect on our increased reliance on digital space 

BY Saim Demircan | 21 MAY 21

At Andrew Edlin Gallery, New York, the late artist’s drawings and sculptures celebrate the spirit and history of southern Black communities

BY Saim Demircan | 15 APR 21

At Galerie Max Mayer, a series of LED ‘paintings’ reflects on the value of performative practices

BY Saim Demircan | 26 OCT 20

At Ortuzar Projects, New York, the artist’s radiant portraits of travellers on ‘citizen ships’ maintain ‘an abiding faith in the power of the human spirit’

BY Saim Demircan | 23 SEP 20

Paul B. Preciado’s norm-defining show at WKV Stuttgart lays the groundwork for a crip-theoretical re-evaluation of art history

BY Saim Demircan | 21 MAY 19

An exhibition at Galerie Barbara Weiss, Berlin, transports Sebastián Lelio’s award-winning film Una mujer fantástica into the gallery space

BY Saim Demircan | 07 JAN 19

Spectral lone female figures pose and recline in a series of nebulous paintings on view at Galerie Rüdiger Schöttle, Munich

BY Saim Demircan | 21 MAY 18

Wolfgang Tillmans has launched a pro-EU poster campaign. Should more UK cultural institutions be speaking out?

BY Saim Demircan | 29 APR 16

The printed page as exhibition space

BY Saim Demircan | 27 APR 16

Could this viscerality, this hysteria, be political?

BY Saim Demircan | 25 APR 16

The consumption of ecosystems and drug-altered states

BY Saim Demircan | 10 MAR 16

What was it that made the documentation of collective artist activities from the early 1990s so different, so appealing? An interview with Stephan Dillemuth about Cologne art space Friesenwall 120 and the role of video in exhibition documentation

BY Saim Demircan | 13 AUG 15

Watch and learn

BY Saim Demircan | 19 FEB 15

My favourite exhibitions over the past year were notable for serendipitous encounters with artists both familiar and new to me. Marsden Hartley's show at Berlin’s Neue Nationalgalerie, Die deutschen Bilder 1913-1915, for example, was one such surprise. His brightly coloured paintings – often of collaged military insignia – reflected the formative years the American modernist painter spent in Europe. Yet the artist’s estranged sexuality was an underlying subtext, and his love for the soldier Karl von Freybourg, who died in the First World War, is evident in Portrait of a German Officer (1914); the centerpiece of this touchingly put together show. Also in Berlin, Marc Camille Chaimowicz turned Galerie Neu’s new space into an aviary for his show Forty by Forty, which featured the artist’s bespoke Italian-designed vases together with utilitarian pieces by Klara Lidén and Manfred Pernice – all of which played host to forty canaries who inhabited the exhibition throughout its duration. In a dilapidated altbau in Kreuzberg, Isabella Bortolozzi Galerie displayed a series of sado-erotic drawings by Pierre Klossowski. Hanging on crumbling walls, or in front of casually draped black cloth, a faint air of decadence lingered in and around the apartment, which became a theatrical set piece for Klossowski’s dubious scenes of illicit activity. This incredible show created a lasting impression.

BY Saim Demircan | 24 DEC 14

Sandy Brown, Berlin, Germany

BY Saim Demircan | 15 DEC 14