Today in Venice at 2pm, on the occasion of the 61st International Art Exhibition of the Venice Biennale, SMAC Venice and OGR Torino present The Quantum Effect.
Not a traditional catalogue, but an unconventional editorial object conceived as an extension of the exhibition project of the same name. Conceived and curated by Daniel Birnbaum and Jacqui Davies, it draws inspiration from the black monolith in 2001: A Space Odyssey, echoing its enigmatic nature.
Through artworks, cinema, and scientific experiments, the volume explores quantum theories and their symbolic representations, guiding the reader through spatial and temporal paradoxes, entanglement and superposition, teleportation, and dark matter.
The publication anticipates the second chapter of the exhibition. Following its presentation at SMAC Venice in 2025, The Quantum Effect will open at OGR Torino this autumn, during Turin Art Week, in a new site-specific configuration.
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Oggi a Venezia alle ore 14, in occasione della 61. Esposizione Internazionale d’Arte della Biennale di Venezia, SMAC Venice e OGR Torino presentano The Quantum Effect.
Non un catalogo tradizionale, ma un oggetto editoriale atipico concepito come estensione dell’omonimo progetto espositivo. Ideato e curato da Daniel Birnbaum e Jacqui Davies, si ispira al monolite nero di 2001: Odissea nello spazio di Stanley Kubrick, richiamandone il carattere enigmatico.
Attraverso opere d’arte, cinema ed esperimenti scientifici, il volume esplora le teorie quantistiche e le loro rappresentazioni simboliche, accompagnando il lettore tra paradossi spaziali e temporali, entanglement e sovrapposizione, teletrasporto e materia oscura.
La pubblicazione anticipa il secondo capitolo della mostra. Dopo la presentazione a SMAC Venice nel 2025, The Quantum Effect inaugurerà alle OGR Torino in autunno, durante la settimana dell’arte torinese, in una nuova configurazione site-specific.
#SMACVenice #Venice #PiazzaSanMarco #QuantumEffect2025
My little project ”Aura” is now on view at LUMA in Arles as part of 100 Years of Cahiers d’Art at LUMA Arles: ”In this gallery, Daniel Birnbaum presents a selection of objects and images that relate to the collaborations between Man Ray and Marcel Duchamp and to their contributions to Cahiers d’Art in the 1930s. The presentation forms part of an ongoing projects that explores the notion of aura.
In his seminal essay The Work of Art in the Age of Mechanical Reproduction (1935-39), Walter Benjamin argues that modern technologies such as photography and film dissolve what he calls the aura of the artwork. Aura refers to the unique presence of a work in time and space – its singular existence, often tied to ritual, tradition, and authenticity. Mechanical reproduction detaches the artwork from this singular context, making it infinitely reproducible and accessible.
An especially intriguing object is on display here: the metal plate used by Cahiers d’Art in 1936 to print a photo depicting Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, also known as The Large Glass (1915-23).” @luma_arles voiceover by: @staffanahrenberg@vassilis_oikonomopoulos@cecile.debrayamar
Michel Majerus at Michel Majerus Estate
The full selection of exhibition highlights is available on our website.
"Over the years, through its repeated appearances in film, hacker culture, gaming, and digital finance, the name TRON has accumulated a notable cultural and aesthetic charge. The exhibition TRON at the Michel Majerus Estate presents ten works from Michel Majerus’s distinctive eponymous series (1999), marking the first large-scale presentation since they debuted in the exhibition as soon as possible at Gió Marconi Gallery in Milan nearly three decades ago."
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Images: TRON curated by Daniel Birnbaum & Jacqui Davies, Michel Majerus Estate, May 2, 2026 - March 21, 2027 C Michel Majerus Estate, 2026 Photo: Jens Ziehe, Berlin.
The second exhibition celebrating Cahiers d’Art and 100 years of modernism has opened in the wonderful museum of modern art in Vezelay @mdam_zervos in collaboration with @museepicassoparis@cecile.debrayamar - ’Cahiers d’Art. Modernity and Archaism’ / Our anniversary issue will be launched in a few weeks
This is Peggy Guggenheim reading Cahiers d’Art, the 1936 issue with Duchamp’s ’Coeurs Volants’ on the cover.
The first of a long list of exhibitions celebrating the centennial of the journal, founded in 1926, has opened at the Peggy Guggenheim Collection in Venice. The anniversary issue, edited by Cecile Debray and myself, arrives in a few weeks. @guggenheim_venice@cecile.debrayamar@cahiersdart
The Matisse exhibition at @le_grand_palais in Paris is superb, but they could not move this masterpiece to Paris… @chapelrosaries #matissechapel // link to review in bio
A curious object: the metal plate used by Cahiers d’Art in 1936 to print a photo depicting Marcel Duchamp’s Large Glass. A unique ’auratic’ object that makes possible mass distribution of a work of art that exists in a zone between the hand-made and the mechanical. That same year, also in Paris, Walter Benjamin finished his most famous essay, published first in French translation: ’L’œuvre d’art à l’époque de sa reproduction mécanisée’. The following year, in 1937, Duchamp and Benjamin met in a cafe around the corner from Cahiers d’Art. The printing plate is on display for the very first time at @cahiersdart as part of the 100 year anniversary program I am working on with @cecile.debrayamar
