The Agosto Foundation

23/04/2026

In celebration of Earth Day, Aesthetica Magazine spotlighted exhibitions around the world that are reflecting on the beauty and fragility of our environment, including the Vancouver Art Gallery’s upcoming “Future Geographies: Art in the Century of Climate Change.”

Opening May 14, “Future Geographies” brings together leading contemporary artists whose work responds to the realities of a changing planet. Spanning the past 25 years, the exhibition explores how art can help us make sense of the climate crisis—and imagine what comes next.

Featuring more than 35 works across video, sculpture and installation, the exhibition invites you to engage with some of the most pressing questions of our time.

Read more at https://aestheticamagazine.com/five-exhibitions-for-earth-day/.

Book your advance tickets, or become a Member for unlimited access and exclusive benefits, at https://www.vanartgallery.bc.ca/exhibitions/future-geographies/

09/03/2026

"In June 1992, I went by train and then bus to Plasy for the Hermit Festival I. I had found out about it from Zyklus, who was a trio from Amsterdam – as artists, anarchists, alchemical experimenters, in spirit, they were Dadaists, technically, a shock-theatre collective with a mellow Dutchman (Gert), an intense American (Djeff Babcock), and with the spectacular Indonesian Grace de la Luna as the front person of their performances. I had met them in Prague. Their performance at Hermit I- in Plasy - as I recall it in unforgettable images – could have been sights and sounds of “Hell” from The Seven Deadly Sins and the Four Last Things” (c1500) by Hieronymus Bosch. It was a midnight performance, mostly in darkness, but their scenes were in chiaroscuro. Practically naked bodies painted black, scampering around like wilde beasts. There are also transfixing moments in an Italian silent film based on Dante’s “Inferno” called “The Hell” (1911), and these scenes are like Zyklus in Plasy with shrieks, howls and flailing, in a corner with Pluto (Djeff with horns), as the God of Hades, standing guard over the “condemned misers and spendthrifts” (i.e. us as the Plasy audience); elsewhere, Grace, appears as one of the Furies, then Gert, as one of the Heretics, arises from his tomb beside pits of fire. At one point, they all became Harpies, as Dante called them, “foul and obscene” scrambling around the space. It was also at Plasy, that I recall a drunken Czech madman late at night singing and dancing (as if possessed) on top of a white van, and the owner of the van (apparently the artist Phil Niblock), was very upset."

from: Tony Ozuma for The Anthology of Forgotten Thoughts

https://agosto-foundation.org/letters-from-europe-1990-1992

12/12/2025

The 1990s are culturally imagined evolving with the consequent Revolutions of 1989-99 in East Europe. It lasted approximately till the United States (after 9.11. attack on the World Trade Center) proclaimed the Global War on Terrorism (GWOT). George W. Bush warned that the GWOT would not end until t...

08/12/2025

Anthology of Forgotten Thoughts

Internally the situation doesn’t look brighter. Twenty years after the project “InvAsia”, the recognition of the independent cultural sector and a number of NGOs practicing and advocating for contemporary art and socially engaged art practices as its role in the society remain uncertain. Most ...

08/12/2025

Internally the situation doesn’t look brighter. Twenty years after the project “InvAsia”, the recognition of the independent cultural sector and a number of NGOs practicing and advocating for contemporary art and socially engaged art practices as its role in the society remain uncertain. Most ...

08/12/2025

A nomadic artist - curator Stefan Rusu looks back to the times, when there was still a vision of Europe and Asia coming together and not by means of an invasion. - "Who would think that twenty years after our cultural context will be challenged with a new series of invasions? Unfortunately during 2021 the Mongolian artist Hujagochir Mijidochir left us and therefore will not be able to reinstall his complex installation “Invasion against Invasion”, which would have been a powerful and necessary statement against the current series of invasions.
Stefan Rusu, January 2024"

(Initially written for Kurak art & culture magazine, Bishkek, Kyrgyzstan)

InvAsia of 15-23 September 2001 was organized by the Center for Contemporary Art [ksa:k], Chisinau, carried out by the independent curator Stefan Rusu, with financial support from OSI Budapest’s Cultural Link Program, Pro Helvetia Foundation and Soros Moldova Foundation (Arts and Culture program).

Internally the situation doesn’t look brighter. Twenty years after the project “InvAsia”, the recognition of the independent cultural sector and a number of NGOs practicing and advocating for contemporary art and socially engaged art practices as its role in the society remain uncertain. Most ...

26/11/2025

Editorial Note: This text is a considerably re-worked version of a lecture Eric presented in Tirana (Piramedia), Tallinn (ACTION - REFLECTION) and Prague (Translocation conference, 1999). The final text has been included in the book MEDIA · REVOLUTION, edited by Stephen Kovats, Edition Bauhaus #6, ...