Revital Cohen & Tuur Van Balen-The-Odds-Pt1-C0057-a-pan-over-lying-horse
Former Somerset House Studios resident

Revital Cohen & Tuur Van Balen


Artists working across objects, installation and film.

Revital Cohen and Tuur Van Balen's work looks at processes of production as cultural, personal and political practices. Their practice could be thought of as ‘situated’, where the making of the work is performed within particular networks. The extraction of minerals has been a long-standing interest, followed by the many forms of reality generated by the gambling industry. Animal bodies (human or otherwise) are a recurring consideration; in particular how these are shaped by the situations in which they operate. Rehearsals seem to return as well.

Their work has been shown at Ghost 2565, Bangkok (2022); Tinguely Museum, Basel (2022); E-WERK Luckenwalde (2022); The Serpentine Galleries, London (2021); the 13th Shanghai Biennale at the Power Station of Art (2021); Palazzo delle Esposizioni, Rome (2021); Kunsthal Charlottenborg, Copenhagen (2021); Walker Art Center, Minneapolis (2020); Philadelphia Museum of Art (2019); Stanley Picker Gallery, Kingston (2019); The Toronto Biennale (2019); The Renaissance Society, Chicago (2018); Fotomuseum Winterthur (2018); Para Site, Hong Kong (2016); Kunstverein Dusseldorf (2016); Thyssen-Bornemisza Art Contemporary, Vienna (2015); Haus der Kulturen der Welt, Berlin (2015); Congo International Film Festival, Goma (2015) and The Museum of Contemporary Art, Tokyo (2013). It is in the permanent collections of The Museum of Modern Art, New York, and M+ Museum, Hong Kong.

Taking place in the realms of artistic research, production, and presentation and reaching into our global systems of production, mechanization, and investment, their investigations postulate relationships between raw materials, human and animal labor, capital, extraction, industrial production, colonial inheritance, and scientific innovation. The constellations that they propose—enacted in the many works themselves, as well as in their display—afforded an intriguing account of the infrastructures of uncertainty.

Huib Haye van der Werf, Review in Artforum (March 2021)