Fall 2004 preview: three times a year Artforum looks ahead to the coming season. The following survey previews fifty shows opening around the world between September and December.Robert Smithson Museum of Contemporary Art, Los Angeles This article is about Museum of Contemporary Art, Los Angeles. For other Museums named Museum of Contemporary Art, see Museum of Contemporary Art. The Museum of Contemporary Art (MOCA) is a contemporary art museum in and near Los Angeles, California. September 12-December 13 Curated by Eugenie Tsai with Connie Butler One of postwar art's canniest theoretical provocateurs, Robert Smithson was famously ambivalent about conventional museums. His writings and public statements are replete with sardonic jeremiads likening museums to "asylums," "jails," and cultural "tombs" that force art into "esthetic convalescence convalescence /con·va·les·cence/ (kon?vah-les´ins) the stage of recovery from an illness, operation, or injury. con·va·les·cence n. 1. " and "stupendous inertia." Yet at the same time, few artists have thought as strategically as Smithson about the relationship between extra-institutional gestures and the gallery environment--about how best to manipulate established modes of display to excite the network of references he conjured among the various artifacts artifacts see specimen artifacts. , activities, and locations involved in his work. [GRAPHIC OMITTED] In the thirty-odd years since his death, Smithson has become an indispensable component of the contemporary canon. And despite a practice that interrogates the very idea of the museum, his diverse work--a complex gallery-based practice, seminal site-specific environmental projects, and eclectic and erudite writings--demands the kind of large-scale scholarly appraisal that only major institutions are equipped to present fully. This fall sees the arrival of such an exhibition as independent curator Eugenie Tsai debuts her eagerly awaited "Robert Smithson," the first American retrospective of the artist in a quarter century and the most comprehensive ever, at the Museum of Contemporary Art, Los Angeles. Tsai, a former senior curator at New York's Whitney Museum of American Art Whitney Museum of American Art, in New York City, founded in 1930 by Gertrude Vanderbilt Whitney. It was an outgrowth of the Whitney Studio (1914–18), the Whitney Studio Club (1918–28), and the Whitney Studio Galleries (1928–30). who organized the highly regarded exhibition "Robert Smithson Unearthed" at Columbia University in 1991, says that Smithson's "aesthetic of the 'entropic landscape,'" with its "allusions to a prehistoric past and science-fiction future," remains as relevant today as ever. And she notes that the artist's complicated relationship with the institutional context is integral to this continuing appeal. "It may not necessarily be in the form of Earthworks earthworks: see land art. per se, but rather in the idea of working beyond the walls of the museum or the gallery, of investing your art in social systems," she says of his ongoing influence, "and questioning the whole power structure of the art world and its institutions." "Robert Smithson" will feature some 180 objects--little-known paintings, drawings, and collages from the late '50s and early '60s among them, as well as extensive documentation of major Earthworks in the American West and elsewhere--and a substantial catalogue with essays by scholars including Thomas Crow, Suzaan Boettger, Ann Reynolds, Richard Sieburth, and MOCA MOCA Museum of Contemporary Art MOCA Multimedia over Coax MoCA Museum of Chinese in the Americas MOCA Minnesota Ovarian Cancer Alliance MOCA Montezuma Castle National Monument (US National Park Service) curator Connie Butler. More than just "a heap of language," Tsai's catalogue, and the ambitious show it accompanies, promises a new perspective on this most eloquent, and contentious, of artists--an institutional appraisal of an often aggressively anti-institutional figure that hopefully won't be afraid to let a bit of its subject's high-desert spirit invade the clean white corners of the museum.--Jeffrey Kastner Travels to the Dallas Museum of Art The Dallas Museum of Art is an art museum located in the Arts District of downtown Dallas, Texas, USA along Woodall Rodgers Freeway between St. Paul and Harwood. History , Jan. 14-Apr. 3, 2005; Whitney Museum of American Art, New York, June 23-Oct. 16, 2005. NEW YORK East Village USA New Museum of Contemporary Art This article is about New Museum of Contemporary Art. For other Museums named Museum of Contemporary Art, see Museum of Contemporary Art. The New Museum of Contemporary Art December 2-March 19, 2005 Curated by Dan Cameron The East Village scene of the early '80s--a roiling stew pot of artistic endeavors and a cesspool cesspool: see septic tank. of degradation, intentional or otherwise--still exerts a powerful hold on the imagination of those who lived through its glories and excesses and those born circa 1985, the year Carlo McCormick declared the whole shebang dead in the East Village Eye. Opening at the New Museum's temporary Chelsea location, this survey outlines counterculture coun·ter·cul·ture n. A culture, especially of young people, with values or lifestyles in opposition to those of the established culture. coun antecedents and attempts to encompass the full spectrum of Alphabet City with more than eighty artists, from avatars of graffiti art and punk expressionism to pencilsharpening practitioners of the neogeo and "Pictures" typology. Will Fun Gallery proprietor and underground-film star Patti Astor attend the opening? I sure hope so.--David Rimanelli [ILLUSTRATION OMITTED] Isamu Noguchi Whitney Museum of American Art October 28--January 16, 2005 Curated by Valerie Fletcher Focusing on Isamu Noguchi's series of wood and stone totems that evoke the nearly sentient sentient /sen·ti·ent/ (sen´she-ent) able to feel; sensitive. sen·tient adj. 1. Having sense perception; conscious. 2. Experiencing sensation or feeling. quality particular to his work, this retrospective covering mainly the early '30s to the early '60s celebrates the centenary of the Japanese artist's birth. Also featured are sixty-five sculptures and twenty drawings, all highlighting Noguchi's mix of European modernism with Japanese tradition and his extraordinary sense of material and form. Organized jointly by the Whitney and the Hirshhorn and curated by the latter's Valerie Fletcher, the show is accompanied by a catalogue that features essays by Fletcher, Bonnie Rychlak, and Dana Miller. Travels to the Hirshhorn Museum and Sculpture Garden Hirshhorn Museum and Sculpture Garden, Washington, D.C. Part of the Smithsonian Institution, the museum was designed by Gordon Bunshaft to house 6,000 pieces of the enormous art collection amassed by the industrialist Joseph H. , Washington, DC, Feb. 10, 2005-May 8, 2005.--Dike Blair Katharina Sieverding P.S. 1 Contemporary Art Center The P.S.1 Contemporary Art Center is one of the largest and oldest institutions in the United States dedicated solely to contemporary art. It is located in the neighborhood of Long Island City, Queens in New York City. October 17-January 31, 2005 Curated by Alanna Alanna may refer to:
While inundated in·un·date tr.v. in·un·dat·ed, in·un·dat·ing, in·un·dates 1. To cover with water, especially floodwaters. 2. with photography by students of the Bechers, we are less familiar with those, like Katharina Sieverding, who studied with Joseph Beuys. Sieverding, born in Prague in 1944, worked in Dusseldorf from 1967 until 1972. Known chiefly for large-scale photography that pushes its subjectivist sub·jec·tiv·ism n. 1. The quality of being subjective. 2. a. The doctrine that all knowledge is restricted to the conscious self and its sensory states. b. dimensions, she often focuses on her own body, submitting her visage to various forms of photographic dissolution. This survey of roughly a dozen works--multimedia installations, photographic series, and film and slide projections--is accompanied by a catalogue with essays by, among others, Brian O'Doherty and Norman Bryson and provides American audiences with their first museum show of Sieverding's work. Travels to Kunst-Werke Berlin, dates TBA TBA See: To be announced .--T.J. Demos Design [not equal to] Art Cooper-Hewitt, National Design Museum September 10-February 20, 2005 Curated by Barbara Bloemink and Joseph Cunningham It has become almost rote to pronounce a blurring of the line between art and design. Artists who have dabbled in both disciplines have, however, felt the need to delineate boundaries. "The intent of art is different from that of [design], which must be functional," Donald Judd said. "A work of art exists as itself, a chair exists as a chair itself." The washroom sink that Judd designed for his home is on view here among sixty-nine functional objects by eighteen other luminaries of minimalist aesthetics, from John Chamberlain's table made of car parts to Rachel Whiteread's daybed formed from the casts of negative space around a bed. It's form following function, albeit not without a detour or two.--Tom Vanderbilt [ILLUSTRATION OMITTED] BOSTON Lucy McKenzie Institute of Contemporary Art September 22-January 2, 2005 Curated by Nicholas Baume Many of Lucy McKenzie's activities--like Flourish Nights, informal events organized at her collective studio in Glasgow--center on collaborative practices. But the Scottish artist also teams up to work on her own installations, curatorial probings, and site-specific projects (in locations as diverse as the Sunday Herald Magazine or the shipyard in Gdansk). Referencing such sources as the 1980 Moscow Olympics, handmade East German Depeche Mode concert flyers, and fascist and socialist mural paintings, McKenzie's paintings, drawings, and installations always engage visual manifestations of political culture, intertwining the personal and the social. This show, McKenzie's first in a US museum, consists of new works specifically produced for the ICA Ica (ē`kä), city (1993 pop. 108,724), capital of Ica dept., SW Peru, on the Pan-American Highway. It is a commercial center for the cotton, wool, and wine produced in the region. There are several summer resorts nearby. .--Christian Rattemeyer Cerith Wyn Evans Museum of Fine Arts Museum of Fine Arts, Boston, chartered and incorporated (1870) after a decision by the Boston Athenaeum, Harvard, and the Massachusetts Institute of Technology to pool their collections of art objects and house them in adequate public galleries. October 6-January 30, 2005 Curated by William Stover "I'm interested in evoking polyphony, superimposition In graphics, superimposition is the placement of an image or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something (such as when a different face is superimposed over the original face in a , layers, levels, the occluded and the visibility of the mask," remarks Cerith Wyn Evans on his commitment to an uncommonly erudite artistic practice. A former assistant to director Derek Jarman, Wyn Evans completed several experimental films before returning to sculpture in the '90s. Employing fireworks, mirrors, and neon--and notably commissioning a remake of Brion Gysin's "Dreamachine"--he investigates the phenomenology of language and perception with a romantic touch. Wyn Evans has achieved recognition in Europe and Japan but is rarely seen in the US. This first American museum survey features about fifteen objects and installations and a new project to be shown concurrently at the MIT MIT - Massachusetts Institute of Technology List Visual Arts Center.--Michael Wilson [ILLUSTRATION OMITTED] ITHACA Ithaca, city, United States Ithaca (ĭth`əkə), city (1990 pop. 29,541), seat of Tompkins co., S central N.Y., at the southern end of Cayuga Lake, in the Finger Lakes region; settled 1789, inc. as a city 1888. , NY E.V. Day Herbert F. Johnson Museum of Art The Herbert F. Johnson Museum of Art is located near the Cornell University Arts quad in Ithaca, New York. It is most well known for its controversial concrete facade, its collection which includes two windows from Frank Lloyd Wright's Darwin D. October 23-January 9, 2005 Curated by Andrea Inselmann For her taut and tart sculptural work, E.V. Day has taken women's undergarments off the body and into the realm of art. Stretching nylon and silk both physically and conceptually, she's used thongs and G-strings to create formations suggestive of jet planes or birds, employed crotchless panties pant·ie or pant·y n. pl. pant·ies Short underpants for women or children. Often used in the plural. [Diminutive of pant2. and chicken eggs in a reproductive allegory, and made her own version of Winged Victory from monofilament monofilament, n a single strand of untwisted synthetic material such as nylon; used to create surgical sutures. monofilament and a shredded red sequined se·quin n. 1. A small shiny ornamental disk, often sewn on cloth; a spangle. 2. A gold coin of the Venetian Republic. Also called zecchino. tr.v. dress. Do these works "suggest the possibility of an active female pleasure," as the press release claims? Viewers can draw their own conclusion from a new commission and about fifteen works made since 1997. Wayne Koestenbaum contributes to the catalogue, which also features an interview between Day and curator Andrea Inselmann.--Meghan Dailey [ILLUSTRATION OMITTED] RIDGEFIELD, CT Shahzia Sikander Aldrich Contemporary Art Museum September 19-January 2, 2005 Curated by Ian Berry and Jessica Hough Pakistan-born Shahzia Sikander reinterprets the tradition of Mughal miniature painting for a contemporary eye, fluidly combining Christian, Hindu, Muslim, and American pop-cultural iconography within a single image. Her jewel-like paintings and drawings and deft fusion of cultural and visual elements make for an arresting body of work; but more than that, Sikander puts relevance and meaning back into shopworn "multiculturalism." The second half of an exhibition that appeared at Skidmore College's Tang Teaching Museum and Art Gallery earlier this year, this show features fifty new works on paper, a digital animation, and a site-specific wall drawing made with marker and paint. The catalogue includes contributions by novelist Mohsin Hamid and others.--MD PHILADELPHIA Pepon Osorio Institute of Contemporary Art September 8-December 12 Curated by Johanna Plummer and Ingrid Schaffner Pepon Osorio's latest suite of works, arising from his recent three-year residency at Philadelphia's Department of Human Services, dramatizes and humanizes the roles of counselors and clients during critical moments of transition. The artist's reconstruction at ICA of DHS DHS Department of Homeland Security (USA) DHS Department of Human Services DHS Department of Health Services DHS Demographic and Health Surveys DHS Dirhams (Morocco national currency) offices places the personal minutiae mi·nu·ti·a n. pl. mi·nu·ti·ae A small or trivial detail: "the minutiae of experimental and mathematical procedure" Frederick Turner. of employees' cubicles adjacent to the caged-in contents of a family's storage locker. His video of a running child, projected on the wooden skeleton of an unfinished house, destabilizes the suburban ideal, while another video implicates the social-service system with footage of teens ill prepared for their imminent departure from foster care. The show promises to highlight the unique underpinnings of Osorio's aesthetic deliberation and political critique.--Lori Cole WASHINGTON, DC Dan Flavin National Gallery of Art October 3-January 9, 2005 Curated by Tiffany Bell and Michael Govan Exhibited mostly in Europe since his death in 1996, fluorescent maestro Dan Flavin is overdue for a domestic retrospective. While standing installations of his work exist in Bridgehampton, New York Bridgehampton is a hamlet (and census-designated place) in Suffolk County, New York, United States. The population was 1,381 at the 2000 census. Bridgehampton is in the Town of Southampton. , and Marfa, Texas (where thirty-six thousand square feet of Flavin-colored space debuted in 2000), Flavin flavin: see coenzyme. flavin Any of a class of organic compounds, pale yellow biological pigments that fluoresce green. They occur in compounds essential to life as coenzymes in metabolism. deserves the cachet cachet /ca·chet/ (ka-sha´) a disk-shaped wafer or capsule enclosing a dose of medicine. ca·chet n. An edible wafer capsule used for enclosing an unpleasant-tasting drug. only a big exhibition can provide. The National Gallery is ponying up its east wing for 119 works, from early "icons" to large-scale installations (like a 1972 homage to George McGovern), not to mention seventy-two of Flavin's delicate, often sentimental drawings. The first catalogue raisonne of Flavin's light works accompanies the show's monograph. Travels to the Modern Art Museum of Fort Worth The Modern Art Museum of Fort Worth (widely referred to as The Modern) was first granted a Charter from the State of Texas in 1892 as the "Fort Worth Public Library and Art Gallery", evolving through several name changes and different facilities in Fort Worth. , Feb. 25, 2005-June 25, 2005; MCA MCA in full Music Corporation of America Entertainment conglomerate. It was founded in Chicago in 1924 by Jules Stein as a talent agency. In the 1960s it bought Decca Records and Universal Pictures, and today it produces films, music, and television shows. , Chicago, July 1, 2005-Oct. 30, 2005.--Caroline Jones [ILLUSTRATION OMITTED] MIAMI Miami, cities, United States Miami (mīăm`ē, –ə). 1 City (1990 pop. 358,548), seat of Dade co., SE Fla., on Biscayne Bay at the mouth of the Miami River; inc. 1896. Cut/Film as Found Object in Contemporary Video Museum of Contemporary Art November 13-January 30, 2005 Curated by Stefano Basilico With the idea of "postproduction" in the air, it's not hard to hear scholarly rumblings about how moving pictures provide artists with the newest form of readymade--just slice and dice Refers to rearranging data so that it can be viewed from different perspectives. The term is typically used with OLAP databases that present information to the user in the form of multidimensional cubes similar to a 3D spreadsheet. See OLAP. cinematic masterpieces or the nightly news and re-present them on-screen to critical effect. But incisive exhibitions on this strategy of appropriation are still relatively few and far between. "Cut/Film as Found Object in Contemporary Video" promises to be among the first in the US, creating a new framework for pieces by Candice Breitz, Christian Marclay, Jennifer and Kevin McCoy, Paul Pfeiffer, Douglas Gordon, Pierre Huyghe, Omer Fast, and Michael Joaquin Grey Michael Joaquin Grey (born 1961 in Los Angeles, California) is an American artist, inventor, and toy designer based in New York City. Grey holds a BS degree in genetics from the University of California, Berkeley, and an MFA in sculpture from Yale University. , Travels to the Milwaukee Art Museum The Milwaukee Art Museum (MAM) is located on Lake Michigan in Milwaukee, Wisconsin. The museum's history began in 1888 when the Milwaukee Art Association was created by a group of German panorama artists and local businessmen; its first home was the Layton Art Gallery. , June 25, 2005-Sept. 25, 2005.--Tim Griffin CHICAGO Yang Fudong Renaissance Society September 26-November 7 Curated by Susanne Ghez In the second installment of his ongoing film pentalogy Seven Intellectuals in Bamboo Forest, Yang Fudong's latter-day sages forsake the Taoist natural paradise of Yellow Mountain for a seductively quotidian quotidian /quo·tid·i·an/ (kwo-tid´e-an) recurring every day; see malaria. quo·tid·i·an adj. Recurring daily. Used especially of attacks of malaria. Shanghai apartment complex as they divine their place in an emergent global economy. Premiering in Chicago, the film will be screened alongside part I of the series and three other works, among them his 2002 feature film An Estranged es·trange tr.v. es·tranged, es·trang·ing, es·trang·es 1. To make hostile, unsympathetic, or indifferent; alienate. 2. To remove from an accustomed place or set of associations. Paradise. Taken together, they should offer a sustained panorama of the longings of an artist who is part traditional lyricist evoking the enigmatic subtlety of scroll painting and part auteur auteur (ōtör`), in film criticism, a director who so dominates the film-making process that it is appropriate to call the director the auteur, or author, of the motion picture. following the surreal lead of Jim Jarmusch. Yang's investigations resonate as a kind of paradise not merely estranged but irremediably ir·re·me·di·a·ble adj. Impossible to remedy, correct, or repair; incurable or irreparable: irremediable errors in judgment. ir lost.--Suzanne Hudson [ILLUSTRATION OMITTED] DALLAS Lothar Baumgarten Dallas Museum of Art September 19-December 5 Curated by John R. Lane Lothar Baumgarten is too conceptually agile in his employment of text, design, and installation to be thought of as simply a photographer--but his photographs are too fine to be the work of one of those supercilious su·per·cil·i·ous adj. Feeling or showing haughty disdain. See Synonyms at proud. [Latin supercili "artists who use photography." One of his best-known works, Carbon is the German artist's elegy for the American landscape and a meditation on its tradition of landscape photography. Published as a book in 1991, it has been exhibited in various ways, but this promises to be its grandest presentation so far, incorporating wall drawings, 116 photographs, and a selection of materials from Baumgarten's six-month trek in 1989 along America's railroads, whose names often memorialize the native peoples they helped displace but which were themselves, by then, becoming marginalized.--Barry Schwabsky CINCINNATI Nothing Compared to This Contemporary Arts Center The Contemporary Arts Center (CAC) is a pioneering contemporary art museum located in Cincinnati, Ohio. The CAC is a non-collecting museum that focuses on new developments in painting, sculpture, photography, architecture, performance art and new media. September 24-November 28 Curated by Charles Desmarais The quieter descendants of Pop and Conceptualism conceptualism, in philosophy, position taken on the problem of universals, initially by Peter Abelard in the 12th cent. Like nominalism it denied that universals exist independently of the mind, but it held that universals have an existence in the mind as concept. continue a '90s trend away from the big, brash, bulimic '80s. The roughly twenty artists in this show, among them Kara Hamilton, Andrea Zittel, Ricci Albenda, Jorge Pardo, Dominique Gonzalez-Foerster, and Rirkrit Tiravanija, have produced such conceptual objects as shadow paintings, quirky architectural surfaces and decor, optically soft wallpaper, wall rubbings, a heat sculpture, books arranged by the color of their spine, and a suit by Zittel worn by its collector. These works will be elusively presented without wall labels in a setting to include moody sounds like Brian Eno's Music for Airports. A free visitor's guide offers information about art seemingly made to play off and probe the accoutrements ac·cou·ter·ment or ac·cou·tre·ment n. 1. An accessory item of equipment or dress. Often used in the plural. 2. Military equipment other than uniforms and weapons. Often used in the plural. 3. and subtle seductions of lifestyle.--Jeff Rian [ILLUSTRATION OMITTED] CLEVELAND Ilya Kabakov Museum of Contemporary Art September 10-January 2, 2005 Curated by Jill Snyder Having outlived the demise of the Soviet Union's socialist Gesamtkunstwerk, recent septuagenarian sep·tu·a·ge·nar·i·an n. A person who is 70 years old or between the ages of 70 and 80. adj. 1. Being 70 years old or between the ages of 70 and 80. 2. Of or relating to a septuagenarian. Ilya Kabakov shows no sign of relinquishing the mantle of celebrated unofficial artist. Engaging the "work" of two fictional artistic personae, Charles Rosenthal and "Ilya Kabakov," both of whom sought to reconcile representation and abstraction, the real Kabakov seeks a parallel synthesis between aesthetic experimentation and a new social realism. This massive and complex retrospective of 146 monumental paintings, mixed-media objects, and drawings, as well as didactics and wall texts, transforms MOCA's contemporary galleries into a Beaux-Arts museum. The Kabakov-designed catalogue promises engaging essays by Russian art scholars Victor Tupitsyn and Boris Groys.--Nicole Rudick LOS ANGELES The Undiscovered Country UCLA UCLA University of California at Los Angeles UCLA University Center for Learning Assistance (Illinois State University) UCLA University of Carrollton, TX and Lower Addison, TX Hammer Museum October 3-January 16, 2005 Curated by Russell Ferguson Taking its cue from Hamlet's description of the afterlife as a place "from whose bourn no traveler returns," this show examines the current resurgence of figuration fig·u·ra·tion n. 1. The act of forming something into a particular shape. 2. A shape, form, or outline. 3. The act of representing with figures. 4. A figurative representation. 5. in art as only the latest communique from that parallel universe of the "lifelike." Further, this renewed figurative drive suggests that photography and painting are locked in a dialectical process that is much more give than take, in opposition to notions of historical rupture. In this selection of over forty paintings spanning the past five decades, figures like Fairfield Porter, Gerhard Richter, and John Baldessari act as parental enablers to a younger generation--among them, Jochen Klein, Thomas Eggerer, and Mari Eastman--that once more gives vent to the "mimetic mimetic /mi·met·ic/ (mi-met´ik) pertaining to or exhibiting imitation or simulation, as of one disease for another. mi·met·ic adj. 1. Of or exhibiting mimicry. 2. impulse," and without even a vestigial ves·tig·i·al adj. Occurring or persisting as a rudimentary or degenerate structure. trace of the old ambivalence.--Jan Tumlir [ILLUSTRATION OMITTED] Robbert Flick Los Angeles County Museum of Art The Los Angeles County Museum of Art, also known as LACMA, is the official and world-renowned art museum of the County of Los Angeles, California, located on Wilshire Boulevard along Museum Row in the Miracle Mile vicinity of Los Angeles. September 12-January 9, 2005 Curated by Tim B. Wride Since the mid-'70s, Robbert Flick has played a crucial role in the growth of Southern California's photographic culture and its conversion into art-world currency. In the most traditional documentary sense, his practice is determined by subject or genre, specifically the transformation of the urban landscape over time. Accordingly, he provides a complex record for posterity, typically unfolding in sequential, gridded arrangements that suggest the mobile point of view of cinema and point inward as much as out. Ostensibly consistent, each work (and site) is in fact subjected to a markedly different structural principle. The eighty-seven prints and photographic groups on view in this, his first retrospective, may finally allow us to measure the aging of our cities and suburbs against that of Flick's conceptual system(s).--JT [ILLUSTRATION OMITTED] SAN DIEGO Past in Reverse: Contemporary Art of East Asia Arts of the Far East include:
San Diego Museum of Art The San Diego Museum of Art opened as the Museum of Fine Arts on February 28, 1926. The funders turned over ownership of the building to the City of San Diego. It is located in Balboa Park. The museum building was designed by architect William Templeton Johnson. November 6-March 6, 2005 Curated by Betti-Sue Hertz The regionally themed survey of contemporary Asian art, met with generic "East meets West" curatorial rhetoric, can seem as outdated as fusion cuisine. After a nearly decadelong dec·ade·long adj. Lasting a decade: a decadelong national research effort. succession of such offerings, "Past in Reverse" explores how twenty-one artists and collectives reinterpret re·in·ter·pret tr.v. re·in·ter·pret·ed, re·in·ter·pret·ing, re·in·ter·prets To interpret again or anew. re indigenous forms such as scroll paintings. The show not only presents the usual suspects (Cai Guo-Qiang, Wang Qingsong) but also takes a risk with a long roster of unknowns, suggesting that while East Asia now has claim to a bevy of internationally established artists, it remains a hotbed of experimentation. Travels to the Kemper Museum of Contemporary Art This article is about Kemper Museum of Contemporary Art. For other Museums named Museum of Contemporary Art, see Museum of Contemporary Art. The Kemper Museum of Contemporary Art opened in 1994 in Kansas City, Missouri. , Kansas City, MO, June 3, 2005-Sept. 4, 2005; Hood Museum of Art Coordinates: The Hood Museum of Art is North America's oldest museum in continuous operation. The museum is owned and operated by Dartmouth College and is connected to the Hopkins Center for the Arts. , Hanover, NH, Jan. 15, 2006-Mar. 12, 2006; and other venues.--Reena Jana SAN FRANCISCO Glamour: Fashion, Industrial Design, Architecture San Francisco Museum of Modern Art The San Francisco Museum of Modern Art (SFMOMA) is a major modern art museum and San Francisco landmark. It opened in 1935 under founding director Dr. Grace Morley (Grace L. October 9-January 16, 2005 Curated by Joseph Rosa Glamour's got a bad rap in modern design circles, but this sure-to-be-fabulous show may change all that. Connoting affectation af·fec·ta·tion n. 1. A show, pretense, or display. 2. a. Behavior that is assumed rather than natural; artificiality. b. A particular habit, as of speech or dress, adopted to give a false impression. and deception--it's the "ugly stepsister of elegance," quips curator Joseph Rosa--glamour had no place in the strict, right-angled minimalism of the early twentieth century. But its delusive de·lu·sive adj. 1. Tending to delude. 2. Having the nature of a delusion; false: a delusive faith in a wonder drug. charm crept back into fashion, industrial design, and architecture after 1945 to become a hallmark of consumer culture. The combination of such glamourous offerings as a 1965 Jaguar E-type and couture clothes by Yves Saint Laurent for Dior with more recent interpretations like Herzog & de Meuron's Tokyo Prada boutique and a diamondencrusted Rolex should please hardened design divas and shopaholic shop·a·hol·ic n. A person who shops compulsively or very frequently. Noun 1. shopaholic - a compulsive shopper; "shopaholics can never resist a bargain" fashionistas alike.--Annette Ferrara BERKELEY, CA Byron Kim Berkeley Art Museum September 15-December 12 Curated by Constance M. Lewallen and Eugenie Tsai Byron Kim's exquisitely subjective monochromes are suspended between the reflective, heady abstraction of Reinhardt, Marden, and Rothko and the deft, politically incisive Conceptualism of Felix Gonzalez-Torres and Glenn Ligon. Alternately indexing skin, Korean celadon celadon Chinese, Korean, Siamese, and Japanese stoneware decorated with glazes the colour range of which includes greens of various shades, olive, blue, and gray. The colours are the result of a wash of slip (liquefied clay) containing a high proportion of iron that is pottery, a station wagon, and even a Brooklyn public pool, his paintings will be shown to great effect in his first major solo museum exhibition. Against the BAM's neo-brutalist architecture, the hazy atmospheric surface effects of these thirty-two works should betray an unbearable lightness of being. Travels to the Samsung Museum of Modern Art, Seoul, Mar. 10, 2005-May 8, 2005; Museum of Contemporary Art, San Diego, May 29, 2005-Sept. 4, 2005; and other venues.--SH [ILLUSTRATION OMITTED] VANCOUVER Massive Change: The Future of Global Design Vancouver Art Gallery The Vancouver Art Gallery (VAG) is the fifth-largest art gallery in Canada and the largest in Western Canada. It is located at 750 Hornby Street in Vancouver, British Columbia. October 2-January 2, 2005 Curated by Bruce Mau A good deal of this century's design effort will, ironically, be directed at getting us out of the troubles we've designed ourselves into. In the US, we've so rigorously designed physical labor out of our lives that obesity is now a top cause of preventable death. Graphic-design maestro Bruce Mau has organized an exposition around the central question: "Now that we can do anything, what will we do?" Melding objects, imagery, and even a radio program, he explores how we'll have to adapt the world to the changing conditions to come. From the megacities of 2015 to inventor Dean Kamen's "Stirling Engine," from transnational call centers to Ford's prototype "Disassembly dis·as·sem·ble v. dis·as·sem·bled, dis·as·sem·bling, dis·as·sem·bles v.tr. To take apart: disassemble a toaster. v.intr. 1. Line," this show probes the power, promise, and peril design will exert on the future.--TV LONDON Daniel Libeskind Barbican BARBICAN. An ancient word to signify a watch-tower. Barbicanage was money given for the support of a barbican. Art Gallery September 16-January 23, 2005 Curated by Achim Borchardt-Hume Before Daniel Libeskind became Governor Pataki's favorite architect, he enjoyed a distinguished (if hardly prolific) career as an academic, theorist, and designer in Europe. This survey of his architectural work provides an opportunity to evaluate Libeskind's efforts at Ground Zero in the context of his efforts as leader of the "symbolist sym·bol·ist n. 1. One who uses symbols or symbolism. 2. a. One who interprets or represents conditions or truths by the use of symbols or symbolism. b. wing" of the deconstructionist movement that dominated avant-garde architecture in the '90s. Designed by architect Matthias Reese, formerly of Studio Daniel Libeskind, this show includes materials and models related to sixteen realized and unrealized projects and culminates in a "specially commissioned illuminated model" of the Freedom Tower. One imagines it will be 1,776 millimeters high and sport a tiny effigy EFFIGY, crim. law. The figure or representation of a person. 2. To make the effigy of a person with an intent to make him the object of ridicule, is a libel. (q.v.) Hawk. b. 1, c. 7 3, s. 2 14 East, 227; 2 Chit. Cr. Law, 866. 3. of David Childs impaled on its spire.--Kevin Pratt [ILLUSTRATION OMITTED] Glenn Brown Serpentine Gallery September 14-November 7 Curated by Rochelle Steiner Since the early '90s Glenn Brown has copied reproductions of paintings by Auerbach, de Kooning, Fragonard, and Dali, as well as sci-fi book-cover illustrations, emphasizing the flaws in his source material (overripe o·ver·ripe adj. 1. Too ripe. 2. Marked by decay or decline. o  ver·ripe color, weird cropping, flattened impasto--the latter rendered by Brown in spectacular trompe l'oeil) while seemingly equating grandness and schlock schlock also shlock Slangn. Something, such as merchandise or literature, that is inferior or shoddy. adj. Of inferior quality; cheap or shoddy. . Yet he's far from being just another frolicker at originality's wake: The British painter's increasingly unfaithful remakes suggest an interlaced Refers to a display system or image that uses interlacing and does not render contiguous lines one after the other. See interlace and interlaced GIF. articulation of subjectivity and deliberate misprision The failure to perform a public duty. Misprision is a versatile word that can denote a number of offenses. It can refer to the improper performance of an official duty. , while his vitrined objects smothered in thick agglutinations of paint offer a neat sideline in postheroic sculpture. This survey comprises some forty works and is accompanied by a catalogue featuring an essay by Alison Gingeras.--Martin Herbert Faces in the Crowd Whitechapel Art Gallery December 3-February 5, 2005 Curated by Iwona Blazwick, Carolyn Christov-Bakargiev, and Andrea Tarsia Like a good modernist, this show starts squarely with Manet, but like an even better deconstructionist, its roughly sixty works in various media propose alternate histories of this well-traversed terrain. Refusing a formalist privileging of abstraction and autonomy, the artists constellated here--a who's who from Picasso to Heartfield, Warhol to Sherman--have recourse to the figure. A comprehensive catalogue-cum-anthology penned by such contributors as Ester Coen, Charles Harrison, Jill Lloyd, Robert Storr, and exhibiting artist Jeff Wall accompanies the show. An imaging of the social in many guises, this exhibition can't help but feel resolutely avant-garde after all. Travels to the Castello di Rivoli, Turin, Mar. 28, 2005-July 3, 2005.--SH [ILLUSTRATION OMITTED] BIRMINGHAM Ian Davenport Ikon Gallery September 22-November 7 Curated by Jonathan Watkins "The fox knows many things, but the hedgehog knows one big thing." A proud example of the latter, Ian Davenport tests the properties of household paint--pouring it, dripping it, blowing it, using electric fans, anything but brushing it. He began this practice in the late '80s and in 1991 became, at twenty-five, the youngest-ever Turner Prize nominee. Having perfected a mode of colorful post-painterly abstraction that winks to theory-heads and aesthetes alike, he's lately gone gigantic: Davenport's recent fifty-nine-foot-long wall work at Tate Britain was a delirious multihued parade of syringed dribbles, and a similar centerpiece is planned for this, his first retrospective. Ikon director Jonathan Watkins and Tony Godfrey provide catalogue essays. Hedgehog? Sounds foxy to me.--MH LIVERPOOL Liverpool Biennial Various venues September 18-November 28 Curated by Lewis Biggs A historically proud city, Liverpool will be European Capital of Culture The European Capital of Culture is a city designated by the European Union for a period of one year during which it is given a chance to showcase its cultural life and cultural development. in 2008 and already hosts the UK's largest visual-arts festival, so it's not surprising that the thematic focus of the biennial's third installment should be ... Liverpool. In practice it's a four-card flush. One component, "International 04," invites artists like Takashi Murakami, Rirkrit Tiravanija, and Esko Mannikko to research the postindustrial post·in·dus·tri·al adj. Of or relating to a period in the development of an economy or nation in which the relative importance of manufacturing lessens and that of services, information, and research grows. Adj. 1. northern metropolis as a context for public artworks, while "Independent" launches a flotilla of artists, architects, and filmmakers on galleries, temporary spaces, and disused buildings. Exhibitions for the city's prestigious open-submission John Moores painting prize and for the whippersnapper whip·per·snap·per n. A person regarded as insignificant and pretentious. [Alteration (influenced by whip) of dialectal snippersnapper. Bloomberg New Contemporaries round out the heady mix. Are you paying attention, London?--MH [ILLUSTRATION OMITTED] PARIS Paris, in Greek mythology Paris or Alexander, in Greek mythology, son of Priam and Hecuba and brother of Hector. Because it was prophesied that he would cause the destruction of Troy, Paris was abandoned on Mt. Rineke Dijkstra Jeu de Paume Jeu de paume was originally a French precursor of lawn tennis played without racquets. The players hit the ball with their hands, as in palla, volleyball, or certain varieties of pelota. Jeu de paume literally means: game of palm (of the hand). December 13-February 27, 2005 Curated by Hripsime Visser Rineke Dijkstra's beautiful and unsettling un·set·tle v. un·set·tled, un·set·tling, un·set·tles v.tr. 1. To displace from a settled condition; disrupt. 2. To make uneasy; disturb. v.intr. portraits of individuals in transition--early adolescence, childbirth, and initiation into military life--are brought together for the first time in this show of seventy photographs and two video pieces. The exhibition starts with Dijkstra's beach pictures of teenagers from the early '90s and climaxes with her recent studies of a young Frenchman entering the Foreign Legion and Israeli teens turned soldiers. These portraits, for some of which Dijkstra followed her subjects for several years, convey a poignancy that is mirrored in her video portraits of young club-goers dancing for the camera. Travels to the Fotomuseum Winterthur, Mar. 11, 2005-May 22, 2005; Fundacio "la Caixa," Barcelona, June 4, 2005-Aug. 21, 2005; Stedelijk Museum, Amsterdam, fall 2005.--Andy Grundberg [ILLUSTRATION OMITTED] Xavier Veilhan Centre Georges Pompidou Centre Georges Pompidou (constructed 1971–1977 and known as the Pompidou Centre in English) is a complex in the Beaubourg area of the IVe arrondissement of Paris, near Les Halles and the Marais. September 15-November 15 Curated by Christine Macel As in his Projet Hyperrealiste presented at the 2003 Biennale de Lyon, the work of Xavier Veilhan revisits modernity through visual adventures that heighten the experience of perception. For his first solo exhibition at the Centre Pompidou, one of the best French artists to come out of the '90s fills Espace 315 with a "total work of art": A distorted pattern of squares covering the walls manipulates the perceptual dimensions of the room, and a monumental sculpture of a boat is lifted off the ground by a polyester wake. Also on view are a new Light Machine (a cross between a movie screen and a "luminous painting") and pixelated The appearance of pixels in a bitmapped image. For example, when an image is displayed or printed too large, the individual, square pixels are discernible to the naked eye where one color or shade of gray blends into another. Sometimes, images are pixelated purposely for special effects. digital landscapes on aluminum. And in October, Veilhan will install a spectacular mobile in the Pompidou's forum space.--Jean-Max Colard [ILLUSTRATION OMITTED] Translated from French by Jeanine Herman. BILBAO Jorge Oteiza Guggenheim Bilbao October 8-January 9, 2005 Curated by Margit Rowell Although not well known outside Spain, Basque sculptor Jorge Oteiza is highly regarded in his native country. The Guggenheim Bilbao, perhaps paying a debt to the region, is mounting a retrospective of the late artist's work. The show positions Oteiza's sculptures, drawings, and collages, mainly from the '50s, as precursors to Minimalism, particularly the cubic structures through which he created spatial "desocupaciones" (his term). While this is a temptation that no art historian dealing with geometric abstraction of the period can resist, the work actually has less to do with the literalness and bluntness of Judd's boxes than with the sculptural experiments influenced by Malevich and Russian Constructivism that took place in Argentina, Brazil, and Venezuela at the time.--Monica Amor SANTIAGO DE COMPOSTELA Santiago de Compostela (säntyä`gō thā kōmpōstā`lä) or Santiago, city (1990 pop. 91,419), A Coruña prov., NW Spain, in Galicia, on the Sar River. Nancy Spero Centro Galego de Arte Contemporanea September 24-January 6, 2005 Curated by Susan Harris For more than five decades, Nancy Spero has paired an array of fragmented, totemic figures (from serpent-tongued harpies to sperm-engorged bombs) with fragmented, coded language (from writings by Artaud to descriptions of torture techniques). This show includes both new work and highlights from Spero's oeuvre, such as selections from the "War Series 1966-70" and Hours of the Night II, 2001. The accompanying catalogue comprises essays by independent curator Susan Harris as well as Juan Vicente Aliaga, Jo Anna Isaak, and Diana Nemiroff. The artist's lifelong feminist project of plumbing the depths of human cruelty and subjugation Subjugation Cushan-rishathaim Aram king to whom God sold Israelites. [O.T.: Judges 3:8] Gibeonites consigned to servitude in retribution for trickery. [O.T.: Joshua 9:22–27] Ham Noah curses him and progeny to servitude. [O. while pointing up unexpected moments of grace couldn't feel more timely.--Johanna Burton TURIN Franz Kline Castello di Rivoli October 18-January 30, 2005 Curated by Carolyn Christov-Bakargiev and Ida Gianelli The relation between Franz Kline's early portraits and landscapes--images of the coal-mining region of Pennsylvania where he grew up--and the far-better-known abstract canvases has always been a bit obscure. Beyond their basis in drawing--indeed, many of Kline's most celebrated paintings were first sketched out in ink on telephone-book pages--is there a connection between these two phases in his life as an artist? Viewers will have the chance to pose the question of the whole of Kline's oeuvre with this seventy-work survey, which marks the twentieth anniversary of the Castello di Rivoli. In addition to the seminal black-and-white oils of the '50s, the show includes later canvases in which Kline extravagantly explores color.--Eric Banks GENEVA Guy de Cointet Musee d'Art Moderne et Contemporain October 16-January 2005 Curated by Marie de Brugerolle Guy de Cointet (1934-83) is perhaps known less for his work than for the influence it has exerted on other artists, like Catherine Sullivan, Mike Kelley, Paul McCarthy, and William Leavitt. The latter three contribute to the catalogue for de Cointet's first European retrospective, no doubt to discuss the permission they gained from his cryptic yet undeniably Pop performances and objects. Emigrating from his native France to the US in 1967, de Cointet put in time at Warhol's Factory before settling in Los Angeles's Little Tokyo. There, this insider/outsider devised a new phonetic system that would form the backbone of all his ensuing artistic activities, including many of the roughly 125 films, drawings, paintings, and reconstructed set designs gathered for this show.--JT [ILLUSTRATION OMITTED] ZURICH Sean Landers Kunsthalle Zurich August 28-October 31 Curated by Beatrix Ruf Sean Landers was one of the avatars of early-'90s "abject" or "loser" art. His handwritten hand·write tr.v. hand·wrote , hand·writ·ten , hand·writ·ing, hand·writes To write by hand. [Back-formation from handwritten.] Adj. 1. "diary" titled [sic], penned in 1995, remains a cult classic, standing out for its humor and a quality of honesty that was truly cringe inducing. In the decade since, he has continued to explore the ups and downs ups and downs pl.n. Alternating periods of good and bad fortune or spirits. ups and downs Noun, pl alternating periods of good and bad luck or high and low spirits of artistic success. This show includes about eighty paintings, works on paper, videos, and sculptures. Although the catalogue is the first monograph on Landers, it's rather more like an artist's book: Landers has selected the images and made a collage of his own texts. It also includes a conversation between the artist, Kunsthalle director Beatrix Ruf, and critic Caoimhin Mac Giolla Leith, as well as an essay by Alex Farquharson.--DR [ILLUSTRATION OMITTED] The Future Has a Silver Lining: Genealogies of Glamour Migros Museum fur Gegenwartskunst August 28-October 31 Curated by Tom Holert and Heike Munder If Benjamin's "aura" has an equivalent in today's capitalist empire, it may well be glamour. Etymologically, the word is linked to casting spells, which stands to reason since glamour is that mercurial "it-ness" that sells clothes as lifestyles and celebrities as icons. Tackling the ambitious task of tracing glamour's various genealogies, this show deals less with representations that propel the market than with the ways artists have demystified or subverted glamour's potency. The twenty-one samplings run from Meret Oppenheim's fetishistic underwear to a number of contemporary works, like T.J. Wilcox's film reenvisioning of Marlene Dietrich's funeral. Even Zurich gets its glamour quotient checked in citywide events and parties.--Christopher Bollen VIENNA Gerwald Rockenschaub Museum Moderner Kunst Stiftung Ludwig Wien November 19-February 13, 2005 Curated by Wolfgang Drechsler Reduction and remixing are at the heart of Gerwald Rockenschaub's installations. With a neo-geo sensibility that employs PVC PVC: see polyvinyl chloride. PVC in full polyvinyl chloride Synthetic resin, an organic polymer made by treating vinyl chloride monomers with a peroxide. foil, color animations, inflatables, benches, and platforms, the Austrian artist reworks the minimal elements of a structure's architectural frame, adding barriers, lookouts, and look-ins with the ease of a DJ mixing tracks. For this show, which features approximately ten large-scale works produced since the early '80s, Rockenschaub integrates his own favorites into the MUMOK building, from his scaffolding for the Austrian pavilion at the 1993 Venice Biennale to the "Life Style" house built at the Kunsthaus Bregenz in 1998. Roger M. Buergel, Jorg Heiser, and curator Wolfgang Drechsler provide catalogue essays.--Jennifer Allen GRAZ, AUSTRIA Moving Parts Kunsthaus Graz October 8-January 16, 2005 Curated by Katrin Bucher, Peter Pakesch, Heinz Stahlhut, and Peter Weibel Grounded in the pioneering work of Gabo, Moholy-Nagy, and Duchamp, kinetic art seemed simply to fade away after its flowering in the '60s. "Moving Parts," organized by the Kunsthaus Graz in conjunction with the Museum Jean Tinguely, proposes, on the contrary, that movement and the machine have remained central in art of the later twentieth century. Fifty sculptures, robots, light works, and more provide a survey of machine and kinetic art from Tinguely and Pistoletto to contemporary artists like Olafur Eliasson. A particular focus on specially commissioned works by Jeppe Hein, Sabrina Raaf, Malachi Farrell, and others demonstrates the continuing relevance of the kinetic principle. Travels to the Museum Jean Tinguely, Basel, Mar. 6, 2005-June 26, 2005.--Michael Archer Peter Weibel Neue Galerie Graz September 25-November 21 Curated by Gunther Holler-Schuster and Peter Peer Widely known as a new-media theorist and curator, Peter Weibel also played an important role in the history of European Conceptualism, and this survey of his early work (1964 to 1979) follows Weibel's trajectory from concrete poetry though performance art with the Viennese Actionists to closed-circuit video and interactive computer installations. In dialogue with the history of science, structuralism, and poststructuralism poststructuralism: see deconstruction. poststructuralism Movement in literary criticism and philosophy begun in France in the late 1960s. Drawing upon the linguistic theories of Ferdinand de Saussure, the anthropology of Claude Lévi-Strauss ( throughout his career, Weibel at once positioned the body as an overdetermined Overdetermined can refer to
[ILLUSTRATION OMITTED] DUSSELDORF Rebecca Horn K20 Kunstsammlung Nordrhein-Westfalen October 2-January 9, 2005 Curated by Armin Zweite and Anette Kruszynski This Rebecca Horn exhibition promises to prove that it is not mere platitude to speak of pencil and paper pencil and paper - An archaic information storage and transmission device that works by depositing smears of graphite on bleached wood pulp. More recent developments in paper-based technology include improved "write-once" update devices which use tiny rolling heads similar to mouse as an extension of the artist's body. The show places about eighty-five drawings alongside both her early fabric appendages, which extend their wearers' body parts, and four recent machine installations that perform repetitive bodily tasks. Though bios of Horn routinely mention the year she spent in a sanatorium sanatorium /san·a·to·ri·um/ (san?ah-tor´e-um) an institution for treatment of sick persons, especially a private hospital for convalescents or patients with chronic diseases or mental disorders. recovering from lung damage after working with polyester and fiberglass, the artist's own body has remained a refreshingly puzzling absence in her work. Travels to the Fundacao Centro Cultural de Belem, Lisbon, Jan. 29, 2005-Apr. 25, 2005; Hayward Gallery, London, May 26, 2005-Sept. 11, 2005.--Christine Mehring [ILLUSTRATION OMITTED] FRANKFURT Yves Klein Schlrn Kunsthalle September 17-January 9, 2005 Curated by Olivier Berggruen and Ingrid Pfeiffer Though Yves Klein is most frequently recalled for his Leap into the Void, 1960, the self-proclaimed descendant of Delacroix was also a stunning colorist col·or·ist n. 1. A painter skilled in achieving special effects with color. 2. A hairdresser who specializes in dyeing hair. col , prescient performance artist, cunning Conceptualist con·cep·tu·al·ism n. 1. Philosophy The doctrine, intermediate between nominalism and realism, that universals exist only within the mind and have no external or substantial reality. 2. , sly sculptor, and skilled judoka--all within the course of an eight-year career cut short by his death in 1962 at thirty-four. This comprehensive retrospective, accompanied by a sizable catalogue, offers meaty samplings from all periods of Klein's work. In addition to famous monochromes, including those in International Klein Blue The International Klein Blue (IKB) is a deep blue hue first mixed by the French artist Yves Klein. International Klein Blue (or IKB as it is known in art circles) was developed by French artist Yves Klein as part of his search for colors which best represented the , are sponge reliefs, sculptures, "Anthropometries" (in which nude female models served as "live" paint brushes), and his spectacular late experiments with natural elements like fire.--JB [ILLUSTRATION OMITTED] Sturtevant Museum fur Moderne Kunst September 4-March 5, 2005 Curated by Mario Kramer One of the art world's greatest eminences terribles, Sturtevant has for over forty years been charting the unruly interiors and exteriors of the visible. Curator Mario Kramer takes over the entirety of the Museum fur Moderne Kunst with about 140 multimedia works for what's being billed as the artist's first retrospective--but let me assure you, Sturtevant don't want no retro spective, since her endeavor has always been exposing contrafactual con·tra·fac·tu·al n. A statement or other linguistic construction expressing an idea that is presupposed to be false, as I would go in the sentence I would go if I could. immanence, eternally returning. Sadly, this landmark exhibit won't travel, so let's hope some staunch American museum takes heed and brings this artist and her work home. With an essay by Bernard Blistene and an interview by John Waters, the catalogue will expose brutal truths, and, licking the shiny boot of beauty, we like it that way.--Bruce Hainley [ILLUSTRATION OMITTED] HAMBURG Formalism: Modern Art, Today Kunstverein Hamburg October 9-January 9, 2005 Curated by Yilmaz Dziewior "After all, is it so bad? What is it anyway? Nobody knows." One suspects that Matthew Collings's bafflement at the power of formalism might be resolved by this survey of the territory currently shared by aesthetes and conceptualists. Tracing the legacy of modernism through the work of young artists--Tomma Abts, Carol Bove, David Lieske, and Cathy Wilkes, among others--"Formalism" follows up the Kunstverein's 2002 foray into institutional critique. A comparatively subdued evocation of theoretical-historical bugbears, this show argues for a chummier relationship between style and content. The catalogue boasts a discussion between curator Yilmaz Dziewior, Michael Krebber, Benjamin Buchloh, Alexander Garcia Duttmann, and Juliane Rebentisch.--MW LIECHTENSTEIN Fabian Marcaccio Kunstmuseum Liechtenstein October 1-January 18, 2005 Curated by Christiane Meyer-Stoll This exhibition of Fabian Marcaccio's work confirms the Argentinean artist's European popularity (he is particularly well known in Germany, where his work was included at Documenta 11 in 2002). The show comprises seven canvases that span the artist's oeuvre, over six hundred drawings, a group of digital paintings on LCD monitors, and a room-size painting whose perspective shifts dramatically in relation to the viewer's position. Curator Christiane Meyer-Stoll explores the artist's weaving of an interdisciplinary approach to painting with an interest in the condition of the image in contemporary society. An accompanying catalogue will feature essays by Meyer-Stoll, Thomas Keenan, Katy Siegel, and Marcaccio himself.--Monica Amor OSLO Jeff Koons Astrup Fearnley Museum of Modern Art September 4-December 12 Curated by Grete Arbu, Gunnar B. Kvaran, and Hanne Beate Ueland Over the course of two and a half decades, Jeff Koons has explored the excesses of a hypertrophied consumer culture. The more than fifty works included in this retrospective will allow viewers the opportunity to consider the full span of the artist's career, from the lesser-known early "Inflatables" (plastic blow-up playthings paired with mirrors) to sculptures from his 1988 "Banality" series to his more recent hyperreal Hyperreal may refer to:
[ILLUSTRATION OMITTED] SAO Sa´o n. 1. (Zool.) Any marine annelid of the genus Hyalinæcia, especially H. tubicola of Europe, which inhabits a transparent movable tube resembling a quill in color and texture. PAULO 26th Bienal de Sao Paulo Ciccillo Matarazzo Pavilhao September 25-December 19 Curated by Alfons Hug Under the swashbuckling swash·buck·le intr.v. swash·buck·led, swash·buck·ling, swash·buck·les To act as a swashbuckler, as in a movie or play. [Back-formation from swashbuckler. banner "Free Territory," the latest edition of the granddaddy of Southern Hemisphere biennials features the work of 142 artists from sixty countries in its massive Niemeyer-designed space. German-born Alfons Hug, who also curated the Bienal's timid 2002 installment, now proposes the theme of the "no-man's-land," described as a "power-free zone," a land of "emptiness, of silence and respite, where the frenzy that surrounds us" is brought to a momentary standstill. Biennial regulars Julie Mehretu, Jorge Pardo, Santiago Sierra, and Neo Rauch operating in a "power-free" zone? For those preferring their artistic lands manned, the exhibition also contains the old standby, "National Representations."--Nico Israel [ILLUSTRATION OMITTED] GWANGJU, SOUTH KOREA Gwangju Biennale 2004 Various venues September 10-November 13 Curated by Yongwoo Lee Nearly a decade after its inception, the Gwangju Biennale is breaking new curatorial ground for its fifth incarnation. Promoted as an attempt to challenge the passive position of the viewer, sixty so-called viewer-participants from all walks of life were asked to select one artist each. Italian fashionista Miuccia Prada, for instance, invited Korean video artist Lee Kyung-ho, while British farmer Ross Cherrington chose art star Damien Hirst. Among the roughly two hundred artists in the themed shows are Anish Kapoor, Cai Guo-Qiang, and Park Bul-dong. This process might, however, risk reviving the exhibition's origins as a political decoy in its obtuse celebration of transformation, exchange, and ecological correctness, symbolized by its organizing themes of dust and water.--CR PERTH Edge of Desire: Recent Art in India Art Gallery of Western Australia This article or section needs sources or references that appear in reliable, third-party publications. Alone, primary sources and sources affiliated with the subject of this article are not sufficient for an accurate encyclopedia article. September 25-January 16, 2005 Curated by Chaitanya Sambrani This show of more than eighty works by thirty-two artists and collectives hopes to do for contemporary Indian art what "Inside Out: New Chinese Art" did in 1998 for art from China. That is, to provide both regional and global contexts that challenge preconceptions of recent art from India--whose presence in Western pop culture is often limited to Bollywood, yoga, and outsourcing. The show presents work by urban, nondiasporic artists like documentary photographer Dayanita Singh yet also takes a curatorial risk by offering pieces by rural folk artists such as painter Swarna Chitrakar, who reinterprets in a traditional style scenes from the Hollywood film Titanic. Travels to the Asia Society and the Queens Museum of Art The Queens Museum of Art is a major art museum in the Queens borough of New York City, USA. The museum occupies a structure originally built for the 1939 New York World's Fair, held in Flushing Meadows Park, a park designed and built primarily to host the fair, under the , New York, Mar. 6, 2005-May 29, 2005.--RJ |
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