Preview summer 2002.

Three times a year Artforum looks ahead to the coming season. The following survey previews forty shows opening around the world between May 1 and August 31.

Matthew Barney: The CREMASTER Cycle

MUSEUM LUDWIG, COLOGNE

Originally slated to open this spring at the Solomon R. Guggenheim Museum in New York, "Matthew Barney: The CREMASTER Cycle" will begin its run at the Museum Ludwig in Cologne--not quite shabby seconds but a bit of a downer for those in the States looking forward to considering the five-film epic as a whole. After numerous postponements, the outright cancellation of the show, a victim of the Guggenheim's present financial straits, was widely bruited in art circles and even in the New York Times. Instead, the three-venue tour will "climax" in New York--fittingly, as the final sequences of CREMASTER 3, the longest, last, and arguably most ambitious film in the cycle, was shot in the Guggenheim rotunda, and many of the objects on view in the show are specific to the museum. For now, New Yorkers can console themselves with the fact that CREMASTER 3 premieres in Manhattan May 1, ahead of the Cologne opening, on the Ziegfeld Theater's gargantuan seventy-foot screen. (It will subsequently be shown at Film Forum, fro m May 15 to 28.)

CREMASTER 3 displays Barney's often obscure but compelling vision to great advantage. Clocking some three hours of screen time, it is filled with the sort of ralenti-obsessional passages typical of his cinematic work, but there are also explosions of breathless action--e.g., the artist's scaling all five tiers of the Guggenheim rotunda, each stratum corresponding to one of the cycle's films. One level boasts a mosh pit for a crowd of hardcore rowdies; another, a row of Busby Berkeley-ish bathing beauties. Ever the perfectionist, the artist built a replica of the Chrysler Building lobby as a principal set, only to destroy it in one of the final "action-adventure" sequences. Perhaps CREMASTER 3's most successful coup de theatre, though, is the casting of Richard Serra as a sadistic dentist/Fountainhead-type megalomaniac architect/(Serra-esque?) sculptor.

The Ludwig show will include all five CREMASTER productions as well as an ample selection of related sculptures, photographs, and drawings. But a number of significant works, those relating to the Guggenheim itself, will be shown at the New York venue only. The films will inevitably enjoy center stage, but according to Guggenheim curator Nancy Spector, who spent some six years planning the show, the exhibition makes a strong case for Barney as a sculptor. Often the sculptural and other "subsidiary" works have been regarded as merely vendible wares whose purpose is to finance further cinematic experiments. "There are so many ways into the cycle, and the films are only the most well known," Spector comments. "The exhibition will show how narratives can be constructed through other objects as well. Matthew thinks of his work overall, including the films, as a sculptural practice."

David Rimanelli

Joan Mitchell

WHITNEY MUSEUM OF AMERICAN ART 

"Why have there been no great women artists?" Linda Nochlin asked famously--and a bit rhetorically--three decades ago. The standard reply usually involves male oppression and old-boy institutional bias. Add to that those relatively benign accidents of fate--if you're Joan Mitchell, being in the wrong place at the wrong time (e.g., France during the heyday of American abstraction), not to mention being an ornery person--and the deck is decidedly stacked. With a sixty-picture retrospective and a full-scale catalogue, the Whitney and freelance curator Jane Livingston aim to make the case for Mitchell. Headlining: a "compositionally daring" diptych as yet unseen outside the artist's studio. June 20-Sept. 29.

Peter Plagens

Gauguin in New York Collections: The Lure of the Exotic

METROPOLITAN MUSEUM OF ART

Museums and private collectors in New York are temporarily shedding their Gauguins--an exceptionally rich hoard--to supplement the Metropolitan Museum of Art's own holdings in a nearly 120-piece survey of paintings, sculpture, ceramics, and works on paper. Organized by Met curators Colta Ives and Susan Alyson Stein, the show is just the latest of several recent manifestations of Gauguin's perennial fascination. While the artist today may not have the creative grip still exerted by contemporaries such as Seurat and Cezanne, the unfolding twenty-year trajectory of his work--from imitative Sunday impressionist to exotic liberator--continues to enthrall. June 18-Oct. 20.

Richard Shone

Museum Ludwig, Cologne, June 5-Sept. 1; Musee d'Art Moderne de la Ville de Paris, Oct. 10, 2002-Jan. 5, 2003; Solomon R. Guggenheim Museum, New York, Feb. 13, 2003-June 11, 2003.

Out of Site

NEW MUSEUM OF CONTEMPORARY ART 

Architecture: art. Art [architecture]. Architecture = Art? Where one fief ends and the other begins--and all the encroachment along the frontier--is becoming a fallback fascination in both weary camps. Into the fray comes "Out of Site." Organized by the New Museum's Anne Ellegood, the show focuses on "fictional architectural spaces and topographies" as elaborated by fifteen young artists--among them the brilliant Haluk Akakce. There will be imaginary lands, futuristic cityscapes (some critical, some just plain fun), and--what else?--the obligatory site-specific demonstrations of disciplinary irrelevance. June 28-Oct. 13.

Philip Nobel

George Tice

INTERNATIONAL CENTER OF PHOTOGRAPHY

With his poetic evocations of industrialized northern New Jersey from the late '60s and early '70s, George Tice seems an unlikely choice of weapon for the International Center of Photography's critically armed new curatorial regime. But there is an undeniable appeal to the photographer's finely printed black-and-white pictures of nearly deserted urban oases like a White Castle burger joint and a Mobil gas station. Tice's reputation took a hit with the rise of a less romantic landscape style epitomized by Robert Adams and Lewis Baltz, and his life and work have taken some curious turns, too (e.g., his 1977 social-reportage book Artie Van Blarcum). Still, this exhibition organized by the ICP's Kristen Lubben will show that his heart belongs to Jersey. June 28-Sept. 1.

Andy Grundberg

Ellsworth Kelly, Tablet: 1949-1973

DRAWING CENTER

With the Pompidou-organized "Henri Matisse-Ellsworth Kelly: Plant Drawings" show alighting at the Saint Louis Art Museum (on the heels of the Pulitzer Foundation's Kelly exhibition across town), not to mention the July SF MOMA survey of the artist's work culled from the rich holdings of Bay Area collections, US fans of the artist have a lot to cheer about. Now, in an exhibition curated by Kelly authority Yve-Alain Bois (who also authored the accompanying catalogue), we can see 188 of the artist's quirky assemblies. Around 1973 Kelly went through his files gathering sketches, clippings, and other ephemera, then mounted them in groups on fifteen-by-twenty-odd-inch gray boards. The resulting paste-ups prove that Kelly is one of the great "visualists" (his word) of our time. May 2-July 24.

Harry Cooper

Mexico City: An Exhibition About the Exchange Rates of Bodies and Values

P.S. I CONTEMPORARY ART CENTER

Forget Paris--and New York and London. Think Kwangju, Havana, and Tirana: dynamic cities where politics, class, and the market are in constant flux. This may spell bad news when it comes to living, but it's ideal for making art. Or so argues P.S. 1 curator Klaus Biesenbach, whose exhibition considers one such locale, Mexico City. Biesenbach's well-timed show examines the heady, often conflicted dialogue between the teeming, difficult, extraordinary city and the artists who live and work there, including Gabriel Orozco, Francis Alys, Miguel Calderon, Gabriel Kuri, Damian Ortega, and Daniela Rossell. A 300-page catalogue is planned. June 30-September; travel TBA.

Meghan Dailey

Tempo

MoMA QNS

Maybe it has to do with the end of one century and the beginning of another, but lately artists and curators seem to have the issue of time on the brain. In this timely exhibition, MoMA curator Paulo Herkenhoff explores the gamut of temporal categories as they are reflected in contemporary art, including geologic time, history, personal memory, metabolism, experience, and duration. The thematic heavy lifting here is done by Herkenhoff's conceptual organization. The curator has isolated the nearly fifty artists in his show into five broad areas, but will the art bear the weight of the ideas? We'll have to wait and see. Tick, tick, tick. June 29-Sept. 10.

Katy Siegel

ANNANDALE-ON-HUDSON, NY

Dave Muller

CENTER FOR CURATORIAL STUDIES, BARD COLLEGE

In addition to the convivial group shows ("Three Day Weekends") he organizes, gregarious Los Angeles-based artist Dave Muller makes smart, colorful drawings that recontextualize and often wryly reinterpret posters and announcements for other artists' exhibitions. This survey, organized by Bard CCS Museum director Amada Cruz (who, with CCAC Wattis Institute for Contemporary Art curator Matthew Higgs, contributes to the catalogue), focuses on the drawings, which means the exhibition should have a collegial feel. In addition, the artist will give visitors a taste of Muller-style sociability when he hosts a local Three Day Weekend comprising friends and colleagues from New York and LA as well as Bard grad students. June 23-Sept. 8.

Ralph Rugoff

NORTH ADAMS, MA

Uncommon Denominator: New Art from Vienna

MASSACHUSETTS MUSEUM OF CONTEMPORARY ART 

From the tortured gorgeousness of Klimt and Schiele to the gorgeous torture of the Actionists, Vienna is a city that seems to elicit intensity from its artists. All the same, the idea of exploring the identity of a locale via one grand exhibition can promote a certain anodyne blandness. Perhaps to offset this factor, "Uncommon Denominator" stresses its multimedia unclassifiability, delivering some seventy works by sixteen participants; painting, video, wall drawings, and more are promised, with most work dating from the last three years. The roster, selected by Mass MOCA's Laura Heon, boasts old hands like Franz West and Erwin Wurm as well as several newcomers whose work is little known in the States. May 25, 2002-Apr. 2003.

Frances Richard

WASHINGTON, DC

Alfred Stieglitz: Known and Unknown

NATIONAL GALLERY OF ART

For longtime National Gallery curator Sarah Greenough, this is the big one: a 100-print exhibition of Alfred Stieglitz's career, drawn from the museum's collection of more than 1,600--the so-called key set assembled by Georgia O'Keeffe and donated by her and the Stieglitz estate. Greenough's career has focused on the impressario of modernist photography, and in showing Stieglitz's iconic images alongside lesser-known pictures, this survey promises to be insightful. Best of all, the show is accompanied by a catalogue reproducing the entire collection, with scholarly entries for each image and--for the first time, according to Greenough--authoritative tides and dates. June 2-Sept. 2; Museum of Fine Arts, Houston, Oct. 6, 2002-Jan. 5, 2003.

AG

Larry Rivers

CORCORAN GALLERY OF ART 

A quiz: (1) Who was originally considered (with Jasper Johns and Robert Rauschenberg) one of the big three breakaway-from-AbEx figures? (2) What American artist admitted to adolescent carnal knowledge of an overstuffed chair? (3) Who was the best artist ever at charcoal variations on stenciled lettering? (4) Which artist--among those whose last names begin with the letter R, please--is a better jazz musician than Woody Allen? The answers to these questions, not to mention a chance to review the artist's output from the past five decades, can be found in this sixty-work exhibition curated by the Corcoran's Jacquelyn Serwer. May 18-July 22; Musee National du Jeu de Paume, Paris, Oct. 7-Dec. 1.

PP

PHILADELPHIA

Charles LeDray

INSTITUTE OF CONTEMPORARY ART

Recontextualization, replication, and multiplication are postmodern strategies used to drag quotidian objects into the resistant realm of art. Charles LeDray has reversed directions by making the familiar unique. By way of painstaking handwork techniques, he weaves and sews dream-scale clothing; grinds human bone into disconcerting buttons; fashions abused toy bears from tar and velvet; and fires two thousand tiny porcelain vessels, talismanic offerings to masters of clay like Betty Woodman and George Ohr. Organized by ICA director Claudia Gould, the exhibition is accompanied by a catalogue with an interview by Gould and an essay by Russell Ferguson. May 11-July 14; Arts Club of Chicago, Sept. 19-Dec. 21; Yerba Buena Center for the Arts, Jan. 25, 2003-Apr. 6, 2003; Seattle Art Museum, Apr. 24, 2003-July 27, 2003.

Jeff Weinstein

DALLAS

Thomas Struth

DALLAS MUSEUM OF ART 

Thomas Struth made his art-world debut with the late '70s black-and-white street scenes he shot in such locales as Dusseldorf, New York, and Tokyo. In the '80s, the Becher prodigy expanded to color photography, with individual and group portraits as well as large-scale images of museum-goers in situ. Most recently he has created almost unreal images of forests and jungles. As becomes apparent in work from each stage of his career-- which is explored in this retrospective curated by the Dallas Museum of Art's Charles Wylie--Struth recovers the word teeming for the vocabulary of art criticism. May 12-Aug. 18; Museum of Contemporary Art, Los Angeles, Sept. 15, 2002-Jan. 5, 2003; Metropolitan Museum of Art, New York, Feb. 4, 2003-May 18, 2003; Museum of Contemporary Art, Chicago, June 28, 2003-Sept. 28, 2003.

DR

HOUSTON

Alighiero e Boetti

CONTEMPORARY ARTS MUSEUM

Alighiero e Boetti was an eclectic artist, so much so that he decided to be two people. (That was the idea he played with by adding an e--the Italian for and--between his first and last name.) This exhibition reflects an attempt to do justice to his variety: Taking shortcuts only with his arte povera beginnings, curator Paola Morsiani aims for healthy depth in each of the artist's bodies of work-- the ballpoint drawings, the acrostic-like verbal embroideries, the maps, the rugs, the bronze figure that suggests brainpower by the steam coming out of its head. (That one's a self-portrait.) Morsiani is proud to be introducing Boetti's work to Texas, but her show should interest people from all over. June 22-Oct. 6.

David Frankel

CHICAGO

Catherine Sullivan

RENAISSANCE SOCIETY

Is an actor great because she or he makes us cry? Is it more of a challenge to play Helen Keller than, say, an ordinary housewife? Catherine Sullivan interrogates assumptions both social and theatrical about the presumed power of heroic characterizations. For her first solo show in a US institution, the Los Angeles- based Sullivan (who performs, writes, and directs her video and theatrical work) has come up with an ambitious hybrid project focused on the multichannel video Five Economies (Big Hunt/Little Hunt), 2002 (the title refers to models meant to produce specific effects in the performer). The exhibition, organized by Renaissance Society director Susanne Ghez, includes sculptural installations and features a number of live performances. May 5-June 16.

MD

MINNEAPOLIS

Rivane Neuenschwander

WALKER ART CENTER

The progeny of Lygia Clark and Helio Oiticica continue to emerge from the Brazilian scene, pursuing the further decoction of aesthetic statement from a ferment of language games, social commentary, sensory stimuli, and materials-conscious abstraction. The newest corner is Rivane Neuenschwander, whose first solo US museum show is being organized by the Walker's Olukemi Ilesanmi. (Meanwhile, a survey of the artist's work, organized by Adriano Pedrosa, opens at the Museo de Arte da Pampulha in her hometown of Belo Horizonte in May.) With an emphasis on ephemera like Scotch tape, insects, and ground spices, Neuenschwander stages quietly physical and lingeringly strange encounters. Including forays into film and video, the exhibition comprises nine recent works. Aug. 18 Nov. 10.

FR

SAN JOSE, CA

Parallels and Intersections: Art/Women/California 1950-2000

SAN JOSE MUSEUM OF ART 

An extensive state university system, a panoply of international cultures, a network of art-smart feminists, and a performance-obsessed industry town--LA, natch--that was postmodern before the term was coined: All of it has helped overcome a deficit of gallery and museum support and make California a smelting pot for women artists. Recognizing this, guest curator Diana Fuller decided to risk the pitfalls of gender specificity and "who's missing?" group shows to mount "Parallels and Intersections." The ninety-plus artist list is ripe with names familiar (Vija Celmins, Martha Resler, Carrie Mae Weems) as well as plenty that outlanders probably won't know. (Who is missing? Beatrice Wood would be my call.) June 1 Nov.3.

JW

LONDON

Matisse Picasso

TATE MODERN

Matisse-Picasso? Haven't we been down this road before--and recently? Art historian Yve-Alain Bois's Kimbell Art Museum exhibition a few years back examined the relations between the two grands maitres. How will this show--a joint production of the Tate, MOMA, the Pompidou, and the Musee Picasso under the respective direction of John Golding and Elizabeth Cowling, John Elderfield and Kirk Varnedoe, Isabelle Monod-Fontaine, and Anne Baldassari--advance the discussion? Will "Matisse Picasso" have its own fresh flavor? One thing is for certain: Given the organizing institutions, the cumulative loans in themselves will represent an embarrassment of riches. May 11-Aug. 18; Grand Palais, Paris, Sept.24, 2002-Jan. 6, 2003; Museum of Modern Art, New York, Feb. 12, 2003-May 20, 2003.

DR

Lucian Freud

TATE BRITAIN

If ever there was an occasion to learn to stop worrying and love expressive figuration, this is it. Lucian Freud's most comprehensive retrospective to date promises six decades of yummy, icky bodies rendered in yummy, icky paint, with subjects ranging from provincial lads and lasses to performance artist Leigh Bowery to the painter's own fabulous family. Freud biographer William Feaver does the curatorial honors and is joined in the catalogue by painter Frank Auerbach and Tate Britain curator Lizzie Carey Thomas. On the way from angry young man to grand old master, Freud never softened the work's alienation, sexuality, or aggression; he's not getting older, he's getting better. June 20-Sept, 22; Fundacio "la Caixa," Barcelona, Oct. 13, 2002-Jan. 12, 2003; Museum of Contemporary Art, Los Angeles, Feb. 9, 2003-May 25, 2003.

--KS

Game On

BARBICAN GALLERY

Strange but true: The Barbican Centre, embedded in a concrete bastion that these days seems like London's Stonehenge, is twenty years younger than the first computer game. "Game On," organized by the resident curator Conrad Bodman and joystick veteran Lucien King, promises an archaeology of electronic gaming, from 1962's Space War! to the latest Sony PlayStations, with many of the 250 entries up and running for visitors to try out. In addition, a series of digital art commissions by Mark Dean and sound artist Scanner, among others, will probe the ethics and aesthetics of computer gaming; duo Thomson & Craighead's canny 1999 work Trigger Happy (in which players shoot up snatches of Michel Foucault's essay "What Is an Author?") is a headliner. May 16-Sept. 15.

--Rachel Withers

Atelier van Lieshout

CAMDEN ARTS CENTRE 

This summer, Camden Arts Centre director Jenni Lomax and her doughty team move into temporary accommodations while the space undergoes major lottery-funded repairs and improvements. Before they go, they're taking lessons in alternative living from Atelier van Lieshout. Occupying all three Camden galleries, the show features work never before seen in the UK: Hotel de Luxe, 2002, a five-star "pod-hotel" with air conditioning and on-tap entertainment, a composting toilet and sewage system, and a fitness center. This last includes a giant bed--which many maintain is very useful for relaxing the muscles of the eyelids (among other things). Apr. 26-June 16.

--RW

Cher Peintre

CENTRE GEORGES POMPIDOU 

The painting show of 2002? "Cher Peintre" takes the pulse of figurative work by foregrounding a dozen recent exponents plus precursors Francis Picabia, Bernard Buffet, Sigmar Polke, Alex Katz, and Martin Kippenberger. Organized by the Pompidou's Alison Gingeras, Kunsthalle Wien's Sabine Folie, and Schirn Kunsthalle Frankfurt's Blazenka Perica, the exhibition spotlights work that is stylistically ambidextrous, promiscuous with regard to other media, and fast and loose vis-a-vis the codes of art history. Included are Kai Althoff, Glenn Brown, Brian Calvin, John Currin, Peter Doig, Bruno Perramant, Neo Rauch, Luc Tuymans, and Sophie von Hellermann. June 12-Sept. 2; Kunsthalle Wien, Vienna, Sept. 20, 2002-Jan. 1, 2003; Schirn Kunsthalle Frankfurt, Jan. 15, 2003-Apr. 15, 2003.

Alex Farquharson

Daniel Buren

CENTRE GEORGES POMPIDOU

Despite Daniel Buren's status as one of France's most revered living artists (and the nation's penchant for honoring its own), he has surprisingly escaped retrospective treatment from Beaubourg thus far. Now Buren joins the ranks of Jean Nouvel, Raymond Hains, and other home-grown heroes celebrated in a series of exhibitions launched after the Centre Georges Pompidou's recent renovation. Of course, because the artist has worked only in response to particular sites since 1967, a full-on Buren "retrospective" poses a bit of a curatorial conundrum. Nevertheless, the Pompidou team, headed by Bernard Blistene and Alison Gingeras, promises to do its best by showing the old with the new and allowing the artist's work to permeate not just the museum but tout Paris. June 26-Sept. 23.

--Scott Rothkopf

Takashi Murakami

FONDATION CARTIER

POUR L'ART CONTEMPORAIN

If Manet and all those Impressionists loved Japanese prints for their weightless, shadowless world of elegant line and pure color and collected the exotic bric-a-brac of fans, screens, and kimonos, what would they have made of Takashi Murakami? As with Mariko Mori's tableaux, his super-flat comic faces, magic mushrooms, decal flowers, and lanternlike balloons are rooted in Japan's vast Pop universe, with inspiration coming from trashy magazines and coloring books. This show of mainly new work, curated by Herve Chandes and Helene Kelmachter, will expand Murakami's franchise, which is now moving into fashion, film, music, and cartoons. Here's a fresh version of Japonisme for the twenty-first century. June 26-Sept. 29.

--Robert Rosenblum

Philippe Parreno

MUSEE D'ART MODERNE

DE LA VILLE DE PARIS

Invited by the Musee d'Art Moderne's Angeline Scherf and Hans-Ulrich Obrist to mount a first retrospective of his decade-long career, Philippe Parreno opted to go about things backward and start with a catalogue raisonne. Designed by colleagues M/M, the printed chronology freed the artist from the obligation to lay out his oeuvre. Instead Parreno is showcasing works from the last two years and even a few that are still in the pipeline, such as his project with scientist Jaron Lanier. It's a (paradoxically) signature move for the artist: an anti-monographic way of inventing various new communities, which Parreno has explored in collaborations with, among others, Pierre Huyghe, Dominique Gonzalez-Foerster, and Liam Gillick. May 31-Sept. 22.

--Jean-Max Colard

STRASBOURG, FRANCE

Joaquin Torres-Garcia

MUSEE D'ART MODERNE

ET CONTEMPORAIN

Recalibration for the soul is on offer at this retrospective of Joaquin Torres-Garcia (1874-1949), father of the concept of "spiritual geometry." Comprising over a hundred pieces, including oils, drawings, three-dimensional constructions, and wooden toys, the show, organized by chief curator Emmanuel Guigon, will trace both the artist's travels (from turn-of-the-century Barcelona to '20s New York and Paris to his native Uruguay in the '30s) and the development of his art: Symbolism via geometric abstraction to the quasi-Platonic Latin American roots revivalism the artist termed Universal Constructivism. Context will be provided in the form of works by Torres-Garcia associates Theo van Doesburg, Piet Mondrian, Jean Helion, and Cesar Domela. May 24-Sept. 8.

RW

BARCELONA

Contemporary Arabic Representations

FUNDACIO ANTONI TAPIES

The Arab world, any pundit will tell you, is caught between the powerful media of the liberal, egalitarian, feminist West and the political culture and religious vision articulated in the Koran. Sure, there's a grain of truth here, but since Arab intellectuals and artists have been wrestling with "Arab modernity" for at least the last hundred years, the schematics are a bit denser than the Baywatch vs. burka paradigm. This show investigates a number of proposals emerging in the Arab world, especially in Morocco, Palestine, and Lebanon, with an emphasis on Beirut. Curated by Documenta X artistic director Catherine David, the project includes conferences featuring the rising generation of Arab artists, architects, filmmakers, and theorists. May 2-July 7; travel TBA.

Lee Smith

MADRID

Bhupen Khakhar

MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA

Combining gay liberation and globalism, Bhupen Khakhar, like the equally queer and ethnic Mexican painter Nahum Zenil, couldn't be more PC. Born in Bombay in 1934, he came out of the closet in the '8os, depicting his new self both in heaven and on earth. If his local deities had all those arms and all that sex, why shouldn't he paint a runny-nosed man with five penises or a male couple (one old, one young) in Nirvana? His free-floating, neon-glowing fantasies have many Western connections, too. David Hockney was an inspiration and Howard Hodgkin an ardent fan. Enrique Juncosa curates this thirty-five painting show of work from the last thirty years, whose catalogue sports an essay by Khakhar's friend Salman Rushdie. June 4-Sept. 16.

Robert Rosenblum

PORTO, PORTUGAL

Richard Tuttle

MUSEU DE ARTE CONTEMPORANEA DE SERRALVES

Conceived as a site-specific installation, Tuttle's intervention at Porto will draw on the idiosyncratic architecture of the Casa de Serralves, a pink International Style-meets-Art Deco mansion. Organized by critic Susan Harris, the exhibition mixes older work with recent sculptures that respond specifically to the richly appointed interiors of the setting. Two and a half hours up the road, at the Centro Galego de Arte Contemporanea in Santiago de Compostela, is a complementary retrospective of the artist's books as well as new large-scale sculptures. With work expanding to fill these two Iberian spaces, Tuttle may finally be abandoning his trademark "slight" of hand. June 28-Sept. 29; Centro Galego de Arte Contemporanea, June 27-Sept. 22.

--SR

VIENNA

Adrian Piper

GENERALI FOUNDATION

Adrian Piper has identified 1970 as the year she began inflecting her text-based Conceptual practice of the '60s with a political agenda. Inspired by the civil rights and women's liberation movements as well as her own philosophical studies, Piper created performances designed to catalyze the viewer's social awareness. This retrospective--her largest in Europe and first solo exhibition in Austria--highlights the division in Piper's oeuvre by displaying over a hundred works tracing the trajectory of her career. Curator Sabine Breitwieser of the Generali Foundation includes early Conceptualist photographs and drawings, documentation of '7os feminist performances, and recent video installations, in which Piper explores issues of race and African-American experience. May 17-Aug. 25.

--Catherine Caesar

TURIN

Bruna Esposito

CASTELLO DI RIVOLI

The Castello di Rivoli's series devoted to emerging international figures picks up this season with site-specific work by Bruna Esposito, whose poetic "floating bench" was a critical hit when it was shown in the Italian pavilion at the 1999 Venice Biennale. Castello di Rivoli curator Marcella Beccaria has invited the Rome-based artist to interact with various spaces in the monumental structure, which dates from the eleventh century. Because the artist has often focused on issues of immigration and multiculturalism, her exposition promises to be particularly interesting, given the current political climate in Italy. The accompanying catalogue includes a selection of Esposito's writings. May 22-Aug 25.

--Mario Codognato

Translated from Italian by Marguerite Shore.

BASEL

Painting on the Move

VARIOUS VENUES

Long live figuration and abstraction! Long live oil on canvas! Long live the retina! Why say it once when you can say it three times? Mendes Burgi's tripartite, three-venue show looks at the medium's continuing vitality. "A Century of Contemporary Painting 1900-2000" (at the Kunstmuseum Basel) provides the backstory, while "There Is No Last Picture: Painting after 1968" (at the Museum fur Gegenwartskunst) takes works by Sigmar Polke, Andy Warhol, and Robert Ryman as anchors for the painting of the likes of Martin Kippenberger and Gary Hume. And at Kunsthalle Basel, "After Reality: Realism and Current Painting" presents work by thirteen mostly younger artists. The 200-page catalogue includes "conversations" with, among others, Thierry de Duve, Bruno Haas, and Douglas Crimp. May 26--Sept. 8.

--Daniel Birnbaum

THUN, SWITZERLAND

Dara Friedman

KUNSTMUSEUM THUN

Dara Friedman's projected installations blend a Warholian nonchalance with a sophisticated awareness of the legacy of experimental film: Why bother with plot when the cut, splice, and loop provide the action? In Chrissy, Mette, Kristan, 2000, for instance, three projectors on mirror-covered pedestals show models ripping their shirts open, over and over, to the snap! of buttons popping off. As literally reflective as the work may be, it revisits the structuralist precedent with fierce determination. Curated by Madeleine Schuppli, this first major survey of Friedman's work presents film and video from the past five years, including a piece commissioned for the occasion. May 31-Aug. 4.

Caroline Schneider

FRANKFURT

Manifesta 4: European Biennial of Contemporary Art

VARIOUS VENUES

Frankfurt is a shape-shifter: During the business week, for example, its population triples. Over the summer, more than fifty European artists, artist groups, and writers will modify the city's look still further. Taking the symbiosis between contemporary art and urban space as their starting point, Manifesta 4 curators Iara Boubnova (from the Institute of Contemporary Art, Sofia, Bulgaria), Nuria Enguita Mayo (of Barcelona's Fundacio Tapies), and Parisian freelancer Stephanie Moisdon Trembley will construct a "psychological trajectory" linking Portikus, the Stadelschule, and the Schirn Kunsthalle with other venues. As ever, the event will emphasize process, performance, and experiment over "finished objects." May 25-Aug. 25.

RW

DUSSELDORF

Richard Wright

KUNSTVEREIN DUSSELDORF

Diverse stylistic references, imagery from art and pop-cultural sources, and play with various conventions of spatial representation all feed into the precise patterns seen in Richard Wright's paintings. Realized directly on the wall, his works involve the architecture of the space as well as its locale in a confrontation between the act of visualization and the decorative and functional status of the resultant forms. The outcome is a perverse mix, seemingly funny and aggressive, exuberant, demure, and reticently contemplative all at once. This exhibition, organized by the Kunstverein Dusseldorf's Rita Kersting and Anette Freudenberger, marks Wright's first large-scale institutional show. For obvious reasons it won't travel, but it will be accompanied by a helpful catalogue. July 6 Sept. 22

--Michael Archer

COPENHAGEN

Arne Jacobsen

LOUISIANA MUSEUM FOR MODERNE KUNST

When it comes to twentieth-century Danish design, Arne Jacobsen (1902-1971) is your man. You name it, he did it, from gardens and furniture to silverware and high-rises. In fact, given the abiding presence of his all-encompassing creativity, it sometimes seems Jacobsen never left us. For this extensive centenary celebration, curator Kjeld Kjeldsen teams with historian Carsten Thau and architect Kjeld Vindum to emphasize the material and sensual aspects of the work. And to adjudicate Jacobsen's architectural heritage, interpretations by contemporary colleague such as Sejima+Nishizawa/SANAA, Gigon/Guyer, and Perrault/Lauriot-Prevost are in the plans. Aug.30, 2002-Jan. 12, 2003; Deichtorhallen, Hamburg, May 22, 2003-Aug. 3, 2003.

Lars Bang Larsen

My Head Is On Fire but My Heart Is Full of Love

CHARLOTTENBORG

Glasgow's Modern Institute curators Will Bradley, Henriette Bretton-Meyer, and Toby Webster lead a master class in free-association in Copenhagen this spring. The list of artists alone reads like a dream permanent collection: '6os stalwarts Dan Graham, Sol LeWitt, Robert Smithson, Paul Thek, and Andy Warhol; earlier avant-gardists such as Naum Gabo and Man Ray; and contemporaries including Isa Genzken, Evan Holloway, and Henrik Plenge Jakobsen. Amid all this are curios-- jewelry, psychedelic posters, photos of the young Bowie--beyond art history's normal purview. The curators say their foray is rooted in a Minimalist vocabulary of sorts--one they describe as "theatrical, mannered, gothic, mystic, mathematical and baroque." May 9-June 9.

AF

SYDNEY

Biennale of Sydney 2002

VARIOUS VENUES

Chirpily titled "(The World May Be) Fantastic," the thirteenth installment of the Sydney biennial homes in on the fanciful, with an eccentric lineup of artistic imagineers creating parallel worlds and fictitious scenarios. The publicity palaver conjures a festival of flawed utopianism, featuring Vito Acconci at the head of a colorful parade of reality-testing artworks. Artistic director Richard Grayson has collaborated with Susan Hiller, Ralph Rugoff, and Janos Sugar in choosing the broadly international roster of roughly fifty artists. Primarily located at the Art Gallery of New South Wales arid the Museum of Contemporary Art, the exhibition will also occupy several satellite venues--most notably the sensational Sydney Opera House, perfectly capping off the Fantasyland thematics. May 15-July 14.

Jeff Gibson