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Previews: 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.

12TH BIENNALE DE LYON, September 12,2013-January 5,2014; 9TH MERCOSUL BIENNIAL, September 13-November 10; 13TH ISTANBUL BIENNIAL, September 14-November10; 5TH MOSCOW BIENNALE OF CONTEMPORARY ART, September 19-October20; 2013 CARNEGIE INTERNATIONAL, October 5,2013-March15,2014; SINGAPORE BIENNALE 2013, October26, 2013-February 16,2014; PERFORMA 13, November1-November 24

WITHOUT SO MUCH as a moment's notice since the launch of the Fifty-Fifth Venice Biennale, more than half a dozen major, large-scale group exhibitions open on four continents this fall, including some of the most longstanding and some of the newest such presentations in the world. Together, these shows represent a matrix of the various forms and functions of the exhibition today, as curators respond to--and operate within--vastly different cultural, political, and economic contexts.

The Carnegie International is the second-oldest exhibition of its kind, initiated in 1896 by Andrew Carnegie in order to bring the "old masters of tomorrow" to Pittsburgh. This year's exhibition, following Douglas Fogle's "Life on Mars" in 2008, is cocurated by Daniel Baumann, Dan Byers, and Tina Kukielski, and features a diverse, even idiosyncratic, roster of thirty-five artists and collectives from nineteen countries, including Pennsylvania-based Transformazium, Japanese architectural group Tezuka, and the Bidoun Library. For the first time since Lynne Cooke and Mark Francis helmed the show in 1991, the exhibition will take place partly off-site, with artists already engaging with local communities before the official start of the International via a series of talks held at a space in an apartment in the Lawrenceville neighborhood of Pittsburgh.

In Brazil, the Ninth Mercosul Biennial represents a similar effort to interface with the public, with Sofia Hermindez Chong Cuy conceiving of the show, titled "Weather Permitting," as a platform for dialogue between artists and the community in Porto Alegre. During its run, Sofia Hernandez and her team of curators will stage pedagogical public programs and workshops, and will commission a series of collaborations between artists and local businesses--all intended to explore three potential roles of the artist in the public sphere: collaborator, mediator, and social outcast.

This year's Singapore Biennale, "If the World Changed," engages "the local" more broadly. Established in 2006 and operating within the institutional framework of the Singapore Art Museum, the biennial is turning to an extensive curatorial team--a total of twenty-seven cocurators--as a means of avoiding disproportionate focus on art-world centers and to represent adequately some of the many diverse art scenes throughout Asia. In another indication of the exhibition's democratic imperative and regional focus, the entire list of Asia-based artists was selected via an open call through the biennial's website.

Taking a more established route, the Fifth Moscow Biennale of Contemporary Art, "More Light," taps a single veteran curator, Catherine de Zegher, who served as a codirector of the Eighteenth Biennale of Sydney last year and here addresses the theme of the temporality of globalization. The majority of the one hundred or so artists will be hosted at the Moscow Manege, though the biennial will also be accompanied, Venice style, by a large number of satellite exhibitions and programs.

If de Zegher is known for her rigorous engagement with history, the Twelfth Biennale de Lyon appears to be focused on looking forward--generating, as in previous editions, the production of new site-specific pieces. Curated by Gunnar B. Kvaran, the show deals with the theme of narrative and fiction in art and features some seventy artists, including well-known names such as Jeff Koons, Robert Gober, Matthew Barney, and Yoko Ono, brought together with up-and-corners such as Jonathas de Andrade, Paulo Nazareth, Petra Cortright, and Helen Marten. RoseLee Goldberg's Performa, meanwhile, returns to New York City for its fifth edition. The three-week-long performance-art biennial will span more than thirty venues across the city, with new commissions by Pawel Althamer, Rosa Barba, Subodh Gupta, and others.

Finally, the Thirteenth Istanbul Biennial, with the somewhat inexplicable title "Morn, Am I Barbarian?," organized by Fulya Erdemci, will focus generally on "the public domain as a political forum." This theme was announced in January, months before the unrest in Turkey this past spring, and at this time it remains to be seen how those events will shape the curatorial premise or the organization of the biennial itself. In any case, the exhibition will undoubtedly be one of the more memorable in recent years, as the backdrop of protests and subsequent crackdowns in the city's Taksim Square and Gezi Park will call for the show to serve--whether it intends to or not--as a real test of its own premise, a case study of the ways in which art can function in contested public sites.

If the biennial became the prevailing format for large-scale international group exhibitions in the 1990s, and if that format has been examined, questioned, and criticized ad infinitum during the first decade of the twenty-first century, the risk of global homogeneity remains. Yet the range of curatorial diversity within the framework of the megashow has been greatly expanded, and the exhibitions opening this fall seem to all move confidently into the future. While avoiding excessive self-reflexivity or experimentation, these shows reveal a general willingness to respond and adapt to the topography of the local, thereby resisting a return to conservative modes.



MUSEUM OF MODERN ART * November 23, 2013-March 10, 2014 * Curated by Sabine Breitwieser. Laura Hoptman, Michael Darling, and Jeffrey Grove * From the retro-Futurist Ellipsoids of her first solo show in 1976, when she was still a student at the Arts Academy in Dusseldorf, to her newest expansive, mannequin-filled installation Schauspieler (Actors), 2013, German artist Isa Genzken has reanimated sculpture in strikingly revisionist ways. Genzken quickly departed from her early negotiations of Minimalism and post-Minimalism to hybridize the languages of modernist abstraction and the crass materialism of vernacular culture, exemplified by the aptly titled series of sculptural-architectural models "Fuck the Bauhaus," 2000. The artist's first US retrospective, encompassing forty years of her multifarious work, will explore the evolution of a practice that broke open the category of sculpture to include paintings, photographs, artists' books, drawing, and film--a trajectory to be further charted in the exhibition catalogue. Travels to the Museum of Contemporary Art, Chicago, Apr. 12-Aug. 3, 2014; Dallas Museum of Art, Sept. 14, 2014-Jan. 4, 2015.

--Tom Holert


SOLOMON R. GUGGENHEIM MUSEUM * October 25, 2013-January 22. 2014 * Curated by Katherine Brinson * When the Whitney Museum of American Art boldly leaped a decade and honored Wade Guyton with an early, if well-deserved, survey last year, even this late-to-the-game Christopher Wool fan felt a pang of sympathy for the elder artist, widely acknowledged as a precursor to Guyton and his generation. For this reason, the Guggenheim's timely retrospective feels that much more so. This full-rotunda roundup--the most comprehensive showing of Wool's output to date--will bring together roughly ninety paintings, photographs, and works on paper made since the mid-1980s. Accompanied by a catalogue with essays by Brinson, Suzanne Hudson, James Rondeau, and fellow artist Richard Prince, this exhibition should afford ample perspective on Wool's germinal role in the already-venerable tradition of painting in the age of (post)mechanical reproduction. Travels to the Art Institute of Chicago, Feb. 23-May 11, 2014.

--Jack Bankoivsky


WHITNEY MUSEUM OF AMERICAN ART * September 26, 2013-January 23, 2014 * Curated by Barbara Haskell Even if you don't love Love, there's no denying the status of Robert Indiana's mid-1960s icon as one of its era's most widely disseminated images, its laconic form having since been emblazoned on T-shirts, stamps, and posters across the globe. Haskell's retrospective thus poses the question: What can we find with a look at the artist's oeuvre beyond the blinding light of this single trademark? Focusing on Indiana's prolific '60s production but spanning nearly five decades of work in all (including paintings, sculpture, and assemblage), the exhibition aims to broaden our understanding of his exploration of American history, geography, and everyday life--from the Love and Eat works to his tributes to Herman Melville and the Brooklyn Bridge. Now that the "American Century" has passed, what can we discover anew in the work of this most American of artists? Travels to the McNay Art Museum, San Antonio,

Feb. 5-May 25, 2014.

--Graham Bader


NEW MUSEUM * October 2, 2013-January 12, 2014 * Curated by Massirniliano Gioni, Jenny Moore, and Lisa Phillips * Chris Burden's breakthrough performance pieces, such as Shoot and Prelude to 220, or 110, both 1971, still unsettle our complacent acceptance of the status quo--a jolt that can make us overlook the delicate balance of elements at play in his work. The New Museum's building-wide retrospective will offer a great opportunity to contemplate an impressive cross section of this influential artist's oeuvre. Burden turns a sharp visual eye on the broader social context of the artwork to simultaneously dissect and upend the figure-ground relationship that society idealizes even at the basic level of law and order, thereby bringing the backdrop of our conventions to the very fore. Looking at a great sculpture such as The Big Wheel, 1979, and nervously considering the physical implications of something going amiss, one realizes that what actually holds it all together is that Burden has shown its that something was already amiss in the bigger picture, in our aesthetics and unquestioned social structures.

--Charles Ray



METROPOLITAN MUSEUM OF ART * September 25, 2013-January 12, 2014 * Curated by Sabine Rewald As always, Balthus finds himself in a strange position: His work, long regarded as retrograde from a modernist point of view, now also comes off as unredeemed post-porno. Even so, many people--sophisticated people too, like me--really dig Balthus. The wrongness of him bubbles up as compensatory rightness; screw modernism, and screw political correctness, a la meme heure. Emphasizing the French artist's recurrent depictions of the jeune file and the feline, "Balthus: Cats and Girls--Paintings and Provocations" includes more than thirty paintings made between the mid-1930s and the '50s, as well as a set of early drawings that was published by Rainer Maria Rilke as Allitsou: Histoire d'un chat in 1921. This show comes at the height of the cat meme--something that either inflames the passions of pet lovers the world over or makes you think that cats, though they may persist as living things, are o-v-e-r. Whichever camp you're in, this show won't disappoint!

--David Rimanelli


ASIA SOCIETY * September 6, 2013-January 5, 2014 * Curated by Fereshteh Daftari and Layla S.Diba * Comprising more than one hundred artworks--paintings, sculptures, works on paper, and photographs--made by twenty-six artists, "Iran Modern" will be the first significant exhibition in the US to engage Iran's modern art traditions. Focusing on the 1950s through the '70s--that is, before the massive political and cultural realignments precipitated by the 1979 Islamic Revolution and during a time when Iranian artists were linked to international networks--the Asia Society's show (and accompanying catalogue) will establish a trajectory that recognizes a globally interdependent history, attempting to rescue artists such as Parviz Tanavoli and Charles Hossein Zenderoudi from persistent prejudice and simplifications that characterize them as either "modern traditionalists" or as imitators of a canonical modernism. Above all, one hopes that this exhibition will be a productive step forward in a larger project of archival recovery, so that the complete history of this period in Iran can someday be written.

--David J. Roxburgh



JAPAN SOCIETY * October 11,2013-January 12, 2014 * Curated by Miwako Tezuka * Like a celestial body making its auspicious return, Mariko Mori circles back to New York this October for her first major US museum exhibition in ten years. The Japan Society show--an expansion of Mori's recent exhibition at the Royal Academy of Arts in London--will host thirty-five installations, sculptures, drawings, and videos made by the artist between 2001 and 2013. One common thread throughout Mori's oeuvre is a fascination with technology, and over the past decade she has deployed it extravagantly, albeit to Minimalist ends, making interactive monuments that hum with light and sound. In the 1990s, Mori experienced a meteoric rise to fame; and, in true superstar fashion, she subsequently turned inward to explore esoterica, spirituality, and humanity's bond with nature. While a sense of peace and stillness will likely prevail, "Rebirth" nevertheless promises to be a real spectacle.

--Kevin McGarry


QUEENS MUSEUM OF ART * October 13, 2013-March 9, 2014 * Curated by Jonathan Berger and Larissa Harris Since 1963, the Bread and Puppet Theater has been a visible part of protest culture in the US, with its large-scale handmade puppets enlivening demonstrations against everything from the Vietnam War to the World Trade Organization. "The Shatterer" is the first one-person show dedicated to the group's founder and director, German emigre Peter Schumann; it also marks the fiftieth anniversary of the Vermont-based collective and will inaugurate the new expansion of the Queens Museum. The exhibition will delve into Schumann's little-known individual practice, featuring drawings and paintings, an immersive site-specific mural, and a series of live events performed in a papier-mache chapel. Coupled with a residency by Bread and Puppet members, this unprecedented gathering of Schumann's work could reveal that his output as a solo artist has been just as pivotal as his role as an impresario of collaboration.

--Julia Bryan-Wilson



INSTITUTE OF CONTEMPORARY ART * October 4, 2013-January 5, 2014 * Curated by Helen Molesworth * Though Amy Sillman publicly declared that she had "broken up" with abstraction a few years ago, her recent work would suggest that the two are back on speaking terms. Their on-again, off-again relationship will be examined in Sillman's first museum survey--which brings together more than ninety works made from 1988 to the present--and in the accompanying catalogue, with essays by Thomas Eggerer, Ewa Lajer-Burcharth, Daniel Marcus, and ICA curator Helen Molesworth. Best known for her dense and lavishly colored paintings that explore the ongoing potential of the expressive gesture and paint's relationship to things erotic and bodily, Sillman more unabashedly lets her humorist side shine in her cartoons, diagrams, zines, and animations. As this survey will surely prove, these more ludic projects pack just as much of a wallop as her starkly physical canvases: One lump, or two? Travels to the Aspen Art Museum, CO, Feb. 13-May 11, 2014; Hessel Museum of Art and CCS Galleries at Bard College, Annandale-on-Hudson, NY; June 28-Sept. 21, 2014.

--Cameron Martin



PHILADELPHIA MUSEUM OF ART * October 14, 2013-January 5, 2014 * Curated by Anna Vallye * If Baudelaire's generation first proposed metropolitan life as a fitting subject for art, it was not until the interwar years that the urban environment was codified as a graphic style. At the center of this transformation was a single canvas: Fernand Leger's The City, 1919. In this mural-scale painting, the metropolis becomes one in substance and signifier, its essence reduced to a spectacular shorthand cribbed from the billboards and music halls of Paris's Place de Clichy. This seminal work is the focal point of "Leger: Modern Art and the Metropolis," which tracks Leger's dialogue during the 1920s with a generation of artists, designers, and filmmakers, including Gerald Murphy, A. M. Cassandre, and Abel Game. Comprising roughly 160 works and accompanied by a major scholarly catalogue, this exhibition provides a welcome occasion to rethink art's image of--and impact on--the modern anthro-posphere. Travels to the Museo Correr, Venice, Feb.-May 2014.

--Daniel Marcus


INSTITUTE OF CONTEMPORARY ART * September 18-December 29 * Curated by Ingrid Schaffner * Curator and critic Daniel Birnbaum once described Jason Rhoades. as "perhaps the most American of contemporary American artists." So it is somewhat surprising that the Los Angeles--based master of sprawling sculptural surplus should only now receive his first major US museum exhibition, some seven years after his untimely death at the age of forty-one. The title of the show--a wink at Rhoades's relentless punning--corresponds to four thematic "roads" (Americana, biography, systems, and taboo) to be manifested in the four huge installations set to fill the museum and expanded upon in catalogue essays by Schaffner, Martha Buskirk, Chris Kraus, Linda Norden, and Paul Schimmel. While a complete retrospective seems practically impossible, given the superabundance of each work, this reconsideration should offer more than plenty to consume in our "austere" moment. Travels to the Orange County Museum of Art, Newport Beach, CA, Apr. 13-July 20, 2014.

--Michael Ned Holte



NATIONAL GALLERY OF ART * September 29, 2013-January 5, 2014 * Curated by Sarah Kennel * On the streets of 1860s Paris, the appearance of Charles Marville and his camera signaled one thing: There goes the guarder. The French photographer was point man for Baron Haussmann, the "demolition artist" who erased the old Paris and confected, as the Goncourt brothers put it, "a Babylon of the future." Marville recorded picturesque, doomed intersections and new boulevards that stretch vacantly to the horizon like desert highways. The impression of a city rising into ruin is not retrospective fancy: Critics of the time called Haussmann "the Attila of the straight line. "Marville was more than a mere archivist of violent modernity, however, and with this unprecedented exhibition of some one hundred prints and an attending scholarly catalogue, the National Gallery restores the variety, depth, and strangeness of his art, left far too long in the shadows. Travels to the Metropolitan Museum of Art, New York, Jan. 29-May 4, 2014.

--Brian Dillon



HIRSHHORN MUSEUM AND SCULPTURE GARDEN * October 24, 2013-February 9, 2014 * Curated by Kerry Brougher and Russell Ferguson * Not just a whimper but a bang: Postwar art overturned T. S. Eliot's prediction of the way the world would end, producing visions of both spectacle and negation, euphoric flash and nihilistic critique. "Damage Control" promises to chart this obsession with destruction, addressing culture's confrontation with the devastation of World War II and the rise of unprecedented technological, economic, and environmental risks. From Warhol's car-crash Disasters to Jean Tinguely's self-destroying sculptures, Christian Marclay's punk-noir Guitar Drag, 2000, to Jeff Wall's Destroyed Room, 1978, the exhibition will encompass ninety works by more than forty artists. Documentation of the 1966 Destruction in Art Symposium in London, which famously posed breakdown as aesthetic subject and structure, will be featured in the show as well as in a multi-authored catalogue. Travels to the Kunsthaus Graz, Austria, and Musee d'Art Moderne Grand-Duc Jean, Luxembourg in 2014.

--Michelle Kuo



MUSEUM OF CONTEMPORARY ART * November 1, 2013-February 16, 2014 * Curated by David Norr * Scrambling one's creative practice and 'domestic life, as conceptual painter Michelle Grabner has done since the mid-1990s, carries forward feminist critiques while opening up the contradictory poles of intimacy and circulation inherent in the artist's studio. This exhibition of more than eighty of the Chicago-based artist's works will highlight her commitment to painstaking process as well as to the invention of platforms for others: Grabner will hang some of her paintings on backdrops made by Gaylen Gerber, and exhibitions by Karl Haendel, Jessica Jackson Hutchins, Amanda Ross-Ho, and Michael Smith will be mounted in an on-site replica of the Suburban--the project space run by Grabner and Brad Killam adjacent to their Oak Park home. Grabner's tendency to pose one mode of practice as appendage to another results in a complex layering, as richly ambiguous as the '80s appropriation art that the artist has championed in recent curatorial projects.

--Solveig Nelson.



MUSEUM OF CONTEMPORARY ART * November 9, 2013-March 9, 2014 * Curated by Dieter Roelstraete Addressing the recent historiographic turn in artistic practices through works made in the last two decades by thirty-three artists, including Joachim Koester, Deimantas Narkevicius, and Hito Steyerl, MCA curator Dieter Roelstraete frames this pervasive interest in countermemory as a critical response to a "cultural pathology of forgetting" that emerged in the post-9/11 Bush era. In addition to gathering examples of laborious archive-based practices (Mark Dion), obsessions with obsolete display technologies (Tacita Dean), and reinvestigations of the aftereffects of Communist institutions in Eastern Europe (Phil Collins, Anti Sala), the show will position Robert Smithson as a key model for the artist as researcher. Moyra Davey's close-ups of the deteriorated surfaces, of pennies and LaToya Ruby Frazier's portraits of abandoned buildings in Braddock, Pennsylvania, meanwhile, will introduce distinctly American perspectives to the paradoxical mode of contemporaneity presented here as "The Way of the Shovel."

--Solveig Nelson


ART INSTITUTE OF CHICAGO * October 5, 2013-January 5, 2014 * Curated by Michal Raz-Russo Max Kozloff should be well known to longtime Artforum readers, as he has written for the magazine on and off since 1964 and most recently just last September. In the mid-1970s, when he spent some years as Artforum's executive editor, he began to focus his writing on photography, and at around the same time he became a photographer himself. Now the Art Institute of Chicago is presenting a show of around eighty of his pictures. Also on hand will be a selection of Kozloff's essays and a group of works by photographers about whom he has written, providing an unusual opportunity to explore an artist's visual concerns through both his aesthetic models and his own words. The real draw, though, will be Kozloff's photographs, and their beautiful treatment of color--which for him, he has said, "is tenderness."

--David Frankel



BASS MUSEUM OF ART * December 5, 2013-March 16, 2014 * Curated by Silvia Karmen Cubina * Piotr Uklanski himself will be directly involved in organizing this extensive survey of his work from the past fifteen years, which will also incorporate items the artist has selected from the Bass Museum's collection. Titled with a nod to Uklanski's own ESL (English as a Second Language) status, the exhibition will investigate the valences of cross-cultural translation in the work of an artist who has long straddled American and Polish contexts, being based in both New York City and his hometown of Warsaw. The overlaying of avant-garde tactics and pop-cultural content in his work, and his surprising recent turn to crafts such as ceramics, embroidery, and tie-dye, will undoubtedly also be in evidence, while catalogue essays by Daniel Baumann, Adam Szymczyk, and Catherine Wood should shed new light on the idiosyncracies of Uklanski's artistic dialect.

--Sylwia Serafinowicz



DALLAS MUSEUM OF ART * October 6, 2013-January 12, 2014 * Curated by Jeffrey Grove and Olga Viso * With a poet's eye and a devotional attitude toward technical refinement, Jim Hodges remains a signal figure from the generation of American artists that emerged from the political tumult and tragedy of the mid-1980s. Like those of contemporaries Robert Gober and Felix Gonzalez-Torres, Hodges's vocabulary--familiar materials reconsidered and reinvented as richly strange mementos--is governed by a wistful syntax that emphasizes fragility and evanescence. His first comprehensive US survey, co-organized by the DMA and Minneapolis's Walker Art Center; will feature eighty works employing the artist's signature motifs (webs, lightbulbs, glass, mirrors, flowers, and more) and will be accompanied by an extensive catalogue with essays by Grove and Viso, Bill Aming, Susan Griffin, and Helen Molesworth. Travels to the Walker Art Center, Minneapolis, Feb. 15-May 11, 2014; Institute of Contemporary Art, Boston, June 5-Sept. 1, 2014; Hammer Museum, Los Angeles, Oct. 5, 2014-Jan. 17, 2015.

--Jeffrey Kastner



MUSEUM OF FINE ARTS * November 10, 2013-February 2, 2014 * Curated by Mari Carmen Ramirez and Marcelo Pacheco * Remarkably, given the longstanding ubiquity of Antonio Berni's work in his home country of Argentina, "Juanito and Ramona" will be the artist's first major international exhibition. This show of 115 works will concentrate on Berni's iconic characters Juanito Laguna and Ramona Montiel, archetypes of the villas miserias of Buenos Aires whom he repeatedly depicted between the early 1950s and the late '70s in a series of drawings, paintings, and assemblages made of discarded materials. In addition to showing the monster sculptures from the '60s that further established Berni's affinity with Nouveau Realisme, the exhibition will reveal how he used found objects in the service of a figurative response to the political and economic hardships of the period. Catalogue essays by Ramirez, Pacheco, Andrea Giunta, Hector Olea, and others will tell more of Berni's international history. Travels to the Museo de Arte Latinoamericano de Buenos Aires in late 2014.

--Daniel Quiles


CONTEMPORARY ARTS MUSEUM HOUSTON * October 31, 2013-March 2014 * Curated by Bill Arning, Valerie Cassel Oliver, and Dean Daderko This year, a string of six shows based around the current stare of abstract painting will commemorate CAMH's sixty-fifth anniversary. Forgoing a voguish focus on the medium's networked aspects, "Outside the Lines" will position "painting" and "abstraction" as foils for genre-defying artworks of the recent past. While Arning's "UIA: Unlikely Iterations of the Abstract" will address contemporary reworkings of modernist ideals and his "Painting: A Love Story" will explore gestural pleasures, Daderko's "Rites of Spring" and "Outside the Lines" (after which the larger project is named) will look past painting's ineluctable flatness via the work of an irreverent progeny of emerging artists from Michele Abeles to Abigail DeVille. And to further contextu-alize these innovative new practices, Cassel Oliver will turn to the often overlooked, with the two-part show "Black in the Abstract," focusing on the disintegration of figuration by black painters since the late 1960s in a salubrious introduction of societal concerns to the formal.

--Beau Rutland



SANTA BARBARA MUSEUM OF ART * October 13, 2013-January 12, 2014 POMONA COLLEGE MUSEUM OF ART September 3-December 22 * LOS ANGELES COUNTY MUSEUM OF ART * October 6. 2013-February 2. 2014 Curated by Karen Sinshetmer, Kathleen Howe, and Britt Salvesen When John Divola began his career in the late 1970s, the lines between art photography and photography as art were still clearly drawn, and he played an important role in their subsequent blurring. In the early images of vandalized homes for which he became known, and which will be featured in the Santa Barbara and Pomona portions of this three-part retrospective, the secondary records of Land art or performance art would seem to have become the primary event. And even in his more conventionally picturesque Polaroids of studio-made tableaux from the '80s, the photograph documents the act ion of making the image--something is always happening, as when flour is thrown at a painted backdrop to evoke fog. Divola's first major museum survey, aptly titled "As Far as I Could Get," has been a long time coming.

--Jan Tumlir


18TH CONTEMPORARY ART FESTIVAL SESC_VIDOBRASIL: 30 YEARS IN EVIEW & SOUTHERN PANORAMAS SESC POMPEIA and CINESESC * November 5, 2013-February 2, 2014 * Curated by Solange Farkas, Eduardo de Jesus, Fernando Oliva, and Julia Reboucas * Since its inception in 1983, Videobrasil has grown to become a vital showcase for artistic production from the global South. Approximately every two years, curators select works from a pool of open-call submissions. Though initially limited to video and other time-based art, the festival's scope expanded in 2011 to include all media, prom artists' books to installation. The ninety-four participants this year will run the gamut, with contributions from Peru's Maya Watanabe and Brazil's own Rod rigo Garcia Dutra, among others. This iteration will also feature an exhibidon of historical work from the Video-brasil collection. In this way, the festival will oHer not only a representative display of current artistic practices but also an opportunity to take stock of Videobrash's important contribution to the history of contemporary art.

--Kaira M. Cabanas



VANCOUVER ART GALLERY * October 11, 2013-January 26, 2014 * Curated by Daina Augaitis * In the mid-1990s, the peripatetic Korean artist Kimsooja helped define contemporary art's so-called global turn by exploring what it means to he materially grounded in the midst of a fragmented world. In her performances, videos, and installations featuring bottarz, humble parcels or bundles that in Korean culture symbolize forced migration. Kimsooja makes a case for thinking more intently about the physical and sensorial aspects of moving between and through different cultural and geographical spaces. Such works will figure prominently among the forty pieces chosen for the artist's first retrospective, which vi1l also include her lesser-known sculptures and sewn objects, thereby broadening the lens through which Kimsooja's three-decade-plus career is commonly viewed.

--Joan Kee



TATE MODERN September 25, 2013-January 19. 2014 Curated by Tanya Barson and Taisa Paihares Swiss-Brazilian artist Mira Schendel made art as she lived life, laying waste to oppositions. A practicing Catholic of Jewish heritage, she was displaced from Milan to Sara jevo before settling, via Rome, in Brazil in 1949e In Sao Paulo, her circle included philosophers, poets, physicists, and Dominican friars. Her spare, deeply sensuous work spans media and pictorial modes: Her monotypes and graphic objects propel representation and language to the point of abstraction; her rice-paper sculptures transform translucent voids into knotted, tactile webs and delicate, pliant folds; her paintings swivel from geometry to gesture, refusing contemporaneous designation.s of Concretism, Neo-concretisrn, and art informel alike. This exhibirion--Schendel's first full-scale international retrospective--includes more than three hundred works, which, together with the accompanying catalogue, promise to disrupt phenornenological expectations and art-historical narratives alike. Travels to the Pinacoteca do Estado de Sao Paulo, 2014.

--Irene V. Small



HAYWARD GALLERY' * October 8-December 15 * Curated by Stephanie Rosenthal * Dayanita Singh's largest survey to date will feature a broad selection of the New Delhi--based photographer's work, ranging from her 19892001 photo-essay about her friendship with a eunuch, Myself Mona Ahmed, to her balefully tinted "Blue Book" series, 2008, as well as seven wooden "portable museums" freshly fabricated for this show. In the last, Singh's long association with archives--the decaying files and musty volumes that, like museums, acknowledge the irretrievability of the very past they preserve--has come full circle. These large works resemble giant open books, and each is dedicated to a suite of a hundred-odd theme-based photographs depicting, for example, furniture, textiles, or "chance." As temporary monuments, Singh's movable structures remind us that the further from history we attempt to travel, the more closely it enfolds us.

--Zehra Jumabhoy



IRISH MUSEUM OF MODERN ART * September 18, 2013-January 26, 2014 * Curated by Sean Kissane Born in England to an Irish mother, Leonora Carrington began spending significant time in Paris at the age of nineteen, finding her community among the Surrealists before escaping to Mexico during World War II, where she lived out her adult life. Now, two years after her death at age ninety-four, Carrington is given her first full-scale retrospective--a survey of paintings, sculptures, tapestries, and works on paper from 1939 on. The exhibition, organized by theme rather than chronology, draws on Carrington's writings and suggests some Irish folkloric roots for the mind-melting, fantastical imagery--from egg-guarding giantesses to bird-headed sages--for which this painter came to be known. The catalogue will include contributions from the curator and Carrington's son Gabriel Weisz, among others, as well as a previously unpublished interview of the artist by Hans Ulrich Obrist.

--Caoimhin Mac Giolla Leith



CENTRE POMPIDOU * September 25, 2013-January 6, 2014 * Curated by Emma Lavigne * Since he is part of a generation of artists generally skeptical of retrospective endeavors, it is perhaps remarkable that Pierre Huyghe has agreed to the rules of the career survey. But the Centre Pompidou is expected to adjust its institutional framework in turn to accommodate Huyghe's complex practice. Those familiar with the French artist's activity know that he will inevitably enact some portion of his show hors champ and may involve any number of the organisms--dogs, bees, microbes--that have lately proliferated in his work. This will be a genuine retrospective to the extent that Huyghe will reassemble the various threads of his oeuvre to create a legible scenography, but he still intends to question the very notion of the exhibition and its audience, "presenting," as he puts it, "an ensemble of constructions" for use in a near future while leaving aside "the tools that will shortly become obsolete." Travels to the Museum Ludwig, Cologne, Apr. 11-July 13, 2014; Los Angeles County Museum of Art, Nov. 23, 2014-Mar. 8, 2015.

--Nicolas Bourriaud

"GEORGES BRAQUE (1882-1963)"

REUNION DES MUSEEES NATIONAUX GRAND PALAIS * September 18, 2013-January 6, 2014 * Curated by Brigitte Leal * At the start of the last century, Georges Braque and Pablo Picasso overturned the history of Western representation, sweeping away centuries of three-dimensional mimetic painting with a new pictorial language of faceted objects and anti-illusionistic space. Yet Braque, with his slow, systematic attention to the tactile nature of things, has been remembered by history as second-in-command to his more extroverted and nimble collaborator in the invention of Cubism. The Grand Palais's retrospective--the first significant showing of the artist's work in Paris since the 1973-74 retrospective at the Musee de l'Orangerie--attempts to reevaluate the artist's oeuvre on its own terms. With nearly one hundred works made during the artist's Fauvist and Cubist years, and another hundred from his subsequent four decades, the exhibition and its extensive catalogue might just reconfigure our understanding of Braque's considerable contributions to the history of modernism. Travels to the Museum of Fine Arts, Houston, Feb. 16-May 11, 2014.

--Karen K. Butler



FUNDACION MAPFRE * December 12, 2013-February 23, 2014 * Curated by Nadia Arroyo Arce * Zwelethu Mthethwa's signature formal preferences--riotous saturated color and grand scale--have always implied a rejection of the rigid black-and-white documentary aesthetic that dominated apartheid-era South African art. This December, a much-anticipated retrospective of the Cape Town--based artist's photo and video work will go on view at the Fundacion MAPFRE, showcasing seventy-five of his works from 1985 to 2012. Included in this selection will be his breakthrough 1995-2005 "Interiors" series, which, gainsaying its title's promise, appears to invite privileged access into its subjects' private realms only to foreclose any degree of real intimacy. Meanwhile, two series from 2008, "Brick Workers" and "Coal Miners," will offer similar exercises in ambivalence and withholding, suggesting that Mthethwa's portraiture, like the medium he employs to create it, is most affecting when it strays from the mandates of its genre.

--Leora Maltz-Leca



FONDAZIONE NICOLA TRUSSARDI AT PALAZZO CUSANI * October 22-November 24 * Curated by Massimiliano Gioni * In their first large-scale exhibition since representing the US at the Venice Biennale in 2011, the Puerto Rico--based artists Jennifer Allora and Guillermo Calzadilla will stage an exhibition that continues their investigation of colonization, examining the roles that sound and music play in conditioning both collective memory and individual behavior. The venue (which also serves as NATO's headquarters in Milan) will house a selection of older works, two site-specific commissions, and a trio of new videos, including Apotome, the artists' haunting meditation on the psychological and sociocultural properties of the human voice. Centered around the remains of Hans and Parkie, two elephants for whom a special concert was held at Paris's Jardin des Plantes in 1798, the work features songs from that performance (such as the revolutionary anthem "Ca ira") sung by Tim Storms, the man with the world's deepest voice--so deep, in fact, that it can only be heard by elephants.

--Stefan Kalmar



CENTRE D'ART CONTEMPORAIN GENEVE * September 13-November 24 * Curated by Andrea Bellini * In this survey of Bronstein's architectural drawings, expect a broad range of the London-based Argentinian artist's whimsical, mashed-up re-creations of grandiose Baroque palaces and piazzas, ornate Rococo interiors, Georgian town houses, and postmodernist cityscapes, all channeling the work of such visionary designers as Filippo Juvarra and Jean-Jacques Lequeu. Also encompassing installation and performance, Bronstein's practice suggests the power of architecture to dictate human behavior and transform our experience of the social. It is therefore fitting that this exhibition will be staged in a factory building whose conversion in the 1980s to a center for contemporary art radically altered Geneva's greater Plainpalais district, Bronstein's exhibition will additionally comprise a selection of his videos and a pair of architectural models, which, like Pissoir, the neoclassical urinal that he created for Copenhagen's Kunsthal Charlottenborg in 2011, promise to mock historic prototypes with devilish aplomb.

--Meredith Martin



KUNSTMUSEUM BASEL * September 8, 2013-January 19, 2014 * Curated by Bernhard Mendes Burgi * Mondrian, Newman, Flavin: without a doubt, a sluggers' row in the history of geometric abstraction. What happens, then, when all three are up to bat at once, as is the Kunstmuseum Basel's game plan this fall? Organized by Bernhard Mendes Burgi as a triad of self-contained presentations, this show hopes to scrutinize the material and theoretical specificities of each artist's practice, while also drawing out such deeply shared aesthetic concerns as the redefinition of the functions of space, color, and line. The exhibition will include a total of nearly forty works, with a particular emphasis on mature production and, Flavin excepting, painting. With a surfeit of Light and Space priming the dialogue in New York this summer, could Basel's heavyweight grouping prove to be the conversation's main event?

--Graham Bader



KUNSTHALLE WIEN MUSEUMSQUARTIER and KUNSTHALLE WIEN KARLSPLATZ * September 6, 2013-January 12. 2014 * Curated by Catherine Hug and Nicolaus Schafhausen * Face your fears. This imperative is clearly the rationale behind "Salon der Angst," Nicolaus Schafhausen's inaugural exhibition as director of Kunsthalle Wien. At this moment of grave economic and ecological crisis, the show is designed to target the affective dimensions of our attempts to handle a present and a future that are rife with a whole new range of insecurities. A host of artists, including Saadane Afif, Didier Fiuza Faustino, Gerard Byrne, and Zin Taylor, will explore angst and its related symptoms, such as phobia, panic, and depression, both in terms of their historical contextualization and as specific manifestations in the here and now. The idea is to provide an occasion for constructive self-interrogation: To this end, Kunsthalle Wien's two venues combine as one, a first in the institution's history.

--Ina Blom



HAUS DER KULTUREN DER WELT * September 19-November 25 * Curated by Anselm Franke and Annett Busch This fall, the HKW channels Germany's devotion to Vergangenbeitsbewaltigung, or "dealing with the past," into an investigation of global geopolitics in the wake of postwar Europe's "zero hour." The show's breadth is suggested in two films by John Akomfrah--one regarding cultural critic Stuart Hall and the other addressing what the British filmmaker calls "the narcolepsy of the independent African states." The Otolith Collective contributes a meditation on the 1967 Ghana International Trade Fair in Accra, and the now-dilapidated modernist building that once housed it. A new work by Kader Attia, meanwhile, turns our gaze toward the complicated motives behind the Vatican's ethnographic collection of exotic fetish objects, and a film by Italian duo Yervant Gianikian and Angela Ricci Lucchi juxtaposes snapshots taken by Mussolini's soldiers in Ethiopia with archival footage of dancing Ethiopian and Eritrean girls. As a whole, the show proposes collaboration as a metaphor for politics along an axis of complicity and cooperation.

--Alexander Scrimgeour



MUSEUM KUNST PALAST * September 14, 2013-February 9, 2014 * Curated by Gunda Luyken Candida Hofer has made her name with: exquisitely shot photographs of empty public interiors across the globe. But the place where she began her practice--and with which it is inextricably associated--is Dusseldorf, where, in 1973, she enrolled in the city's Arts Academy and, two years later at Galerie Konrad Fischer, publicly exhibited her work for the first time. Now, after four decades, the artist turns her focus toward this Rhineland' metropolis once again, gathering some seventy works shot in the region, ranging from early 16-mm film pieces to recent photographs and newly assembled slide projections. The result, a portrait of sorts of the city's changing face (and faces), should offer a riveting study of the meaning of place--in this case, of the most familiar sort--articulated by one of the concept's most perceptive contemporary analysts. Travels to the Landesgalerie Linz am Oberoster-reichisches Landesmuseum, Austria, Mar. 6-May 25, 2014; Kunstmuseum Luzern, Lucerne, Switzerland, Nov. 1, 2014-Feb. 15, 2015.

--Graham Bader



MUSEUM LUDWIG * October 11, 2013-January 26, 2014 * Curatecl by Philipp Kaiser * As soon as you learn that a Louise Lawler retrospective is afoot at the Museum Ludwig, you want to hear the punch line. After all, Lawler is an artist celebrated for exposing such rituals to sly scrutiny. So here it is: Along with a significant selection of her canny behind-the-scenes photographs of museums, galleries, auction houses, and private collections, the show will feature ten new pieces--tracings, in the deadpan style of coloring books, of her own previous work. This witty take on the career survey will also include two site-specific "stretched-to-fit" photographs on vinyl. Of late, Lawler has been attenuating images of war and death to reflect on the historical ironies of our current extended conflicts. Obliquely expressed, the antimilitarism in her work has too often gone unexamined. This in-depth presentation is well poised to change that.

--Mignon Nixon



ZKM | CENTER FOR ART AND MEDIA * September 28, 2013-February 2, 2014 * Curated by Peter Weibel with Sasha Waltz On the occasion of her fiftieth birthday, German dance-theater maker Sasha Waltz will step off the proscenium to stage an exhibition project at ZKM in her hometown of Karlsruhe. Peter Weibel's institution has encouraged a number of important experiments integrating performance with the plastic arts in recent years, including the "media pop opera "cum-conference Our Literal Speed, in 2008, and "Moments: A History of Performance in 10 Acts," in 2012. Reconfiguring the relic-heavy "dance retrospective" paradigm, Waltz will continue her exploration of stage design as installation, bringing together objects from previous performances but only so as to activate them as components of new artworks. For the past three decades, Waltz has been pointedly collaborating across disciplines, including visual art. At ZKM, she makes her first dedicated attempt at showcasing the visual aesthetic of her choreography on its own terms.

--Catherine Wood



HAMBURGER KUNSTHALLE * November 29, 2013-March 2, 2014 * Curated by Brigitte Kolle and Petra Roettig * When, in 2000, Gego's webbed suspensions of knotted wire appeared in an exhibition of postwar Latin American art organized by LA's Museum of Contemporary Art, very little US or European scholarship on her work existed. The abundance of attention she has since received, however, has added great dimension to our understanding of the ways in which her organicist geometry relates to Venezuelan Kineticism, Brazilian Neo-concretism, and American post-Minimalism. This fall, European audiences will have a chance to view some 120 pieces by the Hamburg-born Venezuelan artist in the town of her birth. The curators offer a straightforward overview of the artist's career, establishing a solid foundation for comparing Gego's oeuvre with that of another Jewish artist from Hamburg driven abroad by the Nazis--Eva Hesse, whose work will be on view concurrently. Travels to the Kunstmuseum Stuttgart, Germany, Mar. 29-June 29, 2014; Henry Moore Institute, Leeds, UK, July 24-Oct. 19, 2014.

--Nadia Rattner



MUSEUM VAN HEDENDAAGSE KUNST ANTWERPEN * October 4, 2013-February 2. 2014 * Curated by Nay Haq Best known for his complex, large-scale canvases foregrounding figures traditionally marginalized in Western art, Kerry James Marshall is widely acclaimed as one of the leading painters of his generation. Yet the American artist has always worked in a panoply of media. In this expansive show, Marshall will present paintings alongside his lesser-known work--the titular other stuff referring not only to his installations, sculptures, photographs, videos, and works on paper, but to a survey of reference material as well. The task of sorting out relations between inspirational artifact, source image, and final product should prove especially illuminating, given the extent to which this artist so provocatively explores the problems of dominant narratives and hierarchical forms. Travels to the Kunsthal Chariot-tenborg, Copenhagen, Feb. 28-May 12, 2014; Fundacio Antoni Tapies, Barcelona, and Museo Nacional Centro de Arte Reina Sofia, Madrid, both June 19-Oct. 26, 2014.

--Jordan Kantor



SMAK * October 12, 2013-January 26, 2014 * Curated by Thomas Caron

Rarely does a pedagogical practice rooted in a deeply ethical consciousness produce such incandescent work--and if said practice primarily concerns "madness," the architectonics of confinement, and structural film, its lack of ponderousness is all the more remarkable. Venezuelan artist Javier Tellez is uniquely gifted in this regard. In his moving-image works, often made in collaboration with psychiatric inpatients, Tellez employs simultaneously lucid and hallucinatory admixtures of fact and fantasia to rework accepted ideologies of mental health and artistic production. This survey offers ten years of the artist's collaborations, with videos dating from 2004 to 2012 and, if all goes as planned, a new collection of images and documents that limn the representation of psychiatric illness. Taken as a mode d'emploi, this archive underlines Tellez's interest in the historical representation of the pathological (and thus its mirror, the normative) from both within and outside the hospital gates. Travels to Kunsthaus Zurich, fall 2014.

--Quinn Latimer



STEDELIJK MUSEUM * October 19, 2013-February 2, 2014 * Curated by Bart Rutten and Geurt Imanse Reconstructing a core component of the 1915 Suprematist exhibition "0.10.," New York's Museum of Modern Art installed a dazzling wall of Malevich paintings for its recent show "Inventing Abstraction," demonstrating the affective power of the Russian artist's precise geometries and the necessity of seeing them in a historically specific framework. This fall, the Stedelijk will place Malevich even more firmly in context as it gathers some five hundred items (uniting its own prized Khardzhiev collection with the renowned Costakis collection), including pieces by twenty-two of his Russian contemporaries. These contextual figures are all avant-gardist, however, despite the exhibition's welcome emphasis on the titular artist's later figurative works, which were made in dialogue with various strains of Soviet realism. The unapologetically modernist narrative here suggests that the avant-garde remains Russia's most reliable export art. Travels to the Bundeskunst-halle Bonn, Mar. 12-June 21, 2014; Tate Modern, London, July 17-Oct. 26, 2014.

--Christina Kiaer



WROCLAW CONTEMPORARY MUSEUM * November 8-December 20 * Curated by Adam Dominik * Known for his Minimalist "action interventions"--for example, building a farcically modest stack of sugar cubes, as though staging a riposte to Donald Judd's aggressively scaled structures--Jiri Kovanda first presented his work outside of his native Czechoslovakia in 1976, in Warsaw. For this retrospective--fittingly staged at another Polish venue, this one in Wroclaw--he will be represented by a selection of paintings, photographs, and documents, as well as extant objects from his performances. Rather than fetishizing these materials, curator Adam Dominik will invite viewers to engage Kovanda's work directly, staging a series of actions in the space of the museum. Documentation of this activity will be included in the show's catalogue, along with essays by Pavlina Morganova, Walter Seidl, and Dominik.

--Sylwia Serafinowicz



MATHAF: ARAB MUSEUM OF MODERN ART * October 5, 2013-January 5, 2014 * Curated by Pier Luigi Tazzi For the first time since opening its doors three years ago, Mathaf is devoting a solo show to an artist from the Arab world, a vast and variable region with complicated politics and notably undernourished art-historical narratives, which the museum was established to explore. Adel Abdessemed's "L'Age d'or," curated by Pier Luigi Tazzi, will delve into notions of past, present, and future through works made with materials such as salt, jade, porcelain, cannabis, gold, resin, bamboo, and bronze. An Algerian-born, Paris-based artist of Berber descent who is fiercely interdisciplinary and famously resistant to the pigeonholes of identity politics, Abdessemed will present more than a dozen commissions, a handful of existing works, three site-specific projects, and a large-scale public sculpture. Viewers may anticipate intimations of violence and evocations of memory as subtle, generative, and uncompromising as the artist's practice to date.

--Kaelen Wilson-Goldie



MORI ART MUSEUM * September 21. 2013-January 13, 2014 * Curated by Mami Kataoka with Reuben Keehan and Gabriel Ritter * For this fourth iteration of the Mori Art Museum's comprehensive triennial of contemporary Japanese art, the institution's chief curator, Mami Kataoka, is joined by guest curators from the US and Australia. Together, they have selected a group of thirty participants, which (unlike in years past) also includes expatriate Japanese artists and those of Japanese descent: Ei Arakawa, Aki Sasamoto, and Simon Fujiwara, to name a few. The roster is further expanded with work by several postwar artists such as Genpei Akasegawa, Hiroshi Nakamura, and Kishio Suga, among other figures, who utilized nonsensical painting, incomplete objects, and performance to question cultural values and disrupt rigid social programs. Seen in dialogue, the art of this international ensemble promises to demonstrate the ways in which ideological and methodological legacies of the Japanese avant-garde have been transmitted between generations.

--Midori Matsui
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Author:Hoffmann, Jens
Publication:Artforum International
Article Type:Calendar
Geographic Code:1USA
Date:Sep 1, 2013
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