"POSTWAR: ART BETWEEN THE PACIFIC AND THE ATLANTIC, 1945-1965"
Haus der Kunst, Munich
October 14, 2016-March 26, 2017
Curated by Okwui Enwezor, Katy Siegel, and Ulrich Wilmes
POSTWAR. We all know the story: Jackson Pollock dripping paint in New York; Arnold Bode concocting Documenta in Kassel; Joseph Stalin demanding saccharine paintings of socialist triumph in Moscow. East versus West, abstraction versus figuration, humanism versus humanity's seeming collapse in the entwined cataclysms of war and genocide. But what if we expand the playing field, look past the familiar names, and rethink the rules of the game? That is precisely the goal of "Postwar: Art Between the Pacific and the Atlantic, 1945-1965," organized by Okwui Enwezor, Katy Siegel, and Ulrich Wilmes and set to open at Munich's Haus der Kunst in October. The first installment of a three-part, multiyear reexamination of culture and politics since World War II (with postcolonialism and post-Communism still to come), the show and its related research program seek nothing less than to reframe the origins of the postwar global order.
Divided into eight thematic sections--including "Aftermath: Zero Hour and the Atomic Era," "Nations Seeking Form," and "Networks, Media, and Communication"-- "Postwar" spans painting, performance, sculpture, installation, cinema, and music across the full breadth of the oceans named in its title. An ambitious purview, to be sure, within which the curators hope to trace new patterns of cultural transmission, correspondence, and conflict. How, for instance, do Euro-American discourses of "new images of man"--focused on the attempt to salvage the human figure in the wake of its unspeakable wartime destruction--shift when inflected by the rethinking of humanism in Europe's former colonies? What happens to models of cultural exchange when traced across wildly divergent axes, and in the context of both the forced exile of millions and the elective affinities of a few? And how, finally, does our understanding of postwar cultural epistemes change when Pollock and Bode are joined by Leopold Senghor and Anwar Shemza, and AbEx and Documenta are set into broader circuits encompassing such developments as Pan-Africanism, antinuclear activism, and the arts of the diaspora?
It's fitting that this massive undertaking will open in the year of Brexit and in a museum originally designed as Adolf Hitler's grandiose "Temple of Art." Struggles over political power and cultural identity remain as interlaced today as ever before, with the question of nationhood and its threatened dissolution at their core. Perhaps the greatest evidence of the timeliness of "Postwar" is the nagging sense that we're on the verge of another post emerging--one that, in the wake of war, colonialism, and Communism, may very well be ready for its own spotlight before the exhibition even reaches its close.--Graham Bader
"KAI ALTHOFF: AND THEN LEAVE ME TO THE COMMON SWIFTS"
Museum of Modern Art
September 18, 2016-January 22, 2017
Curated by Kai Althoff, Laura Hoptman, and Margaret Ewing
Kai Althoff is decadent, in the fin-de-siecle sense of the word. The artist's Symbolist eye for all things excessive, ardent, and synesthetic was cultivated in 1990s Cologne, yet Althoff enacts the figure of the post-Kippenberger dandy not as slacker but as devotee, all about the details. His kaleidoscopic uses of decor, staging, installation, and performance have long explored the hermetic and private histories of late late capitalism (a project for Artforum in 2011 peeked inside the apartment of a jeweler-collector from Warhol's circle). But Althoff's is a Gesamtkunstwerk divided against itself, never cohering into some neat whole. This quixotic show, helmed by the artist, will include some two hundred works in all manner of media, from painting to music to fragrance to sculpture--as well as an artist's book--creating a world of interiors all its own.--Michelle Kuo
"CARMEN HERRERA: LINES OF SIGHT"
Whitney Museum of American Art
September 16, 2016-January 2, 2017
Curated by Dana Miller
Born in Cuba just a few years after the emergence of abstraction, Carmen Herrera has built a more than seven-decade career that is a testament to patient discipline: She sold her first painting at the age of eighty-nine, and the last time a New York institution hosted her works was in 1998, at El Museo del Barrio. If the lore of Herrera's sudden prominence threatens to outshine the work itself, the Whitney will bring us back to the heart of her sustained exploration of color and form, focusing on the postwar years between 1948 and 1978, during which she honed her prismatic, hard-edged abstraction, first in Paris and then New York. More than fifty paintings and drawings will be on view, along with a few wooden sculptures. Among these works are two series that serve as jumper cables for modernism: the spatially electric "Blanco y Verde" (White and Green), 1959-71, and the seven large canvases that comprise "Days of the Week," 1975-78--a bright celebration of structured time, which Herrera has undeniably mastered. Travels to the VZexner Center for the Arts, Columbia, OH, Feb. 4-Apr. 16, 2017.--Prudence Peiffer
October 7-December 18
Curated by Claire Gilman
When I see a stellar work by Cecily Brown, I feel excited. There's the audacity of execution--that messy control that courses through so much of the art I love, even among old masters. Brown is frank regarding her references to the great artists of the past, whether Veronese, Rubens, or Hogarth, and no less so about the modernist masters before whom she bends the knee: De Kooning comes to mind, and Gorky, even Picasso. "Rehearsal," the artist's first solo museum show in New York, will contain roughly sixty small canvases and a few very large drawings, several exhibited for the first time, affording viewers a unique opportunity to consider Brown's work as a whole, and demonstrating that her draftsmanship is nothing if not painterly. If many of her thematic topoi remain resplendently out there, from the comparatively decorous ribaldry of Thomas Rowlandson's eighteenth-century erotica to the more robust contemporary sensuality of Sasha Grey, at their best her compositions proffer an invitation to a glamorous party--a party that casts a spell.--David Rimanelli
"MIERLE LADERMAN UKELES: MAINTENANCE ART"
September 18, 2016-February 19, 2017
Curated by Larissa Harris and Patricia C. Phillips
In 1969, Mierle Laderman Ukeles invented the phrase maintenance art to articulate the undeniable fact that the wealth of nations, the workings of capital, and the privileges of the patriarchy are all predicated on the unpaid and/or undervalued labor of maintenance: the daily acts of cleaning, cooking, and other sundry tasks meant to prepare individuals and institutions for their so-called real work. This means that the efforts of janitors and housewives, conservators and sanitation workers, have served as source material for the artist's most important interventions and performances. Ukeles, the consummate feminist, insists that art is not a utopian realm in which we can forget the adage that a woman's work is never done; quite the contrary. Her work elucidates that our attempts to preserve art--to preserve anything, in fact--for a future humanity reside firmly in the sphere of maintenance rather than the realm of master narratives.--Helen Molesworth
"BEVERLY BUCHANAN: RUINS AND RITUALS"
October 21, 2016-March 5, 2017
Curated by Jennifer Burris and Park McArthur
"The house and its yard and the road behind and across"--the poetry of Beverly Buchanan's description of the inspiration for her best-known sculpture was beautifully borne out in the works themselves, small architectures evoking, rooted in, but sometimes wildly departing from the shacks of her native South. For much of the art audience, Buchanan, who died in 2015, is a discovery of recent years, but her career dates back to the 1970s and includes site-specific earthworks, painting, photography, drawing, and concrete-block post-Minimalist sculpture, a range that this exhibition will provide a rare opportunity to see. The shacks--both intricate and raw, both informed and vernacular--will surely pull you in, but this show of approximately two hundred works promises a broader insight into Buchanan's thought.--David Frankel
"AKISASAMOTO: DELICATE CYCLE"
September 19, 2016-January 2, 2017
Curated by Ruba Katrib
Aki Sasamoto's performances exist in a realm somewhere between Fluxus events, TED talks, and IKEA hacks. A delight in the physics of cause and effect seemingly propels the artist's interactions within a landscape of MacGyvered devices. Sasamoto frequently implements repurposed housewares--mops, brooms, impossibly long forks--in her performances, and will continue that trend this fall at SculptureCenter for her first solo show at a US museum. Here, the artist will install washers and dryers as part of a new body of site-specific work centered on notions of cleanliness and filth and the neuroses they engender. It is difficult to predict what all this will add up to: The only certain aspect of Sasamoto's practice--rife with fanciful monologues, symbol-laden gestures, and visual gags--is the element of surprise.--Dawn Chan
"THE ARTIST'S MUSEUM"
Institute of Contemporary Art
November 16, 2016-March 26, 2017
Curated by Dan Byers
It's hardly surprising that the art museum, with its deeply ingrained protocols of accumulation and display, has frequently been the subject of artistic (and curatorial) interrogation. Such institutional ambitions would seem to lie on the side of practices Walter Benjamin famously aligned with the impulses of "the collector"--one who "brings together what belongs together" and who "by keeping in mind their affinities and their succession in time ... can eventually furnish information" about those things. But artists whose programs are based on strategic accretions of objects of art, science, or natural history more often than not fall under Benjamin's rubric of "allegorists," gatherers who dislodge "things from their context" and rely on their own insights to "illuminate their meaning." "The Artist's Museum" explores such procedures of artistic illumination via thirty-odd works by figures such as Carol Bove, Rachel Harrison, Goshka Macuga, Christian Marclay, Xaviera Simmons, and Sara VanDerBeek; a substantial catalogue with essays by the curator, Claire Bishop, Lynne Cooke, and Ingrid Schaffner accompanies the exhibition.--Jeffrey Kastner
"PAINT THE REVOLUTION: MEXICAN MODERNISM, 1910-1950"
Philadelphia Museum of Art
October 25, 2016-January 8, 2017
Curated by Matthew Affron, Mark A. Castro, Dafne Cruz Porchini, and Renato
This ambitious exhibition couldn't be timelier, given that Hispanics of predominantly Mexican origin are now the second-largest ethnic group in the United States, and considering the dismaying signs of cultural intolerance highlighted in the current presidential race. "Paint the Revolution" makes a case for Mexico's enduring influence in the US and its significant contributions to modernism. Part of the exhibition deals with the encounters between Hispanic and Anglo-American cultures. One section explores early attempts at what is known today as decolonization. Another focuses on the artistic community's international connections. These approaches--present in paintings, murals, prints, photographs, broadsheets, and books--point to historical frictions between regionalisms and cosmopolitanisms and to their differing visual expressions, which may also elucidate the aesthetic divides expressed in contemporary art and the inherent demand that it be both locally significant and internationally meaningful. Travels to the Museo del Palacio de Bellas Artes, Mexico City, 2017.--Sofia Hernandez Chong Cuy
"LOS ANGELES TO NEW YORK: DWAN GALLERY, 1959-1971"
National Gallery of Art
September 30, 2016-January 29, 2017
Curated by James Meyer
Virginia Dwan is the stuff of legends: prescient dealer, visionary collector, generous benefactor. She's Leo Castelli, Count Panza, and Andrew Mellon rolled into one. Featuring some hundred paintings, sculptures, works on paper, and photographs, the National Gallery of Art will highlight the art that Dwan, still a tall beauty at eighty-five, has donated or promised to the museum. Other institutions, including MOMA, LACMA, and the Pompidou, are lending additional works shown at her galleries in LA and New York. From 1959 to 1967, her SoCal space hosted American abstractionists (Guston, Reinhardt), Nouveau Realistes (Klein, Tinguely), and Pop artists (Oldenburg, Warhol, Rosenquist). Besides championing Minimalists (Andre, Flavin, LeWitt) and Conceptualists (Bochner, Weiner) on Fifty-Seventh Street from 1966 to 1971, the dealer-cum-philanthropist financed Heizer's Double Negative, 1969-70; Smithson's Spiral Jetty, 1970; and the first version of De Maria's Lightning Field, 1977. This exhibition and its catalogue, with an essay by Meyer, will showcase Dwan's intrepid vision. Travels to the Los Angeles County Museum of Art, Mar. 19-Sept. 10, 2017.--Phyllis Tuchman
October 8, 2016-January 8, 2017
Curated by Elsa Smithgall
The black men and women in Whitfield Lovell's ongoing series "Kin"--each rendered on cream paper in velvety monochrome conte crayon and paired with gnomic found objects--seem not so much rescued from anonymity as discharged from a bureaucratic purgatory. For nearly twenty years, Lovell has worked from discarded early-twentieth-century ID cards, passports, and mug shots--from any black-and-white portrait at risk of haphazard defacement by stapler, really--and his figurative kin are frozen in time, at sites of fraught systemic and organizational intake. The resulting objects are at turns stately, heartbreaking, opaque, and lovingly intimate. At the Phillips, twenty-odd pieces from "Kin," 2008-, will be paired with some dozen of the artist's signature large-scale tableaux in an exhibition that crosses scales and media as well as source materials: The aspirational poses of larger works based on vintage studio photography sit opposite the visual spectrum from the "Kin" series' institutional points of departure. A major monograph with contributions by the curator and others will accompany the show. After all, what's a family album without something to have and to hold? --Gary Dauphin
"HELIO OITICICA: TO ORGANIZE DELIRIUM"
Carnegie Museum of Art
October 1, 2016-January 2, 2017
Curated by Lynn Zelevansky, Elisabeth Sussman, James Rondeau, and Donna De Salvo
Helio Oiticica is an artist whose name has become ubiquitous in discussions of global contemporary art, yet his work is often represented or described in limited, even self-serving ways. "To Organize Delirium"--a collaboration between the Carnegie Museum of Art, the Art Institute of Chicago, and the Whitney Museum of American Art in New York--should constitute a welcome corrective by providing the most complete retrospective to date (151 pieces in all media, including twenty-three works by other artists) and an extensive scholarly catalogue with contributions by the curators as well as from many younger scholars of Brazilian art and culture. The exhibition will also be the first to extensively explore Oiticica's time in London and New York (1969-78) and will enrich our sense of the artist's foundational contributions to both historical and contemporary international conversations about modernism, sexuality, and the political potential of art. Travels to the Art Institute of Chicago, Feb. 19-May 7, 2017; Whitney Museum of American Art, New York, July 14-Oct. 1, 2017. --Ann Reynolds
"SARAH OPPENHEIMER: S-281913"
Perez Art Museum
September 30, 2016-April 30, 2017
Curated by Rene Morales
The complex interplay between movement and perception has long been the crux of Sarah Oppenheimer's work. Interrogating the ways in which architecture inflects our movement and thereby frames the horizon of our experience, her astonishingly precise interventions into institutional spaces--which often take the form of apertures cut in walls, floors, and ceilings--produce sudden shifts, expansions, and occlusions in our visual field as we pass around and through them. Her upcoming installation S-281913 is an audacious extension of this logic: Oppenheimer proposes to animate her work itself by introducing two large rotating glass panels that will alternate between transparency and reflection depending on their position and that of the viewer. Situated within Herzog & de Meuron's concrete-and-wood galleries (rather than in the white cube that is Oppenheimer's typical milieu), the work's mix of active viewer, kinetic sculpture, and assertive architecture promises to be an unusually catalytic combination. --Julian Rose
"BASIM MAGDY: THE STARS WERE ALIGNED FOR A CENTURY OF NEW BEGINNINGS"
Museum of Contemporary Art
December 10, 2016-March 19, 2017
Curated by Omar Kholeif
Rainbows, prisms, and a bouquet of tulips with playful faces drawn on their petals. Industrial wastelands and barren cityscapes. Soldiers, superheroes, skeletons, and a giant squid paired with a rocket. Basim Magdy's first-ever US museum survey offers an introduction to the Egyptian artist's sprawling, cheerfully sinister visual vocabulary via thirty-six works from the past decade, including drawings, paintings, films, photographs, and installations that reveal a perpetual remixing of tragicomic iconography. Magdy's materials (gouache, spray paint, pen, Super 8 film dyed with household chemicals) are seductive and nostalgic. But his use of text--axioms, aphorisms, and witticisms that are superimposed on photos and films--is by turns bracingly critical and wry. In the accompanying catalogue, Kholeif and four other curators parse the various tensions ("word/picture," "past/future," "digital/analog," "hope/disaster") at play in Magdy's oeuvre. --Kaelen Wilson-Goldie
"BEN RIVERS: URTH"
September 10-November 6
Curated by Solveig Ovstebo
Utopia: It is no place. The word evokes unrealized visions and failed attempts, and yet the idea persists. Featuring recent work, including four films and a selection of drawings and photographs within a site-specific installation, "Urth," Ben Rivers's first museum exhibition in the US, will explore the artist-filmmaker's long-standing interest in imagining other worlds within and beyond our own. Whether presenting a science-fictional portrait of four island societies on a drowned planet (Slow Action, 2010) or an intimate, seasonal diary shot in his own home (Things, 2014), Rivers uses the moving image to create alternate, distinct territories. "Urth" will debut a commission shot at the Biosphere 2 ecological research center in Arizona and will include screenings of two of the artist's feature films. A monograph coproduced with Kunstverein in Hamburg, the Camden Arts Centre in London, and the Triennale di Milano will include essays by Melissa Gronlund, Ed Halter, and Andrea Picard and a comprehensive annotated filmography. --Erika Balsom
"SANFORD BIGGERS: SUBJECTIVE COSMOLOGY"
Museum of Contemporary Art
September 9, 2016-January 1, 2017
Curated by Elysia Borowy-Reeder
Over the past two decades, Sanford Biggers has woven references to African American culture, Eastern spirituality, and global music and dance traditions into patchwork myths and rituals. This exhibition promises to broaden our perspective on the artist's ambitious speculative histories, with a presentation of recent and newly made site-specific works, including Shatter, 2016, which makes its debut here. Following Shuffle, 2009, and Shake, 2011, Shatter is the final installment of Biggers's multi-channel video trilogy filmed at key points along the North Atlantic slave trade route that considers the undoing and reimagining of personal identity. Shatter's three-screen installation will serve as a backdrop to an opening-night performance by Moon Medicin, Biggers's Afrofuturist band. "Subjective Cosmology" will also feature the biggest iteration to date of Laocoon, 2015, a prostrate, semi-inflated, pulsating Fat Albert, the corpulent cartoon star of Bill Cosby's animated series. A touchstone for the show, this work reflects on recent violence against African Americans as well as the loss of faith in public and authority figures, from Cosby himself to the US police. --Daniel Quiles
"ROE ETHRIDGE: NEAREST NEIGHBOR"
Contemporary Arts Center
October 7, 2016-March 12, 2017
Curated by Kevin Moore
Gathering more than sixty photographs (all but one made since 2000), a handful of sculptures, and a video making its debut, Roe Ethridge's first US museum survey will provide a heady dose of the artist's faux-generic, technically impeccable style--one of the post-Pictures generation's most influential. Although his sleek, satiric take on advertorial-style fashion and still life is now pervasive, few imitators can match Ethridge's witty mix of art and commerce, document and fiction. Even pictures that appear to be dumb documents help undermine antique notions of photographic truth: His perfect pumpkin is actually a shot of a sticker (Pumpkin Sticker, 2010), and in what is clearly a photograph of a Point Break movie poster, he has replaced Patrick Swayze's head with a shaggy self-portrait (Untitled [Point Break], 2010). His tendency to produce what curator Kevin Moore calls a "synthetic version ... of the reality we think we know" makes Ethridge a reliably destabilizing force; his seduction can turn into a sly slap in the face. --Vince Aletti
"KELLEY WALKER: DIRECT DRIVE"
Contemporary Art Museum
September 16-December 31
Curated by Jeffrey Uslip
"Direct Drive"--a reference to the motors used in high-speed hard drives--is an apt subtitle for this first US survey of an artist who brought both Pop and appropriation art into the twenty-first century. Technology (digital and analog) serves as Kelley Walker's subject and informs his processes, which include breaking apart color prints sourced from news images into separate CMYK layers, repurposing silk screens as supports, and cutting up a MacBook Pro to create a sculpture. Less a midcareer retrospective than a showcase for Walker's continuing exploration of new media, this exhibition of more than forty works from 2002 to the present--complete with two fully illustrated catalogues--highlights a number of works in two and three dimensions, including the artist's celebrated series "Disasters," 2002; "Recycling," 2003-; "Black Star Press," 2004-2008; "Brick Painting," 2006-15; and "Volkswagen," 2010-14, as well as new pieces created especially for this showing. --Robert Hobbs
"QUESTION THE WALL ITSELF"
Walker Art Center
November 20, 2016-May 21, 2017
Curated by Fionn Meade and Jordan Carter
This twenty-three-artist, pointedly internationalist exhibition pivots around the notion of esprit decor, an idea posited by the curator's designated muse, Marcel Broodthaers. The term encapsulated a politically critical engagement with interior space--yet today's "wall," as the show's room-size installations and smaller sculptures, paintings, photographs, and video works affirm, is a projective surface for anything from barbed commentary on globalization's tilted playing field to melancholic cultural nostalgia. Alongside work by the razor-witted Belgian, expect to encounter Lucy McKenzie's disjointed sculptural evocations of Adolf Loos's architecture (Loos House, 2013), Nick Mauss's painted-mirror room dividers inspired by the cryptic visions of modernist painter Florine Stettheimer (F. S. Interval II, 2014), Paul Sietsema's filmic epic employing modeled domestic spaces connoting American and European imperialism (Empire, 2002), and Walid Raad's incised, freestanding stretches of museum wall space, which consider the flattening effects of the Middle East's nascent institutions on the art they house (Letters to the Reader, 2014). These walls, once questioned, talk. --Martin Herbert
Aspen Art Museum
October 20, 2016-January 22, 2017
Curated by Heidi Zuckerman
Two decades ago, while her YBA predecessors were garnering international attention for blaring, acerbic one-liners, Ceal Floyer emerged in Britain as a beacon of restraint, creating such quotidian epigrams as Light, 1994, a dangling, unplugged bulb lit by four surrounding slide projectors. Floyer's minimal gestures require sustained consideration, making her practice perfectly suited for a showing such as this--a spare but rewarding survey of thirteen pieces made between 1993 and 2015. Take in the early work Door, 1995, in which a slide projector has been configured to mysteriously illuminate a strip of light beneath a closed door, or Solo, 2006, a mic stand supporting a would-be star's hairbrush. Or pause to digest the artist's latest iteration of Bars, 2015, for which she has fitted the museum's street-level picture window with bespoke black steel bars. Floyer's closed-circuit construction outs itself, plangently, as a brittle, carefully maintained surface, half covering and half concealing. Existential anxiety? We don't talk about that. --Martin Herbert
Museum of Modern Art
September 24, 2016-January 1, 2017
Curated by Erin O'Toole
Anthony Hernandez might be to Los Angeles what Eugene Atget is to Paris. While he has taken photographs in Rome, Baltimore, and elsewhere, Hernandez has, for more than four decades, persistently documented the oft-overlooked urban scenery of his native southern California--from the manicured storefronts and mannequinesque denizens of Beverly Hills to the remnants of homeless encampments improvised on the margins of the urban landscape. This retrospective, a first for the artist and the inaugural special exhibition in the museum's new Pritzker Center for Photography, suggests that Hernandez, too, is worthy of a closer look. The catalogue accompanying this 160-work overview includes contributions by notable artistic peers--among them Robert Adams and Hernandez's longtime friend Lewis Baltz--alongside reconsiderations of the photographer's work by Hayward Gallery director Ralph Rugoff and the show's curator. --Michael Ned Holte
"DOUG AITKEN: ELECTRIC EARTH"
Geffen Contemporary at MoCA
September 10, 2016-January 15, 2017
Curated by Philippe Vergne and Anna Katz
"A lot of times I dance so fast that I become what's around me," says the protagonist of Doug Aitken's mesmeric, immersive multichannel video installation Electric Earth, 1999, which lends its name to the artist's first large-scale survey, appropriately debuting in his hometown. The exhibition and catalogue highlight Aitken's wide-ranging oeuvre, including such atmospheric pieces as diamond sea, 1997, his first foray into multichannel productions, as well as slickly fabricated sculptures, photographs, collages, and documentation of architectural projects. The show will also feature live works, among them the sound installation Sonic Fountain II, 2013/2015, and a host of public programs (modeled on Aitken's previous "happenings," as he calls them) for which he will collaborate with writers, actors, and other artists. Aitken's starstruck and sun-stroked romanticism is not without poetry but rarely casts a shadow. Travels to the Modern Art Museum of Fort Worth, May 27-Sept. 24, 2017. --Andrew Berardini
9TH BIENNALE DE MONTREAL: "THE GRAND BALCONY"
October 19, 2016-January 15, 2017
Curated by Philippe Pirotte with Corey McCorkie, Aseman Sabet, and Kitty Scott
Titled "The Grand Balcony" after Jean Genet's iconic 1956 play, this year's Biennale de Montreal aspires to join the ranks of such prestigious biennials as those of Istanbul, Sao Paulo, and Sydney in showcasing a prodigious number of artists and commissioned works. The Musee d'Art Contemporain de Montreal and various downtown spaces will serve as a stage for a dynamic program of lectures, performances, concerts, and screenings. In addition to premiering several films, such as Eric Baudelaire's AKA Jihadi, which traces the journey of a now-imprisoned ISIS militant, the exhibition will debut the third act of Anne Imhof's "Angst," 2016, a multipart opera that combines sculptural forms, an abstract musical composition, and choreographic elements. Other noteworthy projects include an anthology of writings by multimedia artist Hassan Khan and a sound piece by New York-based Marina Rosenfeld. --Jens Hoffmann
"GENERAL IDEA: BROKEN TIME"
October 27, 2016-February 12, 2017
Curated by Agustin Perez Rubio
Whether staging satiric beauty pageants to crown a "Miss General Idea," covering art and punk rock in their great magazine FILE (1972-89), or lambasting the mass media's stereotypical treatment of artists (most memorably in their 1984 video Shut the Fuck Up), Canadian collective General Idea challenged authority and queered heteronormative identity with a blend of humor, eroticism, and expertly styled artifice. The trio--AA Bronson, Felix Partz, and Jorge Zontal--were active from 1969 to 1994, when Partz and Zontal died of AIDS-related illnesses. In the intervening years, their work has lost none of its power to shock and inspire, as the group's first retrospective in Latin America will show. Featuring approximately one hundred works that track the twenty-five-year arc of General Idea's practice, the exhibition will be accompanied by a catalogue raisonne. Travels to Museo de Arte Latinoamericano de Buenos Aires, March-June 2017. --Bill Arning
32ND BIENAL DE SAO PAULO: "LIVE UNCERTAINTY"
Ciccillo Matarazzo Pavilion
September 10-December 11
Curated by Jochen Volz with Lars Bang Larsen, Gabi Ngcobo, Sofia Olascoaga, and
How does one embrace uncertainty without succumbing to fear? This installment of the Bienal de Sao Paulo will offer provisional answers to the question at a time when the globe is increasingly faced with dramatic instability in the political, social, and natural worlds. Rounding up eighty-one participants from thirty-three countries, the exhibition will explore topics ranging from ecology and cosmology to collective knowledge. Following the recent trend of research-based art, many of the show's works will evolve from local residencies--such as a garden of edible plants cultivated by Portuguese artist Carla Filipe in collaboration with the Botanical Institute of Sao Paulo. In Brazil's current climate of unrest, in which the survival of the country's cultural institutions is under threat--the Ministry of Culture narrowly evaded dismantlement by the interim government this past May--the numerous public and private partners supporting the biennial unwittingly mirror its theme, providing one possible model for how to "Live Uncertainty" in the arts. --Kaira M. Cabanas
December 1, 2016-April 2, 2017
Curated byAchim Borchardt-Hume and Leah Dickerman
When this Tate retrospective opens, it will have been nearly two decades since the last such effort: the sprawling megashow mounted by the Solomon R. Guggenheim in 1997. Ushered in by Walter Hopps's extraordinary exhibition focused on Rauschenberg's earliest career, at the institution's downtown branch, the 1990s effected an enduring place for the artist among the greats of the later twentieth century. Subsequent projects, such as the Metropolitan's exhaustive presentation of the Combines, have ramified the artist's interpretative exhibition history perhaps more deeply than that of any comparable figure. The bar is thus set high for this joint venture with MOMA, as both a synthesis of accumulated insight and an adumbration of new possibilities for thinking about the work, MOMA will emphasize lesser-known chapters in Rauschenberg's oeuvre, while the Tate promises a full, if "tightly edited," account of his entire career trajectory, with unprecedented emphasis on performance and collaborations. Travels to the Museum of Modern Art, New York, May 21-Sept. 4. 2017; San Francisco Museum of Modern Art, Nov. 4, 2017-Mar. 25, 2018. --Thomas Crow
"WILLIAM KENTRIDGE: THICK TIME"
September 21, 2016-January 15, 2017
Curated by Iwona Blazwick and Sabine Breitwieser
Stretching time. Unwinding it. Reminding us how we all dance against the drumbeat of our ticking hearts. William Kentridge has claimed for the past three decades that his work is "all about time." This exhibition, named for the Bakhtinian processes the artist uses to describe the viscous temporalities of his studio, plumbs the depths of Kentridgean time. His clock is, of course, set to the willful time of southern Africa--its peculiar dilations and coagulations, its leaps and surges, its refusals of Greenwich's imperial cadence. A rich lineup of voices (Homi K. Bhabha, Achille Mbembe, and more) will provide meditations around the exhibition's six landmark works, all made between 2003 and 2015, including O Sentimental Machine, which stars Leon Trotsky, exiled in Istanbul, spouting endless messages to the "masses" he perceived (with fateful narrowness) as sentimental machines. Travels to the Louisiana Museum of Modern Art, Humlebaek, Denmark, Feb. 16-June 18, 2017; Museum der Moderne Salzburg Monchsberg, Austria, July 22-Nov. 5, 2017; Whitworth, Manchester, UK, 2018. --Leora Maltz-Leca
October 21, 2016-March 5, 2017
Curated by Kasia Redzisz and Stephanie Straine
Since his remarkable Warsaw studio was reopened as a permanent exhibition soon after his death in 2004, Edward Krasinski has become an increasingly visible avatar of Polish Conceptual art. How does art challenge its own commodification even under state socialism? Tate Liverpool's forthcoming retrospective--the first ever in the UK--will provide a range of answers from the artist's entire production, beginning with the rarely seen suspended sculptures of 1964-65. Delicate visual puns, these works accentuate the latent surrealism that winds its way--like the artist's signature blue stripe--through his room-size installations, several of which will also be on view. A catalogue with essays by the curators as well as historian and curator Jean-Francois Chevrier and critic Karol Sienkiewicz accompanies the exhibition. Travels to the Stedelijk Museum, Amsterdam, June-Oct. 2017. --Rachel Haidu
November 30, 2016-April 24, 2017
Curated by Jonas Storsve
We may think we're well-versed on Cy Twombly by now, but we've been surprised before; his work is easy to recognize yet, crucially, hard to know. This fall, the Pompidou promises a definitive retrospective--the first since Twombly's death in 2011 and by far the largest ever--that will attend to his propensity for series. The emphasis will be on his radical, affective attenuation of history painting, with three extraordinary suites convening for the first time: Nine Discourses on Commodus, 1963; Fifty Days at Iliam, 1978; and Coronation of Sesostris, 2000. Approximately 140 works in all, in painting, drawing, sculpture, collage, and photography, will track Twombly's career from the early 1950s to his final months. An authoritative offering, to be sure (supplemented by a lavish catalogue), and one that is perhaps big and rich enough to make the ultimate historical claim for the unfixedness that, paradoxically, defines his practice. --Kate Nesin
Museo Nacional Centro de Arte Reina Sofia
September 22, 2016-February 26, 2017
Curated by Joao Fernandes
A seminal figure in both the New Basque Sculpture movement of the 1980s and the internationalization of Spanish art toward the end of that decade, over the past thirty years Txomin Badiola has developed a prolific body of work that utilizes a diverse array of media and references to engage his viewers in a manner that is more dialogic than expressive. For his upcoming retrospective at the Palacio de Velazquez, the artist has invited a group of his peers--Ana Laura Alaez, Angel Bados, Jon Mikel Euba, Pello Irazu, Asier Mendizabal, Itziar Okariz, and Sergio Prego--to help select some of the sculptures, drawings, photographs, and multimedia installations that will be on view. Interviews in which the seven cocurators discuss their decision-making process will be filmed, and an edited transcript of these conversations will appear in the exhibition catalogue. --Michele Faguet
"MICHAEL KREBBER: THE LIVING WEDGE"
Museu de Arte Contemporanea de Serralves
October 15, 2016-January 15, 2017
Curated by Joao Ribas with Filipa Loureiro
The practice of Cologne-born artist Michael Krebber is as influential as it is (in)famous for laying bare the conditions and conventions of painting (and painter) by means of tentative gestural markings, evacuated canvases, diffident readymades, and lapidary exhibition displays. Krebber's abstractions always appear to operate at the brink of disappearance as they continuously substitute ciphers of doubt, delay, withdrawal, and hesitation for the medium's ancestral values of expression, plenitude, and presentness. While painting will take center stage this fall at Serralves for Krebber's first exhibition in Portugal, also on display will be a number of drawings and sculptures, among them a selection of his segmented windsurfing boards. This retrospective of approximately eighty works dating back to the 1980s will present a rare opportunity to encounter both the trajectory and the intricacies of an oeuvre that proves painting's resilience precisely by putting under duress its procedures and promises. Travels to Kunsthalle Bern, Feb.-Apr. 2017. --Andre Rottmann
"KISHIO SUGA: SITUATIONS"
September 30, 2016-January 29, 2017
Curated by Yuko Hasegawa and Vicente Todoli
In his first European solo show, Kishio Suga, best known as one of the leading figures of the Japanese art movement Mono-ha, will be celebrated in his own right with a retrospective of twenty-three installations and sculptures from 1969 through the present. At HangarBicocca, Suga will activate objects as dynamic parts of a total structure: Viewers will find themselves immersed in an environment of wooden configurations, paraffin-wax structures, floor works composed of both organic and manufactured materials, and ephemeral outdoor interventions. The exhibition will thus bring together multiple "situations" to produce a landscape of contrasts--natural and industrial, light and heavy, hollow and solid--continuing Suga's tendency to subvert our expectations surrounding the nature of phenomena and to emphasize spatial interstices. Accompanied by a sizable catalogue, the show will contextualize the artist within an international art scene that includes Italy's Arte Povera and Land art in the US. --Mika Yoshitake
"BETYE SAAR: UNEASY DANCER"
September 15, 2016-January 8, 2017
Curated by Elvira Dyangani Ose
For more than sixty years, the Los Angeles-based artist Betye Saar has steadily produced mixed-media works that recombine diverse cultural forms, spiritual traditions, and everyday icons. Whether Saar is invoking diasporic ritual practices in her talismanic Black Girl's Window, 1969, or formally undoing the logic of racist kitsch through her ongoing work with mammy figures and figurines, her practice occupies a vital place within histories of assemblage. "Uneasy Dancer," the artist's first retrospective in Italy, will feature more than ninety of her assemblages, collages, and installations from the 1960s through the present, focusing on Saar's contributions to black feminist thought and transnationalist aesthetics. The exhibition will be curated by Elvira Dyangani Ose, whose sophisticated reframing of Carrie Mae Weems's work in 2010 at the Centro Andaluz de Arte Contemporaneo in Seville bodes well for viewers hoping to gain a nuanced understanding of Saar's positioning within an expanded cultural field. --Huey Copeland
Castello di Rivoli/Fondazione Sandretto Re Rebaudengo
September 27, 2016-January 29, 2017
Curated by Carolyn Christov-Bakargiev and Marianna Vecellio with Irene Calderoni
Turin is a fitting setting for the work of Ed Atkins. While his tragicomic videos of HD avatars express the alienation that permeates contemporary (white hetero cis-male) life, they also--like the famous Shroud of Turin before them--render the body strange, as the mutable object of endless mediations. Just as the shroud's configuration of marks is either an ancient hoax or the indexical trace of the body of Christ, the artist's representations may or may not register the existence of an entity that hovers somewhere between presence and ghostly evanescence--only in Atkins's case, that radically ambiguous entity is the embodied subject of today. More than half a dozen projects will be presented at the Castello di Rivoli; notable among the works that will take up residence in the former Savoy soldier barracks are Ribbons and Happy Birthday!!!, both 2014. Another video installation, Safe Conduct, 2016, will be on display at the Fondazione Sandretto Re Rebaudengo. --Tina Rivers Ryan
September 23--November 13
Curated by Valerie Knoll
The practice of everyday life, a life examined, radical subjectivity, the personal made public: Moved by any and all of these, Juliette Blightman photographs, paints, films, writes, and performs the slow drawl of the quotidian with all its dance parties and traipsing children, houseplants and living rooms, naked bodies and jokey games, encountered artworks and occasional orgies. Hardly an autonomous author but a member of a community, Blightman will be exhibiting her own works at Kunsthalle Bern, alongside those of "friends, family, and heroes." The compulsive self-documentation of Michel Auder comes to mind, as does the exhibitionism courted by Instagram, but such comparisons reduce Blightman's work to its methods without sussing her peculiar voice--a little licentious, sometimes shy, but invariably open. --Andrew Berardini
"JULIUS KOLLER: ONE MAN ANTI SHOW"
Museum Moderner Kunst Stiftung Ludwig Wien
November 25, 2016--April 17, 2017
Curated by Daniel Grun, Kathrin Rhomberg, and Georg Schollhammer
In 1971, Julius Koller (1933-2007) envisioned a gallery atop a mountain in Slovakia's High Tatras. This private, fictive space--the UFO Gallery Ganek, as it came to be known--was a liberating alternative to the official institutions of the Soviet state, a refuge where thought could flow freely and information had no limits. Though Roller's gallery was imaginary, it was nevertheless a frame for the creation of real works, including drawings, photographs, "anti-paintings," and cards made with a children's printing set. This monumental retrospective, and its extensive catalogue, will put the full breadth of the artist's production on view, placing unprecedented emphasis on Roller's archive of printed matter: a massive collection of postcards and cheap brochures, newspaper clippings, comic strips, and other such pulp culled from everyday life. --Lina Kavaliunas
WILLEM DE ROOIJ
Museum fur Moderne Kunst-MMK 2
October 15, 2016--February 19, 2017
Curated by Klaus Gorner
A kind of grand finale to a trio of recent solo shows held over the past few years, this exhibition brings together floral bouquets, handwoven tapestries, a sportswear line by Dutch fashion designer Fong Leng, and an installation of decontextualized press photographs depicting "riots, protest, mourning, and commemoration." The variety of Willem de Rooij's recent output will thus be on full view--as will older works made with his longtime collaborator, Jeroen de Rijke, who died in 2006. In all these works, a seductive visual clarity is polemically entangled in questions of authorship and intentionality, cultural and political history, and art's relationships to non-art traditions and practices. De- and reframing the divergent expectations we bring to flowers, news, craft, art, and fashion, de Rooij pointedly messes with our hierarchies of desire (for beauty, simplicity, critique, knowledge) to insist that aesthetics is both powerful and always more than it seems. --Alexander Scrimgeour
Louisiana Museum of Modern Art
September 8, 2016--January 8, 2017
Curated by Poul Erik Tojner
This midcareer retrospective comprises forty-five oils by Daniel Richter, representing the German painter's broad range--from his dense abstract constellations of the mid-1990s to the narrative works of the early 2000s to his reduced figure studies from last year. Typically discussed in the context of recent European history, Richter's practice carries on the task of questioning German identity. All too relevant today, Tarifa, 2001, depicts huddled refugees--race reconfigured through Richter's vibrant color palette--aboard a dinghy drifting out of the picture plane. Borderline, 2009, could easily be interpreted as a reference to the former partitioning of Germany: A candy-cane border post divides the muted landscape, a stand of cyan trees in the distance indicating a brighter side. Beyond politics, the artist's practice engages in an ongoing dialogue with the history of painting and other visual sources; Richter's work reflects both an ironic and a romantic search for meaningful painting in a world flooded with images. --Jurriaan Benschop
"CONDITIONS OF POLITICAL CHOREOGRAPHY"
Center for Contemporary Art
November 17, 2016--January 7, 2017
Curated by Marius Babias, Sergio Edelsztein, Sophie Goltz, and Chen Tamir
Mining the current intensification of nationalism in Germany and Israel, this collaboration between Tel Aviv's CCA and the Neuer Berliner Kunstverein explores the political and formal limits of belonging, artistic disciplines, and imposed structures through performative interventions. Each iteration of this show will include an arena (built by architect Markus Miessen for the CCA and by artist Ohad Meromi for the NBK) delineating the spatial parameters in which a multigenerational cast of artists, theorists, dancers, and directors will produce new works--and investigate the contemporary occupation, inhabitation, and colonization of space and subjectivity. As much of the world regresses into frighteningly reactionary and essentialized models of identity, this is a worthy attempt to offer complex demonstrations of "working through" power relations. Can we move beyond the binational narratives of "victim" and "victimizer" by questioning the physical limits and aesthetic constraints of collaboration? Travels to the Neuer Berliner Kunstverein, June 3--July 30, 2017. --Nuit Banai
11TH GWANGJU BIENNALE: "THE EIGHTH CLIMATE (WHAT DOES ART DO?)"
September 2--November 6
Curated by Maria Lind
"A place outside all places, outside of where." This was, according to French philosopher and Islamic scholar Henry Corbin, the eighth climate--a realm first described by Persian theosophist Shahab al-Din al-Suhrawardi in the twelfth century as being accessible only via "psychospiritual senses." Drawing inspiration from Suhrawardi's antirationalist geography, this year's Gwangju Biennale features projects by 101 artists, as well as lectures, discussions, and a publication accompanying the show. "The Eighth Climate (What Does Art Do?)" poses a question that has prompted participating artists to look both backward and forward in time: A project by siren eun young jung, for example, unearths the subversive history of Yeosung Gukgeuk, a genre of all-female Korean vaudeville, while work by Tyler Coburn imagines ergonomic furniture for humanity's highly evolved descendants. The subtitular query is simple yet loaded: As climate disaster impends, what role does the artist have? Can the mounting ills of our physical world be countered by the capacity of artists in an immaterial one? --Dawn Chan
Taipei Fine Arts Museum
September 10, 2016--February 5, 2017
Curated by Corinne Diserens
Eschewing lofty ruminations or far-future speculation, the tenth edition of the Taipei Biennial keeps things local, focusing on archive construction. Held at the Taipei Fine Arts Museum, among the most established institutions for the promotion of contemporary art in the Asia-Pacific region, the show will have a generative home base for reflecting on and critiquing practices of institutional bureaucracy. More than seventy individual artists and groups will present works of visual art, dance, performance, music, and film; these offerings will be coupled with symposia, workshops, and what are described as "editorial platforms," the last addressing the increasingly urgent need for the writing and discussion of art histories beyond those presently regarded as mainstream. Supplementing the general themes of historicization and the archive will be a satellite retrospective of the history of the biennial from 1996 to 2014. --Joan Kee
11TH SHANGHAI BIENNALE: "WHY NOT ASK AGAIN? MANEUVERS, DISPUTATIONS & STORIES"
Power Station of Art
November 11, 2016--March 12, 2017
Curated by Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta
New Delhi-based trio Raqs Media Collective bring a refreshing geographic perspective to the Shanghai Biennale, assembling an exhibition that takes the under-examined cultural nexus of India and China (and, more broadly, South and East Asia) as its promising point of departure. Yet the show is no mere regional survey. Inspired by both Chinese speculative fiction and Jukti Takko Aar Gappo (Reason, Debate, and a Story), a pioneering 1974 work of Indian New Cinema by director Ritwik Ghatak, "Why Not Ask Again? Maneuvers, Disputations & Stories" will privilege fables and narrative as well as acts of inquiry. The challenge for its participants, which include artists Sun Yuan & Peng Yu, Moinak Biswas, and Robin Meier, will be to articulate hard questions, and to remember that sometimes the most rewarding queries are those for which no answers exist. --Lee Ambrozy
December 12, 2016--March 29, 2017
Curated bySudarshan Shetty
Set in a British-built heritage building on the sea, the Kochi-Muziris Biennale is the leading international exhibition of contemporary art in India. This third edition runs for exactly 108 days--a sacred and vital number in Hindu philosophy--and comprises a rich assortment of talks, film screenings, and poetry readings, alongside gallery-based artworks and public interventions in a range of media. Shetty is a renowned artist whose sculptural installations have memorably incorporated text, so it is no surprise that many of the biennial's participants are celebrated for their facility with the written word--including Chilean poet Raul Zurita, graphic novelist Orijit Sen from India, and Mexico-based painter and poet Valerie Mejer Caso. The show's broadly global lineup is a fitting expression of the diverse heritage of this Indian port city. --Himali Singh Soin
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|Title Annotation:||art exhbitions|
|Date:||Sep 1, 2016|
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