Thursday, August 25
Coinciding with Bacher’s solo show at 356 S. Mission Rd. in Los Angeles, which runs through July 31, this exhibition brings together works in various media all made between 1973 and 2016. Highlights from the predominantly dark-hued selection include two kinky black leather suspensions that hang from the ceiling like chandeliers and Wham, 2016, a serpentine installation of baseball caps.
Lutz Bacher Divine Transportation
First exhibited in 1971, Stella’s “Polish Village” series introduced technical and material innovations that the artist went on to feature throughout his career-long investigation of the relationship between painting, sculpture, and architecture. The large wall reliefs—whose imagery is based on photographs and drawings of synagogues in Maria and Kazimierz Piechotka’s book Wooden Synagogues (1959)—maintain the form of Stella’s famous shaped canvases but are three-dimensional collages of felt, paint, canvas, wood, and cardboard. Read Stella’s recent 500 Words on this work here.
Featuring more than three hundred works, the American artist’s largest solo exhibition to date spans five decades and promises both breadth and depth via his signature floor sculptures made with industrial building materials, two hundred poems, and a series of rarely seen assemblages known as the “Dada Forgeries.” See the artist himself discuss his life and work in our video here.
Carl Andre Sculpture as Place, 1958-2010
Invalidenstraße 50-51 / +4930266424242 / smb.museum/
Tue - Fri 10am to 6pm, Sat - Sun 11am to 6pm, Thu 10am to 8pm
The subjects of Thomas Struth's large-format photographs range from industrial plants and research laboratories to mundane architecture and amusement parks. Made between 2005 and 2016, the thirty-seven works on view here show how photography combines reality, memory, and experience.
Thomas Struth Thomas Struth. Nature & Politics
The ninth edition of the Berlin Biennale, curated by the New York–based collective DIS, will be infiltrating the city with art via unexpected venues and ventures, so if you happen to be at a juice bar in the hipper quarters of town this summer, be on your guard that it just might be Débora Delmar’s biennial project. Other sites being taken over this season are the politically loaded Pariser Platz—home to international corporations Lockheed Martin, Allianz Stiftungsforum, and DZ Bank, among others—and the European School of Management and Technology (ESMT), a business school that once housed the state council of East Berlin. Consider BB9 this season’s starter pack for the international jet set.
The second part of the Polish-born, London-based artist’s back-to-back exhibitions at the Schinkel Pavillon describes intimate connections and troubling overlaps between culture and technology. Suggesting the inevitability of a posthuman state, the show includes the android creation To the Son of the Man Who Ate the Scroll, 2016, a talking bearded robot modeled after the artist's boyfriend.