Wednesday, October 7
In pursuit of objectivity, Adrián Villar Rojas decided to “exile himself from his own time” while crafting his latest works. The ensuing sculptures—amalgamations of cracked clay, wood, metal, and pigment amid personal belongings like shoelaces—are hybrid objects, entropic mutants.
Adrián Villar Rojas Two Suns
Charged with poetic resolve and psychic force, “Lesbian Whale: Early Drawings and Paintings” moves from autobiography to great art. On view are never-before-seen works on paper made between 1968 and 1970, the period during which Barbara Hammer left her husband to pursue a career in art and film. Hammer’s first five films are also on view, alongside a selection of notebooks, diaries, and sketchbooks.
Barbara Hammer Lesbian Whale: Early Drawings and Paintings
Colombian artist Doris Salcedo often begins her process by gathering testimonies of violent oppression. These accounts take life in sculptures and installations that are primordially domestic, spectral in nature, and conjure legacies of colonialism, racism, and social injustice. Her first major retrospective, organized by the Museum of Contemporary Art, Chicago, occupies all four levels of the museum’s tower galleries.
Curator Alison Gingeras makes an audacious claim in this transgenerational, bicoastal exhibition: Cobra, the avant-garde movement that united under a mandate of total freedom of color, form, and enmity toward Surrealism, did not end in 1951, when the group disbanded. Compiling a genealogy of modern and contemporary works, Gingeras illuminates the way the group’s tenets manifested in ensuing decades, while emphasizing how our current moment makes Cobra’s object more urgent than ever.
The Avant-Garde Won't Give Up: Cobra and it's Legacy
Thrill, alienation, and repression form the bedrock of this dark and obsessive presentation, devoted exclusively to Mike Kelley’s “Kandors” series (1999–2011). Produced in conjunction with the Mike Kelley Foundation, this marks the artist’s posthumous debut with Hauser & Wirth.
The intricate wire sculptures of German-born, Venezuelan artist Gego articulate architectural space and delineate the body in a play of radical abstraction, ultimately positing the medium as Ur-form. This two-part exhibition, organized in collaboration with Fundación Gego, brings together crucial works from her oeuvre.
Gego Autobiography of a Line
From 1964 to 1967, Anne Truitt lived and worked in Tokyo: It was here that she adopted aluminum as a medium, crafting twenty-three sculptures that she destroyed in the early 1970s, ultimately deciding the material was incompatible with her vision. “Anne Truitt in Japan” brings together a full range of works on paper from this period. A catalogue with an essay by art historian Anna Lovatt, full-color reproductions, and an extensive chronology accompanies the show.
Anne Truitt Anne Truitt in Japan
These are noble, proverbial sculptures: expressionistic masks made of corrugated cardboard that have been cast in bronze and painted in distinctive hues. Operating within a genealogy of modern art (Pablo Picasso, André Derain, Ernst Ludwig Kirchner) and the ancestry of the mask as an object of ritual, this is the play of pure possession.
Mark Grotjahn Painted Sculpture
Serjei Jensen recently broke from his signature abstractions, debuting lyrical, figurative paintings evocative of Renaissance, Romantic, and proto-modernist sources. Gone are his stark textiles, replaced by works made with a technique resembling tempera or fresco painting.