Thursday, November 27
The artist’s first solo exhibition in New York since her retrospective at MoMA in 2010, “Generator” will turn the gallery into a sensory deprivation space by giving visitors noise-canceling headphones and blindfolds, and by requiring that personal items, including cell phones, be left in a locker before entering in order to impel visitors toward introspection. The show has a sixty-eight person maximum entrance limit.
Marina Abramović Generator
A heavy chain holds together shapes of welded steela half moon, a circle, an uneven squarein Homage to the Poet Leon Gontran Damas, 1978–81, the pivotal work in this survey of Melvin Edwards's work, emphasizing the artist’s connection to Africa. His first trip was in 1970, and he has returned regularly ever since, establishing a studio in Dakar in 2000.
Melvin Edwards Melvin Edwards
This exhibition features new cedar sculptures, a material that von Rydingsvard is known for using, as well as some of her first works in bronze, including a nine-and-a-half-foot tall sculpture based on a vinyl lace pattern. A selection of the artist's handmade paper works will also be on display.
Ursula von Rydingsvard Permeated Shield
In 2012, R.H. Quaytman was invited to create a permanent installation for Inhotim, the sprawling contemporary art space in southeast Brazil. To do so, she immersed herself in researching artists like Lygia Clark and Mira Schendel as well as Elizabeth Bishop and then Claude Levi-Strauss, who both spent time in the country. The resulting installation, which includes painting and sculptures that mark radical departure in her practice as well as a few of the photographically-based silkscreen images she is best known for, is the only work on view in this show.
R.H. Quaytman O Tópico, Chapter 27
Albert York made paintings from memories: sylvan landscapes of Long Island’s East End, vases of flowers, an occasional portrait. The thirty-seven works in this surveyall rendered, a signature of this artist, on small scraps of wood, and all on loan from public and private collectionsmake for the most complete exhibition of York ever organized. A monograph, lush with full-page color reproductions and essays by Bruce Hainley, Fairfield Porter, and Calvin Tomkins, accompanies the show.
If the practice of Urs Fischer luxuriates in the possibility of surfaces and the way they can be reproducedbe it organic matter like skin and fruit or artistic materials like clay and canvasthen there is something very sad lurking under his latest set of enormous works. The artist has digitally printed images of AbEx-like paintings, confirming that aura is indeed lost with reproduction. Perhaps melancholia has always been Fischer's pointsubversive precisely because it's so thickly-veiled by synthetics.
Nam June Paik’s groundbreaking practice humanized the technologies of the mid-twentieth century. This retrospective looks specifically at the way his work addresses the relationship between the body and the machine, and is the first New York exhibition dedicated exclusively to the artistwho passed in 2006in more than a decade.
Nam June Paik Becoming Robot
In 1958, the postwar German artists Heinz Mack and Otto Piene founded ZERO at their studio in Düsseldorf. The group, which disbanded in 1966, sought to explore the future of art in a fusion of cutting-edge technology and utopian political ideals. This exhibition is a consideration of their collective work and lasting impact, and includes two hundred works by Mack, Piene, and Günther Uecker, the core members, in addition to works by a wide range of collaborators such as Lucio Fontana.
ZERO: Countdown to Tomorrow, 1950s–60s
Every sculpture in this exhibition hangs from the ceiling and every drawing depicts forms that seem to float. Suspension, which Bourgeois believed to be a state of ambivalence, is the theme of this solo presentation that brings together works from 1945 onward. Robert Pincus-Witten has a penned a new text about the subject, which is included in a catalogue made especially for this show.
Louise Bourgeois Suspension
Is spirituality today a syncretic experience? For this artist, who has created a jubilant and terrifying array of totemic sculptures and paintings (all new work), religion is a narrative to be spun. Deploying classical techniques and the latest technologies to conjure a perpetually beaming cast of characters, Murakami has made a show about faith, largely as a response to the Great Tōhoku Earthquake of 2011, which wiped out entire cities, triggered several nuclear accidents, and resulted in a death toll of nearly twenty thousand.
Takashi Murakami In the Land of the Dead, Stepping on the Tail of a Rainbow
This large retrospective begins with Gober’s work in the 1970s and includes around 140 works spanning sculpture and immersive installations as well as drawings, prints, and photographs. The exhibition traces the early emergence of the surreal, uncanny themes for which he is known, and includes his well-known 1992 installation from Dia.
Robert Gober: The Heart Is Not a Metaphor
This comprehensive survey of Sturtevant’s career is also the first institutional exhibition of her work mounted in the US since a solo show at the Everson Museum of Art in 1973. “Sturtevant: Double Trouble” brings together more than fifty major works in painting, drawing, photography, sculpture, film, and video, including her notorious 1964 versions of works by contemporaries like Jasper Johns and Andy Warhol, made to explore concepts of originality, authorship while probing at the limits of Pop art.
Sturtevant: Double Trouble
Following Jockum Nordström’s 2013 exhibition at the Camden Arts Center (the artist’s first solo show in London), David Zwirner is showing new works by the Swedish artist. Adhering to Jockum’s signature naive style, the collages, watercolors, graphite drawings, and sculptures on view represent the artist’s experience working in a farmhouse studio located on a small island off the southeastern coast of Sweden.
Jockum Nordström For the insects and the hounds
Richard Tuttle’s retrospective, the largest survey dedicated to the American artist and poet ever staged in Britain, brings together five decades of work at the Whitechapel Gallery. On this occasion, Tuttle has also created a new work—a monumental textile piece—specially for the Turbine Hall at Tate Modern.
Richard Tuttle Richard Tuttle: I Dont Know Or The Weave of Textile Language
Anselm Kiefer’s large-scale paintings grace the grand Victorian-age galleries at the Royal Academy. In addition to their physical heft, the thickly encrusted paintings inlaid with items ranging from flowers to slabs of lead are emotionally and symbolically weighty.
Taking the contemporary art market as his latest subject, Eric Fischl presents a new series of paintings depicting people at art fairs and gallery openings. The cluttered compositions of layered figures and artworks convey an energetic—at times frenzied—atmosphere.
Eric Fischl Art Fair Paintings
Marian Goodman inaugurates her London gallery with an exhibition of recent work by Gerhard Richter, including a new monumental glass sculpture. Among the more than forty works on view are several “Strips,” all based on a single digital photograph of Richter’s 1990 oil painting that has been meticulously divided into progressively smaller sections, which are then reprinted in various sizes. The largest of these works is more than thirty-two feet long and stretches across the gallery’s first floor.
Projected onto two walls of the gallery, Pipilotti Rist’s latest film transforms the space into an immersive multisensorial experience, which transports the viewer inside the human body. Intercutting extreme close-ups of body parts with images of landscapes and nature, Rist blurs the distinction between internal and external experiences.
Pipilotti Rist Worry Will Vanish
Glenn Ligon’s first exhibition at a nonprofit UK gallery presents a new series of paintings based on a composition made by Minimal music pioneer Steve Reich in the 1960s that used sound bites of the taped testimonies of the “Harlem six.” For this exhibition, Ligon has also created a neon work based on a statement by Daniel Hamm, one of the six Harlem teenagers who were accused of murder and brutally beaten by police.
Glenn Ligon Call and Response
For his sixth exhibition at Lisson Gallery, Jonathan Monk juxtaposes recent works describing his own life with an installation that speaks to current politics in the Middle East. Works including an installation made of tea towels (each marking one year of the artist’s life) and a family slide show are in stark contrast to a group of metal pallets containing rocks from contested territories in Lebanon, Jordan, Egypt, Palestine, Saudi Arabia, and Israel.
Jonathan Monk I HEART 1984
Stephen Friedman presents the first UK show of American artist Melvin Edwards. Dating from the 1960s through today, the large- and small-scale sculptures (among them pieces from Edwards’s best-known series, “Lynch Fragments”) deal with themes of race and civil rights in America.
For her show at White Cube, American artist Liza Lou has created colorful abstract “canvases” using glass beads. These new works, which demonstrate the emotive power of pure color, were inspired by Lou’s experience working with with Zulu bead-workers in Africa.
Liza Lou Solid / Divide
Dexter Dalwood’s first exhibition with Simon Lee comprises recent paintings inspired by the city of London. Reconstructing the British capital’s iconic sites based on a variety of sources including political narratives, historic paintings of the city, and his own memory, Dalwood raises questions about how paintings help write history.
Dexter Dalwood London Paintings
The inaugural show at Dominique Lévy’s London outpost features a selection of rarely exhibited works from the 1950s through the 1970s by Enrico Castellani, Donald Judd, and Frank Stella. Curated by Linda Norden, this exhibition examining the creative intersection of three important postwar artists is concurrently on view at Levy’s New York gallery (through January 3).
Castellani, Judd, Stella Local History
This exhibition presents seventeen large-format photographs made by Hiroshi Sugimoto between 1976 and 2012. All belonging to the artistҳ ongoing ӄioramaԠseries, the works on view seem to depict the natural world but actually represent artificial displays found inside natural history museums.
Hiroshi Sugimoto Still Life
Walead Beshty transforms the walls of the Barbican Art Gallery with a floor-to-ceiling installation consisting of more than 12,000 cyanotypes: blue-tinged photographic prints made by placing various objects on UV-sensitive material and exposing them to sunlight. Presented in chronological order, the cyanotypes date from fall 2013 to summer 2014; the most recent were made during the artist’s residency at the Barbican.
This comprehensive retrospective of the untiring, always unsatisfied, and influential German artist Sigmar Polke was organized by Kathy Halbreich of the Museum of Modern Art with Tate Modern curator Mark Godfrey and MoMA curatorial assistant Lanka Tattersall. The MoMA iteration refused wall labels, pointing audiences instead toward orienting pamphlets; Tate Modern has gone with a more conventional installation.
Alibis: Sigmar Polke 1963–2010
Following his recent solo shows in Paris (Palais de Tokyo, 2013) and Buenos Aires (Daros Foundation, 2014), Julio Le Parc installs his mesmerizing kinetic works in London’s Serpentine Galleries. The companion program of screenings, readings, talks, and performances is inspired by the octogenarian artist’s use of light.
Julio Le Parc
Gagosian presents recent work by Richard Serra across two galleries. Four monumental steel sculptures are displayed at the Britannia Street gallery, while a single large-scale drawing Serra made in 2011 is on view at the Davies street location.
Richard Serra Backdoor Pipeline, Ramble, Dead Load, London Cross
Georg Herold fills the CFA gallery with an assortment of creepy alien beings made of polyurethane and wax. These bodies, which are missing limbs and heads, evoke Classical antiquities but for their oozy surfaces and aggressive eroticism.
Georg Herold 1,012 kg
Filling the exhibition space at the Schinkel Pavillion, Philippe Parreno’s How Can We Tell the Dancers from the Dance, 2012, consists of an empty circular dance floor around which a section of a white wall slowly rotates. Conjuring the ghostly presence of invisible dancers, a sound recording made during performances of Merce Cunningham choreographies plays while viewers contemplate the empty stage.
Philippe Parreno How Can We Tell The Dancers From The Dance
British architect David Chipperfield has installed 144 tree trunks in the lobby of the Neue Nationalgalerie, transforming the open space into a dense but orderly forest. The trees' natural columnar forms echo the museumҳ Ludwig Mies van der Rohe-design, which uses strategically placed support columns to make it seems as though the monumental roof is floating.
David Chipperfield Sticks and Stones, an Intervention
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Continuing his exploration of mundane, quotidian subjects, Hans Peter Feldman presents several recent photographic series including one showing the entire inventory of a woman’s closet and another documenting the contents of strangers’ bags. Also on view are books the artist has made using found photographs.
Hans Peter Feldman
KW presents Ryan Trecartin’s first institutional solo show in Germany. The American artist presents a new multichannel movie in the context of a site-specific installation specially designed for KW's exhibition hall. The new production is a collaboration with Trecartin’s longtime creative partner, Lizzie Fitch.
Ryan Trecartin Site Visit
Philippe Parreno’s seventh exhibition at Esther Schipper is timed to coincide with the artist’s installation at the Schinkel Pavillion (November 15–December 21). The gallery show brings together various objects that have appeared as part of Parreno’s work since 1992. Showing that context is as important to our understanding of an object as its physical appearance, the juxtaposed “quasi-objects” take on new meanings and associations.
Philippe Parreno quasi-objects
Curated by Elena Re, this group show brings together artists associated with Arte Povera and the Turin gallery Multipli. The works on view demonstrate how artists, including Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio, transformed “the multiple” into a historically important genre.
ARTE POVERA AND ‘MULTIPLI’, TORINO 1970 – 1975
Isabella Bortolozzi presents Ed Atkins’s three-channel video installation Ribbons, 2014, which was first shown at the Kunsthalle Zurich and more recently at London’s Serpentine Gallery. The immersive work transforms the exhibition space with images and sounds describing bodies in space.
Mexican artist Mariana Castillo Deball’s large-scale installation for the historic Hamburger Banhof hall focuses on what the artist calls “biographies of things.” Borrowing objects from various Berlin museum collections, Deball draws the viewer’s attention to the itinerant nature of these art objects, which, over time, have alternately been installed on pedestals and in vitrines, inside galleries and in outdoor courtyards, and in the context of private collections and public exhibitions.
Mariana Castillo Deball
“As in memory, what seems assembled from the past is in reality carved from the present,” said Charles Ray of Baled Truck, a stainless steel sculpture of that vehicle, which he has crushed into a compact rectangular block. It is one of two sculptures, both 2014, that make up his latest solo show. For the other, Ray has carved a sleeping man out of aluminum, leavingin a fashion quite uncharacteristic of this artistthe seams and tool paths visible.
Charles Ray Charles Ray
Thirty years after the first underwater atomic bomb test happened, Bruce Conner famously made a short film out of its declassified footage, with music by Patrick Gleeson and Terry Riley. The fully restored version of the 1976 film was first screened at the Museum of Modern Art in New York last year. This exhibition marks the West Coast debut of Crossroads. A selection of works on paper dating from 1955 to 2004 are also on view.
Bruce Conner Crossroads, 1976
Among new sculptures in Mark Handforth’s latest exhibition are a giant telephone twisted around a cadmium yellow pipe, a stout sea-foam aluminum star, hangers that twist and twirl in the air, and a constellation of twinkling neon bulbs affixed to the wall. These works interfere with space both physically and conceptually, prompting all manner of critical readings about domesticity and utility. But more important, Handforth’s vision of the object is as playful and vital as ever.
Mark Handforth Rough Dark Diamond
Building on his presentation for Documenta 13 (2012), which included large Oldenburg-esque soft sculptures of envelopes, Seth Price shows two new bodies of work related to mail. In particular, the artist raises questions about security and privacy by evoking the patterns printed on the insides of envelopes, keeping their contents confidential.
Seth Price Animation Studio
For her first large-scale solo exhibition in Paris, French-born, New York–based artist Camille Henrot has created an immersive installation that builds upon the film that won Henrot the Golden Lion at the 2013 Venice Biennale. The installation at Bétonsalon features hundreds of photographs, sculptures, books, and drawings that Henrot purchased on eBay, borrowed from museums, or made herself.
Camille Henrot The Pale Fox
The Slovakian artist continues his ongoing investigation of temporal and spatial dynamics with an assortment of curious diagrams, maps, and photographs representing different economies of time and alternate physical environments. As ever, Ondák’s artworks are adamantly anti-monumental, privileging experiences and ideas over objects.
Roman Ondák Ajar
Exhibited here for the first time, Richard Prince's latest overdrawn and collaged paintings are a continuation of his “New Figures” series. The works on view are based on sexually explicit found photographs.
Richard Prince New Figures
American artist Matthew Brandt’s first show with Praz-Delavallade is also the artist’s first solo exhibition in Europe. Brandt’s latest series of large-scale woodblock prints depicts blowups of artists’ fingerprints, including those of John Baldessari, Robert Polidori, and Jim Shaw. Each unique work is printed on paper made from the same wood as the carving.
Matthew Brandt Woodblocks
American-British artist Sarah Morris is showing her 2012 film Rio, a cinematic portrait of the Brazilian city, along with a series of related paintings and gouaches on film posters. Reworked by Morris, posters for classic films including Once a Thief, La Piscine, F for Fake, and It’s All True speak to the seriality of movie distribution and the ways in which various films are presented in different parts of the world.
Sarah Morris Once a Thief
Jutta Koether’s current show consists of an installation of four new paintings, which was conceived specifically for the Campoli Presti space. Featuring a painted nude torso surrounded on three sides by decorative plank paintings, the piece recalls Koether’s work from the 1980s in which she equated the act of painting with the human body.
Jutta Koether A Moveable Feast - Part XV
Paris-based painter David Malek describes his latest brightly colored geometric compositions as “analogs,” each one representing a unique image or event experienced by the artist. The descriptive titles of these seemingly abstract works coax the viewer to see them as representational depictions of real-world entities including a supermarket scanner, a hotel, and a wooden door.
David Malek Analogs
Paul McCarthy’s reinstalled fully operational Chocolate Factory inaugurates the newly renovated and expanded exhibition space at La Monnaie (Paris’s mint). In addition to producing consumable chocolate Santa Claus figurines, the exhibition also features McCarthy’s signature inflatable “Christmas tree” sculptures.
Paul McCarthy Chocolate Factory