Monday, December 22
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
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
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
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
Reprising an installation first shown at Umbria’s Palazzo Vignola, Jannis Kounellis takes over Sprovieri with an installation based on men’s coats drenched in black tar. Kounellis’s stark critique of contemporary consumer culture stays true to his Arte Povera roots.
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
Fourteen of the 2003 Turner Prize–winning artist’s portraits are interspersed amid permanent works in the museum’s nineteenth- and twentieth-century rooms. Perry’s twenty-first century subjects range from politicians and protesters to families and reality TV stars.
Grayson Perry Who Are You?
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
Laure Prouvost’s first solo exhibition in Germany focuses on the artist’s personal experience of alienation as a French woman living in London. The works on view—new videos and installations—examine various forms of miscommunication.
Laure Prouvost (n.b.k. Showroom)
Focusing on Joachim Badau’s early sculptures from the 1960s and ’70s, this exhibition emphasizes the artist’s combined use of organic and technical forms. Made with materials such as fiberglass, aluminum, and hoses, Badau’s figures appear equal parts human and machine.
Joachim Bandau Figures and Machines
The Cuban artist’s latest experiment with relational aesthetics involves two glorified Porta Potties. In addition to working sinks and toilets, the tastefully designed portable bathrooms tempt the viewer inside with multicolored translucent glass walls and decadent pendant lights.
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.
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
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
Tracing the evolution of Joseph Beuys’s sculptures, this exhibition begins with early works influenced by Wilhelm Lehmbruck and Ewald Mataré. Many of the sculptures on view hail from Céline and Heiner Bastian’s own collection and are being shown at the gallery for the first time ever, following a long-term loan to the Hamburger Bahnhof.
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
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
Father of Dadaism, grandfather of Conceptualism, and inventor of the readymade, Marcel Duchamp is often credited with killing painting. However, this presentation of more than one hundred works—including important and lesser-known canvases—posits that Duchamp’s intention was not to discredit painting, but rather to drastically rethink the medium and practice.
Marcel Duchamp La Peinture Même
Thaddaeus Ropac’s first Sturtevant exhibition since her death earlier this year is timed to coincide with the artist’s MoMA’s retrospective (November 9, 2014–February 22, 2015), which will travel to LA’s MoCA next year. Collaborating with Loren Sturtevant, the artist’s daughter, Ropac presents key historic works including repetitions of Andy Warhol’s flowers and Jasper Johns’s flags.
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
The Paris-born LA-based artist’s first show in Paris is a suite of seven large-format paintings that simultaneously evoke comic-book frames and Skype windows. Male and female figures appear inside outlined boxes while abstract forms complicate the narrative.
Julie Beaufils Tu Vois; You Seek
This exhibition, which originated at New York City’s International Center for Photography, brings together over 200 photographs by the Russian-born Jewish photographer. On view are Vishniac’s Berlin streetscapes taken during the rise of Nazi power and powerful images documenting Jewish life across Eastern Europe commissioned by the American Joint Distribution Committee (the world’s largest Jewish relief organization).
Roman Vishniac De Berlin à New York, 1920-1975
David Altmejd’s first retrospective in France was conceived as an artwork in its own right. The immersive installation evokes an alien landscape populated by sculptural beings whose bodies are intricate fusions of natural elements and high-tech materials.
David Altmejd Flux
This traveling exhibition dedicated to American photographer Garry Winograd is the late artist’s first retrospective in France in more than twenty years. Grouped into three chronological sections, the show connects Winograd’s iconic photographs of New York City in the 1950s and ’60s with work from his less well-known late period (1971 until his death in 1984) during which he documented street life in other American cities including Chicago, Washington, D.C., and Miami.
Organized in collaboration with the Guggenheim Bilbao, the first major retrospective of Niki de Saint Phalle in twenty years celebrates the artist’s diverse oeuvre with more than two hundred paintings, sculptures, prints, films, and performances. The Grand Palais exhibition locates Saint Phalle—who was born in France, grew up in the United States, and worked between the two countries during her long career—as simultaneously part of Paris’s neo-realist movement and New York’s Pop art movement.
Niki de Saint Phalle Niki de Saint Phalle
Olafur Eliasson’s work for the newly opened Frank Gehry–designed Fondation Louis Vuitton is an elaborate choreography of light and shadows. Among the experiential site-specific works is an outdoor solar device that directs sunlight onto a sculpture suspended inside the gallery.
Olafur Eliasson Contact
Russia-born artist Sonia Delaunay’s current retrospective is the first Paris exhibition dedicated to the pioneer abstractionist since 1967. Comprising a phenomenal 400 works, the show includes paintings, wall decorations, prints, and textiles dating from the early twentieth century through the late 1970s.
Sonia Delaunay: The Colors of Abstraction
Twenty-seven years after Jeff Koons’s famous sculpture of an inflated Mylar bunny toy (Rabbit, 1986) was shown at the Pompidou Center, the American artist is back with his first major retrospective in Europe. Having traveled from the Whitney Museum of American Art in New York, the show features new creations and many of the artist’s best-known works, from his basketball aquariums to monumental balloon-animal sculptures.
Nico Colón addresses issues of climate change with his current show comprising nine paintings—each a hybrid of oil paint and digitally printed imagery—and one sculptural sound work. The artist’s first-ever sound installation plays through speakers adorned with large digital prints and echoes throughout the rooms of the gallery.
Nico Colón High Tide
Simona Caramelli’s current exhibition features recent large-scale works on paper. The drawings, collages, and paintings reference the artist’s own insomnia while responding directly to the material qualities of their support surfaces.
Simona Caramelli UNTIL NEXT MORNING
Tatsuo Miyajima’s first solo exhibition in Milan presents new works that combine technology, sculpture, and assemblage into interactive installations. The Japanese artist explores themes of numerology and symbolism using materials like LED lights, electrical circuits, and microcomputers.
Tatsuo Miyajima KU