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.
The fair’s thirteenth edition brings together 164 galleries from 27 countries under a bespoke tent in London’s Regent’s Park. Highlights in the main section include solo presentations by Camille Henrot, Chris Martin, Ken Okiishi, Xu Qu, and Mary Weatherford, while the Focus section will feature emerging talents such as Amie Siegel, Samara Scott, and Jesse Wine.
Frieze London 2015
The fourth edition of Frieze Masters hosts 131 modern and historical art galleries and debuts a new section, “Collections,” curated by Sir Norman Rosenthal. Artists participating in “Frieze Masters Talks” include Abraham Cruzvillegas, Ellen Gallagher, Michaël Borremans, and Lawrence Weiner.
Coco Fusco’s film And the Sea Will Talk to You, 2012, premiered at the Brooklyn Academy of Music in 2012. Londoners can now watch the Cuban-American artist and writer’s vertiginous sea and sky footage—a poetic description of immigration—while seated in inflatable inner tubes similar to those many Cubans use while attempting to reach the United States.
Coco Fusco And the Sea Will Talk to You
Early steel and acrylic sculptures and pastels by American artist, writer, and activist Judy Chicago reveal the influence of Minimalism on the artist’s nascent work. A selection of porcelain test plates, meanwhile, provide insight into Chicago’s intensive study of china painting leading up to her chef d’oeuvre The Dinner Party, 1979, on permanent display at the Brooklyn Museum.
The American artist’s first show with Victoria Miro presents new works that have been conceived specifically for the gallery’s space. Among them: a large cut-paper installation, photographic wallpaper depicting a mountain that was once declared the spiritual home of the KKK (a collaboration with photographer and filmmaker Ari Marcopoulos), and a series of monumental works in which she confronts stereotypes of “low” art such as folk art, graffiti, and primitivism.
Kara Walker Go to Hell or Atlanta, Whichever Comes First
This exhibition, the first ever dedicated to Nancy Holt’s “Locator” sculptures, begun in the 1970s, was conceived in partnership with the American artist before her death last year. Although these seminal sculptures have rarely been shown, Holt considered them a crucial part of her oeuvre and a direct link to her iconic Land art works.
Nancy Holt Locators
Though similar in style to the Berlin-based artist’s previous large-scale sculptural installations, Djordjadze’s latest work also represents a significant departure. Instead of found objects and materials from the artist’s studio, the components of this site-specific work are all newly made.
THEA DJORDJADZE MA SA I A LY E A SE – DE
Ai’s first major show in the UK features everyday objects and sacred artifacts that shed light on the trials of contemporary Chinese life. Grand constellations of bicycles and wooden stools appear more somber in the presence of a bronze cast of the bones of an intellectual who perished in one of Mao’s labor camps.
Arguing that Pop was more than just an American phenomenon celebrating Western consumer culture, this fall blockbuster brings together artworks from the 1960s and ’70s from Latin America, Europe, and the Middle East. In addition to offering a global view of the Pop movement, the show also challenges the predominant male perspective by presenting work by twenty-five female artists.
The EY Exhibition: The World Goes Pop
Here, Mexican artist Gabriel Kuri presents a selection of sculptural works made with glass and stone. New stone sculptures suggest a mix of naturally occurring rock formations and man-made interventions, while the glass works—custom-made museum-style vitrines—house odd assortments of thematically organized objects alternately collected and produced by the artist.
Gabriel Kuri An Old Niche for Your New Need
Cheyney Thompson’s latest paintings represent different kinds of spatial models, each born out of a complex multistep procedure. For example, a group of six large vertical paintings is based on photographs the artist took of Galerie Buchholz’s empty exhibition spaces, which he then matched to values on the Munsell color chart.
Cheyney Thompson Chambered Shells and Birdwings
Brooklyn-based artist Nicole Eisenman shows recent works on paper made with a mix of watercolor, ink, and graphite. The primarily large-format figurative representations reference politics and popular culture as well as the artist’s personal experiences.
Nicole Eisenman The Kiss
The Japanese artist’s first exhibition in Germany since 2008 presents new paintings and drawings. Dogs, melancholic wide-eyed children, and punk rock remain Nara’s primary subjects.
The title of Camille Henrot’s show, “The Pale Fox,” refers to a study published in 1965 by two French anthropologists about the Dogon tribe of Burkina Faso and Mali. Henrot evokes this ethnographic context with a room-filling installation wherein found objects (issues of National Geographic, primitive sculptures, fruits, and coffee mugs) are presented on architectural mounts and pedestals.
Camille Henrot The Pale Fox
This show’s title, “Sigmunds Höhle” (Sigmund’s Cave), describes the Freudian universe evoked by Baselitz’s paintings in which painter and subject become one and the same. To create his recent paintings of dogs, the artist worked “doggy-style,” crawling on all fours over, around, and on top of canvases laid flat on the floor.
Georg Baselitz Sigmunds H÷hole / Sigmunds Cave
This presentation by Paul McCarthy refers to the artist’s 2005 work, Paul Dreaming. Vertical, Horizontal. Using his own body as a point of reference, McCarthy transforms the Schinkel Pavillon’s unique octagonal gallery into a morbid and sacred space.
This comprehensive retrospective dedicated to Piet Mondrian—the first of its kind in Berlin in almost fifty years—includes works from the 1890s through the 1940s. The bulk of the exhibition comes from the collection of the Gemeentemuseum Den Haag, the Netherlands, which lent forty works by the Dutch painter.
Piet Mondrian. The Line Piet Mondrian
Continuing his monumental “Shapes Project,” begun in 2005, Allan McCollum presents a new series, “Shapes Spinoffs,” which comprises 144 hand-lathed ash-wood sculptures. Presented in groups of six, the unique wooden forms are displayed on twenty-four wooden tables.
The light installations by American artist Dan Flavin currently on view include a fabulous sculpture made in 1989 with red, pink, yellow, blue, and green fluorescent bulbs on the occasion of the thirtieth anniversary of Leo Castelli's gallery. The exhibition, which presents works from 1964 to 1992, marks the late artist’s first solo show in Berlin since his 2000 retrospective at the Deutsche Guggenheim.
Matthew Barney presents totemic cast-bronze sculptures that conjure the central narrative of his 2014 opus, River of Fundament. Six are displayed here, while the remaining works are on view at LA MoCA. Note his distinct casting process, developed over the past year, which guarantees unpredictability and marks a departure from his signature thermal plastic and petroleum.
Matthew Barney Water Castings: Fourteen Pieces
Rebecca Morris’s current outing, “Rose Cut,” brings together new canvases that pair lilac, salmon, and mustard hues with garnet and mahogany, pebble gray, and pistachio green. Each color is expressed in an array of shapes—cavorting triangles, speckles, quadrilaterals, half-moons, lightning bolts—that are built up over a gridded base, creating compositions that are supergraphic and fantastic.
Rebecca Morris Rose Cut
Loss is an operating principle in this show, which includes monolithic sculptures of Claro walnut wood, each evoking the look of a basket. Lassry’s signature framed silver gelatin prints are also on view, conjuring a world overwhelmed and exhausted by images. What is missing? Storage, Lassry answers.
As usual, no lengthy press release or images have been released for this exhibition, her first with the gallery. One must work from what one knows about Trisha Donnelly’s divinatory practice—precise, meticulous, epic.
Trisha Donnelly Trisha Donnelly
Alex Hubbard opens Maccarone’s enormous new Los Angeles space with a series of sultry large-scale works. Hubbard has poured urethane, resin, and fiberglass onto stretcher bars to create glass-like surfaces. Pools of opaque oils in amber, amethyst, sapphire, seaweed green—amid long, thick strokes of auto-body paint—build up compositions over each three-dimensional form.
Alex Hubbard Basic Perversions
Dan Graham’s new pavilion structure made of steel and two-way mirrors is presented in conjunction with his rock opera, Don’t Trust Anyone Over Thirty. This show is timed to coincide with two outdoor exhibitions in France, at the Cité Radieuse in Marseille (MAMO) and Place Vendome in Paris.
Thilo Heinzmann presents paintings on a variety of supports including canvas, aluminum, wood and polystyrene. Drawing attention to the variability of both paint as a material and painting as an art form, Heinzmann’s luscious abstract compositions are consistently inconsistent.
Thilo Henizmann DÚtours, Hasards & Monsieur Heinzmann
More than twenty Paris galleries are participating in the second edition of the sculpture exhibition held in the gardens of Sèvres Cité de la céramique (France’s national ceramics museum and manufacturer.) This year’s artists roster includes Katinka Bock, Johan Creten, Dewar & Gicquel, Ryan Gander, Mathieu Mercier, Yue Minjun, and Zoé Williams, among others.
For his first solo exhibition in France German-born, Paris-based painter Tim Eitel presents new portraits and landscapes, which are as haunting as they are familiar. Initially working from photographs, Eitel reduces his subject matter to the bare essentials: form, color, and composition.
Tim Eitel TOMORROW, 2 SECONDS LATER
Curated by Christian Boltanski, Hans Ulrich Obrist, and Chiara Parisi, this exhibition revisits a show (of the same title, also curated by Boltanski and Obrist) held at London’s Serpentine Gallery in 1995. True to the original concept, projects by Maria Eichhorn, Hans-Peter Feldmann, Gilbert & George, Douglas Gordon, Carsten Höller, Fabrice Hyber, Lawrence Weiner, Franz West, James Lee Byars, Jeremy Deller, Andrea Fraser, Roman Ondak, Yoko Ono, and Philippe Parreno, among others, are designed to be distributed over the course of the exhibition and will eventually disappear.
Take Me (I'm Yours)
Tracing nearly a century of artwork made in the Democratic Republic of Congo, this exhibition begins with the birth of modern painting there in the 1920s. While the focus of the show is on painting, the diversity of Congolese artistic production is demonstrated through the inclusion of music, sculpture, photography, and comics.
BeautÚ Congo 1926–2015 Congo Kitoko
Dominique Gonzalez-Foerster’s solo exhibition takes over the Centre Pompidou with more than thirty works presented as a labyrinth of environmental installations. Eschewing the parameters of a typical retrospective, the French artist references a period that extends well beyond her own lifetime: 1887–2058.
Dominique Gonzalez-Foerster 1887 - 2058
Nathalie Djurberg and Hans Berg’s third solo exhibition at this gallery marks the tenth anniversary of the duo’s debut with Giò Marconi. Their new installation fills the space with a mysterious landscape comprising bird sculptures, waterfall animations, and dramatic lighting effects.
Nathalie Djurberg & Hans Berg A thief caught in the act
This exhibition presents over thirty works by Vincenzo Agnetti made between the late 1960s and 1980s. The Italian conceptualist’s multifaceted output mixes mathematics, art theory, photography, and sculpture.
Vincenzo Agnetti Testimonianza
The monumental triptych by Lucio Fontana on view in the newly renovated Fondazione Marconi has been installed according to the artist’s own drawings (which are also on view as part of this exhibition.) Additional works made between 1951 and 1968 demonstrate the artist’s diverse creative output, which ranges from figuration to pure abstraction.
Curated by Italian art historian Giovanni Lista, this exhibition of Futurist photography includes more than one hundred works borrowed from public and private collections. A section devoted to the “Fotodinamismo” treatise explores how the Futurists’ interest in movement translates to still photography.
The Canadian artist’s recent sculptures made with everyday items focus on textiles such as blankets, clothing, and fabric samples. Works on view include wool blankets hanging from metal hangers (with and without plastic dry-cleaning bags) and folded cotton garments encased in cubes of translucent silicone rubber.
Known for his large black-and-white paintings that incorporate text in a variety of languages, American artist Tony Lewis here presents two new bodies of work. One series was made using a nineteenth-century stenographic system, while the other consists of large sheets of graphite-covered paper hung together to suggest a brick wall.
Tony Lewis Wordnonpsuedo
The Los Angeles–based artist’s latest “painting-objects” explore an eclectic range of inherited systems and structures developed over centuries of human existence. Molzan examines cultural artifacts (such as eating implements) and practices (such as the act of putting paint on a flat surface).
Dianna Molzan Earthquake Weather
Curated by Massimiliano Gioni, this exhibition traces iconographies of motherhood through the twentieth and twenty-first centuries. The 127 works by international artists celebrate femininity across a range of cultural artifacts, from Stone Age fertility figures to postfeminist art.
The Great Mother
On view at Raffaella Cortese’s Via Stradella 7 gallery, the final part of Francesco Arena’s show is an installation of handmade sculptures referencing the Bamiyan Buddhas destroyed by the Taliban in 2001.
Francesco Arena sette, uno, quattro
The title of Francesco Arena’s first show at this gallery refers to the street numbers of Raffaella Cortese’s three exhibition spaces #1, #4, and #7 Via Stradella, all of which the Italian artist takes over with his work. Here, at Via Stradella 1, Cortese presents three bronze self-portraits.
Francesco Arena sette, uno, quattro
The second part of Francesco Arena’s show fills Raffaella Cortese’s Via Stradella 4 location with two granite slabs engraved with a Susan Sontag quote.
Francesco Arena sette, uno, quattro
The large-scale photographs by Thomas Struth presented here hail from three separate recent projects documenting places of scientific research, Disneyland, and Israel and Palestine. The exhibition comes in advance of Struth’s retrospective, which will open at Essen’s Museum Folkwang before traveling to other venues in Germany and the US.
Since 1923 the Triennale di Milano has been a showcase for modern design, including decorative arts, fashion, and architecture. Among the exhibitions this year, “Arts and Foods: Rituals since 1851” (April 9–November 1), curated by Germano Celant, provides a global overview of the connection between food-related aesthetics and rituals.
Faurschou’s new show marks the Beijing debut of Liu’s recent series of works painted on site during his recent stay in Ordos, Inner Mongolia. The coal metropolis—which boasts high-speed trains and commercial centers, but has only 20,000 residents—exemplifies the notion of the “ghost city” that continues to capture the artist’s imagination.
Liu Xiaodong Diary of an Empty City
Recognized as Best Young Artist by the Chinese Contemporary Art Awards in 2012, Yan Xing works in Beijing and Los Angeles. With installation, video, photography, and design, his exhibition “Thief” ponders what it means to fall short ofor even to resistboth societal norms and aesthetic traditions. The show’s titular video depicts consequences surrounding theft, indeed, but also the frisson of emerging adolescence.
Yang Xing 鄢醒 Thief 贼