The following guide to museum shows currently on view is compiled from Artforum’s three-times-yearly exhibition preview. Subscribe now to begin a year of Artforum—the world’s leading magazine of contemporary art. You’ll get all three big preview issues, featuring Artforum’s comprehensive advance roundups of the shows to see each season around the globe.
As the first major retrospective of the work of French-Argentinean artist Lea Lublin (1929–1999), this show is long overdue. Part of a generation associated with the Instituto Torcuato Di Tella in Buenos Airesa cohort including such innovative artists as Federico Manuel Peralta Ramos, Marta Minujín, Alberto Greco, and David LamelasLublin worked first in painting but quickly moved on to experiment with interactive installations, feminist actions, and, later, painting’s deconstruction. The linchpin of this show, which comprises more than eighty works produced between 1965 and 1995, is the reconstruction of Fluvio Subtunal, 1969, a participatory environment that includes among its nine zones a shooting range and a transparent inflatable structure. Accompanied by a catalogue with contributions by Weber, Thibault Boulvain, Catherine Francblin, Isabel Plante, and others, this survey represents an enormous contribution to scholarship on the political dimensions of Lublin’s visionary efforts and on this vital moment in the history of Conceptual art.
Twenty-one years have passed since Mona Hatoum’s first major museum show at the Centre Pompidou. By 1994, she already had nearly two decades of work behind her but was just beginning to gain international prominence. Hatoum has cut a curious path through the intervening decades, from the muscular look of her oversize kitchen utensils to the fragility of her sculptures in glass and textiles. This summer, the Pompidou is reconstructing the full arc of Hatoum’s oeuvre. With seventy-five pieces dating from the 1970s through 2014 and a catalogue anthologizing key writings on her work, the show is poised to untangle what Hatoum has described as “the string of metaphors” she’s been working on all along. Travels to Tate Modern, London, Feb. 24–June 12, 2016; Kiasma Museum of Contemporary Art, Helsinki, Sept. 30, 2016–Jan. 30, 2017.
This expansive and ambitious show will survey a century of modern and contemporary art in the Democratic Republic of Congo. Drawing upon the region’s rich legacy of painting, it will feature works by familiar names from the 1920s such as Albert Lubaki and Djilatendo; by Bela Sara and Pili Pili Mulongoy, members of the midcentury workshop Atelier du Hangar; and by post-’80s international stars Chéri Samba, Moke, and Chéri Cherin. While these will mingle with virtuosic street portraits by Kinshasa photographer Jean Depara, fantastic sculptural models by Bodys Isek Kingelez and Rigobert Nimi, and performances scheduled throughout the exhibition’s run, whether the show will do more than reiterate the already-prevalent notion that Congo art has been and is still dominated by so-called “popular” painting remains to be seen.
On the occasion of Expo Milano 2015its theme is “Feeding the Planet, Energy for Life”Celant will mount an ambitious exhibition exploring the history of food as a symbolic, ritual, and material presence in the arts. Serving up more than two thousand works produced between 1851 (the year of the first Expo in London) and 2015, in an enormously wide range of media, the show will explore the alimentary angles of everything from sustainability to postcolonial hybridity and promises a rich sensorial experience set in reconstructed dining rooms, kitchens, and bars, all designed by Studio Italo Rota. From Monet’s Der Koch (Le Chef Père Paul), 1882, to Daniel Spoerri’s 1968 Le Coin du Restaurant Spoerri, and from Meret Oppenheim’s Bon Appétit, Marcel, 1966, to Rirkrit Tiravanija’s Ohne Titel (Bon voyage Monsieur Ackermann), 1995, it seems nothing will be left out or extraneously in. This veritable feast will be accompanied by a “cookbook,” featuring fifty essays and more than one thousand illustrations.
Architecture firm OMA reveals its Midas touch with the new venue of Fondazione Prada, opening this month with a swarm of inaugural activities. Led by Rem Koolhaas, OMA has transformed the industrial compound of a former distillery, erecting three new buildings and renovating seven existing structures. One, completely covered in gold leaf, will host a site-specific work by Robert Gober, and an installation by Thomas Demand will occupy the basement of another. The impressive range of exhibition environments includes a cavernous former sugar-storage area and a sixty-meter white concrete tower. And while the new site boasts a vintage-style Milanese bar designed by Wes Anderson and an educational space conceived by the students of the École Nationale Supérieure d’Architecture de Versailles, the crown jewel is Podium, a centrally located pavilion. Here, archaeologist Salvatore Settis will stage “Serial Classic,” a subversive but scholarly exhibition of classical sculpture, focusing on the relationship between originality and imitation in Roman culture.
“BE a place, PLACE an image, and IMAGINE a poem” are lines of verse taken from one of Ree Morton’s notebooks. A repository of her thinking, the notebooks offer an unexpectedly intimate way to get close to a figure who died in 1977 at the age of forty-one, early in both life and career. A fierce, generous, and unique voice, Morton produced affectively complex, gendered engagements with post-Minimalism and Conceptualism. This survey of some 150 works, accompanied by a catalogue with essays by Manuela Ammer, João Ribas, and the curators, will feature early drawings and paintings, large-scale works on paper, and five spatial-architectural installations. It will also include information on work lost or never made, as detailed in Morton’s journals. For Morton, whose work often embodied speculation on alternate futures and distant places, these absences, however, would not be seen as a loss.