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.
In recent years, Ahmet Öğüt has auctioned off a self-portrait titled Punch This Painting, 2010; created a school for (and taught by) asylum seekers (the Silent University); legally exchanged the letters of his name with artist Nina Katchadourian; and twinned himself to his colleague Cevdet Erek. For this exhibition, Öğüt will revisit nearly a decade of his comical yet critical collaborations by constructing a television studio as a single, durational work. In it, he will stage a public debate among people he has worked withall from non-art backgroundsincluding a fireman, a lawyer, and a tailor. The catch? Öğüt will seat himself in the audience, but he won’t say a word. The debate will be filmed, edited, and played back during the run of the show.
Educated at the Royal College of Art, London, in the early 1990s, David Adjaye came of age with a generation of major British artists (and erstwhile YBAs). His ongoing exchange with contemporary art has been perhaps the most organic, dynamic, and fruitful of any architect working today. Many of his early projects, including a 2002 house for Sue Webster and Tim Noble, were for artist friends; Adjaye has also developed a series of collaborative projects with artists such as Doug Aitken and Olafur Eliasson that explore shared material sensibilities and common interests in perceptual effects. This survey of thirty-some projects documents a moment of transition, as the rapid expansion of Adjaye’s international practice forces him to confront more intrinsically architectural challenges, ranging from determining local civic identities in an increasingly globalized world to creating public spaces inclusive of the diverse spectrum of inhabitants who constitute the contemporary city. Travels to the Art Institute of Chicago, Sept. 19, 2015–Jan. 3, 2016.
Over the past decade, high-profile exhibitions in major venues, including Tate Modern, London, and the Museo Nacional Centro de Arte Reina Sofía, Madrid, have kept Spanish artist Juan Muñoz on the radar. His oeuvre has aged unevenly: The figurative work now appears somewhat overwrought, while the ambiguous architectural pieces have retained their currency. Though Muñoz’s significance may lie in how he “returned the human figure to contemporary sculpture” (as suggested by HangarBicocca’s press materials), it is valuable to reconsider other facets of his practice. All the better, then, that this exhibitionthe artist’s first retrospective in Italypromises an in-depth examination of his multimedia oeuvre. The show will include some twenty works (that together feature more than 150 sculptures) dating from 1986 until Muñoz’s death in 2001, alongside several events that will foreground the artist’s more allusive, nonfigurative works in sound.
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.