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.
For this fourth iteration of the Mori Art Museum’s comprehensive triennial of contemporary Japanese art, the institution’s chief curator, Mami Kataoka, is joined by guest curators from the US and Australia. Together, they have selected a group of thirty participants, which (unlike in years past) also includes expatriate Japanese artists and those of Japanese descent: Ei Arakawa, Aki Sasamoto, and Simon Fujiwara, to name a few. The roster is further expanded with work by several postwar artists such as Genpei Akasegawa, Hiroshi Nakamura, and Kishio Suga, among other figures, who utilized nonsensical painting, incomplete objects, and performance to question cultural values and disrupt rigid social programs. Seen in dialogue, the art of this international ensemble promises to demonstrate the ways in which ideological and methodological legacies of the Japanese avant-garde have been transmitted between generations.
Best known for his complex, large-scale canvases foregrounding figures traditionally marginalized in Western art, Kerry James Marshall is widely acclaimed as one of the leading painters of his generation. Yet the American artist has always worked in a panoply of media. In this expansive show, Marshall will present paintings alongside his lesser-known workthe titular other stuff referring not only to his installations, sculptures, photographs, videos, and works on paper, but to a survey of reference material as well. The task of sorting out relations between inspirational artifact, source image, and final product should prove especially illuminating, given the extent to which this artist so provocatively explores the problems of dominant narratives and hierarchical forms.
Travels to the Kunsthal Charlottenborg, Copenhagen, Feb. 28–May 12, 2014; Fundació Antoni Tàpies, Barcelona, and Museo Nacional Centro de Arte Reina Sofía, Madrid, both June 19–Oct. 26, 2014.
For the first time since opening its doors three years ago, Mathaf is devoting a solo show to an artist from the Arab world, a vast and variable region with complicated politics and notably undernourished art-historical narratives, which the museum was established to explore. Adel Abdessemed’s “L’Âge d’or,” curated by Pier Luigi Tazzi, will delve into notions of past, present, and future through works made with materials such as salt, jade, porcelain, cannabis, gold, resin, bamboo, and bronze. An Algerian-born, Paris-based artist of Berber descent who is fiercely interdisciplinary and famously resistant to the pigeonholes of identity politics, Abdessemed will present more than a dozen commissions, a handful of existing works, three site-specific projects, and a large-scale public sculpture. Viewers may anticipate intimations of violence and evocations of memory as subtle, generative, and uncompromising as the artist’s practice to date.
Rarely does a pedagogical practice rooted in a deeply ethical consciousness produce such incandescent workand if said practice primarily concerns “madness,” the architectonics of confinement, and structural film, its lack of ponderousness is all the more remarkable. Venezuelan artist Javier Téllez is uniquely gifted in this regard. In his moving-image works, often made in collaboration with psychiatric inpatients, Téllez employs simultaneously lucid and hallucinatory admixtures of fact and fantasia to rework accepted ideologies of mental health and artistic production. This survey offers ten years of the artist’s collaborations, with videos dating from 2004 to 2012 and, if all goes as planned, a new collection of images and documents that limn the representation of psychiatric illness. Taken as a mode d’emploi, this archive underlines Téllez’s interest in the historical representation of the pathological (and thus its mirror, the normative) from both within and outside the hospital gates.
Travels to Kunsthaus Zürich, fall 2014.
On the occasion of her fiftieth birthday, German dance-theater maker Sasha Waltz will step off the proscenium to stage an exhibition project at ZKM in her hometown of Karlsruhe. Peter Weibel’s institution has encouraged a number of important experiments integrating performance with the plastic arts in recent years, including the “media pop opera”–cum-conference Our Literal Speed, in 2008, and “Moments: A History of Performance in 10 Acts,” in 2012. Reconfiguring the relic-heavy “dance retrospective” paradigm, Waltz will continue her exploration of stage design as installation, bringing together objects from previous performances but only so as to activate them as components of new artworks. For the past three decades, Waltz has been pointedly collaborating across disciplines, including visual art. At ZKM, she makes her first dedicated attempt at showcasing the visual aesthetic of her choreography on its own terms.
“Displace, Disclose, Discover: Acts of Painting, 1960/1999”
LILLE MÉTROPOLE MUSEUM OF MODERN, CONTEMPORARY, AND OUTSIDER ART
March 3–May 27
Curated by Marc Donnadieu
A decade ago, “As Painting: Division and Displacement”a revelatory show at the Wexner Center for the Artsforegrounded the vitality of French painting following the New York scene’s storied theft of modern art. Now, another exhibition, this time in Lille, more closely examines the pictorial practices of five French artistsSimon Hantaï, Martin Barré, Marc Devade, Jean Degottex, and Michel Parmentierworking during (and in resistance to) the ascendancy of Greenbergian modernism and its Minimalist and post-Minimalist aftermaths. Narrower in focus than its North American predecessor yet more expansive in regard to each featured oeuvre, the LaM’s presentation brings together nearly 125 works by these very different figures, arguing for the continued importance to each of some material notion of the tableau. A catalogue with essays by Donnadieu and Philip Armstrong accompanies the show.