Portland

Arnold J. Kemp

It is tempting to view Arnold J. Kemp’s new work strictly in formal terms: modest collages with black paint, glitter, and googly doll eyes that form abstract patterns and pleasan

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Zurich

Artur Zmijewski

“Where is the world?!” wails a group of Palestinian women in Jerusalem during a weekly protest against Israeli occupiers in Artur Zmijewski’s singularly brilliant new video D

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Paris

“The New Festival”

Call it what you will (a stage, an event, a platform?), but curator Bernard Blisténe’s performance-based program at the Pompidou may prove to be nothing less than a major triump

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London

“Art Now: Beating the Bounds”

The premise of this exhibition is curious—its title, “Art Now: Beating the Bounds,” refers to a defunct English practice in which church parishioners would reaffirm the bound

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Houston

Dieter Balzer

Precision in reductive-themed art is not merely essential but also the means and the end of such work. Dieter Balzer’s recent exhibition on view at Gallery Sonja Roesch exemplifi

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Moscow

Anna Jermolaewa

This solo exhibition by the Vienna-based Russian artist Anna Jermolaewa offers a single video projection: Der Weg nach oben (The Way Up), 2008, which shows a group of rats trapped

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Tokyo

Shinro Ohtake

“Shell & Occupy 4” features the latest examples of Shinro Ohtake’s “stickering” method—the white noise of found objects strewn together, then contained by oil paint. Th

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Los Angeles

Josephine Pryde

Building off last year’s body of photographs that depicted three young women posed in totemic attitudes of motherhood, Josephine Pryde turns her lens to images of infancy in her

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Berlin

Mat Collishaw

“Submission” is the name of Mat Collishaw’s first solo exhibition in Berlin, and the work on display assigns Collishaw’s subservience to the altar of art history. Collishaw

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Portland

“Broadcast”

“Broadcast” brings together artists who have, according to the exhibition’s press release, “engaged, critiqued, and inserted themselves into official channels of broadcast

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Zürich

Stefan Burger

Contemporary artworks that reference John Cage’s seminal 4' 33" are a dime a dozen, yet few are imbued with the brilliantly pithy spirit of the original, from 1952. So it was wit

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Chicago

“Heartland”

This eye-opening group exhibition highlights the work of visual artists and other cultural producers who take tactical advantage of their peripheral geographic relationship to majo

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