Kerry Greaves

  • Installation view of Den tynde hud (The thin skin), 2012–18, paper, dimensions variable.
    picks March 15, 2018

    Peter Callesen

    The transition from winter to spring is a fitting time for “SKINDØD (Apparent Death),” an exhibition of recent paper artworks by Danish artist Peter Callesen. These exquisite works evoke the cyclical rhythms between new and old, transience and permanence, and fragility and strength in a medium that has become seemingly obsolete as a carrier of information in our digital age.

    This show, originally staged at the Faaborg Museum on the Danish island of Funen, sets Callesen’s work in dialogue with that of the early twentieth-century Danish modernists known as the Funen Painters. Funen is also the

  • View of “Bruce Nauman,” 2016.
    picks November 14, 2016

    Bruce Nauman

    This first survey of Bruce Nauman’s work in Scandinavia, which coincides with the artist’s seventy-fifth birthday, is a fitting choice for Copenhagen’s newest contemporary art space. Rather than serving as a retrospective, the show demonstrates how relevant and timely Nauman’s challenge to viewers’ perception is today. The twelve pieces on display date from the 1960s through the 1990s and cover almost all media in which the artist has worked, from his neon word plays and experimental videos to his major installations. Set within cavernous halls lit by large industrial windows in a former paper

  • Alex Da Corte, Borderland State (Pink Pavor Nocturnus), 2014, mixed media, dimensions variable.
    picks May 13, 2016


    Louisiana has been very busy. This thrilling presentation of the museum’s recent contemporary acquisitions reflects an impressive variety of media by male and female artists of divergent nationalities, races, and ages. As dynamic and heterogeneous as the show is, the themes of playfulness and political engagement continuously run through the installations, which unfold throughout the entire museum and spill onto the grounds outside.

    Representative of such works is American Alex Da Corte’s Pop-infused multimedia installation Delirium – The Foolish Virgin, Scene I, 2014, which blends bright neon

  • Chen Chieh-jen, Empire’s Borders I, 2008–2009, 35-mm transferred to DVD, color and black and white, sound, 26 minutes 50 seconds.
    picks March 31, 2016

    “The Dividing Line”

    This compelling exhibition presents six unique related videos and films that beautifully combine art, documentary, and politics to chronicle one of the most profound humanitarian crises facing Europe today. The no-frills installation here—two galleries are empty save for several video screens and a few chairs—allows for the direct, indeed inescapable contemplation of individual suffering under indifferent geopolitical structures. The first gallery is devoted to Taiwanese artist Chen Chieh-jen’s film Empires Borders I, 2008–2009, a quietly elegant color and black-and-white epistle re-creating

  • View of “What’s Happening?,” 2015.
    picks May 13, 2015

    “What’s Happening?”

    This expansive multimedia exhibition makes clear the extensive purview and inventiveness of Danish artists’ responses to the social, sexual, and political upheavals of 1965 to 1975. The show emphasizes the different ways in which artists sourced popular culture, explored the body and performance as media, adopted collective authorship, and participated in events—all as means for creating socially conscious work. Of the several experimental films that form the core of the exhibition, The Female Christ II: The Expulsion from the Temple, 1969, best integrates these concerns. It presents Bjørn

  • View of “Joachim Koester and E. B. Itso,” 2015.
    picks March 27, 2015

    Joachim Koester and E.B. Itso

    Joachim Koester’s exhibition is a meditative yet visceral exploration of that ambiguous distance between the banal and mysterious, through photographs, videos, and installations. This show is named after a concept from the work of Wilhelm Reich and refers to the history and potential embedded in every bodily expression. This is visualized most tangibly in the short video The Place of Dead Roads, 2013, inspired by a William S. Burroughs western novel. In the video, four modern cowboys partake in spasmodic shoot-outs with invisible enemies. The action takes place within a dusty, boarded-up interior,

  • View of “Systemics #4: Aarhus Rapport—Avantgarde as Network (or, the Politics of the Ultralocal),” 2014
    picks December 10, 2014

    “Systemics #4: Aarhus Rapport – Avantgarde as Network (or, the Politics of the Ultralocal)”

    Contemporary curatorial projects that are formulated as critical responses to earlier radical art always run the risk of becoming perfunctory showcases that only canonize once urgent and anti-institutional activities. Not so with “Systemics #4: Aarhus Rapport—Avantgarde as Network (or, the Politics of the Ultralocal),” a collaboration between a curatorial collective, archival researchers, and artists. The exhibition examines an overlooked moment of rich multidisciplinary exchange—the flourishing of experimental happenings, poetry readings, music, and public artworks that took place in Aarhus

  • Olafur Eliasson, Riverbed, 2014, water, blue basalt, wood, steel, foil, hose, pumps, cooling unit, dimensions variable.
    picks October 22, 2014

    Olafur Eliasson

    Those of us who encountered Olafur Eliasson’s The Weather Project at the Tate Modern in 2003, where the vast turbine hall was infused with a radiant light, could be forgiven for at first being skeptical about experiencing a similarly transformative environment with Riverbed, 2014. As the central work of this exhibition, the installation is surprisingly overpowering. Occupying a series of four galleries at least half-filled with 180 tons of gray Icelandic stone, Riverbed produces a myriad of pleasantly disorienting sensations in fluid succession. The rooms are humid, musty, and bathed in a