Friday, December 9
The LA-based artist’s latest large-scale kitsched-out paintings reference icons of modern picture-making, from Hokusai to Matisse. Pushing the viewer toward an interactive relationship with her works, a prerecorded message by the 2016 Hugo Boss Prize nominee asks, “When you look at the objects, do you think they are looking at you?”
Kate Shepherd’s high-gloss paintings composed of delicate networks of lines are paired with Allyson Strafella’s dense repetitive marks on handmade paper. Sharing an interest in color, space, and movement, the American artists address issues of form and formlessness in their distinct but related explorations.
Kate Shepherd and Allyson Strafella Recent works
Cage’s Lecture on the Weather, 1975, originally conceived as a work for radio or stage, is here presented—for the first time in Europe—using material captured during a tribute concert for the artist held at Bard College in 2007. The illustrious cast includes John Ashbery, Merce Cunningham, and Jasper Johns, among others.
John Cage Lecture on the Weather (1975)
Drawing attention to the human body—skin, in particular—Donna Huanca’s work examines the interactions between people within a certain space. For this exhibition, the artist has designed a three-story glass structure that becomes more and more opaque as her performers enact private rituals and mediations inside.
Donna Huanca Scar Cymbals
It’s been over a decade since Roman Ondak has had a solo show in London, but the Slovakian conceptual artist is making up for lost time with this one hundred day–long show. Continuing the artist’s obsessive exploration of time, the centerpiece of the exhibition is an oak tree that has been sliced into one hundred discs—each marked with a key event from the past century—that will be removed from the trunk (one each day) and mounted on the wall.
Roman Ondak ROMAN ONDAK: THE SOURCE OF ART IS IN THE LIFE OF A PEOPLE
This small show dedicated to German artist Günther Förg, who is known for his paintings, photographs, and sculptures, packs a strange punch. Underscoring the artist’s legacy as a key proponent of non-figurative painting in 1980s Germany, the three abstract canvases on view (made between 1988 and 1995) show Förg’s genius for intuitive approaches to color and composition.
Featuring works spanning the 1930s–1970s—a period during which Wifredo Lam worked in Cuba, France, America, and Spain—this retrospective confirms the Cuban artist’s place at the center of global modernism. Often compared to avant-gardists like Picasso and Fontana, Lam addresses the social injustices of his day using a signature style of hybrid figures.
Inspired by the Camden Arts Centre’s history as a public library, Matt Mullican’s current show describes various methods of categorization and organization. The American artist, who is based between New York and Berlin, mathematically divided the gallery space before filling it with his own obsessive works—including books, bulletin boards, drawings, objects, photographs, and videos.
Matt Mullican The Sequence of Things
A subversive take on the traditional marriage portrait, Currin’s latest series of paintings depicts couples accompanied by mysterious accessories and bizarre, seemingly incongruous, pictorial elements. Less sexually graphic than some of the artist’s best-known work, these paintings show Currin experimenting with symbolism—using art historical tropes to evoke humorously ambiguous (and let’s face it, grotesque ) relationships.
The gallery christens its new Grosvenor Hill location with shiny, perverse works by Jeff Koons. Works from his ongoing “Gazing Ball” series, begun in 2013, wherein the artist adds super-reflective orbs to replicas of famous paintings and sculptures, are paired with his polished, and creepy, steel ballerina sculptures.
The Pakistan-born, US-based artist presents new works including sculptures carved from cork, clay, and other media, as well as drawings and collages made on large-scale photographs. Evoking “ruins”—ranging from the Ancient Gandharan ruins in Pakistan and Afghanistan, to contemporary ruins of urban infrastructure—Bhabha describes various effects of time and decay.
Steir’s first solo show in London in over a quarter of a century features works made between 1990 and 2011. Among the most arresting paintings on view—examples from Steir’s “Waterfall” series, which the artist began in the 1980s—are vibrant mediations on space and chance in which Conceptual art meets Eastern philosophies.
Picasso’s friends, family, and lovers are the subjects of this major exhibition that includes more than eighty works, spanning all periods of the artist’s career. From nascent realist paintings to masterful late abstractions, Picasso’s portraits give an intimate look at his long and fecund life, humanizing his enormous legacy.
The title of this show and one of the major works on view, “Walhalla,” is a reference to the paradise for those slain in battle described in Norse mythology, as well as an 1842 neo-classical monument build by Ludwig I, King of Bavaria, to honor German heroes. Kiefer’s Walhalla, 2016, is a bleak, claustrophobic installation in which rows of steel beds line a narrow room. Its far end is decorated with a black-and-white photograph of a lone figure walking into a wintery landscape.
Anselm Kiefer Walhalla
Casting a critical eye over the role of female artists in European museums, the Guerrilla Girls revisit their own poster from 1986 that deadpanningly states: “It’s Even Worse in Europe.” Having sent questionnaires to arts institutions across Europe asking about their collections and exhibitions, the feminist activist collective presents nearly four hundred responses—funny, heartbreaking, and terrifying —as part of an archive-based exhibition.
Guerrilla Girls Is it even worse in Europe?
Having transformed Paris’s Palais de Tokyo in 2013 and New York’s Park Avenue Armory in 2015, Philippe Parreno now takes over the Turbine Hall with a complex choreography of sound, light, objects, and videos. The fully automated exhibition can be considered as a single Gesamtkunstwerk upending traditional exhibition stagings of time and space.
Hyundai Commission: Philippe Parreno
Known for his genre-defying “Combines” and large-scale proto-Pop silkscreens, Robert Rauschenberg also worked with photography, printmaking, papermaking, and performance over the course of his six-decade career. This retrospective (the first of its kind since the artist's death in 2008) weaves together seemingly disparate works to create a cogent overview of a dazzlingly multi-disciplinary oeuvre.