International Museum Exhibitions

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.

Video study for Yael Bartana’s forthcoming installation Tashlikh (Cast off). From “Conditions of Political Choreography.”

“Conditions of Political Choreography”

THE CENTER FOR CONTEMPORARY ART (CCA)
TEL AVIV
Through January 7, 2017
Curated by Marius Babias, Sergio Edelsztein, Sophie Goltz, and Chen Tamir

Mining the current intensification of nationalism in Germany and Israel, this collaboration between Tel Aviv’s CCA and the Neuer Berliner Kunstverein explores the political and formal limits of belonging, artistic disciplines, and imposed structures through performative interventions. Each iteration of this show will include an arena (built by architect Markus Miessen for the CCA and by artist Ohad Meromi for the NBK) delineating the spatial parameters in which a multigenerational cast of artists, theorists, dancers, and directors will produce new works—and investigate the contemporary occupation, inhabitation, and colonization of space and subjectivity. As much of the world regresses into frighteningly reactionary and essentialized models of identity, this is a worthy attempt to offer complex demonstrations of “working through” power relations. Can we move beyond the binational narratives of “victim” and “victimizer” by questioning the physical limits and aesthetic constraints of collaboration? Travels to the Neuer Berliner Kunstverein, June 3–July 30, 2017.

Nuit Banai

General Idea, Baby Makes 3, 1984, C-print, 30 × 25".

“General Idea: Broken Time”

MUSEO JUMEX
MEXICO CITY
Through February 12, 2017
Curated by Agustín Pérez Rubio

Whether staging satiric beauty pageants to crown a “Miss General Idea,” covering art and punk rock in their great magazine FILE (1972–89), or lambasting the mass media’s stereotypical treatment of artists (most memorably in their 1984 video Shut the Fuck Up), Canadian collective General Idea challenged authority and queered heteronormative identity with a blend of humor, eroticism, and expertly styled artifice. The trio—AA Bronson, Felix Partz, and Jorge Zontal—were active from 1969 to 1994, when Partz and Zontal died of AIDS-related illnesses. In the intervening years, their work has lost none of its power to shock and inspire, as the group’s first retrospective in Latin America will show. Featuring approximately one hundred works that track the twenty-five-year arc of General Idea’s practice, the exhibition will be accompanied by a catalogue raisonné. Travels to Museo de Arte Latinoamericano de Buenos Aires, March–June 2017.

Bill Arning

32nd Bienal de São Paulo: “Live Uncertainty”

CICCILLO MATARAZZO PAVILION
SÃO PAULO
Through December 11
Curated by Jochen Volz with Lars Bang Larsen, Gabi Ngcobo, Sofía Olascoaga, and Júlia Rebou

How does one embrace uncertainty without succumbing to fear? This installment of the Bienal de São Paulo will offer provisional answers to the question at a time when the globe is increasingly faced with dramatic instability in the political, social, and natural worlds. Rounding up eighty-one participants from thirty-three countries, the exhibition will explore topics ranging from ecology and cosmology to collective knowledge. Following the recent trend of research-based art, many of the show’s works will evolve from local residencies—such as a garden of edible plants cultivated by Portuguese artist Carla Filipe in collaboration with the Botanical Institute of São Paulo. In Brazil’s current climate of unrest, in which the survival of the country’s cultural institutions is under threat—the Ministry of Culture narrowly evaded dismantlement by the interim government this past May—the numerous public and private partners supporting the biennial unwittingly mirror its theme, providing one possible model for how to “Live Uncertainty” in the arts.

Kaira M. Cabañas

“Volpi: Small Formats”

MUSEU DE ARTE MODERNA DE SÃO PAULO (MAM)
SÃO PAULO
Through December 18
Curated by Aracy Amaral

During his lifetime, Italian-born Brazilian painter Alfredo Volpi was often misleadingly portrayed as an artistic bon sauvage, largely due to his lack of formal training in the fine arts and his upbringing in Cambuci, a working-class neighborhood of São Paulo. Over the past couple of decades, however, critics such as Rodrigo Naves have complicated this reductive characterization of Volpi, arguing that his chromatically sophisticated tempera paintings offer a profound meditation on the contradictions of technical development underlying Brazil’s uneven modernization. On loan from the collection of Ladi Biezus, this rare assemblage of more than seventy small-scale paintings and drawings spanning the 1930s through the ’70s promises to further elaborate on the contemporary reception of Volpi’s idiosyncratic practice.

Sérgio B. Martins

11th Shanghai Biennale: “Why Not Ask Again? Maneuvers, Disputations & Stories”

POWER STATION OF ART | 上海当代艺术博物馆
SHANGHAI
Through March 12, 2017
Curated by Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta

New Delhi–based trio Raqs Media Collective bring a refreshing geographic perspective to the Shanghai Biennale, assembling an exhibition that takes the underexamined cultural nexus of India and China (and, more broadly, South and East Asia) as its promising point of departure. Yet the show is no mere regional survey. Inspired by both Chinese speculative fiction and Jukti Takko Aar Gappo (Reason, Debate, and a Story), a pioneering 1974 work of Indian New Cinema by director Ritwik Ghatak, “Why Not Ask Again? Maneuvers, Disputations & Stories” will privilege fables and narrative as well as acts of inquiry. The challenge for its participants, which include artists Sun Yuan & Peng Yu, Moinak Biswas, and Robin Meier, will be to articulate hard questions, and to remember that sometimes the most rewarding queries are those for which no answers exist.

Lee Ambrozy

Fei-Hao Chen, Family Documents in Translation: Soldiers Before the Taiwan Gokoku Shrine, 2016, ink-jet print, 5 × 7".
From the Taipei Biennial.

Taipei Biennial

TAIPEI FINE ARTS MUSEUM
TAIPEI
Through February 5, 2017
Curated by Corinne Diserens

Eschewing lofty ruminations or far-future speculation, the tenth edition of the Taipei Biennial keeps things local, focusing on archive construction. Held at the Taipei Fine Arts Museum, among the most established institutions for the promotion of contemporary art in the Asia-Pacific region, the show will have a generative home base for reflecting on and critiquing practices of institutional bureaucracy. More than seventy individual artists and groups will present works of visual art, dance, performance, music, and film; these offerings will be coupled with symposia, workshops, and what are described as “editorial platforms,” the last addressing the increasingly urgent need for the writing and discussion of art histories beyond those presently regarded as mainstream. Supplementing the general themes of historicization and the archive will be a satellite retrospective of the history of the biennial from 1996 to 2014.

Joan Kee