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.


Through August 13
Curated by Daniel Baumann

Frankfurt-based Michael Riedel is the creator of a parallel universe replete with artworks, artifacts, and cultural situations that look just like their counterparts in our own reality, only subtly distorted. Taking the résumé as both material and structure, “CV” will cover the period from 1994 to 2017 and will include barely known early works that anticipate the artist’s more visible artistic projects involving publishing, recordings, gastronomy (the Freitagsküche in Frankfurt, for example), and the restless activities in the studio/performance space Oskar-von-Miller-Straße 16. Having lived for a decade in the same German city as Riedel, I’ve been continuously drawn into his world of echoes and replicas, and will be surprised if I don’t detect inverted and displaced versions of artworks, exhibitions, and texts by friends (or myself) in his upcoming show. There’s no telling what will become part of Riedel’s puzzling and expansive curriculum vitae. 

Daniel Birnbaum

Ieva Epnere, untitled, ca. 2006, ink-jet print, 16 1/2 × 23 5/8". From “How to Live Together.”


May 25 - October 15
Curated by Nicolaus Schafhausen

The political developments that have recently shaped our societies seem characterized by their ability to highlight the exclusionary social boundaries of modern life. Curator Nicolaus Schafhausen draws on these boundaries and their histories not so much to demarcate lines of conflict as to envision scenes of change, renewal, and the potential transformation of the measures of shared life. This exhibition will bring together some of his longtime collaborators, such as Liam Gillick, Willem de Rooij, and Kai Althoff, alongside a younger, more diverse group of producers, including Binelde Hyrcan, Goshka Macuga, and Ieva Epnere. Whereas in shows such as “Political Populism” (2016) and “Populism” (2004) Schafhausen drew on art’s capacity for critical distance, “How to Live Together” aims to produce proximities.  

Kerstin Stakemeier

“Ed van der Elsken: Camera in Love

Through May 28
Curated by Hripsimé Visser

Curator Hripsimé Visser describes the Dutch photographer and filmmaker Ed van der Elsken (1925–1990) as “a child of his time: melancholy in the ’50s, rebellious in the ’60s, liberated in the ’70s, contemplative in the ’80s.” This sprawling retrospective promises to explore each of these phases through more than two hundred vintage prints, slide projections, film clips, and books—a mere fraction of the output of one of the twentieth century’s most driven, eccentric, and underappreciated image makers. Van der Elsken made his mark in 1956 with Love on the Left Bank, a cinema-verité-style immersion into Paris’s bohemian underground, haunted by Brassaï but anticipating Godard, Truffaut, and Goldin. Van der Elsken was never an objective observer, but his work became increasingly personal. His final film, Bye (1990), about his losing battle with prostate cancer, closes with a challenge and an invitation: “Show the world who you are.” Travels to the Jeu de Paume, Paris, June 12–Sept. 24; Fundación MAPFRE, Madrid, Jan. 23–May 20, 2018.

Vince Aletti

Seth Price, Untitled, 2016, UV-cured print, acrylic, and synthetic polymer on board, 60 × 60 × 5".


Through September 3
Curated by Beatrix Ruf, Leontine Coelewij, and Achim Hochdörfer

In “Dispersion,” his influential open-ended essay begun in 2002, Seth Price poses a question animating his long- standing preoccupations with technology, digital culture, and the rituals of consumerism: “Suppose an artist were to release the work directly into a system that depends on reproduction and distribution for its sustenance, a model that encourages contamination, borrowing, stealing, and horizontal blur?” Featuring more than 150 works produced between 2000 and the present, Price’s Stedelijk retrospective will showcase the multidisciplinary range of his responses to this prompt, which include vacuum-form plastic reliefs, photography, digital paintings, drawings, clothing, and video. The catalogue features a superb roster of contributors, among them Cory Arcangel, Ed Halter, Achim Hochdörfer, Branden W. Joseph, John Kelsey, Michelle Kuo, Rachel Kushner with Laura Owens, and Ariana Reines. Travels to the Museum Brandhorst, Munich, Oct. 12, 2017–Mar. 18, 2018.

Pamela M. Lee


June 2 - August 13
Curated by Sam Bardaouil and Till Fellrath

In 1972, in the bleak predawn of Thatcherism, British art historian John Berger published Ways of Seeing, an unapologetically Marxist primer that set out to explode the Western canon by demonstrating that looking is an inherently political act—structured by historical and social circumstance—and that culture therefore encompasses a multiplicity of perspectives. Almost half a century later, curators Bardaouil and Fellrath have organized their eponymous exhibition around a similar premise, bringing together works ranging from objects that literally manipulate the viewer’s gaze (Jeppe Hein’s ethereal Mirrored Objects II, 2013) to interactive installations that interrogate the act of looking (Gustav Metzger’s caustic To Crawl Into—Anschluss, Vienna, March 1938, 1996). This reconsideration of Berger’s thinking feels all too timely now, when neoliberalism and resurgent nationalism call into question not just the possibility that diverse viewpoints can coexist but also, for many, the very right to visibility itself.  

Julian Rose

Oscar Masotta, About Happenings, 1966. Performance view, Instituto Torcuato Di Tella, Buenos Aires, 1966. Re-presentation of Carolee Schneemann’s Meat Joy, 1964.

“Oscar Masotta: Theory as Action”

Through August 13
Curated by Ana Longoni

A singular combination of cultural critic, teacher, occasional artist, and unrepentant Lacanian, Oscar Masotta was the key theorist of 1960s Buenos Aires’s fervent avant-garde. Fired from his university job by the dictatorship in ’66, he led workshops on structuralism and Marshall McLuhan from his apartment, ultimately yielding a wholly informational genre—“mass media art”—that marked one of the earliest instances of Conceptualism in Latin America. This exhibition will survey Masotta’s production and influence across multiple platforms: writing, teaching, his own artworks as well as those of many others, and the explorations of Lacanian psychoanalysis that marked the final decade of his career. A comprehensive set of programs will restage two of the three Happenings that Masotta produced, screen a new series of interviews with his associates, and host an interdisciplinary conference on his legacy. The exhibition catalogue will feature essays by Longoni, Olivier Debroise, and Manuel Hernandez.

Daniel Quiles