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.

Amalia Pica, In Praise of Listening, 2016, granite, marble, oil paint, silicone tubing, dimensions variable. From the series “In Praise of Listening,” 2016.

AMALIA PICA

THE POWER PLANT
TORONTO
Through December 31
Curated by Carolin Köchling with Nabila Abdel Nabi

Pica’s sculptures and performances are calls to action: They implore us to look, listen, and participate. Political subtexts—addressing everything from military dictatorship to governmental bureaucracy—inform the London-based artist’s practice; for this show, she mines the architecture of war and the obsolescence of technology. Building on her 2010–12 sculpture Acoustic Radar in Cardboard, Pica will exhibit new works in the same material, these based on early sonic equipment used by the British after World War I. The series “In Praise of Listening,” 2016, adds a distinctly civilian device to the show—these biomorphic, abstract stone sculptures are scaled-up hearing aids that make the commonplace monumental. The catalogue is copublished with the Institute of Modern Art, Brisbane, which will feature Pica in another exhibition this November.

Catherine Taft

Jasper Johns, Painting with Two Balls, 1960, encaustic and collage on canvas, wooden balls, 65 × 54 1/8". © Jasper Johns/VAGA, New York/DACS, London.

“JASPER JOHNS: SOMETHING RESEMBLING TRUTH”

ROYAL ACADEMY OF ARTS | PICCADILLY
LONDON
Through December 10
Curated by Roberta Bernstein and Edith Devaney

Some 150 paintings, drawings, sculptures, and prints by Jasper Johns will constitute a vast assembly that begins in the 1950s. In the early years of his career, Johns’s work was thought to reflect the consumerist boosterism that arguably infused Pop art. But he was also negotiating between abstract epistemes—stripes, say, or hatchings, or catenary curves—and an abstruse iconography of mortality, elements of which Johns found in Edvard Munch’s Between the Clock and the Bed, 1943, or in the armor of the sleeping guards in Matthias Grünewald’s Isenheim Altarpiece, 1512–16. Johns’s most recent pictorial arcana, Regrets, derives from the shapes of a crumpled photograph used by Francis Bacon for a portrait of Lucian Freud. The exhibition’s title comes from one of Johns’s characteristically evocative utterances: “One hopes for something resembling truth, some sense of life, even of grace, to flicker, at least in the work.” Johns’s newest output continues to ally itself with the first bulbs of his luminous ascent to the highest reaches of American art some sixty years ago. And they keep burning.  

Robert Pincus-Witten

Ilya and Emilia Kabakov, The Appearance of the Collage #10, 2012, oil on canvas, 79 7/8 × 107 1/8".

“ILYA AND EMILIA KABAKOV: NOT EVERYONE WILL BE TAKEN INTO THE FUTURE”

TATE MODERN
LONDON
Through January 28, 2018
Curated by Juliet Bingham with Katy Wan

This retrospective will present a melancholy variation amid the year’s bountiful exhibitions dedicated to the centennial of the Russian Revolution. The Kabakovs are known for their virtuosic exploration of the gap between utopian promises and the humiliating minutiae of Soviet everyday life. Comprising more than one hundred objects and accompanied by an extensive catalogue, the exhibition begins with Ilya’s central role in Moscow Conceptualism and includes three ambitious installations. Its subtitle (named after one of the installations) derives from an episode, imagined by Ilya, in which Kazimir Malevich selected the artists who would—or would not—be taken into the future. Yet the topicality of the Kabakovs’ trademark pathos may lie in this statement’s inverse. The revolutionary potential of the best known of their works (think of The Man Who Flew into Space from His Apartment, 1985) reminds us that everyone will be taken into some future, but that we may very well want out. 

Kristin Romberg

James Rosenquist, Hey! Let’s Go for a Ride, 1961, oil on canvas, 34 1/8 × 35 7/8". © VG Bild-Kunst, Bonn.

“JAMES ROSENQUIST: PAINTING AS IMMERSION”

MUSEUM LUDWIG, COLOGNE
COLOGNE
Through March 4, 2018
Curated by Stephan Diederich and Yilmaz Dziewior

Like many Pop artists, James Rosenquist drew on the teeming image world of postwar consumer society. But unlike many of his peers, he appropriated the representational techniques and even the massive scale of one of commercial advertising’s chief forms: the billboard. Juxtaposing body parts, commodities, and sly allusions to art history within his panoramically scaled and surreal canvases, Rosenquist bridged the gap between the epic gestures of Abstract Expressionism and the cool monumentality of Minimalism. This exhibition will highlight the artist’s sustained interest in immersive visual experiences. Featuring never-before- seen preparatory collages along with such environmentally extensive installations as F-111, 1964–65, and The Swimmer in the Econo-mist,1997–98, that utilized reflective materials, the show will consider the physical and affective impact of Rosenquist’s practice.  

Robert Slifkin

“CAMILLE HENROT: DAYS ARE DOGS”

PALAIS DE TOKYO
PARIS
Through January 7, 2018
Curated by Daria de Beauvais

Camille Henrot renders the dysfunctions and perversities of everyday life in an Umbrellas of Cherbourg palette that makes them all the more absurd. Her imaginative and often profound multimedia work—which includes such things as giant watercolors, cartoonish phones, and mesmerizing zoetropes—tends to be immersive and disorienting, so her takeover of the Palais de Tokyo’s entire exhibition space should be a thrill. Organized in seven thematic parts, one for each day of the week, her show promises frescoes, drawings, installations, sculptures, and video works, as well as the new film Saturday, Henrot’s first since the Fifty-Fifth Venice Biennale’s Silver Lion–winning Grosse Fatigue, 2013, a story of the universe told through book illustrations and browser windows.

Johanna Fateman

André Derain, Big Ben, ca. 1906, oil on canvas, 31 1/8 × 38 5/8".

“ANDRÉ DERAIN 1904–1914: THE RADICAL DECADE”

CENTRE POMPIDOU
PARIS
Through January 29, 2018
Curated by Cécile Debray

Between two bouts of military service in 1904 and 1914, André Derain—one of the original Fauves and certainly the best not named Matisse—executed three bodies of work that secured his place in the second tier of avant-garde painting. Daring color experiments in dialogue with Matisse (while both were staying in Collioure, France, in the summer of 1905) and a series painted in London the next year at the urging of dealer Ambroise Vollard were followed by a group of bathing pictures, which manage to almost hold their own despite the fact that they were begun the same year, 1907, as the first public exhibition of Picasso’s Demoiselles d’Avignon. Was Derain’s encounter with the legacy of Cézanne the kiss of death that subsequent criticism has made it out to be? Decide for yourself at the first exhibition in more than twenty years to exhaustively showcase what the show’s curator is calling Derain’s “radical decade.”  

Paul Galvez