• Pierre Huyghe and Phillippe Parreno, The Ann Lee Project, 2002.

    Pierre Huyghe and Phillippe Parreno, The Ann Lee Project, 2002.

    No Ghost, Just a Shell: The Ann Lee Project

    Stuart Hall Library, Iniva
    16 John Islip St
    January 1–January 1, 2001

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    December 14, 2002–April 16, 2003

    Kunsthalle Zurich
    Limmatstrasse 270
    July 17, 2013–October 27, 2002

    Curated by Beatrix Ruf

    Poor Ann Lee. Pierre Huyghe and Philippe Parreno purchased the manga-in-waiting from a Japanese clearinghouse. Because she was so simply drawn, they got her on the cheap. That price was also a reflection of her place in the anime food chain: Ann was never meant to survive her adventures. Now she’s been condemned to a different fate. Once they got Ann home, her adoptive fathers invited friends Liam Gillick and Dominique Gonzalez-Foerster over to have their way with her. Records of these play dates—paintings, neon works, even rugs—make up this show organized by Kunsthalle Zürich director Beatrix Ruf.

  • The Silent Statue, 1913.

    The Silent Statue, 1913.

    Giorgio de Chirico and the Myth of Ariadne

    January 22–April 13

    Philadelphia Museum of Art
    26th Street and the Benjamin Franklin Parkway
    November 3, 2002–January 5, 2003

    Curated by Michael Taylor

    While Renaissance artists frequently depict Ariadne bewailing her abandonment by Theseus on the island of Naxos, Giorgio de Chirico shows the princess fast asleep, just before Bacchus wings in on his chariot to rescue her. She is seen as a life-size antique marble sharply lit in Mediterranean midday sun—the personification of estrangement and melancholy. The eight haunting Ariadne paintings of 1912–13 are brought together for the first time in an exhibition selected by the PMA’s Michael Taylor; they join other versions of the Ariadne myth de Chirico made long after his celebrated Metaphysical period.

  • Kissing with Sodium Pentothal, 1994.

    Kissing with Sodium Pentothal, 1994.

    Douglas Gordon

    Hayward Gallery
    Southbank Centre, Belvedere Road
    November 1, 2002–January 5, 2003

    Curated by James Lingwood

    If you look hard enough, can you find a precise point at which opposites touch and come apart—when, for example, life becomes death, present becomes past, singular becomes plural, or right becomes wrong? Gordon pursues the question with grim determination, his experiments often seeming like exercises in vivisection. “Douglas Gordon: What Have I Done?”—planned around a “ghosted” autobiography of the artist by novelist Andrew O’Hagan and art historian Francis McKee—threatens to take a scalpel to the delicate area where “Gordon” becomes “not-Gordon.” Curated by Artangel’s James Lingwood (organizer of Feature Film’s stunning first showing in 1999) and the Hayward’s Fiona Bradley, the show comprises some dozen works from the past decade.

  • City Self/Country Self, 2000.

    City Self/Country Self, 2000.

    Rodney Graham

    Kunstsammlung Nordrhein-Westfalen - K20
    Grabbeplatz 5
    February 15–May 25, 2003

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    September 13–November 10, 2002

    July 4–October 12

    Curated by Iwona Blazwick, Anthony Spira, Julian Heynen, and Nathalie Ergino

    Roll up, roll up, and see backward-bicyclist Rodney Graham loop the loop in this extensive retrospective. Planned thematically rather than chronologically, the show takes a trip through nearly thirty years of work in various media—film, photography, sculpture, text-based and musical projects. And it is a trip: Proceedings start with a showing of Halcion Sleep, 1994, and end with The Phonokinetoscope, 2001, including footage of Graham dropping a tab of LSD. The Whitechapel’s Iwona Blazwick and Anthony Spira, K21’s Julian Heynen, and Marseilles MAC’s Nathalie Ergino join curatorial forces to keep things bowling along.