• Witness, 2000. Photo: P Taghizadeh.

    Witness, 2000. Photo: P Taghizadeh.

    Susan Hiller

    Kunsthalle Basel
    Steinenberg 7
    January 30–March 1, 2005

    BALTIC Centre for Contemporary Art
    South Shore Road
    May 1–July 18, 2004

    Serralves Museum of Contemporary Art
    Rua Dom João de Castro, 210
    October 16, 2004–January 9, 2005

    Curated by James Lingwood

    Since turning from anthropology in the late ’60s, Susan Hiller has employed disparate media to explore the margins of consciousness, particularly the implications of extransensory perception. Her influence is visible in the work of artists like Douglas Gordon and Ann Hamilton, making this survey especially timely. The exhibition of twenty works from 1969 to the present includes mesmerizing video installations such as Belshazaar’s Feast, 1983-84, one of the first artist’s films broadcast on British television; recent investigations into paranormal powers like Wild Talents and Witness; and Hiller’s new audio piece Clinic. The accompanying catalogue is the largest study of the artist's work to date.

    Travels to the Museu Serralves, Porto, Oct. 16–Jan. 9, 2005; Kunsthalle Basel, Jan. 30, 2005–Mar. 2005.

  • Untitled, 2003.

    Untitled, 2003.

    Louise Lawler

    Museum für Gegenwartskunst, mit Emanuel Hoffmann-Stiftung
    St. Alban - Rheinweg 60
    May 15–August 29, 2004

    Curated by Philipp Kaiser

    Renowned for her photographs of the arrangements of paintings and other artworks, Louise Lawler can always be counted on for witty juxtapositions and unexpectedly lovely, even poignant images created within the context of the institutional discourse on art. For the artist’s first retrospective, chief curator Philipp Kaiser has brought together some fifty prints from the past twenty-four years. New pictures are also in the offing, photographed in the host museum, at the Kunstmuseum Basel, and at the Art Basel fair. The catalogue, designed by Lawler, includes essays by Kaiser, Isabelle Graw, Christian Kravagna, Birgit Pelzer, and Artforum editor at large Jack Bankowsky. Is a picture no substitute for anything?

  • Untitled (Skull), 2000.

    Untitled (Skull), 2000.

    Piotr Uklanski

    Kunsthalle Basel
    Steinenberg 7
    June 17–August 29, 2004

    Curated by Anke Kempkes and Adam Szymczyk

    Readers who have propped up the bar at Passerby, Gavin Brown’s hip New York lounge, are familiar with Piotr Uklanski’s Dance Floor, 1996, a heady blend of Minimalist aesthetics and maximalist good times that illuminates the space from underneath. Dividing his time among New York, Warsaw, and Paris, the Polish-born artist consistently interrogates the boundary between art and entertainment while experimenting across sculpture, photography, collage, performance, and film. Best known for his controversial series of images culled from American and European movies showing famous actors dressed in Nazi military uniforms, Uklanski is also capable of subtler provocations, as this sprawling survey amply demonstrates.

  • Joan Miró, La Naissance du monde, 1925.

    Joan Miró, La Naissance du monde, 1925.


    Fondation Beyeler
    Baselstrasse 101
    May 2–September 5, 2004

    The Phillips Collection
    1600 21st Street NW
    October 9, 2004–January 23, 2005

    Curated by Elisabeth Hutton Turner and Oliver Wick

    Two of the twentieth century’s great lyrical poets of form in space, American Alexander Calder and Spaniard Joan Miró shared more than aesthetic sensibility—they also had a friendship spanning some fifty years. Though each would follow his own highly distinctive path—for Calder, groundbreaking sculptural ideas expressed through signature mobiles and stabiles; for Miró, elegantly idiosyncratic, often whimsical paintings and murals—the years following their first meeting, in 1928, saw the pair engage with many of the same formal and theoretical issues. This show features nearly 130 works, including their 1947 collaboration for Cincinnati's Terrace Plaza Hotel.

    Travels to the Phillips Collection, Washington, DC, Oct. 9–Jan. 23, 2005.