previews

  • María Magdalena Campos-Pons, Spoken Softly with Mama, 1998, mixed-media installation, dimensions variable.

    María Magdalena Campos-Pons

    Indianapolis Museum of Art
    4000 Michigan Road
    February 25–June 3

    The Bass
    2100 Collins Avenue
    September 21–November 12

    Curated by Lisa D. Freiman

    The artist as global nomad may be a cliché of the twenty-first century, but the realities of world history are such that individuals still hold allegiances to certain locales over others. María Magdalena Campos-Pons was born and raised in Cuba, where her Yoruban ancestors were slaves, and, although she now lives in Boston, she proudly proclaims that “African tradition is my everyday life experience.” This midcareer retrospective, Campos-Pons’s largest exhibition to date, explores the African diasporic experience through personal intimacies transformed into political testimonies. The show’s thirty-four paintings, videos, installations, and large-format photographs address memory, history, and identity through romantic and ritualistic imagery, while the catalogue features essays by the show’s curator Lisa D. Freiman and Okwui Enwezor. Travels to the Bass Museum of Art, Miami Beach, Sept. 21–Nov. 12.

  • Janet Cardiff and George Bures Miller, The Paradise Institute, 2001, wood, theater seats, DVD, DVD player, digital projector, headphones, and mixed media, 10' x 37' 5“ x 16' 9”.

    Janet Cardiff and George Bures Miller

    Museu d'Art Contemporani de Barcelona (MACBA)
    Plaça dels Angels, 1
    February 2–May 1

    Institut Mathildenhöhe

    May 20–August 26

    Miami Art Museum
    101 West Flagler Street
    October 21–January 20

    Curated by Ralf Beil and Bartomeu Marí

    Plunging audiences into cinematic scenarios, messing with their identifying mechanisms, intensifying and queering their sense of physical location, the multisensory works of Janet Cardiff and George Bures Miller afford an oddly contradictory escapism. Curated by Ralf Beil and Bartomeu Marí and co-organized by MACBA and the Institut Mathildenhöhe in Darmstadt, this show will address, among other themes, the crucial role of the voice in Cardiff and Miller’s dramatic microcosms. There will be one solo project by each artist and eight installations made collaboratively by Cardiff and Miller between 1995 and 2006. The catalogue is conceived as a reader, with texts by Jorge Luis Borges, Philip K. Dick, Viktor Tausk, and other writers who have influenced the artists.Travels to the Institut Mathildenhöhe, Darmstadt, Germany, May 20–Aug. 26; Miami Art Central, Dec. 4, 2007–Apr. 24, 2008.

  • Merce Cunningham Dance Company performing Scenario MinEvent in costumes by Rei Kawakubo, Joyce Theater, New York, 2006. Photo: Cédric Andrieux.

    Merce Cunningham

    Museum of Contemporary Art, North Miami
    770 NE 125th Street
    January 26–April 29

    Curated by Bonnie Clearwater

    Feeding the current hunger for collaborative art, MoCA sets its sights on the creative partnerships of that grand doyen of dance—Merce Cunningham. Spanning the past eight years, the first part of this two-part venture—curated by Bonnie Clearwater—will comprise fourteen “mise-en-scènes” showcasing costumes by an old friend, Robert Rauschenberg; malleable sculptures by Ernesto Neto; interruptive visuals by Christian Marclay; and phenomenological settings by Olafur Eliasson. This celebration of “team effort” will continue in a second phase, taking place at the Goldman Warehouse, MoCA’s satellite branch, from April 21 to June 24. Together with Miami artist Daniel Arsham and composer David Behrman, Cunningham will fuse his legacy with other cultural elements, like break dancing and fashion, through a series of multidisciplinary evenings called E-Merce—pushing the potential of chance and collaboration into the next generation.