• Cy Tombly, The Four Seasons: Spring, Summer, Autumn, Winter (detail), 1993–94, one of four paintings in acrylic, oil, caryon, and pencil on canvas, each 10' 3 7/16“ x 7' 5/8”.

    Cy Twombly

    Guggenheim Museum | Bilbao
    Avenida Abandoibarra, 2
    October 28, 2008–February 1, 2009

    Tate Modern
    June 19–September 14, 2008

    Galleria Nazionale d'Arte Moderna e Contemporanea
    Viale delle Belle Arti 131
    March 4–May 17, 2009

    Curated by Nicholas Serota

    Cy Twombly, Sol LeWitt, Andy Warhol, Donald Judd, Yves Klein, and Arman all entered the world in 1928—an annus mirabilis for art history. Of these artists, only Twombly celebrated his eightieth birthday this year. With around a hundred works, the Tate's retrospective, organized by Nicholas Serota, should make plain that the triangle of Twombly, Johns, and Rauschenberg has always been equilateral; recognition of such status was long withheld in America, until the exceptional exhibition organized by the late Kirk Varnedoe for New York's Museum of Modern Art in 1994. It took another ten years (and a second Frenchman, after Roland Barthes, whose exquisite essays on Twombly appeared in 1979) for a scholarly work on the artist to approach its subject adequately, in Richard Leeman's 2004 monograph. Travels to the Guggenheim Bilbao, Spain, Oct. 28, 2008–Feb. 1, 2009; Galleria Nazionale d'Arte Moderna, Rome, Mar. 4–May 17, 2009.

  • Los Carpinteros, Frio Estudio del Desastre (Frozen Disaster Study), 2005, cinder blocks, concrete, and fishing nylon, dimensions variable.

    “Psycho Buildings: Artists and Architecture”

    Hayward Gallery
    Southbank Centre, Belvedere Road
    May 28–August 25, 2008

    Curated by Ralph Rugoff

    Through its navigation of a wide range of physical, psychological, aesthetic, and sociopolitical territories, this show makes clear that exhibitions of art as architecture (or architecture as art?) have not exhausted their subject but expanded it. At times crossing disciplinary boundaries, at other times reinventing them, “Psycho Buildings,” organized by Ralph Rugoff, insists that architecture be understood as an elastic construct. The exhibition, which takes its title from a 1988 book of photographs by Martin Kippenberger, consists of major installations from Atelier Bow-Wow, Michael Beutler, Los Carpinteros, Gelitin, Mike Nelson, Ernesto Neto, Tobias Putrih, Tomas Saraceno, Do-Ho Suh, and Rachel Whiteread. Special effects of light, color, and even smell are deployed in some of the structures, further transforming viewers into participants.

  • Viktor & Rolf, Hate, 1999, tailcoat with ruffled shirt, white and black silk gazar. From the “Black Light” collection, Spring/Summer 1999. Photo: Inez van Lamsweerde and Vinoodh Matadin.

    The House of Viktor & Rolf

    Barbican Art Gallery
    Barbican Centre Silk Street
    June 18–September 14, 2008

    Curated by Jane Alison

    Shoppers at H&M stores and perfume counters are now acquainted with the mass-marketed version of Viktor & Rolf, but for years the idiosyncratic Dutch duo Viktor Horsting and Rolf Snoeren were known primarily as the apogee of fashion's avant-garde. Having met in art school in the late 1980s, the look-alike designers presented their first womenswear collection in 1993. Since then, their performance-heavy antics have included piling ten dresses on one model and fogging up a runway so that their bell-adorned clothing could be better heard than seen. The Barbican Art Gallery will present some sixty assemblages, videos, and prized clothing items from the pair's collections past and present, in addition to a spectacular major installation. Curated by Jane Alison and designed by architect Siebe Tettero, the show promises to uphold the label's love affair with irreverence and wit.