previews

  • Rosalind Nashashibi, Abbey 3, 2005,
    black-and-white photograph.

    Rosalind Nashashibi

    INSTITUTE OF CONTEMPORARY ARTS

    September 10–November 1, 2009

    Bergen Kunsthall
    Rasmus Meyers allé 5
    November 13–December 20, 2009

    Curated by Mark Sladen

    Known for her elegant filmic investigations into visual gestalts, voyeurism, and perceptual memory, as well as her creative engagement with cinematic history, Rosalind Nashashibi presents several of her experimental 16-mm productions from the past four years, including Bachelor Machines Part 2 (2007), which borrows footage and dialogue from Alexander Kluge’s 1968 film Artists Under the Big Top: Perplexed; and The Prisoner (2008), a nod to Chantal Akerman’s 2000 film La Captive. Co-organized by the ICA and Bergen Kunsthall, Nashashibi’s first major survey also features a new film commission (comprising candid and staged scenes shot in London parks) and two photographic/collage works. The accompanying catalogue includes texts by Dieter Roelstraete and Martin Herbert as well as the artist’s own writings and research material.

  • John Cage preparing a piano, ca. 1950. Photo: Merce Cunningham Dance Company.

    John Cage and Experimental Art

    Museu d'Art Contemporani de Barcelona (MACBA)
    Plaça dels Angels, 1
    October 23, 2009–January 10, 2010

    Henie Onstad Art Centre

    January 25–May 30, 2010

    Curated by Julia Robinson

    For John Cage, immanence was bliss. His work and worldview perennially straddled radical materialism and romantic yen. Letting sounds be sounds, allowing chance to rule, Cage’s anarchic leveling of materials and events redefined the work, the score, the act. This large-scale survey at MACBA, produced with Henie Onstad Art Centre, promises to unveil the full and often paradoxical swath of Cage’s practice with more than two hundred recordings, scores, and objects—from his early prepared-piano compositions, to works that emphasize his pedagogical impact at Black Mountain and the New School, to performance-based and collaborative engagements with technological systems (including the mesmerizing HPSCHD, 1967–69). Catalogue essays by Yve-Alain Bois, Robinson, and others will further expound Cage’s ardent dedication to not composing.