previews

  • Gabriel Orozco, Horses Running Endlessly, 1995, wood, 3 3/8 x 34 3/8 x 34 3/8".

    Gabriel Orozco

    Kunstmuseum Basel | Gegenwart
    St. Alban-Rheinweg 60
    April 10–August 10

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    December 13–March 1

    Centre Pompidou
    Place Georges-Pompidou
    September 10–January 11

    Curated by Ann Temkin

    A cultural scavenger who shifts fluidly from feats of industrial fabrication to meditations on the handmade, the organic, and the abject, Gabriel Orozco is a master of the comic and wistful gesture. He is also a defining figure in that strain of semirecent art that frames aesthetic practice as nomadic, globalized: ethereal in meaning and value, yet material and indexical in form. This show, organized by Ann Temkin, unpacks these layered dualities with two decades’ worth of the New York–, Mexico City–, and Paris-based artist’s works–roughly one hundred sculptures, photographs, paintings, and installations. The catalogue promises a definitive chronology and essays by Temkin, Briony Fer, and Benjamin H. D. Buchloh, Orozco’s most impassioned and theoretically minded advocate.

  • Jean Painlevé, De gaulle ou Pince de homard, 1929, black-and-white photograph, 24 3/4 x 19 5/6". © 2009 ADAGP, Paris.

    The Subversion of Images

    Fundacíon Mapfre | Recoletos
    Paseo de Recoletos 23
    May 16–September 12

    Centre Pompidou
    Place Georges-Pompidou
    September 23–January 11

    Fotomuseum Winterthur
    Grüzenstrasse 44 & 45
    February 26–May 23

    Curated by Quentin Bajac and Clément Cheroux

    This survey of Surrealist photography—the Pompidou’s first since Rosalind Krauss and Jean Livingston’s 1985 “L’amour fou/Explosante-fixe”—might as well have “In the Expanded Field” as its subtitle. In the forthcoming exhibition of nearly four hundred works made between 1920 and 1940, expect lesser-known found images, independent magazines, films, and games by some seventy-five artists, from Jacques-André Boiffard to detective novelist Léo Malet—as well as rarely exhibited photos by André Breton and Antonin Artaud—all flanked by the iconic prints of Man Ray and Hans Bellmer. Offering some relief from Surrealism’s nagging sexism, a few strong female Surrealists, including Eileen Agar and Dora Maar, promise to twist their male counterparts’ subordination of women as objects of desire.