previews

  • Felix Gonzalez-Torres, Untitled (America), 1994, lightbulbs, waterproof extension cords, waterproof rubber sockets. Installation view, Lymington Road, London, 2000.

    Felix Gonzalez-Torres: Specific Objects Without Specific Form

    Fondation Beyeler
    Baselstrasse 101
    May 21–August 28, 2010

    WIELS Contemporary Art Centre
    Avenue Van Volxemlaan 354
    June 20, 2013–April 25, 2010

    MUSEUMᴹᴹᴷ FÜR MODERNE KUNST
    Domstraße 10
    January 28–April 25, 2011

    Curated by Elena Filipovic

    Remember Felix Gonzalez-Torres? The question is not facetious. As the universe spins us further away from his time on earth, one of the better questions is: Whose memories, whose records, will shape the artist’s legacy in years to come? Will it be the institutions that administer his eternally mutable sculptures? The nameless viewers who set them in motion? Or the generation of artists eating cucumber sandwiches in his cool, conceptual shade? Elena Filipovic has an exquisite response: Assemble some fifty pieces of Gonzalez-Torres’s work made between 1986 and the mid-’90s, and invite a different artist to reinstall the exhibition at each of its European venues. Danh Vo will take the first turn, at Wiels, followed by Carol Bove at Fondation Beyeler in Basel (May 21–Aug. 28) and Tino Sehgal at Museum für Moderne Kunst Frankfurt in 2011.

  • Rodney Graham, Rheinmetall/Victoria 8, 2003, installation view, dimensions variable. Museu d’Art Contemporani de Barcelona.

    Rodney Graham: Through the Forest

    Museu d'Art Contemporani de Barcelona (MACBA)
    Plaça dels Angels, 1
    January 30–May 18, 2010

    Kunstmuseum Basel, Museum für Gegenwartskunst
    St. Alban-Rheinweg 60
    June 13–September 26, 2010

    Hamburger Kunsthalle
    Glockengiesserwall
    October 22, 2010–January 23, 2011

    Curated by Friedrich Meschede

    Through disturbances of perception and perspective, textual interpolations, looped narratives, and visual inversions, Rodney Graham’s art unfailingly challenges both the intellect and the senses, while his repeated references to a range of cultural giants are less a matter of appropriating their legacy than of opening it up. With more than one hundred works in media ranging from light boxes to Liquitex to film and video, as well as book works and Graham’s first foray into painting, the 2005 series “Picasso, My Master,” this midcareer retrospective draws on three decades of the Canadian artist’s production. The catalogue, designed by Filiep Tacq, features contributions from Julian Heynen and Christa-Maria Lerm-Hayes, Yves Gevaert, and curator Meschede.