• André Kertész, Satiric Dancer, 1926, black-and-white photograph, 9 x 7".

    André Kertész

    Gropius Bau
    Niederkirchnerstraße 7
    June 1–September 1, 2011

    Jeu de Paume
    1 place de la Concorde
    September 28, 2010–February 6, 2011

    Fotomuseum Winterthur
    Grüzenstrasse 44 & 45
    February 25–May 22, 2011

    Curated by Annie-Laure Wanaverbecq

    André Kertész has hardly lacked for intelligent attention in recent years. (A wide-ranging retrospective toured in 2005.) But as his career was nearly as long and eventful as his life (he died at ninety-one in 1985), this exhibition of some three hundred photographs— from early work shot while he was serving in the Austro-Hungarian Army to his late New York Polaroids—nonetheless promises both new material and new perspectives. Organized chronologically and punctuated by self-portraits, the show follows Kertész’s parallel lives as a witty, poetic avant-gardist and a busy pioneer of personal photo reportage. Books and an extensive selection of magazines supplement the framed images, providing an unusually broad view of the artist as working photographer.

    Travels to the Fotomuseum Winterthur, Zurich, Feb. 25–May 22, 2011; Martin-Gropius-Bau, Berlin, June–Sept. 2011.

  • Absalon, Cell nº 5, 1991, wood, cardboard, paint, neon, Perspex, 11' 6“ x 7' 1” x 1' 7".


    KW Institute for Contemporary Art
    Auguststrasse 69
    November 28, 2010–February 6, 2011

    Curated by Susanne Pfeffer

    When the Israeli artist Meir Eshel moved to Paris in the late 1980s, he adopted the pseudonym Absalon. There, in the short time before his sudden death at the age of twenty-nine, he made groups of work with generic titles such as “Proposals for Everyday Objects” and “Proposals for Habitats,” including a set of extremely restrictive nomadic living units based on the dimensions of his own body. He termed these structures Cellules—“bastions of resistance to a society that stops me from becoming what I must become.” This exhibition, the first comprehensive consideration of the artist’s work, will unite all six of his completed cells with his six city-specific prototypes, as well as unseen videos, drawings, and films. A catalogue containing essays by the curator and others accompanies the show.