previews

  • Walid Raad, My Neck is Thinner than a Hair: Engines, 2001–2003, digital print, 10 x 14".

    Walid Raad: Miraculous Beginnings

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    October 3–January 2

    Curated by Achim Borchardt-Hume

    In his 2007 book, Undeserving Lebanon, theorist Jalal Toufic writes that, in the aftermath of wars and invasions, the process of working through what has happened must not be left to the perpetrators and victims alone. Walid Raad’s practice not only speaks to Toufic’s challenge but complicates it. In an exhibition that juxtaposes a decade of key works by Raad’s Atlas Group (investigating the history of Lebanon’s civil wars) with a selection from A History of Modern and Contemporary Art in the Arab World (another Raad project, exploring the creation of infrastructures for contemporary art in the Middle East), the show, and its accompanying catalogue, will create an intriguing echo chamber for reflections on art, politics, and the ruthless economy of culture.

  • Mike Kelley, Test Room Containing Multiple Stiumli Known to Elicit Curiosity and Manipulatory Responses (Full Cast), 2001, color photograph, 28 x 49".

    Move: Choreographing You

    Hayward Gallery
    Southbank Centre, Belvedere Road
    October 13–January 9

    Haus der Kunst
    Prinzregentenstrasse 1
    February 4–May 15

    Curated by Stephanie Rosenthal

    Anyone with a fear of audience participation might be tempted to sidestep the Hayward’s autumn show. Titled with the imperative “Move,” it examines— and invites—interaction, via the lens of choreography. Unusual for an exhibition exploring the intersection of dance and art—a theme quite popular of late— “Move” puts the viewer “onstage” among installations, enacting performances from the past six decades by a variety of artists including Pablo Bronstein, Trisha Brown (whose company is in residence at Southbank Centre this fall), Tania Bruguera, Boris Charmatz, Lygia Clark, Simone Forti, Mike Kelley, Robert Morris, Bruce Nauman, and Tino Sehgal. In parallel, Yvonne Rainer—who famously wrote, “No to moving or being moved,” in 1965—has a film retrospective at the British Film Institute next door.