• George Condo, Spiderwoman, 2002, oil on canvas, 96 x 80".

    George Condo

    Schirn Kunsthalle Frankfurt
    July 25–May 28

    Hayward Gallery
    Southbank Centre, Belvedere Road
    October 18–January 15

    New Museum
    235 Bowery
    January 26–May 15

    Museum Boijmans Van Beuningen
    Museumpark 18-20
    June 25–September 25

    Curated by Ralph Rugoff and Laura Hoptman

    George Condo appeared on the international art scene in the early 1980s with a series of phony old-master paintings, works that borrowed from canonized techniques to render disfigured portraits, subsuming the apparently contradictory tendencies of the moment: a resurgence of figurative painting and a predominant critical discourse on appropriation. At the time, the lines between the two camps seemed solid; in hindsight, the distinctions have grown murky. This exhibition, co-organized by the New Museum and the Hayward Gallery, will portray an artist ahead of his time, featuring some eighty works from Condo’s brash premiere to the present.

  • Joan Miró, May 1968, 1968–73, acrylic on canvas, 78 3/4 x 78 3/4". © Fundació Joan Miró, Barcelona.

    Joan Miró

    Tate Modern
    April 14–September 11

    Curated by Matthew Gale and Marko Daniel

    With his whimsical figures and candid use of color, Joan Miró has been cast as among the most playful of modern artists. This retrospective—Miró’s first in London in almost fifty years—suggests there was also a more troubled side to his work: one keyed continuously, if not always overtly, to the political turmoil of his time. Organized in collaboration with the Fundació Joan Miró and accompanied by a substantial catalogue, the show makes its case with more than 150 objects tracing the artist’s development from his formative years in Catalonia and in Parisian exile during the Spanish civil war to his return to Spain in 1940, his endurance of Franco’s regime, and his last decades, spent in Majorca.

  • Susan Hiller, Belshazzar’s Feast, 1983–84, U-matic color videotape, PAL, 20 minutes; 12 C-type photographs cut out and mounted under perspex, over 12 gouache drawings on acetate sheets, mounted on wallpaper; overall dimensions variable, each mounted photograph 20 x 16 1/4".

    Susan Hiller

    Tate Britain
    February 1–May 15

    Curated by Ann Gallagher

    The practice developed by UK-based Susan Hiller over the past forty years has been remarkable for both its diversity of form and its consistency of focus. In her treatment of objects and phenomena drawn from cultural and natural sources, she has explored the range of those presumptions, fantasies, nightmares, and aspirations that shape our shared reality. Her work reveals a fruitful interplay between contrasting orderings in the conscious and unconscious mind, and in this career-spanning show of some forty works—including major audiovisual installations such as Belshazzar’s Feast, 1983–84, and Psi Girls, 1999—supernatural irruptions into the everyday will abound. A substantial catalogue with contributions from Yve-Alain Bois, Guy Brett, Alexandra Kokoli, Andrew Wilson, and the curator accompanies the show.

  • John Stezaker, Marriage (Film Portrait Collage) LXI, 2010, collage, 9 11/64 x 8 7/64".

    John Stezaker

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    January 29–April 18

    Mudam Luxembourg
    3, Park Dräi Eechelen
    June 18–September 11

    Curated by Daniel F. Herrmann

    After forty years of sifting through antique photographs from thrift shops and flea markets—and then cropping and conjoining them to crowbar open their meanings—John Stezaker is finally being recognized at home. The ninety-plus works in his first UK retrospective should appear as a singularly unified whole, for the sexagenarian artist (who is still augmenting series he initiated three decades ago) hasn’t so much evolved as finessed his aptitude for the uncanny. As Stezaker dramatizes the irrational hold that particular images exert on him by, say, a virtuoso merging of a Hollywood actor’s features with the contours of a postcard landscape, his captivation becomes our own. The catalogue features texts by Dawn Ades and Michael Bracewell, plus a conversation between Stezaker, Herrmann, and Christopher Gallois.