• Mira Schendel

    Tate Modern
    September 25, 2013–January 19, 2014

    Curated by Tanya Barson and Taisa Palhares

    Swiss- Brazilian artist Mira Schendel made art as she lived life, laying waste to oppositions. A practicing Catholic of Jewish heritage, she was displaced from Milan to Sarajevo before settling, via Rome, in Brazil in 1949. In São Paulo, her circle included philosophers, poets, physicists, and Dominican friars. Her spare, deeply sensuous work spans media and pictorial modes: Her monotypes and graphic objects propel representation and language to the point of abstraction; her rice-paper sculptures transform translucent voids into knotted, tactile webs and delicate, pliant folds; her paintings swivel from geometry to gesture, refusing contemporaneous designations of Concretism, Neo-concretism, and art informel alike. This exhibition—Schendel’s first full-scale international retrospective—includes more than three hundred works, which, together with the accompanying catalogue, promise to disrupt phenomenological expectations and art-historical narratives alike.

    Travels to the Pinacoteca do Estado de São Paulo, 2014.

  • Dayanita Singh, Dream Villa 11, 2007, 2008, C-print, 18 1/8 x 18 1/8". From the series “Dream Villas,” 2007–10.

    Dayanita Singh, Dream Villa 11, 2007, 2008, C-print, 18 1/8 x 18 1/8". From the series “Dream Villas,” 2007–10.

    “Dayanita Singh: Go Away Closer”

    Hayward Gallery
    Southbank Centre, Belvedere Road
    October 8–December 15, 2013

    Curated by Stephanie Rosenthal

    Dayanita Singh’s largest survey to date will feature a broad selection of the New Delhi–based photographer’s work, ranging from her 1989–2001 photo-essay about her friendship with a eunuch, Myself Mona Ahmed, to her balefully tinted “Blue Book” series, 2008, as well as seven wooden “portable museums” freshly fabricated for this show. In the last, Singh’s long association with archives—the decaying files and musty volumes that, like museums, acknowledge the irretrievability of the very past they preserve—has come full circle. These large works resemble giant open books, and each is dedicated to a suite of a hundred-odd theme-based photographs depicting, for example, furniture, textiles, or “chance.” As temporary monuments, Singh’s movable structures remind us that the further from history we attempt to travel, the more closely it enfolds us.