previews

  • Tony Conrad

    Kunsthalle Wien Museumsquartier
    Museumsplatz 1 & at Karlsplatz
    December 3–March 1

    Curated by Gareth Long

    Tony Conrad’s work has always engaged with regimes of power and the subject’s place within them, whether in the phenomenologically demanding acoustic environments created by the Theatre of Eternal Music or the cognitively scrambling optical impacts of his 1965 stroboscopic film The Flicker. In the early 1980s, Conrad began to make such thematizations of power explicit in pieces like Beholden to Victory, an “army film” that implicates its audiences in the dynamics of surly officers and shiftless, insubordinate privates. Conrad’s sequel, a women-in-prison epic known as the “jail movie” and shot with Mike Kelley, Tony Oursler, and others, long remained unfinished, until its installation at New York’s Greene Naftali Gallery in 2013 as WiP, complete with full-size jail cells and enigmatic glass “paintings.” For this exhibition, Conrad will reconfigure his prison project, adding a new series of diagrammatic works on canvas, effectively projecting the disciplinary penal institution through the kunsthalle’s architectural and institutional context.

  • Cosima von Bonin, THE BONIN/OSWALD EMPIRE’S NOTHING #4 (CVB’S PURPLE KIKOY SLOTH RABBIT ON PINK TABLE & MVO’S KIKOY SONG), 2010, fabric, varnished-wood table, wheels, DVD-R, dimensions variable. Photo: Markus Tretter.

    “Cosima Von Bonin: Hippies Use Side Door. The Year 2014 Has Lost The Plot”

    mumok – Museum moderner Kunst Stiftung Ludwig Wien
    Museumsplatz 1
    October 4–January 18

    Curated by Karola Kraus

    From its inception in the early 1990s, Cosima von Bonin’s practice has relied on the input and influx of others, a fact evidenced in both the mnemonic matrix of art-historical references manifest in her stuffed-animal sculptures, textile paintings, and labyrinthine installations, and in the number of her projects to which various of her network of peers and colleagues has contributed. Thus, this comprehensive survey will hardly read as a one-woman show, but rather as a display of delegated authorship and enforced collaboration. Alongside reconstructions of her own exhibitions, the artist will incorporate works from MUMOK’s collection by the likes of André Cadere, Isa Genzken, Mike Kelley, and Cady Noland; stage concerts (involving longtime confidant Dirk von Lowtzow); and present a selection of cherished movies (e.g., by Tati and Romero)—all of which are prone to be implicated in von Bonin’s allegorical explorations of the lingering promises of participation and post-Fordist ennui.