• “The Ey Exhibition: The World Goes Pop”

    Tate Modern
    September 17–January 24

    Curated by Flavia Frigeri and Jessica Morgan

    Revisionist attitudes toward Pop have emerged as an important trend in recent exhibitions. This show, an eclectic cornucopia of 160 paintings, sculptures, films, and photography-based works from roughly 1964 to 1974, is perhaps the most geographically expansive example to date. The exhibition emphasizes local contexts of production, with works by artists such as the São Paulo–based Anna Maria Maiolino and the Finnish Raimo Reinikainen, and establishes new signposts for tracing the oft-contested relationship between Pop and gender by devoting special attention to underexposed artists, including Eulàlia Grau, Teresa Burga, and Jana Želibská. Accompanying the exhibition is an illustrated catalogue featuring eight new essays that both affirm and advance efforts to reconsider Pop as a wide-ranging cluster of responses to the effects of politics, industrialization, economics, and mass media within a short but crucial period.

  • Emily Jacir, Lydda Airport (detail), 2009, still from the 5-minute 21-second black-and-white video component of a mixed-media installation additionally comprising sculptures.

    “Emily Jacir: Europa”

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    September 30–January 3

    Curated by Omar Kholeif and Habda Rashid

    For almost two decades, Emily Jacir’s works have served as enigmatic, stirring, and sometimes uncomfortable visual totems of the Palestinian situation. The general surreality of the Israeli occupation looms large across Jacir’s diverse sculptures, photographs, performances, and films. For her first major UK survey, the artist presents nearly twenty works from 1998 to the present. Included is Material for a Film (2004–), her mixed-media meditation on the vexed life of Wael Zuaiter, a Palestinian intellectual assassinated for his alleged involvement in the terrorist group Black September. A catalogue accompanies the exhibition and includes essays by the show’s curator Omar Kholeif, critic Jean Fisher, and scholar Graziella Parati, among others. Travels to the Irish Museum of Modern Art, Dublin, Nov. 2016.