previews

  • Digital rendering of Shawn Maximo’s installation #3 (penthouse), 2016. From the 9th Berlin Biennale for Contemporary Art: “The Present in Drag.”

    9th Berlin Biennale for Contemporary Art: “The Present in Drag”

    Berlin Biennale
    Multiple Locations
    June 4 - September 18

    Curated by DIS

    A stated theme of the Ninth Berlin Biennale is paradox, and paradoxically, the curators—four Americans collectively called DIS—are much better known for founding an online magazine, a stock images service, and a pop-up artist store hosted by a $6.5-billion-per-annum energy drink corporation than for helming institutionally sanctioned international exhibitions. With more than forty artists, including Ei Arakawa, GCC, Isa Genzken, Camille Henrot, Josh Kline, and Hito Steyerl, we can assume that what unfolds across a menagerie of venues chosen for their “paradessence” (paradox + essence) will attempt to prove that deterministic interpretations of anything that can be seen, said, or sold are antediluvian.The biennial will be anticipated by the website, and followed by the catalogue, the store, the album, and more, TBD.

  • Gülsün Karamustafa, Prison Paintings 6, 1972, mixed media on paper, 15 3/4 × 16 1/2". From the series “Prison Paintings,” 1972–78.

    “Gülsün Karamustafa: Chronographia”

    Hamburger Bahnhof
    Invalidenstraße 50-51
    June 10 - October 23

    Curated by Melanie Roumiguière

    Considering the political and social climate of Europe and the Middle East, there couldn’t be a better time for a European museum to host an exhibition by a Turkish artist who, for decades, has devoted her work to addressing such issues as politically induced migration, otherness, gender, and collective histories. Gülsün Karamustafa’s work in painting, sculpture, installation, and video traces historical and sociopolitical tensions while encouraging multiple readings—see, for example, her 1998 frieze made of illustrations from Islamic, Christian, and Jewish manuscripts. Approximately 110 works in various media dating from the 1970s to the present—including one new piece engaging the concept of monuments—should offer a rich meditation on pluralism and difference, hopefully lending insight into our current moment. Surely the catalogue, featuring contributions from the curator, Marion von Osten, Turkish sociologist Meltem Ahıska, and the artist will take on these very issues.