previews

  • Basim Magdy, An Apology to a Love Story That Crashed into a Whale (detail), 2016, sixty-four C-prints on metallic paper, each 18 7/8 × 28 3/8".

    “Basim Magdy: The stars were aligned for a century of new beginnings”

    Museum of Contemporary Art, Chicago (MCA Chicago)
    220 East Chicago Avenue
    December 10 - March 19

    Curated by Omar Kholeif

    Rainbows, prisms, and a bouquet of tulips with playful faces drawn on their petals. Industrial wastelands and barren cityscapes. Soldiers, superheroes, skeletons, and a giant squid paired with a rocket. Basim Magdy’s first-ever US museum survey offers an introduction to the Egyptian artist’s sprawling, cheerfully sinister visual vocabulary via thirty-six works from the past decade, including drawings, paintings, films, photographs, and installations that reveal a perpetual remixing of tragicomic iconography. Magdy’s materials (gouache, spray paint, pen, Super 8 film dyed with household chemicals) are seductive and nostalgic. But his use of text—axioms, aphorisms, and witticisms that are superimposed on photos and films—is by turns bracingly critical and wry. In the accompanying catalogue, Kholeif and four other curators parse the various tensions (“word/picture,” “past/future,” “digital/analog,” “hope/disaster”) at play in Magdy’s oeuvre.

  • “Ben Rivers: Urth”

    The Renaissance Society
    5811 South Ellis Avenue Cobb Hall, 4th floor
    September 10 - November 6

    Curated by Solveig Øvstebø

    Utopia: It is no place. The word evokes unrealized visions and failed attempts, and yet the idea persists. Featuring recent work, including four films and a selection of drawings and photographs within a site-specific installation, “Urth,” Ben Rivers’s first museum exhibition in the US, will explore the artist-filmmaker’s long-standing interest in imagining other worlds within and beyond our own. Whether presenting a science-fictional portrait of four island societies on a drowned planet (Slow Action, 2010) or an intimate, seasonal diary shot in his own home (Things, 2014), Rivers uses the moving image to create alternate, distinct territories. “Urth” will debut a commission shot at the Biosphere 2 ecological research center in Arizona and will include screenings of two of the artist’s feature films. A monograph coproduced with Kunstverein in Hamburg, the Camden Arts Centre in London, and the Triennale di Milano will include essays by Melissa Gronlund, Ed Halter, and Andrea Picard and a comprehensive annotated filmography.