• “Kishio Suga: Situations”

    Pirelli HangarBicocca
    Via Chiese 2
    September 30, 2016–January 29, 2017

    Curated by Yuko Hasegawa and Vicente Todolí

    In his first European solo show, Kishio Suga, best known as one of the leading figures of the Japanese art movement Mono-ha, will be celebrated in his own right with a retrospective of twenty-three installations and sculptures from 1969 through the present. At HangarBicocca, Suga will activate objects as dynamic parts of a total structure: Viewers will find themselves immersed in an environment of wooden configurations, paraffin-wax structures, floor works composed of both organic and manufactured materials, and ephemeral outdoor interventions. The exhibition will thus bring together multiple “situations” to produce a landscape of contrasts—natural and industrial, light and heavy, hollow and solid—continuing Suga’s tendency to subvert our expectations surrounding the nature of phenomena and to emphasize spatial interstices. Accompanied by a sizable catalogue, the show will contextualize the artist within an international art scene that includes Italy’s Arte Povera and Land art in the US.

  • Betye Saar, Search for Lost Future, 2015, mixed media, 33 1/8 × 14 1/8 × 16 1/8".

    Betye Saar, Search for Lost Future, 2015, mixed media, 33 1/8 × 14 1/8 × 16 1/8".

    “Betye Saar: Uneasy Dancer”

    Fondazione Prada
    Largo Isarco 2
    September 15, 2016–January 8, 2017

    Curated by Elvira Dyangani Ose

    For more than sixty years, the Los Angeles–based artist Betye Saar has steadily produced mixed-media works that recombine diverse cultural forms, spiritual traditions, and everyday icons. Whether Saar is invoking diasporic ritual practices in her talismanic Black Girl’s Window, 1969, or formally undoing the logic of racist kitsch through her ongoing work with mammy figures and figurines, her practice occupies a vital place within histories of assemblage. “Uneasy Dancer,” the artist’s first retrospective in Italy, will feature more than ninety of her assemblages, collages, and installations from the 1960s through the present, focusing on Saar’s contributions to black feminist thought and transnationalist aesthetics. The exhibition will be curated by Elvira Dyangani Ose, whose sophisticated reframing of Carrie Mae Weems’s work in 2010 at the Centro Andaluz de Arte Contemporáneo in Seville bodes well for viewers hoping to gain a nuanced understanding of Saar’s positioning within an expanded cultural field.