• Wolfgang Tillmans, Iguazu, 2010, ink-jet print.

    Wolfgang Tillmans, Iguazu, 2010, ink-jet print.

    Wolfgang Tillmans

    Tate Modern
    February 15–June 11, 2017

    Curated by Chris Dercon and Helen Sainsbury

    From the beginning, Wolfgang Tillmans’s exhibitions have involved many photographs unconventionally installed: big and small, framed and tacked to the wall, ganged together and isolated, personal and reportorial. This approach characterized his sensational retrospective at Tate Britain in 2003, and is sure to define this follow-up show, which is slated to include slide projections, publications, and music, as well as a series of performances in the Tanks. Although the new show will pick up where the 2003 iteration left off, most of the work was made more recently and, Tillmans says, “the whole exhibition looks at the now.” For an artist who insists he does “not see hedonism and activism as exclusive sites,” that “now” is bound to include his vocal stand against Brexit in the UK and Trump in the US. “My work is always speaking about questioning myself,” he says. “Where am I? What am I? What is my relationship to the world I live in?”

  • Isaak Brodsky, V. I. Lenin and Manifestation, 1919, oil on canvas, 35 3/8 × 53 1/8". From “Revolution: Russian Art 1917–1932.”

    Isaak Brodsky, V. I. Lenin and Manifestation, 1919, oil on canvas, 35 3/8 × 53 1/8". From “Revolution: Russian Art 1917–1932.”

    “Revolution: Russian Art 1917–1932”

    Royal Academy of Arts | Piccadilly
    Burlington House, Piccadilly
    February 11–April 17, 2017

    Curated by Ann Dumas, John Milner, and Natalia Murray

    The October Revolution of 1917 turns one hundred this year, which means we are in for a slew of exhibitions around the globe commemorating the birth of the world’s first workers’ state and its far-reaching impact on the arts. The Royal Academy presents a panoramic survey of early Soviet painting, sculpture, porcelain, photography, film, and print media, including perhaps most notably a reconstruction of Kazmir Malevich’s 1932 installation of his paintings and “architektons.” Inspired by recent art-historical scholarship and in line with art-market trends, the exhibition eschews the binary of avant-garde experiment and socialist-realist conformity in favor of a thematic presentation that addresses contentious issues such as the formation of proletarian subjectivity, the impact of crash industrialization and agricultural collectivization, and the persistence of nationalism notwithstanding the hope for world revolution. An accompanying catalogue includes contributions from Masha Chlenova and other leading scholars in the field.