• Tacita Dean, Antigone, 2018, two-channel 35-mm film, color, sound, approx. 60 minutes.

    “Tacita Dean: Landscape”

    Royal Academy of Arts | Piccadilly
    Burlington House, Piccadilly
    May 19–August 12, 2018

    Curated by Sarah Lea and Desiree de Chair

    “Landscape” is one of a trio of genre-themed exhibitions Dean will present in London this spring, as part of an unprecedented collaboration between three major institutions. (The National Portrait Gallery will focus, unsurprisingly, on Dean’s portraiture, and the National Gallery will show her still lifes.) Dean’s landscapes span disparate materials—chalk drawings, films, gouache on found postcards—but a beguiling interest in the contingent and the ephemeral is found throughout the artist’s extensive engagement with the genre. At the Royal Academy, a survey of this work will be accompanied by the premiere of a 35-mm film made using the same aperture—masking technique the artist developed for FILM, 2011, her monumental commission for Tate Modern’s Turbine Hall. Like that paean to analogue materiality, this new film will rely on distinctly photochemical means to explore the possibilities of compositing, an operation typically associated with digital imaging.  

  • Joan Jonas, Double Lunar Rabbits, 2010, video, color, sound, 4 minutes. © Artists Rights Society (ARS), New York/DACS, London.

    Joan Jonas

    Tate Modern
    March 14–August 5, 2018

    Curated by Andrea Lissoni and Julienne Lorz with Monika Bayer-Wermuth

    Tate Modern March 14–August 5 Curated by This exhibition will be the largest survey of Joan Jonas’s work ever presented in the UK, and the first to make use of multiple venues within Tate Modern and adjacent outdoor waterfront spaces. Displaying twenty works spanning Jonas’s five-decade-long career, the show will include large-scale multimedia installations, single-channel videos, films, and live performances, including germinal works such as Mirror Piece, 1969; Organic Honey’s Visual Telepathy, 1972; Mirage, 1976; The Juniper Tree, 1976; Reanimation, 2010;and Lines in the Sand, 2002–2005. In keeping with Jonas’s interest in returning to earlier projects as the basis for new work, several of the performances will be reinterpreted. A fully illustrated catalogue will provide a diverse collection of interviews with Jonas at different moments in her career, but the question remains: When will a comparable exhibition of Jonas’s work be mounted in the United States? Travels to Haus der Kunst, Munich, November 9, 2018–March 3, 2019.