previews

  • Haegue Yang, Thread with Fishhook, 1995–96, varnish, thread, and fishhook on chipboard, 10 7/8 × 9 7/8".

    “Haegue Yang: ETA 1994–2018”

    Museum Ludwig, Cologne
    Heinrich-Böll-Platz
    April 18 - August 12

    Curated by Yilmaz Dziewior with Leonie Radine

    The peripatetic Korean-born artist Haegue Yang was awarded this year’s Wolfgang Hahn Prize, whose past recipients include James Lee Byars, Isa Genzken, and Rosemarie Trockel. Yang stages metaphorical conversations between various everyday objects in her installations, which range from the uncannily anthropomorphic to the unyieldingly deadpan. Her largest exhibition to date, “ETA 1994–2018,” marks her receipt of the award and features an encyclopedic array of more than a hundred works, including photographs and videos as well as her signature installations. Accompanied by a catalogue raisonné, the show will highlight Yang’s recent baroque constellations as well as her relatively lesser—known early projects, including a set of modestly proportioned wooden panels that calls attention to form as an endlessly generative problem.  

  • James Rosenquist, Hey! Let’s Go for a Ride, 1961, oil on canvas, 34 1/8 × 35 7/8". © VG Bild-Kunst, Bonn.

    “JAMES ROSENQUIST: PAINTING AS IMMERSION”

    Museum Ludwig, Cologne
    Heinrich-Böll-Platz
    November 18 - March 4

    Curated by Stephan Diederich and Yilmaz Dziewior

    Like many Pop artists, James Rosenquist drew on the teeming image world of postwar consumer society. But unlike many of his peers, he appropriated the representational techniques and even the massive scale of one of commercial advertising’s chief forms: the billboard. Juxtaposing body parts, commodities, and sly allusions to art history within his panoramically scaled and surreal canvases, Rosenquist bridged the gap between the epic gestures of Abstract Expressionism and the cool monumentality of Minimalism. This exhibition will highlight the artist’s sustained interest in immersive visual experiences. Featuring never-before- seen preparatory collages along with such environmentally extensive installations as F-111, 1964–65, and The Swimmer in the Econo-mist,1997–98, that utilized reflective materials, the show will consider the physical and affective impact of Rosenquist’s practice.