Sunday, January 25
Two films, one shot like an action movie and the other as a documentary, are on view in Yael Bartana’s latest exhibition and continue a practice concerned with identity, nationhood, and belonging. For Inferno, 2013, the Israel-based artist chronicles the inauguration and destruction of a temple in Sao Paulo, while in True Finn, 2014, she aims to create and document a utopian moment by bringing eight people together under the same roof for seven days.
Brooklyn-based collective Cleopatra’s has tasked itself with building an exhibition that eliminates distinctions (categorical, hierarchical) between artists. Work by Sam Anderson, Van Hanos, Trevor Shimizu, Greg Parma Smith, and Stanya Kahn are placed alongside the output of Etel Adnan, Charles Gaines, Maria Lassing, Louise Lawler, Robert Longo, and Mira Schendel. There is Peter Fend and Carrie Mae Weems, Frances Stark and Sigmar Polke, Shelia Hicks and Josh Kline. If Cleopatra’swhose members include Erin Somerville, Colleen Grennan, Bridget Finn, and Bridget Donahuehave ditched narrative in favor of visual conversation, the din here is as lively as ever.
Looking Back / The 9th White Columns Annual
This comprehensive survey of Sturtevant’s career is also the first institutional exhibition of her work mounted in the US since a solo show at the Everson Museum of Art in 1973. “Sturtevant: Double Trouble” brings together more than fifty major works in painting, drawing, photography, sculpture, film, and video, including her notorious 1964 versions of works by contemporaries like Jasper Johns and Andy Warhol, made to explore concepts of originality, authorship while probing at the limits of Pop art.
Sturtevant: Double Trouble
The solo career of David Weiss—prior to his lifelong collaboration with Peter Fischli, which began in 1979—is the subject of this pristinely installed exhibition, which debuted at the Bündner Kunstmuseum in Chur, Switzerland. On view is an extraordinary group of works of paper made between 1968-1979 that chronicles Weiss’s commitment to his cultural and political moment. Also on display is never-before seen archival material.
David Weiss David Weiss: Early Works, 1968-1979
Two eras of television programming are set side by side: “Here in the Real World” pairs John Miller’s recent paintings of reality television personalities with works from his “Game Show” series. Curated by Piper Marshall, this exhibition provides a snapshot of the camera’s authority over the packaging and production of our public selves.
John Miller Here in the Real World
Illustrator and author Tomi Ungerer is as known for his children’s classics (The Three Robbers, 1961; Moon Man, 1966) as he is for his pictorial campaigns against racism, fascism, and the Vietnam War, which ran amid stinging depictions of politics and business in publications like the New York Times and the Village Voice. He is less known for his graphic erotic drawings, which are highlighted in this exquisite retrospective, his first in the United States.
Tomi Ungerer Tomi Ungerer: All in One
Sarah Sze takes over Victoria Miro’s Warf Road and Mayfair gallery locations in her first solo show in Europe since representing the United States at the 2013 Venice Biennale. On Warf Road, Sze’s installations made of rocks, newspapers, and furniture explore various measurements of time, mass, and volume. In Mayfair, a site-specific installation of small sculptures spreads across the gallery floor.
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Sarah Sze takes over Victoria Miro’s Warf Road and Mayfair gallery locations in her first solo show in Europe since representing the US at the 2013 Venice Biennale. On Warf Road, Sze’s installations made of rocks, newspapers, and furniture explore various measurements of time, mass, and volume. In Mayfair, meanwhile, a site-specific installation of small sculptures spreads across the gallery floor.
Reprising an installation first shown at Umbria’s Palazzo Vignola, Jannis Kounellis takes over Sprovieri with an installation based on men’s coats drenched in black tar. Kounellis’s stark critique of contemporary consumer culture stays true to his Arte Povera roots.
Walead Beshty transforms the walls of the Barbican Art Gallery with a floor-to-ceiling installation consisting of more than 12,000 cyanotypes: blue-tinged photographic prints made by placing various objects on UV-sensitive material and exposing them to sunlight. Presented in chronological order, the cyanotypes date from fall 2013 to summer 2014; the most recent were made during the artist’s residency at the Barbican.
This comprehensive retrospective of the untiring, always unsatisfied, and influential German artist Sigmar Polke was organized by Kathy Halbreich of the Museum of Modern Art with Tate Modern curator Mark Godfrey and MoMA curatorial assistant Lanka Tattersall. The MoMA iteration refused wall labels, pointing audiences instead toward orienting pamphlets; Tate Modern has gone with a more conventional installation.
Alibis: Sigmar Polke 1963–2010
David Altmejd, whose retrospective is on view at the Musée d’Art Moderne in Paris until February 1, 2015, presents a series of spectacular head sculptures mounted on tables and plinths. This is the fourth solo show with Modern Art for the Canadian-born, New York–based artist.
David Altmejd ‘Faces’
Following his recent solo shows in Paris (Palais de Tokyo, 2013) and Buenos Aires (Daros Foundation, 2014), Julio Le Parc installs his mesmerizing kinetic works in London’s Serpentine Galleries. The companion program of screenings, readings, talks, and performances is inspired by the octogenarian artist’s use of light.
Julio Le Parc
This posthumous show of American painter Bill Lynch (1960–2013) is the artist’s first outside of the United States. His paintings on salvaged plywood incorporate the support’s natural irregularities—knots and wood grain—into depictions of a range of subjects including landscapes, cultural artifacts, and mythical symbols.
Danh Vo, who will represent Denmark in this year’s Venice Biennale, shows sculptures, prints, letters, and photographs in his first major solo show in London. Among the new works is a large-scale mobile made of cardboard and various iron and wooden farm tools, suspended beneath the gallery’s dramatic skylight.
Danh Vo Homo Sapiens
This solo presentation of School of Paris painter Serge Poliakoff includes important late works, often referred to as “silent paintings,” alongside paintings from the 1950s. The exhibition highlights the circular nature of Poliakoff’s exploration of color and simple forms.
Serge Poliakoff Serge Poliakoff: Silent Paintings
Gagosian presents recent work by Richard Serra across two galleries. Four monumental steel sculptures are displayed at the Britannia Street gallery, while a single large-scale drawing Serra made in 2011 is on view at the Davies street location.
Richard Serra Backdoor Pipeline, Ramble, Dead Load, London Cross
Presenting paintings made over the last decade, London-based artist Katy Moran’s retrospective reveals the artist’s longtime fascination with the intersection of figuration and abstraction. Moran’s dynamic compositions, in which representational and abstract imagery appear side by side, flout the conventions of both painting genres.
Fourteen of the 2003 Turner Prize–winning artist’s portraits are interspersed amid permanent works in the museum’s nineteenth- and twentieth-century rooms. Perry’s twenty-first century subjects range from politicians and protesters to families and reality TV stars.
Grayson Perry Who Are You?
To celebrate the one hundredth anniversary of the first exhibition of Kazimir Malevich’s black square painting, Whitechapel brings together more than one hundred artists whose works represent a similar spirit of new art and new society. Organized chronologically and thematically, the show’s paintings, photographs, and sculptures track the evolution of abstract art over the past century.
Adventures of the Black Square: Abstract Art and Society 1915 - 2015
Taking the form of a visual dialogue, this exhibition brings together rarely shown works on paper by Marlene Dumas and Juan Muñoz. Responding to specific drawings by the late Spanish artist, Dumas has selected a number of her own drawings that also depict the human body.
Marlene Dumas/Juan Muñoz Drawings
Isabella Bortolozzi presents Ed Atkins’s three-channel video installation Ribbons, 2014, which was first shown at the Kunsthalle Zurich and more recently at London’s Serpentine Gallery. The immersive work transforms the exhibition space with images and sounds describing bodies in space.
Filling the exhibition space at the Schinkel Pavillion, Philippe Parreno’s How Can We Tell the Dancers from the Dance, 2012, consists of an empty circular dance floor around which a section of a white wall slowly rotates. Conjuring the ghostly presence of invisible dancers, a sound recording made during performances of Merce Cunningham choreographies plays while viewers contemplate the empty stage.
Philippe Parreno How Can We Tell The Dancers From The Dance
Focusing on Joachim Badau’s early sculptures from the 1960s and ’70s, this exhibition emphasizes the artist’s combined use of organic and technical forms. Made with materials such as fiberglass, aluminum, and hoses, Badau’s figures appear equal parts human and machine.
Joachim Bandau Figures and Machines
KW presents Ryan Trecartin’s first institutional solo show in Germany. The American artist presents a new multichannel movie in the context of a site-specific installation specially designed for KW's exhibition hall. The new production is a collaboration with Trecartin’s longtime creative partner, Lizzie Fitch.
Ryan Trecartin Site Visit
Galerie Barbara Weiss’s group show honors the twenty-fifth anniversary of the fall of the Berlin Wall. Recognizing this pivotal moment as one among many important political events during a period of worldwide change, the presented works are diverse reflections of this transitional era.
Paintings made by Dorothy Iannone in America during the 1960s are presented together for the first time since the artist’s 1989 show in West Berlin. Heavily influenced by Abstract Expressionism, Iannone’s distinct visual language also incorporates figuration and text.
Mexican artist Mariana Castillo Deball’s large-scale installation for the historic Hamburger Banhof hall focuses on what the artist calls “biographies of things.” Borrowing objects from various Berlin museum collections, Deball draws the viewer’s attention to the itinerant nature of these art objects, which, over time, have alternately been installed on pedestals and in vitrines, inside galleries and in outdoor courtyards, and in the context of private collections and public exhibitions.
Mariana Castillo Deball
Marking the fortieth anniversary of the Khmer Rouge coup in Cambodia, this exhibition juxtaposes documentary films and photographs by Cambodian artists Rithy Panh (whose Oscar-nominated film The Missing Picture  will be screened daily), Khvay Samnang, and Vandy Rattana, with related works by Singaporean theater director Ong Keng Sen and European artists Günther Uecker and Tim Page.
Rithy Panh, Khvay Samnang, Vandy Rattana, Günther Uecker, Tim Page The Khmer Rouge and its Consequences.
Markus Lüpertz’s first major solo exhibition in Berlin in five years presents new large-scale paintings bearing the artist’s signature mixture of abstraction and figuration. Using Greek mythology as his subject matter, Lüpertz disrupts would-be classical scenes by inserting seemingly contradictory elements like fragmented bodies, animal skulls, and helmets.
Markus Lüpertz Neue Bilder
Tracing the evolution of Joseph Beuys’s sculptures, this exhibition begins with early works influenced by Wilhelm Lehmbruck and Ewald Mataré. Many of the sculptures on view hail from Céline and Heiner Bastian’s own collection and are being shown at the gallery for the first time ever, following a long-term loan to the Hamburger Bahnhof.
“Fuzzy Math,” the title of Sadie Benning’s debut with this gallery, is a term taken from set theory, which has been used to generate “truthy” explanations for political and economic events (war, elections, global warming). Benning’s output here—a series of carefully constructed resin on wood pieces—is predicated on the repercussions of this ideology, resulting in works that image the aftershock of trauma.
The first major retrospective of Pierre Huyghe crystallizes more than two decades worth of output into a single environment. Fifty pieces, many being presented in the US for the first time, have been arranged thematically. Some act as much as artworks as exhibitions and events unto themselves, promising encounters unique to each viewer. This is an exhibition that insists on the living dimension of Huyghe’s sublime practice.
Tom of Finland’s lusty, homoerotic depictions of muscled men were groundbreaking for their pluck and spirit. This exhibition brings together works created between 1944 and 1972, making an exceptional case for the legacy and influence of this artist. There is leather and military garb, locker rooms and stables, policemen and sailors. An accompanying catalogue, designed by Brian Roettinger and featuring an essay by Kevin McGarry, will be published this spring.
Tom of Finland Early Work 1944 - 1972
Included in Thomas Demand's latest exhibition are two new photographic series from 2014: “Backyard” images the dilapidated home of Boston Marathon bomber Tamerlan Tsernaev; for “Atelier,” Demand has remade Henri Matisse’s studio at the Hotel Régina in Nice, France, where the artist created the bulk of his cutouts. In both, the central figuresTsernaev’s wife and the late artistare absent, emphasizing Demand’s interest in the reconstruction of news media and artistic practice, where bodies seem less vital than material.
Thomas Demand Thomas Demand
This exhibition, which originated at New York City’s International Center for Photography, brings together over 200 photographs by the Russian-born Jewish photographer. On view are Vishniac’s Berlin streetscapes taken during the rise of Nazi power and powerful images documenting Jewish life across Eastern Europe commissioned by the American Joint Distribution Committee (the world’s largest Jewish relief organization).
Roman Vishniac De Berlin à New York, 1920-1975
Known primarily for his interventions in public and private spaces, so-called anti-happenings, the late Slovakian artist Július Koller aimed to break down barriers between art and life. The current exhibition presents a work that was part of the artist’s performance at the 2003 Venice Biennale.
Július Koller A. for Atlantis
David Altmejd’s first retrospective in France was conceived as an artwork in its own right. The immersive installation evokes an alien landscape populated by sculptural beings whose bodies are intricate fusions of natural elements and high-tech materials.
David Altmejd Flux
This traveling exhibition dedicated to American photographer Garry Winograd is the late artist’s first retrospective in France in more than twenty years. Grouped into three chronological sections, the show connects Winograd’s iconic photographs of New York City in the 1950s and ’60s with work from his less well-known late period (1971 until his death in 1984) during which he documented street life in other American cities including Chicago, Washington, D.C., and Miami.
Organized in collaboration with the Guggenheim Bilbao, the first major retrospective of Niki de Saint Phalle in twenty years celebrates the artist’s diverse oeuvre with more than two hundred paintings, sculptures, prints, films, and performances. The Grand Palais exhibition locates Saint Phalle—who was born in France, grew up in the United States, and worked between the two countries during her long career—as simultaneously part of Paris’s neo-realist movement and New York’s Pop art movement.
Niki de Saint Phalle Niki de Saint Phalle
Brussels-based artist Nicolas Party presents new pastels inspired by Félix Vallotton’s 1916 painting Four Torsos, which depicts four female nudes seen from behind. Party’s large black-and-white nudes drawn directly on the walls of the Centre Culturel Swiss create a sensual backdrop for his framed colorful pastel landscapes.
Nicolas Party Pastel et nu
Olafur Eliasson’s work for the newly opened Frank Gehry–designed Fondation Louis Vuitton is an elaborate choreography of light and shadows. Among the experiential site-specific works is an outdoor solar device that directs sunlight onto a sculpture suspended inside the gallery.
Olafur Eliasson Contact
Marian Goodman is presenting two recent video works by Dutch artist Rineke Dijkstra, which debuted at Manifesta 2014. One of the videos introduces Marianna, a young Russian classical dancer, and the other, projected on three walls of the gallery, depicts rhythmic gymnasts in St. Petersburg.
Following the Centre Pompidou’s Jésus Rafael Soto retrospective in 2013, Galerie Perrotin dedicates its Paris and New York spaces to the late Venezuelan Op artist. On view are important historical and recent works (from 1957 to 2003), many borrowed from the artist’s estate and from various institutions.
Jesus Rafael Soto Chronochrome
Known for her critiques of consumer culture, Croatian artist Dora Budor uses materials from the film industry to create her latest body of work. Wall-mounted sculptures and a pair of movie theater–style armchairs are festooned with actual Hollywood special effects artifacts such as silicone scars and cyborg prosthetics.
Dora Budor The Architect's Plan, His Contagion, and Sensitive Corridors
Jessica Stockholder’s sixth show with Nathalie Obadia includes a monumental site-specific installation created in response to the gallery’s architecture. Shown together with seven smaller sculptures, Stockholder’s landscape of ordinary objects appears simultaneously orderly and chaotic.
Following her 2014 presentation at the Serpentine Galleries in London, American artist Trisha Donnelly’s fourth show with Air de Paris similarly adheres to her wont—the exhibition provides neither explanatory wall text nor a press release, thus challenging viewers to interpret the works according to their own associations and impulses.
Daniel Buren’s fourth solo show at Kamel Mennour is a site-specific installation, made of marble, stone, granite, and graphite. Buren is familiar with the exhibition space, as he exhibited there more than three decades ago, when it belonged to Galerie Eric Fabre.
Daniel Buren Au Fur et à Measure
Reprising the snake motif from his presentation at the Swiss Pavilion at the 2013 Venice Biennale, Valentin Carron’s current exhibition features “belt snakes,” which are shown in the context of a barn facade with an exact replica of a 1950s sculpture by Swiss artist Andre Gigon.
Valentin Carron L'Autoroute du Soleil à Minuit
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Twenty-seven years after Jeff Koons’s famous sculpture of an inflated Mylar bunny toy (Rabbit, 1986) was shown at the Pompidou Center, the American artist is back with his first major retrospective in Europe. Having traveled from the Whitney Museum of American Art in New York, the show features new creations and many of the artist’s best-known works, from his basketball aquariums to monumental balloon-animal sculptures.