Monday, August 31
Simon Denny titled his first major US museum presentation “The Innovator’s Dilemma,” after entrepreneurial theory, and organized the exhibition like an industry tradeshow, complete with platforms to showcase works including the 2012 Digital Life Design conference in Munich (All You Need Is . . . Data?, 2012), the Internet copyright-infringement scandal involving entrepreneur Kim Dotcom (The Personal Effects of Kimdotcom, 2013), and Samsung’s 1993 international announcement of supposedly watershed business-practice shifts (New Management, 2014).
Simon Denny The Innovator's Dilemma
Curators Klaus Biesenbach and Christophe Cherix relegated this presentation of Yoko Ono to just eleven years, 1960 to 1971—the time during which the artist acted as a vital force in the international development of Conceptual art, experimental film, and performance. On view are 125 early works, climaxing with her 1971 unofficial debut at MoMA, “Museum of Modern [F]art.”
Yoko Ono: One Woman Show, 1960–1971
“Sarah Charlesworth: Doubleworld” tracks a career that acted as a crucial link between 1970s Conceptual art and the Pictures generation. Among the series in her first major survey in New York is “Modern History,” 1977–79, which laid the groundwork for photographic appropriation; the fetching “Objects of Desire,” 1983–88; and her final contribution, “Available Light,” 2012, which is as exacting and resplendent as ever.
Sarah Charlesworth Doubleworld
Aaron Flint Jamison’s debut solo show with this gallery continues his merging of the mechanical with the handmade. A seemingly locked entrance and non-attended space greet visitors, but wait a moment and the door will unlock—as well as lock you in once you’re inside. Be sure to check out the gallery’s lower level, where Jamison’s aptitude for transforming a given space via various visual clues and prompts comes full circle.
Aaron Flint Jamison
Colombian artist Doris Salcedo often begins her process by gathering testimonies of violent oppression. These accounts take life in sculptures and installations that are primordially domestic, spectral in nature, and conjure legacies of colonialism, racism, and social injustice. Her first major retrospective, organized by the Museum of Contemporary Art, Chicago, occupies all four levels of the museum’s tower galleries.
Coco Fusco’s film And the Sea Will Talk to You, 2012, premiered at the Brooklyn Academy of Music in 2012. Londoners can now watch the Cuban-American artist and writer’s vertiginous sea and sky footage—a poetic description of immigration—while seated in inflatable inner tubes similar to those many Cubans use in attempt to reach the United States.
Coco Fusco And the Sea Will Talk to You
To enter Carsten Höller’s largest UK survey to date, visitors must choose between two different entrances, which lead to separate routes through the exhibition. No matter which door you choose, a disorienting experience awaits, thanks to a flying machine, robots, mirrors, and enormous spiral slides accessed from the Hayward Gallery’s roof.
Carsten Höller Decision
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An increasingly important reference for young contemporary artists, British conceptualist Keith Arnatt (1930–2008) rose to prominence in the late 1960s with paintings and sculptures confronting viewers with witty questions and predicaments. Arnatt’s second show with Sprüth Magers (his first in the gallery’s London space) presents examples of his droll works from the 1960s-’70s, including The Absence of an Artist, 1968, a paradoxical text-based work, shown here for the first time.
Keith Arnatt Absence of the Artist
Duane Hanson’s first survey in London since 1997 features a range of hyperreal polyester resin sculptures from the 1970s to the 1990s. Among the late artist’s portraits of working-class Americans: a housepainter, a construction worker, a custodian, and a homeless person.
Originally created for Paris’s Cartier Foundation, James Lee Byars’s The Diamond Floor, 1995, an installation of five lead-glass crystals, is now on view for the first time in the UK. This presentation coincides with two other Byars shows this summer, at Michael Werner’s New York Gallery and VW (VeneKlasen/Werner) in Berlin.
James Lee Byars The Diamond Floor
This group exhibition brings together new and rarely seen works by Laure Prouvost, Dan Rees, Simon Mathers, and Dennis Oppenheim. Among the works on view are a tapestry by Prouvost, sculptures by Mathers, monochromatic paintings by Rees, and conceptual drawings by Oppenheim.
Laure Prouvost, Dan Rees, Simon Mathers, Dennis Oppenheim Bail Bond
Joseph Cornell’s first major solo exhibition in the UK in nearly thirty-five years brings together eighty of the American artist’s signature shadow boxes. Many of the assemblages, made with miniature everyday objects and collaged photographs, prints, and engravings, are on loan from private collections and have never before been exhibited outside the US.
Joseph Cornell Wanderlust
Agnes Martin’s first retrospective since 1994 includes her hallmark gridded and striped paintings as well as lesser-known early experiments. Beginning with biomorphic paintings made in the early 1950s, the chronological exhibition (which travels to Dusseldorf’s Kunstsammlung Nordrhein-Westfalen before heading to LACMA and the Guggenheim in the US) traces Martin’s long career, until her death in 2004, with nearly one hundred paintings and drawings.
For his sixth solo show with this gallery, Christoph Keller presents sculptural installations, prints, drawings, and a film that will be completed during the run of the show. Mirrors feature prominently in the exhibition, which has a title borrowed from a 1922 novel by German philosopher Salomo Friedlaender (aka Mynona).
Christoph Keller Grey Magic
Part one of a two-venue exhibition dedicated to the late Italian artist Aldo Mondino presents fanciful paintings, sculptures, and installations including one made with marshmallows, Untitled (Marshmallow Swimming Pool), 1982. The second part of the show, “Rules for Illusions Part 2,” is on view at Galerie Isabella Bortolozzi’s main space through August 1st.
Aldo Mondino Rules for Illusions
Bringing together two key figures in American painting, Mary Heilmann and David Reed, this exhibition features more than forty works. Tracing the artists' careers back to the 1970s, the show reveals how both have continually challenged traditions of abstract painting by infusing their works with narrative and emotion.
Mary Heilmann & David Reed Two By Two
Dan Graham’s new pavilion structure made of steel and two-way mirrors is presented in conjunction with his rock opera, Don’t Trust Anyone Over Thirty. This show is timed to coincide with two outdoor exhibitions in France, at the Cité Radieuse in Marseille (MAMO) and Place Vendome in Paris.
French artist David Douard uses anonymous poems posted on blogs or forums as the point of departure for his first solo show with this gallery. Poetic in and of themselves, his latest sculptures suggest an ambiguous relationship with technology.
David Douard Bat-Breath. Battery
Paris-based artist Isabelle Cornaro has created a temporary site-specific tableau on the lower level of the Palais de Tokyo. Made with spray paint, Cornaro’s in-situ wall paintings are based on the artist’s own photographs.
Cory Arcangel presents three works that reflect his wide-ranging interest in pop music. Visitors can browse an archive of trance LPs and ponder silk screens inspired by Kelly Clarkson while listening to a drum machine loop one of the most sampled beats in music history.
Cory Arcangel AUDMCRS - PSK - SUBG
The landscapes and portraits presented in this exhibition explore an essential theme in Valerie Jouve’s oeuvre: the relationship between people and the urban environment. Works on view by the French photographer and filmmaker span from the 1980s to the present.
Valérie Jouve Bodies, Resisting
Two decades after her first solo show at the Centre Pompidou, Mona Hatoum presents more than one hundred works made between 1977 and 2015. The Palestinian-born, UK-based artist’s retrospective showcases her multidisciplinary oeuvre, which includes installations, sculptures, videos, and performances.
More than twenty Paris galleries are participating in the second edition of the sculpture exhibition held in the gardens of Sèvres Cité de la céramique (France’s national ceramics museum and manufacturer.) This year’s artists roster includes Katinka Bock, Johan Creten, Dewar & Gicquel, Ryan Gander, Mathieu Mercier, Yue Minjun, and Zoé Williams, among others.
Tracing nearly a century of artwork made in the Democratic Republic of Congo, this exhibition begins with the birth of modern painting there in the 1920s. While the focus of the show is on painting, the diversity of Congolese artistic production is demonstrated through the inclusion of music, sculpture, photography, and comics.
Beauté Congo 1926–2015 Congo Kitoko
This exhibition dedicated to Gianfranco Baruchello focuses on the Italian postmodernist’s early works, made from 1959 to 1969. Paintings on canvas, velvet, and glass are accompanied by assemblages of found objects ranging from the domestic (books and doors) to the industrial (electrical switches and turbines).
Baruchello The Sixties. Works from the collection
Curator Walter Guadagnini brings together works by Luigi Ghirri, Olivo Barbieri, and Frances Jodice to explore themes of travel—both real and imaginary. Among the works on view are photographs from Ghirri’s 1973 “Atlas” series.
Luigi Ghirri, Olivo Barbieri, Frances Jodice
Giovanni Frangi’s first show in his native city in five years presents twenty-four large-format paintings of nature: branches, leaves, shrubs, and lily ponds. Evoking a fantastical environment, the imagery was inspired by the diverse landscapes the artist has visited during his recent “nomadic workshops.”
Giovanni Frangi “The Law of the Jungle”
This exhibition dedicated to Mono-ha, the artist group formed in Japan in 1968, includes works by all ten artist members: Koji Enokura, Noriyuki Haraguchi, Susumu Koshimizu, Lee Ufan, Katsuhiko Narita, Nobuo Sekine, Kishio Suga, Jiro Takamatsu, Noboru Takayama, and Katsuro Yoshida. The works on view are characteristically made of simple materials (both natural and industrial) that are essentially unchanged by the artists.
The current exhibition dedicated to Jannis Kounellis is divided between Christian Stein’s galleries in Milan and Pero. In Pero a range of works from the 1960s–1990s includes early installations made with organic materials and live animals while the show in Milan focuses on monumental wall pieces from the 1960s.
One half of a two-venue show dedicated to Jannis Kounellis, Christian Stein’s Milan gallery presents monumental works from the early 1960s. The exhibition continues at Stein’s gallery in Pero, where historic and more recent installations are on view (April 28–September 25).
This exhibition presents over thirty works by Vincenzo Agnetti made between the late 1960s and 1980s. The Italian conceptualist’s multifaceted output mixes mathematics, art theory, photography, and sculpture.
Vincenzo Agnetti Testimonianza
The monumental triptych by Lucio Fontana on view in the newly renovated Fondazione Marconi has been installed according to the artist’s own drawings (which are also on view as part of this exhibition.) Additional works made between 1951 and 1968 demonstrate the artist’s diverse creative output, which ranges from figuration to pure abstraction.
Curated by Italian art historian Giovanni Lista, this exhibition of Futurist photography includes more than one hundred works borrowed from public and private collections. A section devoted to the “Fotodinamismo” treatise explores how the Futurists’ interest in movement translates to still photography.
Curated by Massimiliano Gioni, this exhibition traces iconographies of motherhood through the twentieth and twenty-first centuries. The 127 works by international artists celebrate femininity across a range of cultural artifacts, from Stone Age fertility figures to postfeminist art.
The Great Mother
Since 1923 the Triennale di Milano has been a showcase for modern design, including decorative arts, fashion, and architecture. Among the exhibitions this year, “Arts and Foods: Rituals since 1851” (April 9–November 1), curated by Germano Celant, provides a global overview of the connection between food-related aesthetics and rituals.
Ai Weiwei has designed and realized his first-ever solo exhibition in China at Galleria Continua and Tang Contemporary Art. After disassembling an ancestral temple from the Ming dynasty, Ai meticulously rebuilt the structure to occupy both sites by crossing the wall that separates them, forcing viewers to consider the structure in parts rather than as a whole.
Beijing-based Xu Qu’s latest project—a fenced-in tennis court—is a continuation of the artist’s ongoing fascination with objects in motion. The first large-scale outdoor installation for the artist, who was educated at Braunschweig University, “Tennis Court” is part of Taikang Space’s multidisciplinary Terrace Project, a plein-air site meant to encourage cross-disciplinary artistic experimentation.
Xu Qu 徐渠 Tennis Court | 网球场
A graduate of China Fine Arts College and an exhibitor in the 2006 Shanghai Biennale, Lu Lei has come to be known for symbol-laden installations that navigate between delineation and evocation. The three works on viewone that remains unfinishedecho and multiply each others' gestures while remaining provocative as stand-alone pieces.
Lu Lei Echo