Monday, September 26
Like humanized and seductively penetrable versions of Frank Stella’s object-paintings, Lisa Beck’s compositions of concentric, slightly imperfect rectangles stand at the center of the gallery like sentinels. Pairing her paintings with Mylar “mirrors”—which meet each canvas at a right angle—Beck gives geometric abstraction a trippy through-the-looking-glass treatment.
Lisa Beck The House of Eternity
Featuring more than forty new works installed across Perrotin’s three Paris galleries, this expansive show confirms the artist’s talent for seamlessly weaving artistic styles, ranging from traditional Japanese painting and contemporary manga to Abstract Expressionism and Pop art. Grandiose and fun, the monumental panel painting A Picture of Lives
Wriggling in the Forest at the Deep End of the Universe, 2015, acts as a useful anthology of the recurrent themes and characters populating Murakami’s hypercharged “superflat” universe.
Confirming Rosenquist's longtime fascination with technology and popular culture, this impressive collection of paintings (many of which are loans from the artist himself) includes the explosive “Meteor” series, where space rocks crash into pillars of Modern Art from Picasso to Brancusi. Examples of the artist’s less well-known collages are concurrently on view at Ropac's flagship gallery in the Marais (through October 15).
James Rosenquist Four Decades, 1970–2010
Giuseppe Uncini, a contemporary of Piero Manzoni and Enrico Castellani, began working with concrete in the late 1950s. Highlighting the artist’s interest in the relationship between object and shadow, the works on view include several flat concrete architectural studies Dimore (Mansions)whose geometric forms suggest doors, windows, roofs, and their shadows. Rather than creating dimension, Uncini implies it.
Kishio Suga’s first European retrospective includes more than twenty installations dating from 1969 to the present day. Appreciated within the HangarBicocca's vast industrial architecture, the Japanese artist’s beautiful. but unsettling stacks and suspensions of organic and man-made elements (including materials found on site) upend our understanding of gravity, solidity, and tension.
Kishio Suga Situations
Emphasizing the diversity of materials and styles Mimmo Rotella employed throughout his career, this exhibition (part of a multivenue tribute to the Italian artist on the tenth anniversary of his death, with concurrent shows at Cardi Gallery [September 20–December 22], Galleria Carla Sozzani [October 9–November 13], and Fondazione Marconi [December 2–February 4]) shifts the focus from his renowned décollages to his remarkable photographs, paintings, and ceramics. Particularly resonant are his doctored covers of American news magazines, including Time and Newsweek emblazoned with alarming headlines such as “Italy’s Trial by Terror” and “Italy in Torment.”
Mimmo Rotella THE MAVERICK MIMMO ROTELLA
Strange, humorous, and sardonic, Urs Fischer’s new small-scale bronzes are presented at Massimo De Carlo’s converted warehouse on Via Ventura. Arranged in a theatrical tableau, the twenty-six hand-painted figurines include a female nude reclining on a chaise longue next to a snail, a crying horse, and piano-playing rat. (Fischer’s work is concurrently on view at the gallery’s new location at the Piazza Belgioioso)
Urs Fischer Battito di Ciglia
Known for his décollages made from torn street posters in Rome, Mimmo Rotella also made so-called “Blanks” by sticking large monochrome sheets of paper onto advertisements. First shown in Milan in 1980, and rarely exhibited since, these striking erasures are back in the spotlight as part of a multi-venue tribute to the Italian artist on the tenth anniversary of his death. The late Nouveau Réaliste's work is also on view at: Fondazione Marconi (December 2–February 4), Galleria Carla Sozzani (October 9–November 13), Robilant + Vena (September 20–October 28.)
Mimmo Rotella Blanks
In addition to the well-known sculpture that lends the show its title, this exhibition features other politically charged sculptures by Ed and Nancy Kienholz. Among them: The Bronze Pinball Machine with Woman Affixed Also, 1980, which presents the female body as pure entertainment, and 76 J.C.s Led the Big Charade, 1993–1994, one of the couple’s final installations, in which seventy-six wall-mounted crucifixes (made with baby doll parts and wagon chassis) take aim at institutionalized religion.
Edward Kienholz and Nancy Reddin Kienholz KIENHOLZ: FIVE CAR STUD
The title of Betye Saar’s first exhibition in Italy, “Uneasy Dancer,” is an expression the Californian used to describe herself and her process, which she recently described in her Artforum.com 500 Words as a “personal ritual.” Uniting more than ninety works produced between 1996 and 2016 and showcasing Saar’s powerful critique of racist and sexist stereotypes, this show features intimate assemblages created inside boxes and suitcases as well as large-scale installations, such as The Omega (The Beginning and the End), 2013–16, a circular environment related to the life cycle that was adapted specifically for this show.
Betye Saar BETYE SAAR: UNEASY DANCER
A wide sampling of Andy Warhol’s signature 1960s “Screen Tests” as well as his Polaroids from the ’70s and ’80s make up the first show in China to look at the major role of mechanical reproduction in Warhol’s work. Also on view, his screen-printed wallpapers and fetching, iconic Silver Clouds guide viewers across the gap between indexicality and pure, tactile materiality.
Andy Warhol Contact