Sunday, April 19
A group of early paintings by Charline von Heyl (created and exhibited in Cologne and Munich between 1991 and 1995) is currently on view in this gallery’s new uptown location. The complexity, dynamism, and confrontational beauty of these works—made at a time when Conceptual and contextual art had become the institution’s focus—insist on the mercurial nature of this artist’s practice, exemplifying that hers has been not a linear but an elliptical evolution. These are paintings that assault their viewer.
Charline von Heyl Düsseldorf: Paintings from the early 90s
Telegrams (“I Am Still Alive”), postcards (“I Got Up”), calendars (“One Hundred Years,” “One Million Years”), and the date paintings for which On Kawara is so deeply regarded are on view in this exhaustive retrospective, which is steeped in Conceptualism but stings with feeling. Also included are proposals for two unrealized works, a host of drawings, and continuous readings of his massive ledger of dates.
On Kawara On Kawara- Silence
“For the People of New York City,” Lutz Bacher's solo debut with this gallery, brings together a shattering display of installations and works, all a plethora of found objects (marbles, sandbags, hundreds of pieces of broken marble) and photographs (a child reaching for its own reflection, a snowy landscape). The result is typical for any Bacher exhibition: heartbreaking, cosmic, and invasively personal.
Lutz Bacher For the People of New York City
Organized by Lauren Cornell and artist Ryan Trecartin, the third edition of this museum’s triennial, “Surround Audience,” brings together fifty-one artists and collectives from more than twenty-five countries. The duo bills it as an exploration of the way subjectivity is depicted, how sites of artistic agency are claimed, and how systems of power are unpacked—all in the aftershock of social media.
2015 Triennial: Surround Audience
The Icelandic musician receives her first retrospective at the Museum of Modern Art. Curated by Klaus Biesenbach, the institution’s chief curator at large and director of MoMA PS1, “Björk” tracks twenty years of a fantastical practice, comprising eight full-length albums and featuring multiple collaborations with directors, photographers, designers, and artists. The show culminates with Black Lake, 2015, an immersive music and film experience commissioned by MoMA.
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
American-born Paris-based artist Sheila Hicks has created a large-scale site-specific installation for her first solo show at a UK public institution. Visitors are encouraged to touch, and even sit on, soft sculptures made with Hicks’s signature masses of brightly colored yarn and fibers.
Sheila Hicks Foray Into Chromatic Zones
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Mon 12pm to 6pm, Tue - Wed 10am to 6pm, Thu - Fri 10am to 8pm, Sat - Sun 10am to 6pm
Concurrent with the On Kawara retrospective at New York’s Guggenheim Museum, Asia House is presenting the late artist’s epic sound installations One Million Years [Past], 1970–71, and One Million Years [Future], 1980–98. One of the artist’s best-known works describing the passage of time, the piece has been performed live in various locations around the world, but is here presented as an audio recording counting the years since 998031 B.C.
On Kawara One Million Years
Following her 2013–14 retrospective, which traveled from New York to Dallas and Chicago, Isa Genzken is debuting a new series of paintings in London. The German artist’s latest works—which feature bright colors and small found objects like coins, plastic animals, and feathers—are contextualized in the company of earlier works, including a series of concrete sculptures from the 1980s.
Isa Genzken Geldbilder
The New York-based artist’s first show with David Zwirner features recent large-scale sculptures made from a variety of natural and industrial materials including I-beams, concrete pedestals, shells, and peacock feathers. One of the works on view reuses the I-beams that formed Bove’s 2013 installation on the then-unfinished High Line park in New York City.
Carol Bove The Plastic Unit
Swiss artist Roman Signer’s empty kayak (a recurring motif in the artist’s oeuvre) slowly navigates around the Barbican’s exhibition space as if gliding through water. Other kayaks installed in the foyer and outside extend the show beyond the confines of gallery.
Roman Signer Slow Movement
Amsterdam-based American artist Jo Baer’s first major solo show in a UK public gallery presents a recent series of canvases that were last seen at the São Paulo Bienal. Simultaneously figurative, abstract, and symbolic, Baer’s paintings represent interactions between man and nature while describing the artist’s own experience living in the remote Irish countryside.
Jo Baer In the Land of the Giants
Tony Cragg’s latest sculptures in wood, bronze, and marble continue his formal exploration of organic and technological structures. The new large-scale works are on view at the main gallery as well as at the nearby Buchmann Box space.
Elie Nadelman’s (1882–1946) first solo show in Germany since 1923 features plaster, papier-maché sculptures, and works on paper. These materials reflect the Polish-born, New York–based artist’s meager means following the 1929 stock-market crash, which forced him to trade marble and bronze for Plastolene and paper.
French artist Neil Beloufa has created a site-specific kinetic installation for the octagonal glass architecture of the Schinkel Pavillon. The sculptural component, which unfolds along a series of steel tracks, is accompanied by a video of various people discussing the merits of an unnamed utopian city.
Neïl Beloufa Hopes the Best
Hot on the heels of the Guggenheim’s ZERO group show, this celebration of the movement features work by more than forty international artists (many of whom are also affiliated with other movements, including Nouveau Réalisme, Arte Povera, Minimalism, Op art, and kinetic art) whose ideas are in synch with those of ZERO founders Heinz Mack, Otto Piene, and Günther Uecker. In conjunction with this major museum show dedicated to artists who sought an absolute new beginning for art following World War II, Berlin’s ZERO foundation has organized an exhibition featuring 200 additional works.
Otto Piene, Heinz Mack, Guenther Uecker, ... ZERO - The international art movement of the 50s and 60s
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.
What has the Internet imparted to art making? See Parker Ito’s latest exhibition, a labyrinth of glittering lights and brightly colored chains that suspend dashing paintings and high-gloss sculptures—all doubles of others artists’ work (Sturtevant, Murakami, Hockney, Bernini, Koons). It's an enormous, generous, and treacherous installationa brilliant realization of a question with an answer that has no bounds.
Parker Ito A Lil Taste of Cheeto in the Night
Organized by the Studio Museum in Harlem, this survey tracks three decades (1974 to 1989) of Charles Gaines’s outputdecades that provide a crucial link between the Conceptualists of the 1960s and 1970s and artists of later decades that mined subjectivity and language.
Charles Gaines Charles Gaines: Gridwork 1974–1989
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.
Gagosian presents two complementary exhibitions celebrating Ed Ruscha. The first brings together two aspects of the artist’s own work: a selection of prints made over the past forty years with rarely seen photographs. The second is a group exhibition that pays homage to Ruscha’s influential artists' books, with works by more than fifty artists from different generations.
Ed Ruscha Books & Co.
Gagosian presents two complementary exhibitions celebrating Ed Ruscha. The first brings together two aspects of the artist’s own work: a selection of prints made over the past forty years with rarely seen photographs. The second is a group exhibition that pays homage to Ruscha’s influential artist books with work by over fifty artists from different generations.
Ed Ruscha Prints and Photographs
This exhibition brings together an assortment of characteristically narrative autobiographical works (drawings, paintings, films, and books) made by Dorothy Iannone between 1961 and 2015. The artist’s work, which was notably censored in 1969 in the context of an exhibition organized by Harald Szeemann for the Bern Kunsthalle, continues to explore themes of free love and overt sexuality.
Dorothy Iannone Welcom To Our Show
Taryn Simon’s first monographic exhibition at a French institution includes works made since 2000 demonstrating the American artist’s ongoing rigorous research and investigations. In addition to her material findings (documents, photographs, and ephemera presented in a quasi-scientific manner), a selection of Simon’s video works is also on view. Simon’s work is also on view at Almine Rech’s Paris gallery, from February 21 to March 14, 2015.
Hervé Télémaque’s retrospective brings together more than seventy drawings, collages, sculptures, and assemblages that trace the artist’s prolific career from Port-au-Prince (where he was born in 1937), to New York in the 1950s, to Paris, where he has been based since 1961. Using diverse materials including bright acrylics, magazine clippings, found objects, and coffee grounds, Télémaque’s unique style combines elements of Pop, narrative figuration, Dada, and assemblage.
For his first exhibition in France in more than fifteen years, Bruce Nauman engages directly with the Fondation Cartier’s unique Jean Nouvel–designed glass building. The show, which features work from the past two decades, includes pieces that have never been shown before in France.
Carol Rama’s first retrospective in France traces the Italian artist’s career from the 1930s to the 2000s. Exploring weighty subjects such as death, pleasure, and madness, and using diverse materials (from watercolors to cut bicycle tires), Rama’s oeuvre vacillates between figuration and abstraction.
Le Passion Selon Carol Rama
Nicolas Party’s first exhibition at Kaufmann Repetto takes advantage of the gallery’s bifurcated space. One room is the site of two large-scale black-and-white charcoal wall drawings of nude figures, and the other, by contrast, shows colorful pastel-on-canvas landscapes.
Nicolas Party Two naked women
McDermott & McGough’s current survey is the American duo’s third monographic show in Italy. Cyanotype photographs and acrylic paintings on canvas and on paper comprise the bulk of the nearly sixty works on view.
McDermott & McGough CYAN LIGHT AND ABSTRACT
To coincide with Cory Arcangel’s exhibition at the Galleria d'Arte Moderna e Contemporanea in nearby Bergamo (April 1–June 28), Lisson Gallery presents sculptures the artist made using pool noodles found at his local Walgreens. Adorned with clothing items and accessories, the thin columnar flotation devices take on human characteristics.
Cory Arcangel Hot Topics
Shown for the first time in Italy, Roni Horn’s recent series “Water Teller” (2011/2014) consists of eight paired photographs. In each, the German photographer Juergen Teller’s face appears reflected in a pool of water.
Roni Horn Water Teller
The first solo show dedicated Juan Muñoz (1953–2001) in Italy populates HangarBicocca’s expansive gallery with the Spanish artist’s signature figurative sculptures. The impressive sculptural environment Muñoz made for the Tate Modern’s Turbine Hall in 2001 is re-created here.
Juan Muñoz Double Bind & Around
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.
“Bill Viola: Transformation” is the first Beijing solo show of the pioneering video artist. The exhibitionwhich highlights Viola's four-decade-long careeralso includes the world premier of Inverted Birth, 2014, Viola's most recent work. The dramatic sixteen-foot-tall video and sound installation features five symbolically laden scenes of transformation, as a man looms in the darkness, covered in fluids of progressively changing hue.
Bill Violla Transformation
“Sun, Water and Wind” is the gallery’s first solo show featuring work by Aniwar Mamet, a Beijing-based artist with Uyghur heritage who has recently merged his interests in abstraction with Uyghur tapestry and felt-making techniques. Mamet’s reinterpretation of traditional Central Asian fabrics, which he creates in collaboration with local Xinjiang artisans, are on view at Pékin Fine Arts, alongside a short documentary film by the artist that depicts aspects of the rolled-felt production process.
Aniwar MAMET Sun, Water and Wind