International Museum Exhibitions

The following guide to museum shows currently on view is compiled from Artforum’s three-times-yearly exhibition preview. Subscribe now to begin a year of Artforum—the world’s leading magazine of contemporary art. You’ll get all three big preview issues, featuring Artforum’s comprehensive advance roundups of the shows to see each season around the globe.

Gülsün Karamustafa, Prison Paintings 6, 1972, mixed media on paper, 15 3/4 × 16 1/2". From the series “Prison Paintings,” 1972–78.

“Gülsün Karamustafa: Chronographia”

June 10 - October 23
Curated by Melanie Roumiguičre

Considering the political and social climate of Europe and the Middle East, there couldn’t be a better time for a European museum to host an exhibition by a Turkish artist who, for decades, has devoted her work to addressing such issues as politically induced migration, otherness, gender, and collective histories. Gülsün Karamustafa’s work in painting, sculpture, installation, and video traces historical and sociopolitical tensions while encouraging multiple readings—see, for example, her 1998 frieze made of illustrations from Islamic, Christian, and Jewish manuscripts. Approximately 110 works in various media dating from the 1970s to the present—including one new piece engaging the concept of monuments—should offer a rich meditation on pluralism and difference, hopefully lending insight into our current moment. Surely the catalogue, featuring contributions from the curator, Marion von Osten, Turkish sociologist Meltem Ahıska, and the artist will take on these very issues.

Mine Haydaroğlu

“Fernand Léger: Painting in Space”

Through July 3
Curated by Katia Baudin

A renegade Cubist in 1920s Paris, Fernand Léger arrived early at the notion of a rapprochement between painting and architecture. In 1933, he traveled to Greece as a delegate to the Congrčs Internationaux d’Architecture Moderne; in 1936, he collaborated on a theoretical “Suspended House” with American architect Paul Nelson; and during the ’50s, he joined with Le Corbusier and Charlotte Perriand to advocate a “synthesis of the arts,” seeking to integrate modernism with mass media. These histories will be the subject of “Painting in Space,” a survey organized by the Museum Ludwig on the occasion of its fiftieth anniversary, which will chart Léger’s many collaborations with architects from the early ’20s until his death in 1955. Anchored by the jubilant mural Les plongeurs (The Divers), 1942, and showcasing architectural plans, textiles, and archival material, this exhibition promises to illuminate a critical yet underappreciated dimension of Léger’s modernism.

Daniel Marcus

James Casebere, Samarra, 2007, digital C-print, 46 1/2“ × 58”.

“James Casebere: Fugitive”

Through June 12
Curated by Okwui Enwezor

The status of the photograph as an artwork, and the status of the artwork as a photograph, are today widely recognized issues—but when James Casebere began making stage-set-like maquettes as the subjects for photographs in the mid-1970s, he was producing a new kind of fusion and a new kind of fiction. And if the related work of his contemporary Cindy Sherman opened onto yet another arena of aesthetics, in her case performance, Casebere’s pulled in architecture. Enwezor’s retrospective will include fifty works from all periods of the artist’s career, notebooks and Polaroids that should illuminate his process, and four large site-specific works made for the occasion.

David Frankel

“Paul Klee: L’ironie ŕ l’œuvre”

Through August 1
Curated by Angela Lampe

Paul Klee’s complex oeuvre, in all its disparate media, inspires continual reassessment. Using Friedrich Schlegel’s notion of romantic irony as an organizational device, Lampe traverses Klee’s career—from his rarely considered early reversed glass paintings to his iconic Angelus Novus, which will be displayed on this occasion for the first time in France, to his later work made in the shadow of Nazi Germany. At each step, Klee’s aesthetic whimsy is shown to be entwined with a self-consciously quixotic effort to reveal the transcendental realm beyond the visible world. With nearly 250 paintings, works on paper, and sculptures on display, the exhibition and catalogue invite us to reconsider one of the most individualistic artists of the twentieth century.

Jeffrey Saletnik

Paula Modersohn-Becker, Buste d’une femme en noir au mouchoir (Bust of a Woman in Black with Handkerchief), 1906, oil on canvas on board, 20 1/8 × 19 7/8".

“Paula Modersohn-Becker: L’intensité d’un Regard”

Through August 21
Curated by Julia Garimorth

Following its huge success last year at the Louisiana Museum of Modern Art in Copenhagen, the new iteration of this expansive exhibition will include 135 paintings and drawings from 1900 to 1907, a period that encompasses Modersohn-Becker’s several sojourns in Paris. The show, according to Garimorth, has been “adapted to the French public.” Among the French authors contributing to the catalogue are historian and critic Elisabeth Lebovici and novelist Marie Darrieussecq, winner of the 2013 Prix Médicis. Darrieussecq’s Etre ici est une splendeur: Vie de Paula M. Becker, which relates the writer’s encounter with the works of the artist, will be published by POL Editeur in to coincide with this show.

Diane Radycki

“Rester Vivant”

June 23 - September 11
Curated by Jean de Loisy and Michel Houellebecq

A dead poet no longer writes, which is why it’s important to stay alive. This simple working hypothesis was set out in Michel Houellebecq’s early essay “Rester vivant” (Stay Alive, 1991), and in a career that has made him more than just a writer, this volcanic figure has flirted with the negation of the claim again and again. He’s disappeared in real life, been kidnapped on the screen, and rubbed himself out in the 2010 novel The Map and the Territory. But he has also often threatened to disappear into other guises—filmmaker, photographer, poet. In “Rester vivant”—a kind of sequel to Palais shows dedicated to Raymond Roussel and John Giorno—Houellebecq now assumes the role of curator, organizing a large-scale exhibition comprising his own films, sound pieces, and more than one hundred photographs. A few Houellebecquian associates (including the painter Robert Combas) are on hand, but the spotlight is on the unique mindscape of Houellebecq—a fascinating, terrifying, and, yes, funny place to be.

Eric Banks