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.
This retrospective promises to crystallize the links between Mehmet Güleryüz’s works, presenting an oeuvre that addresses and questions Turkey’s sociopolitical issues and conflicts from the 1960s to the present. An aggressively sensitive painter, sculptor, and actor, the Istanbul-born Güleryüz appears influenced by modernist theater, bringing a touch of Brechtian detachment to his nevertheless moving depictions of grotesque figures, caged gorillas, and rabid dogs. This exhibition will present approximately two hundred works made between the ’60s and 2014, including numerous sketches and multimedia presentations, as well as archival material from the artist’s 1979 installation The Museum of Oddities and from his years in Istanbul, Paris, and New York.
In 1962, the young New Zealand–born artist Barrie Bates bleached his hair and eyebrows in his London flat and changed his name to Billy Apple®. In the ensuing decades, Apple moved from London to New York and then back to his home country, making significant contributions to the development of Pop and Conceptualism along the way. His work can’t be neatly subsumed by these rubrics, however. For more than half a century, Apple’s interdisciplinary practice has explored the creative potential of advertising, science, and technologyfrom his early work with Xerox, neon, and lasers to his recent utilization of genetic mapping. This survey of more than 150 works has the potential to secure Apple’s legacy as a pioneering figure of late-twentieth-century art.
Coral stone, or laokushih, is commonly used in the architecture of the Penghu Islands, where the late Taiwanese artist Chen Shun-Chu (1963–2014) grew up. The title of Chen’s first major retrospective in Taiwan references this porous oceanic rock to draw out the concepts of home, family, and memory that haunt his cool abstractions of domestic spaces, architecture, and sprawling landscapes. Tracing his career chronologically, this exhibition of approximately two hundred works made between the 1980s and 2010 will explore the artist’s engagement with these themes and his deft deployment of photography, installation, and video.
“YOU MUST ACT; YOU MUST HIT; YOU MUST STRIKE FASCISM IN EVERY CASE AND BY ALL MEANS!” Thus reads one of the statements Rossella Biscotti repurposed for The Anarchists Do Not Archive, 2010, a work that draws from the records of early-twentieth-century Italian radicals. The texts are set in movable lead typemonumentalized and readied to print in the same sculptural gesture. It’s one of the artist’s greatest strengths, this compacting of fraught political histories and their archival afterlives into a dense objecthood. A new version of this work and four other efforts will be on view in Biscotti’s first solo show at an Italian museum. The earliest is The Prison of Santo Stefano, 2011, for which she cast in lead portions of cell floors from a panoptical prison that opened in 1795; the most recent is a new site-specific video for Bolzano. A catalogue will include essays by the curator and Chus Martínez.
“What do pictures want?” This provocative question, famously posed by W. J. T. Mitchell to make us reflect on our abiding tendency to attribute quasi-magical agency to images, seems particularly relevant when beholding the uncanny, even importunate vitality of Torbjørn Rødland’s photographs. To look for their meaning somehow seems less urgent than to find out why they are here and what they plan to do with us. Answers may perhaps be found at Henie Onstad Kunstsenter, in the artist’s midcareer survey of seventy select works from the past twenty-one years. In Rødland’s images, everythingcontorted nudes in Nordic nature, cream cakes, priests in bondage, canyons, a kid in a birdcagewill be bathed in the same loving, expertly calibrated light. And everything will look indelibly unsettling.
If the angel of history looks perpetually back at the accumulating wreckage of the past, Monika Sosnowska is undoubtedly that seraph’s guide for the last century. The artist repeatedly takes up the figures of modernism and their gestures toward utopia through art, architecture, and design, only to mark their fateful passing and our ever-increasing distance from them in time. Yet in this survey of both large-scale installation projects and smaller objects dating from between 2003 and 2014 (including the complete set of sculptures making up the “Market” series, 2012–14), Sosnowska’s work rhymes with its settingthe Álvaro Siza–designed Serralvesimplicitly suggesting the ways in which, whatever the history, the past stays with us in all its possibility.