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.

Park McArthur, Private Signs, 2014, fifty-five UV-cured ink-jet prints on Dibond, overall 10' 8“ × 12' 4”.

Park McArthur

Through April 3

Absorption is a loaded word in art history, but Park McArthur is not an artist who shies away from the loaded. Two of the more remarkable installations in recent memory are her Posey Restraint, 2014, a straitjacket strung drolly across a doorway between galleries in MoMA PS1’s Greater New York, and her 2014 Essex Street show consisting of twenty portable ramps, via which the artist, who uses a wheelchair, had accessed various buildings from 2010 to 2013. McArthur’s solo exhibition at the Chisenhale Gallery, her first in the UK, takes absorption as its theme, and will comprise four new series of works, including one featuring polyurethane foam as its main material and another using superabsorbent polymer powder. The former is made to absorb impact and sound, the latter to soak up liquid. Do you think the result will be a dry, safe, and silent show? Somehow I doubt it.

David Velasco

Lynn Hershman Leeson, Seduction of a Cyborg, 1994, digital video, color, sound, 6 minutes 48 seconds. From “Electronic Superhighway (2016–1966).”

“Electronic Superhighway (2016–1966)”

Through May 15
Curated by Omar Kholeif with Séamus McCormack

Why do we still talk about the Internet in terms of driving a car? Networks, data, circuits: These are all non-spaces, incommensurable with the physical experience of distances or roads or freeways, yet we insist on using the most literal spatial terms—remember the Infobahn?—to describe them. I’m banking on “Electronic Superhighway” to rise above its Nam June Paik–derived title and kick into reverse gear, posing a new model for understanding the past fifty years of art, telecommunications, and information. The show begins with the digital present and works backward to the founding of the singular organization Experiments in Art and Technology in 1966, spanning more than seventy artists who have variously grappled with the aporias of the computational age.

Michelle Kuo

Wifredo Lam

Through February 15
Curated by Catherine David

Visitors to the retrospective of Wifredo Lam at the Centre Pompidou will confront many things at once: an expanded geography of Surrealism, a bid for one painter’s canonization as an exemplary “plural modernist” (a term the museum recently used to advertise a rehang of its collection), and a case for the centrality of African Creole cultures to the formation of “European” modernity. A Cuban-born painter of mixed-race ancestry, Lam thought of his practice as an act of decolonization. Catherine David’s retrospective tracks Lam’s work across five decades, from 1926 to the early 1980s, and from Havana to Madrid, Paris, Marseille, and beyond. It will encompass more than four hundred works, from paintings and drawings to photographs and rare books, including Lam’s breakthrough canvas, The Jungle, 1943. Travels to the Museo Nacional Centro de Arte Reina Sofía, Madrid, Apr. 12–Aug. 15, 2016; Tate Modern, London, Sept. 14, 2016–Jan. 8, 2017.

Daniel Marcus

“Goshka Macuga: To the son of man who ate the scroll”

Through June 19
Curated by the artist

Goshka Macuga takes over two venues of the Fondazione Prada with an exhibition that comprises approximately forty works executed in various media by Macuga and a handpicked assembly of artists including Phyllida Barlow, Hanne Darboven, Giorgio de Chirico, Fischli & Weiss, and Dieter Roth. Contemporary pieces, juxtaposed with ancient Egyptian artifacts, reflect on the eternal dynamics of collapse and renewal, a theme that is memorably broached in the Old Testament Book of Ezekiel (“Then he said to me, ‘Son of man, eat this scroll I am giving you . . .’”), from which the show takes its title. The exhibition is accompanied by a substantial catalogue featuring essays by Macuga, philosopher Rosi Braidotti, physicists Ariane Koek and Lawrence M. Krauss, curator Dieter Roelstraete, and anthropologist Michael Taussig.

Sylwia Serafinowicz

“Marina Pinsky: Dyed Channel”

Through April 10
Curated by Elena Filipovic

Marina Pinsky has quickly become known for material explorations that often enmesh photography and sculpture. For her first major institutional exhibition, Pinsky will train her eye on the host city itself, surveying Basel’s history as a capital of the chemical industry—from its aniline-dye factories in the mid-nineteenth century to its current gaggle of corporate pharmaceutical residents (e.g., Roche). Sprawling across the kunsthalle’s ground floor, the show will feature newly made work, including a commissioned installation of two dozen large-scale sculptures in the form of resin blister packs, each containing ten handmade ceramic pills emblazoned with renderings of starchitect buildings commissioned by Basel’s Big Pharma. In light of the recent plague of thoughtless abstraction, such an attentive approach to culture is just what the doctor ordered.

Beau Rutland

Rochelle Feinstein, Geography, 1994, oil and mixed media on linen, 42 × 42".

“Rochelle Feinstein: In Anticipation of Women’s History Month: Selected Works”

Through April 24
Curated by Fabrice Stroun and Tenzing Barshee

The world needs change, and Feinstein is a motherfucking cashier. She seizes abstract painting with her bare hands and injects it with wit and wisdom, redefining its borders to include a riotous intermix of moods and subjects. She gets her hands dirty, shoving the grid around and voraciously appropriating anything that interests her: napkins, Barry White songs, storage systems, kitty cats, and feelings of revenge. In doing so, Feinstein calls the whole world into question, and her work elicits nothing short of new feelings. Curators Stroun and Barshee are smart enough to mount the first comprehensive retrospective of her work, a survey of seventy-seven pieces that chronicles twenty-five years of complex production—so get your ass on a plane. Travels to the Städtische Galerie im Lenbachhaus, Munich, June 7–Sept. 18; Kestnergesellschaft, Hannover, Germany, Dec. 3, 2016–Feb. 12, 2017.

Amy Sillman