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.

Aleksandr Rodchenko, Radio Station Tower, 1929, gelatin silver print, 8 7/8 × 5 5/8". From “Adventures of the Black Square: Abstract Art and Society 1915–2015.” © Estate of Alexander Rodchenko/RAO, Moscow/Licensed by VAGA, New York, NY.

“Adventures of the Black Square: Abstract Art and Society 1915–2015”

Through April 6
Curated by Iwona Blazwick and Magnus af Petersens

Marking the centenary of Kazimir Malevich’s iconic (in both senses of the word) Suprematist painting, this ambitious exhibition will examine abstraction as an international phenomenon, considering its relationship to politics, its potential as a catalyst for social change, and its imbrication with design. Taking a broad chronological and geographic approach, and with a particular focus on geometric abstraction, the survey will encompass painting, sculpture, film, and photography by one hundred artists as diverse as Carl Andre, Hélio Oiticica, Aleksandr Rodchenko, and Andrea Zittel. Accompanied by a catalogue with essays by the curators and by scholars such as Briony Fer and Tom McDonough, the exhibition will apparently aim at nothing less than reinventing abstraction.

Nicholas Cullinan

“Andrea Büttner: 2”

Through March 15
Curated by Julia Friedrich

When Andrea Büttner takes on the soulfully self-conscious themes of shame, asceticism, and faith and realizes them in clay, glass, and woodcuts, an educated pathos results. The central piece for this solo exhibition is as straightforward as it is nigh unimaginable: Based on the images that Kant mentions as examples and metaphors, she has illustrated his Critique of Judgment, thus allowing venerable philosophical concepts to turn sensual and contemporary. In the show’s other production, expanding on her performance-based work Piano Destructions, 2014, Büttner continues to explore classical instruments as engaged by Fluxus artists, who were nearly infatuated with detourning the device while freeing the player of evaluation. Rather than a catalogue, there will be Büttner’s illustrated edition of Kant’s Kritik, published by none other than Felix Meiner Verlag—the German-speaking world’s quintessential philosophy press. The exhibition’s numerical title, meanwhile, refers not only to the count of works presented but also to “judgment” shorthanded as the creation of two distinct fields.

Lars Bang Larsen

“Sonia Delaunay: The Colors of Abstraction”

Through February 22
Curated by Anne Montfort and Cécile Godefroy

Russian-born Sonia Delaunay-Terk traced her aesthetic breakthrough specifically to 1911, when she created a patchwork quilt for her infant son, “nowadays shown in art galleries as one of the first abstract paintings,” she boasted in 1962. That the sewing of a baby blanket could become the foundation for launching a lifelong career—as an abstract Simultanist painter alongside her husband, Robert Delaunay and, later, an impresario of related fabric and fashion businesses—vividly demonstrates the prototypically twentieth-century possibilities—aesthetic, familial, commercial—she both exploited and helped to introduce. This comprehensive retrospective will include some four hundred examples of her vibrant paintings, murals, graphics, furniture, and textiles, providing a welcome opportunity to view Delaunay-Terk’s superb designs (which paid the family bills) alongside extensive evidence of her equal investment in and talent for the fine art of painting. Travels to Tate Modern, London, Apr. 15–Aug. 9, 2015.

Emmelyn Butterfield-Rosen

Joan Jonas, Volcano Saga, 1989, video, color, sound, 28 minutes.

“Joan Jonas: Light Times Tales”

Through February 1
Curated by Andrea Lissoni

Since the early 1970s, Joan Jonas has been producing complexly atavistic, lyrical installations, often using video light as a fifth element and animating force in her cosmologies. Dogs, cones, stones, chalk lines, and landscapes figure large in the American artist’s lexicon of images and gestures as all flow smoothly through narrative and its fracturing, appearing and reappearing as drawings, sculpture, performative actions, and video. For this solo presentation, Jonas has chosen to darken the vast 43,000-square-foot hangar, removing all dividing walls, to present seven major installations and single-channel works, all viewable both front and back: Each piece, while occupying its own space, will recombine sonically and visually with the others. The story, however, will not end here in Milan. Preceding the upcoming Venice Biennale, where Jonas will be representing the US, this exhibition promises to confirm our sense that Jonas’s light shines brilliantly ahead of its time.

Tony Oursler

“The Passion According to Carol Rama”

Through February 22
Curated by Teresa Grandas, Beatriz Preciado, and Anne Dressen

The title for Carol Rama’s upcoming survey borders on the tautological, as, indeed, the Italian artist’s career, and her very person, have become so deeply aligned with the twin poles of eros and pathos that her name alone triggers delicious shudders. In this much-needed consideration of Rama’s oeuvre, nearly 200 works take viewers through the artist’s complex trajectory. While exploring, from the mid-1930s through the mid-2000s, all manner of forms, techniques, and vocabularies, she remained committed to deconstructing conventions of representation and to offering lush, sexual, feminist alternatives. Accompanying the exhibition, a catalogue including reflections by Le Tigre, Jack Halberstam, Dahn Vo, and others, testifies to the wide reach of this pioneer’s work. Travels to the Musée d’Art Moderne, Paris, spring 2015; Espoo Museum of Modern Art, Finland; Irish Museum of Modern Art, Dublin; Galleria Civica d’Arte Moderna e Contemporanea, Turin.

Johanna Burton

Daniel García Andújar, Not Found, 2014, ink-jet print, 7 1/8 × 5 1/8". From the series “Not Found,” 2014.

“Daniel García Andújar: Operating System”

Through May 4
Curated by Manuel Borja-Villel

A central figure in Spanish Net art, Daniel García Andújar deploys proposals for imaginary technologies to critique what Gilles Deleuze famously termed “societies of control” and the smoke screens that sustain them. In particular, he takes up the bogus techno-evangelism that suggests information not only wants to be free but will free us, too. Founded in 1994, Technologies to the People, Andújar’s irony-laced pseudo-company, has mooted speculative products—represented by websites, flyers, and posters—that would turn digital have-nots into haves. The iSAM™ (short for Internet Street Access Machine) of 1996, for example, allows beggars to accept credit-card payments. This and other projects will be showcased in this sizable survey featuring twenty-five installations, about half of them new, spanning 1992 to 2014.

Martin Herbert