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.
For a quarter century, Pierre Bismuth has inventively corrupted Conceptualism’s systems thinking with chance, worldliness, and witsee Things I remember I’ve done, but don’t remember why I did them, 1998, the collection of drawings, objects, films, and photographs he exhibited after he had finally forgotten the rationale behind them, or his series of scribbly abstractions derived from the movement of actresses’ hands throughout a movie, “Following the right hand of,” 2009–. It’s not entirely surprising, then, to find the droll and mercurial French artist tickling the retrospective format. Alongside one new workfor which Bismuth, who shares his name with a chemical element, designed a molecular structure, though whether this hypothetical polymer will ever materialize is as yet uncertainhe’s invited the titular curator, lawyer, and psychoanalyst to each select approximately ten pieces from his oeuvre since 1988 and write captions explaining their choices. The catalogue will feature these captions, plus an essay by Dessislava Dimova and a conversation between Bismuth and the curator.
Extending his durational approach to the exhibition of choreographed situations, Tino Sehgal has conceived with the curators a retrospective that will unfold over the course of one calendar year. Twelve of the artist’s pieces that were designed for the museum context, rather than the fair or theater, will be presented in succession; one work will be performed each month in a different gallery. Demanding a substantial commitment from viewers who want to see the entire retrospective, this show nevertheless promises a richer engagement with each work than might a conventional survey. The plan is to begin with Instead of allowing some thing to rise up to your face dancing bruce and dan and other things, 2000, a work from the Stedelijk’s collection, and thence the institution will maintain a discussion with the artist regarding the show’s unfurling shape.
Bringing together the work of six women artists from throughout Africa, this exhibition seeks new definitions of black feminism in a global context via what promises to be a striking visual conversation. Zoulikha Bouabdellah, Marcia Kure, Miriam Syowia Kyambi, Valérie Oka, Tracey Rose, and Billie Zangewa employ performance, photography, film, and video, investigating the terrain of the body to parse relationships between feminism and modernity. The exhibition will also survey representations of black women in contemporary art since the 1990s, featuring personal explorations and daring depictions of historical and cultural identities. Travels to Lunds Konsthall, Sweden, summer; Fonds Régional d’Art Contemporain Lorraine, Metz, France, fall.
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.
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.