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.
Under its new artistic director, Sylvie Fortin, La Biennale de Montréal is undergoing an ambitious reboot; fittingly, futurity will be the subject of the 2014–15 edition. The biennial will bring together some 150 works by fifty artists and collectives, who will consider “what is to come” via historical, economic, technological, and environmental perspectives. Influenced by the utopian ethos of 1960s Montreal and Expo 67, the biennial will feature an installation by Étienne Tremblay-Tardif exploring the Échangeur Turcot, one of the vast infrastructural projects completed in conjunction with Montreal’s expo. Ursula Biemann’s video installation Deep Weather, 2013, investigates how machinations of geopolitics and global markets accelerate environmental degradation, and Matthew Buckingham and the Arctic Perspective Initiative will take up the histories and cultures of the Canadian North. The catalogue includes essays by Mark von Schlegell, Brian Massumi, and Amanda Beech, among others.
What happens when you commission Richard Tuttlea sculptor and poet whose famously understated work welcomes pensive admiration for loose string and lightly wrinkled clothto fill one of the most spectacular spaces for contemporary art on Earth? See for yourself this fall, when Tuttle’s enormous I Don’t Know, or The Weave of Textile Language takes pride of place in the Tate’s Turbine Hall. Meanwhile, the Whitechapel’s full-career retrospective of the American artist’s work, which emphasizes the function of textiles in his five-decade oeuvre, is well positioned to tie in with his Tate project. Expect some forty pieces, the majority fiber-based, all set to be installed by the artist himself, as he weaves new relationships among recent creations and key older works. An accompanying catalogue showcases Tuttle’s formidable textile collection, evidencing not just the references that inspire his practice but also his deeply informed appreciation for the materials that constitute his work.
In keeping with his pointedly twenty-first-century fixation on how networked technologies have reshaped consciousness into something at once hyperactive and attenuated, Ryan Trecartin has been known to edit his work right up until minutes before an opening. However, a few details about the epic-scale installation he’s preparing for this exhibitionhis first museum solo in Germanymay be safely leaked. Like his much-lauded suite of videos seen at the 2013 Venice Biennale, this piece promises to combine the spatial potential of the gallery with the immersive quality of the cinema and is likewise being crafted with close collaborator Lizzie Fitch. But the piece will also contain an element he’s never before attempted: a multichannel sound installation that will constitute a major part of the show’s narrative experience. Given the Finnegans Wake–meets–Four Loko complexities of Trecartin’s masterful screenplays, be prepared for an earful.
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 Verlagthe 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.
An original member of the Société Anonyme Inc. and the hostess of an illustrious salon, Florine Stettheimer (1871–1944) helped form New York’s infrastructure for modern art. Her own work, however, proved anything but readily assimilablenot that she showed much desire to integrate. Stettheimer rejected Alfred Stieglitz’s gallery, preferring instead her own highly stylized studio, where she would host her friendsa circle that included the likes of Marcel Duchamp. Rendered in a flamboyant faux-naïf style suffused with elements of decor and glitter, her diaristic works on canvas are only one aspect of a highly context-aware painting practice that spilled into interior and set design as well as poetry. Now curators Mühling and Althaus, advised by a stage designer, aim to reconstruct the scope of Stettheimer’s oeuvre by presenting this rich selection of works and ephemera, along with an intervention by artist Nick Mauss. The comprehensive catalogue features contributions by Jutta Koether, Emmelyn Butterfield-Rosen, Elisabeth Sussman, and others.
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 careeras an abstract Simultanist painter alongside her husband, Robert Delaunay and, later, an impresario of related fabric and fashion businessesvividly demonstrates the prototypically twentieth-century possibilitiesaesthetic, familial, commercialshe 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.