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critics' picks

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Frankfurt


“Celluloid. Cameraless Film”

This exhibition traces the evolution of experimental filmmakers and artists who have dispensed with the camera altogether by directly manipulating film. Twenty-one creators to 160,

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Berlin


Olafur Eliasson

In Olafur Eliasson’s first major institutional solo exhibition in Berlin, the Danish-Icelandic artist shows himself to be a master of smoke and mirrors—literally—as artificia

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Zurich


Rosemarie Trockel

One could be forgiven for viewing Rosemarie Trockel’s most recent and most astonishing survey, “Deliquescence of the Mother,” as a dream (or nightmare) of domesticity and its

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Montreal


Luis Jacob

Toronto-based artist and DJ Luis Jacob is captivated by the act of sampling, and by ways in which foundational structures, be they civic-utilitarian or diversionary (jungle gyms, s

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Isle of Bute


Lee Mingwei

New York–based artist Lee Mingwei made several trips to the Mount Stuart estate, on the Scottish island of Bute, to develop the concept for his new installation there, Trilogy of

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Berlin


Liam Gillick

The centerpiece of Liam Gillick’s latest exhibition is 1848!!!, 2010, a film that shows Clementine Coupau (one of his students) discussing the key events of the European revoluti

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Rome


Kutlug Ataman

As the most comprehensive assembly of Kutlug Ataman’s video work to date, this exhibition at the new Zaha Hadid–designed MAXXI reveals the range of subjects, themes, and affect

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Los Angeles


Denis Darzacq

The suspended figures that leap, fall, twist, lean, and float in Denis Darzacq’s photographs were not, as one would suspect in a digital era, created on a blue screen; they were

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Paris


Mel Bochner

Text-art pioneer Mel Bochner has begun making paintings with a hydraulic press, a new process whose results––elegant and aggressive––further complicate his career-long refl

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New York


Nashashibi/Skaer

The experimental, collaborative partnership of artists Rosalind Nashashibi and Lucy Skaer has yielded four non-narrative 16-mm films to date, all commissioned by European instituti

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Beijing


“Rem(a)inders”

This exhibition takes “Rem(a)inders” as its title and curatorial concept, referring to the remnants of an original quantity as well as an evocation of memory. In fact, the show

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Helsinki


“New British Painting”

There are different kinds of newness. Among them is the paradigmatic newness of something taking place for the first time, or of something that rewrites history. But there is also

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