The Hilliard University Art Museum presents William Kentridge: Journey to the Moon, a short film that offers an intimate look into Kentridge’s production process, both physically and psychically.
It explores the studio space as a site of performance. In the role of protagonist, Kentridge himself appears, probing questions of vision and creativity. Familiar objects such as espresso cups, saucers and a percolator appear in this quest, as Kentridge aims to escape the confines of his studio and find windows into another world—one that is both absurd and profound.
Journey to the Moon originated in 35 mm and 16 mm film. It was edited by collaborator Catherine Meyburgh and features music by Phillip Miller with piano by Jill Richards.
The Museo Tamayo presents a solo exhibition of works by Anri Sala. The pieces featured in this show explore the way in which music has been associated with various political ideologies and social situations, as well as the manners in which sound, music, and language create specific meanings, especially when they are juxtaposed.
Norton Museum of Art presents Spotlight: Julie Mehretu: Epigraph, Damascus.
This newly acquired work by Mehretu is known for her gestural abstract compositions which can be interpreted in this print as poignant and a deeply expressive commentary on current events.
Marian Goodman Gallery congratulates Amar Kanwar, one of the laureates of the Prince Claus Award 2017.
For the past 21 years, the Prince Claus Fund has honored visionary individuals and organizations for their excellent, ground-breaking work in fields of culture and development.
Amar Kanwar is awarded for his profoundly disturbing, beautiful and moving works that operate at the interface between art, documentation and activism; for his critical and contemplative investigation of the nature of oppression and people’s courageous resistance against it; for giving voice to the victims of social injustice, looking deeply into the multi-layered causes and effects of problems, and recording evidence of our times; for his innovative use of hybrid art forms in a unique method of storytelling that gives viewers a potent personal experience and overcomes educational and cultural boundaries; for combining poetic sensibility and political consciousness to increase the reach and impact of documentary filmmaking; and for expanding the possibilities of art as a means of obtaining social justice and inspiring new generations of artists to think deeply about the social impact of their work.
Julie Mehretu’s HOWL, eon (I, II) (2017) is an expansive exploration of the American West — its transcendent landscapes and violent colonial history. Created as part of SFMOMA’s new art commissioning program, this site-specific diptych’s two vast abstract canvases flank the main staircase in the soaring Haas, Jr. Atrium, which is freely accessible to the public.
An artist talk will take place on September 14 at 6:30pm between Mehretu and Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture, about this large-scale commission.
Déformation Professionnelle offers a new approach to the artist survey, an exhibition format that follows the development of an artist’s career over a period of time. Here, Baghramian has replaced the original invitation to do a retrospective and presents entirely new sculptures that reflect upon and alter her previous bodies of work from 1999 to 2016. Some pieces incorporate rejected ideas or materials, while others explore variations in form. Baghramian is, as she says, “surveying the survey,” pushing the sculptor’s task into new territory with her ever-evolving practice.
The exhibition takes its name from a French phrase often translated as “professional distortion” or “job conditioning,” referring to ways that a person’s worldview can be altered by their chosen vocation. The artist uses the exhibition as an opportunity to take apart her own profession and lay bare the sculptor’s method. In fact, the word “deformation” can also be applied to form, pointing to basic actions such as shaping, modeling, or casting. Through her playful yet critical take on the artist survey, Baghramian unpacks and interrogates the conceptual, physical, and social aspects of sculpture-making today
The Finnish Museum of Photography presents On Being an Angel, a solo exhibition dedicated to Francesca Woodman.
This exhibition is comprised of one hundred and two photographs and one video comprised of six short films by Woodman, and selections from most of her thematic groups and series are represented.
On Oct 11th, from 6–7 pm, a lecture will be led by art historian Dr. Katarina Lopatkina on the topic of Women/artists/bodies. It will in English, and hosted at the museum’s Process space. It is free to the public.
Lawrence Weiner has been announced as the 2017 Aspen Award for Art honoree. The award, given annually to recognize a living artist's contribution to the arts, will be presented at the Aspen Art Museum’s fundraising event, ArtCrush, on August 4.
V-A-C Foundation presents V-A-C Live: Tino Sehgal, an exhibition of seven works by Tino Sehgal.
The New Tretyakov Gallery and Schusev State Museum of Architecture will host works by Sehgal, who defies art as material production and constructs immersive situations that reinvent the traditional museum environment. This will be the first large-scale appearance of Sehgal’s work in Russia and parallel to the exhibition, an educational program will explore the different topics that arise from the convergence of visual art and dance.
The Museum der Moderne Salzburg is organizing a comprehensive exhibition of William Kentridge at both of its venues, titled Thick Time: Installations and Stagings. This large-scale exhibition will coincide with the premiere of the opera Wozzeck produced by Kentridge for the Salzburg Festival.
The Mönchsberg exhibition will feature eight large-scale multimedia installations, one of his first and his latest works. The part of the exhibition at the Rupertinum is devoted to Kentridge’s engagement with theater and opera. It will feature posters and drawings, designs, models, and costumes created since the late 1970s for major theater and opera productions.
A catalogue is being published to accompany the exhibition by Whitechapel Gallery Publications, London (English version) and Hirmer Verlag, Munich (German version) edited by Iwona Blazwick and Sabine Breitwieser, with essays by Huma Bhabha, Iwona Blazwick, Sabine Breitwieser, Michael Juul Holm, William Kentridge, Joseph Leo Koerner, and Denise Wendel-Poray.
Cristina Iglesias has designed a site-specific piece for the Botín Centre and the Pereda Gardens, consisting of four pools and a pond, entitled Desde lo subterráneo (From the Underground).
The sculptural intervention features five structures in grey stone enclosing overlapping iron pieces forming hollow spaces. They evoke the subterranean, the things that exist beneath the surface. Phreatic zones, underground areas saturated with water, pockets of water filled with foliage and molluscs, life speaking of the primordial ocean that gave origin to all forms of life on Earth.
The Kunstverein Bremerhaven presents a solo exhibition of works by Sabine Moritz.
Opening remarks will be given by Dr. Steffen Haug.
Marian Goodman Gallery congratulates Niele Toroni on being awarded the 13th Rubens Prize of the City of Siegen.
There will be an exhibition at the Museum für Gegenwartskunst Siegen and a catalogue of the winner's work following the award ceremony.
The Espace Louis Vuitton, Beijing presents its inaugural exhibition dedicated to Gerhard Richter
This exhibition has been presented in the framework Hors-les-murs program that showcases unseen holdings of the collection with the intention of making them more accessible to a broader public.
Christian Boltanski has been chosen to be the main focus of a rich program of cultural events called Anime. Di luogo in luogo, promoted by the Municipality of Bologna (namely through its Department for Culture and Relations with the University and the Istituzione Bologna Musei) together with Emilia-Romagna Teatro Fondazione.
The project will include several events and involve many urban venues, all featuring the multi-faceted work of Boltanski, including a large anthological exhibition at the MAMbo - Museo d'Arte Moderna di Bologna (Museum of Modern Art), a play at the Arena del Sole theatre, an installation at the former powder keg bunker inside the Lunetta Gamberini garden and a special project inside the area of the former Giuriolo parking lot.
Nairy Baghramian, Pierre Huyghe and Cerith Wyn Evans participate in this year's Skulptur Projekte Münster, curated by Britta Peters and Kasper König.
Cristina Iglesias's permanent hanging sculpture is now on view at the Norman Foster Foundation.
The sculpture is constructed by several suspended screens that form a shadowed space between the old building and the new pavilion created by Sir Norman Foster. The screens are thread in carbon fiber following an excerpt of the novel “Paradise Fountains” by science fiction author, Sir Arthur C. Clarke, which talks about the ionosphere.
The Theater of Disappearance is a major site-specific installation by Adrián Villar Rojas, commissioned and organized by NEON at the National Observatory of Athens, Hill of the Nymphs.
This commission is Villar Rojas’ negotiation with an archaeological site for the first time as he radically alters both the indoor and outdoor space of the National Observatory. The whole site undergoes a transformation – architectural, horticultural and emotional.
The Theater of Disappearance is an umbrella title and part of four separate exhibitions taking place in 2017 across Europe and the US through new independent commissions by all institutions involved. The Metropolitan Museum of Art, New York (April 14-October 29), Kunsthaus Bregenz, Austria (May 13-Aug. 27), NEON, Athens, (June 1-Sept. 24, 2017) and the Geffen Contemporary at MOCA, Los Angeles (Oct. 22-Feb. 26, 2018).
The Middelheim Museum presents SOME TIME, a solo exhibition of works by Richard Deacon.
The exhibition is made up of 31 works, both monumental and smaller pieces, which will be on display in various parts of the museum grounds. The title of the show, SOME TIME, refers to the conditional and limited nature of time and captures themes and forms that Deacon has been exploring in his oeuvre throughout his 40-year career.
Deacon’s work Never Mind is central to the exhibition, a key piece from the museum collection that has been restored and re-coated in stainless steel especially for the exhibition.
Tino Sehgal will be present at the Fondation Beyeler with an exhibition designed as a series of six successive presentations. Each work will be shown either in the museum's gardens or in one of its galleries. Sehgal’s works, which he calls constructed situations, will be interpreted by male and female artists; the situations are immaterial and fleeting, the thing that truly matters being the viewer's experience of the situation.
The point of departure for the exhibition is This You, a work acquired two years ago for the Fondation Beyeler's collection.