Pierre Huyghe’s first solo exhibition in China is on view at Pond Society, in collaboration with the New Century Art Foundation (NCAF).
The exhibition will feature two works by Pierre Huyghe that exemplify the artist's complex methodology: Cambrian Explosion 15 and A Way in Untilled. Cambrian Explosion 15 (2017-18) belongs to a series of live marine ecosystems in glass tanks, a body of work that Huyghe began in 2010.
Huyghe's film work A Way in Untilled (2012) transports the viewer to Huyghe’s Untilled (2012), which premiered at the 2012 edition of Documenta in Kassel, Germany. A Way in Untilled presents several levels of the ecosystem. As with Cambrian Explosion 15, the inclusion of plants and animals in this work blurs the lines between subject and object, producing a condition that the artist has described as 'undetermined'.
Tacita Dean will be the focus of this year’s Cinéma du Réel: In Between section, devoted to contemporary artists working in film, at the Centre Pompidou. Following the presentations of Shelly Silver (2015), Akram Zaatari (2016), and Vincent Dieutre (2017), this year’s 40th edition will be devoted to Tacita Dean’s 16mm and 35mm films, and will feature screenings of The Uncles (2004), Kodak (2006), Craneway Event (2009), Event for a Stage (2015), among others, as well as some of the artist’s short films, including the 35mm premiere of His Picture in Little (2017) and Providence (2017).
O Sentimental Machine is a vast and sprawling collection of over 80 new and older works. The exhibition embodies an attempt to work through man’s complex relationship with machinery and the double-edged sword of technological progress. Through Kentridge’s trademark range of artistic mediums — charcoal drawings, sculpture, objects and film — O Sentimental Machine explores the nature of the machine, particularly in relation to the concept of movement and motion, and industrial development from the nineteenth century onwards.
Amar Kanwar’s 2017 video installation, Such a Morning, will be included in the inaugural edition of the Lahore Biennale (LB01) to be held from 18th to 31st March 2018 in Lahore, Pakistan. Lahore Biennale 01 is a fourteen-day event that aims to deploy Lahore as a platform for a dynamic exhibition and engagement space, as well as to foster coexistence and participation, and encourage a multiplicity of representations.
The Cleveland Museum of Art will activate Pierre Huyghe’s Name Announcer (2011) – the first work of performance art to join the museum’s collection – in its contemporary galleries on weekends beginning Saturday, March 17 through the end of September 2018.
The De Pont features a retrospective of works by Rineke Dijkstra, created in close collaboration with the Louisiana Museum in Denmark. The retrospective includes many of her portraits and some of her films, which express the identity, vulnerability and dignity of the subjects.
Cerith Wyn Evans has unveiled a major new neon sculpture at National Museum Cardiff. The work, Radiant fold (…the Illuminating Gas) (2017/18), has been created specifically for Amgueddfa Cymru – National Museum Wales and is the second donation made through the Contemporary Art Society’s Great Worksscheme.
The artist Anri Sala will discuss his works and their correlation to classical music with Peter Szendy, a musicologist and professor at Brown University, from 4-6 pm. Sala’s new work and film, The Last Resort, and If and Only If, respectively, will be on view at Marian Goodman Gallery New York beginning March 2. His transformative, time-based works are constructed through multiple relationships between image, architecture and sound, utilizing these as elements to fold, capsize and question experience. The Last Resort, a 42-channel sound installation, features 38 snare drums, loudspeaker parts, drumsticks, and a soundtrack with four speakers. At its core is a performance of the Adagio of Mozart’s Clarinet concerto in A major, conveyed via drums suspended from the gallery ceiling. In Sala’s new film, If and Only If (2018), based on Igor Stravinsky’s Elegy for Solo Viola, Sala renders Stravinsky’s Elegy as a tactile interaction between the renowned violist Gérard Caussé and a garden snail.
Magazzino Italian Art presents "Arte Povera: From the Olnick Spanu Collection," a comprehensive panorama on the artistic practice of 12 artists associated with the Arte Povera movement: Giovanni Anselmo, Alighiero Boetti, Pierpaolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio.
In an unprecedented collaboration, three major London galleries, the National Portrait Gallery, Royal Academy of Arts, and National Gallery, will open three distinct exhibitions with the artist Tacita Dean in spring 2018. The three exhibitions, Tacita Dean: LANDSCAPE, PORTRAIT, STILL LIFE, shaped by Dean’s response to the individual character of each institution, will explore genres traditionally associated with painting – landscape at the Royal Academy of Arts, portraiture at the National Portrait Gallery and still life at the National Gallery – seen through the contemporary prism of Dean’s wide-ranging artistic practice.
Tacita Dean: PORTRAIT, at the National Portrait Gallery, London: 15 March - 28 May 2018
Tacita Dean: STILL LIFE, at the National Gallery, London: 15 March - 28 May 2018
Tacita Dean: LANDSCAPE, at the Royal Academy of Arts, London: 19 May - 12 August 2018
For the first time in France, the Centre Pompidou is staging a large-scale retrospective on David Goldblatt.
The exhibition features over two hundred photographs, a hundred-odd previously unpublished documents (taken from the artist’s archives) and his most recent photographs. Seven short films, made by the Centre Pompidou especially for the event, will be screened in the different sections of the exhibition. In them, David Goldblatt comments on his photographs, providing insights into a fascinating body of work and encouraging an aware and analytical eye.
SCAD Museum of Art presents "Moving Mountains," an exhibition of recent work by Yang Fudong. Known for his epic black-and-white films, which straddle the worlds of contemporary art installation and cinema, the artist weaves together Chinese history, mythology and contemporary narratives.
“Take My Breath Away,” Danh Vo’s first comprehensive survey in the United States, opens at the Guggenheim on Feb. 9. It will include works from the past 15 years and new projects created for the exhibition.
Vo’s installations dissect the power structures, cultural forces, and private desires that shape our experience of the world. His work addresses themes of religion, colonialism, capitalism, and artistic authorship, but refracts these sweeping subjects through intimate personal narratives—what the artist calls “the tiny diasporas of a person’s life.”
Before Projection: Video Sculpture 1974-1995 shines a spotlight on a historical moment and a body of work in the history of media art that has been largely overlooked since its inception.
Art in the Age of the Internet, 1989 to Today, examines the internet’s radical influence on how art – from painting to web-based work – is made, shared, and received.
Eija-Liisa Ahtila’s new hybrid piece in three parts, Potentiality for Love, combines sculpture and with moving image technology.
Her new work deals with the potential for empathy and love towards other living beings. The three parts each have a different approach on the theme. Potentiality for Love turns attention to those human emotions that could serve as a foundation for dismantling the hierarchical structures between living things, thereby engendering a turn towards non-humans and the recognition of others. The work reflects the origins of these emotions, how we define them and how we conceive of their function as part of a larger continuum of living beings.
Following its premiere in Mänttä, Potentiality for Love will embark on an extensive world tour, including a show at the Biennale of Sydney in March 2018 and at Galerie Marian Goodman Paris.
The artist Cristina Iglesias will discuss her work, Entwined, currently on view at Marian Goodman Gallery New York, as well as The Ionosphere (A Place of Silent Storms), and Forgotten Streams, her site-specific sculptures for the Norman Foster Foundation (Madrid) and Bloomberg Headquarters (London). Throughout her career, Iglesias has defined a unique sculptural vocabulary, building immersive and experiential environments that reference and unite architecture, literature and culturally site-specific influences. Through a language of constructed and natural forms rendered in various materials, she poetically redefines space by confounding interior and exterior, organic and artifice, combining industrial materials with natural elements to produce unexpected new sensory sites for the viewer.
Beatriz Colomina is an internationally renowned architectural historian and theorist who has written extensively on questions of architecture, art, sexuality and media. She is the founding director of the Media and Modernity program at Princeton University and Professor at the School of Architecture. She has lectured extensively at universities and art museums throughout the world. Her latest book is Are We Human? Notes on an Archeology of Design (2016).
Amar Kanwar’s Such a Morning will be screened at the International Film Festival Rotterdam (IFFR) on January 28th, 30th and February 3rd, 2018. The film is a contemporary parable about people’s quiet engagement with truth. Such a Morning navigates transitions between mathematics and poetry, democracy and fascism, fear and freedom. In the cusp between the eye and the mind, shifts in time brush every moment into new potency. Each character seeks truth through phantom visions from within depths of darkness. The need to respond to our contemporary crisis shapes the visual structure of the film and whose origins spring from research into diverse historical narrative traditions within the Indian subcontinent.
For her exhibition at the Sprengel Museum Hannover, Rineke Dijkstra will create a dialogue that connects a selection of her works with art from the museum’s own collection.
Her photographs from the early 1990s (such as the "Beach Portraits") will be paired with paintings by Max Beckmann and Alexej von Jawlensky in addition to a number of modern sculptures to reveal an innovative view of the Dutch artist’s specific visual language.
The Museum of Modern Art will screen Chantal Akerman’s 1978 feature film, Les rendez-vous d’Anna (The Meetings of Anna), on the occasion of “To Save and Project: The 15th MoMA International Festival of Film Preservation”, which runs from January 18th until February 1st, 2018. In Chantal Akerman’s fourth feature, a Belgian filmmaker (Aurore Clément) on a promotional tour through a featureless northern Europe fluctuates between intimacy and disengagement with a series of figures, including a one-night stand (Helmut Griem), a former lover (Jean-Pierre Cassel), and her distant mother (Lea Massari). Digitally restored by the Cinémathèque Royale de Belgique. Courtesy of Janus Films.
Selected screenings: Monday, January 22, 4:30 p.m. and Thursday, January 25, 6:30 p.m. Introduced by Nicola Mazzanti, Director, Cinémathèque Royale de Belgique