#52 Summer 2017
The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the urban fabric, into domestic spaces? Between networks, theory and the market, where is the power of exhibitions today?
VIENNA: Martin Beck at Mumok by Maximilian Geymüller, Ben Schumacher at Croy Nielsen by Max L. Feldman, Helmut Lang at Sammlung Friedrichshof Zurndorf / Stadtraum Wien by Christian Egger; GRAZ: Stephan Dillemuth at Künstlerhaus, Halle für Kunst & Medien by Melissa Canbaz
Jasper Spicero at New Galerie, Jean-Michel Wicker at Galerie Édouard Montassut, and Than Hussein Clark at Galerie Crèvecoeur by Charles Teyssou and Pierre-Alexandre Mateos
Bruno Gironcoli at Clearing, “The Absent Museum”at WIELS, and “Neither” at Mendes Wood DM by Laura Herman
“We Wanted a Revolution: Black Radical Women, 1965–85”at the Brooklyn Museum, and Jef Geys at Essex Street by Annie Godfrey Larmon
“Collected Attituded” at Fahrbereitschaft – Sammlung Haubrok by Mitch Speed, Michael Portnoy at the KW performance series “The Weekends” by Nick Currie, Micah Hesse at Neumeister Bar-Am by Chloe Stead, Candice Breitz at KOW by Chloe Stead
Kerry James Marshall at the Museum of Contemporary Art, and “Power: Work By African American Women From The Nineteenth Century To Now” at Sprüth Magers by Andrew Berardini
ZURICH: “Speak, Lokal” at Kunsthalle Zürich by Daniel Horn; GENEVA: Yoan Mudry at Art Bärtschi & Cie, Philippe Daerendinger at Quark, and Denis Savary at Galerie Xippas by Yann Chateigné; BASEL: Stephen Cripps at Museum Tinguely by Harry Burke
Kiev – Athens – Paris. By Dan Bodan
by Henning Besser, Javier Peres, Robert Schulte, Karim Crippa, Simon Fujiwara
Rave still holds the problematic promise of total immersion. By Nora Khan
Why don’t we leave the white cube and imagine the exhibition as a global nervous system with lots of entrances and exits? By Valentinas Klimasauskas
Are talks, workshops, and events more important today than classical exhibitions?
The sculptures the artist started making in 1980s Vienna stand in stark contrast to Actionism and monumental sculpture. Her medium is light, and in her most recent neon works the digital plays an increasingly important role. By Maximilian Geymüller
The choreographer spoke to Asad Raza about dance and exhibitions, the process of “de-hearsal”, and how Metallica and Shakespeare shook up his sense of time and space.
There is something enigmatic about her theatrical installations. With paintings, readymades, sculptures, drawings and videos, they draw the viewer into a world of glitter, horror, stars and victims, but we never know who it belongs to. By Barry Schwabsky
Has Instagram killed the exhibition review?
by Elad Lassry, Sophie von Hellermann, GCC, Alex Da Corte
from Lagos by Emeka Okereke
Chris Dercon, Heidi Ballet and Tirdad Zolghadr talk about the power of the object, the large-scale exhibition, lazy curators and the importance of creating a public.
What is the ideal exhibition?
Cecilia Vicuña’s cloud net links language and performance, indigeneity and ecology, in ways that speak to our contemporary moment. By Harry Burke
Liam Gillick on one of Rirkrit Tiravanija’s first solo shows, “untitled (1992) free”, at 303 Gallery in New York in 1992
Doryun Chong, chief curator of M+ in Hong Kong, on Stanton Near Forsyth Street (1984) by Martin Wong
by Dawn Kasper