Art Agenda » Shows

  1. Flash Art November–January 2019
    We are pleased to announce that the November–January issue of Flash Art is now out. Bodily figuration features prominently in this issue of Flash Art, which includes Judy Chicago’s Immolation (1972) from her “Women and Smoke” series (1968–74) on its cover. The work counts among those Chicago made before taking up the central core imagery that constitutes her landmark 1974–79 work The Dinner Party, with which she is often narrowly identified. On the occasion of Judy Chicago: A Reckoning, a major survey opening at the Institute of Contemporary Art, Miami, this December, Flash Art invited Géraldine Gourbe, Viki D.
  2. Matter of Master: 5 Years of The Merchant House
    Dennis Oppenheim, Hilarius Hofstede, Craigie Horsfield, Judit Reigl, Carolee Schneemann The Merchant House's anniversary show reflects on painting by taking its cue from the oeuvre of the American conceptual artist Dennis Oppenheim (1938–2011). Referencing his drawings on the pervasive power of painting, it goes on to examine the boundaries and extensions of this fundamental art medium in the works of Hilarius Hofstede, Craigie Horsfield, Judit Reigl, and Carolee Schneemann, artists previously shown at TMH.
  3. Artissima 2018: Highlights
    The 25th edition of Artissima, the only fair in Italy exclusively focused on contemporary art, came to an end on Sunday, November 4. Directed by Ilaria Bonacossa, the event is a truly unmissable contemporary art gathering on a worldwide level. Why? Read below. 25 reasons for our success: Our stats 35 countries, 195 galleries (79 Italian and 116 international), 47 first time exhibitors, 8 sections (4 curated), over 1,000 works of art, 350 curators and museum directors, 5,500 collectors from 30 countries (12 outside of Europe), 54,800 visitors (+2,800 over to 2017).
  4. Perrotin Tokyo presents Bharti Kher
    Perrotin Tokyo is pleased to present a solo exhibition of celebrated India-based artist, Bharti Kher. Situated in a legacy of work that weaves as many linguistic pirouettes as material ones, Bharti Kher’s first solo show in Japan is named Djinns, things, places for a reason. This time there is no pachyderm, no spermatozoid symbol covering it, no phallic largesse inviting us, as there was during the group exhibition she participated in at Mori Art Museum, Chalo! India: A New Era of Indian Art (2008).
  5. Soundwalk Collective: Ulysses Syndrome at Beit Beirut
    From November 16 to 25, 2018, Ulysses Syndrome will inhabit the first floor of the Beit Beirut, the city’s history museum and urban cultural centre. In over two months across the coasts of the Mediterranean Sea: Middle East, Italy, Northern Africa and Southern Europe, equipped with scanners, aerial antennae and recorders, Soundwalk Collective intercepted a technological, augmented hearing, accidental overlaps of noises, music and voices, private conversations and service communications, between boats, ships and the coast.
  6. Amar Kanwar at Marian Goodman Gallery, New York
    Marian Goodman Gallery New York is delighted to present Amar Kanwar’s Such a Morning (2017), following its original premiere at Documenta 14 in Athens and Kassel. The 85-minute single-channel film installation Such a Morning is a modern parable about two people’s quiet engagement with truth through phantom visions from within the depths of darkness. Searching for a way to re-comprehend the difficult times we are living in, Kanwar asks “What is it that lies beyond, when all arguments are done with? How to reconfigure and respond again?” Such a Morning unlocks a metaphysical response to our contemporary reality as it navigates multiple hallucinations between speech and silence, fear and freedom, democracy and fascism.
  7. Jules de Balincourt at Galleri Bo Bjerggaard
    We live in age of dystopian deluge. At a time when “The Resistance” battles a comic book villain President Donald Trump who deploys, to use his political advisor Kellyanne Conway’s bogus term, “alternative facts” to slay the dragon of so-called “fake news,” the distressing perception that we are living through an authoritarian nightmare crossed with a misogynist theonomy has become, well, depressingly popular. In preparation for the coming end times, books like George Orwell’s 1984, Philip Roth’s The Plot Against America and Margaret Atwood’s The Handmaid’s Tale are flying off the shelves, while TV series and movies like The Leftovers, Get Out and The Hunger Games peddle ever grimmer apocalyptic narratives.
  8. Adrien Missika at Proyectos Monclova
    1. Aquí Allá Ahí (engl. here, there, yonder) suggests places that feel as tangible and close as they are abstract and far. Demonstrative indications such as here and there can only be comprehended when they are expressed by ourselves or a person who we have in plain sight indicating directions. They only exist in relation to an observer in a reference frame. This is what makes these linguistic structures so intriguing and complex, as they are entirely referential and can mean an infinity of things depending on who is talking and where that particular person is in that very moment.
  9. Ala Ebtekar and Huda Lutfi at The Third Line
    Gallery 1 Ala Ebtekar: Safina The Third Line is pleased to present Safina, the final chapter of Ala Ebtekar’s solo exhibitions trilogy. This project continues Ala’s commitment to folding space and time onto itself through painting, drawing, and premieres a new installation that shifts harmonies of landscape and horizon. In the titular work Safina, the book is examined not only as an art object, but as a vehicle to complicate notions of inertia and travel between space and time. Safina is an oblong shaped manuscript, containing a compendium of potent knowledge fields: history, philosophy, astronomy, and most often, poetry.
  10. Siglio Press presents Intermedia, Fluxus and the Something Else Press: Selected Writings by Dick Higgins
    There are few art-world figures as influential—and as little known—as Dick Higgins (1938-1998), co-founder of Fluxus, “polyartist,” poet, scholar, theorist, composer, performer and, not least, the publisher of the Something Else Press. In 1965 he restored the term “intermedia” to the English language, giving it new dimension to recognize the dissolution of boundaries, the expansion of liminal spaces between traditional modes of art making, and the open field for new forms that cannot be compartmentalized.