A new installation of paintings by New York–based artist Nate Lowman in Galleries 2 and 3 explores the timeless, palpable concept of desire using imagery and language drawn from American popular culture. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses, and news articles—all presented through the lens of desire and longing—tell part of the American story and confront viewers with the things of modern life that are often left unsaid and unexamined.
— Nate Lowman
— Rob Pruitt
Rob Pruitt: The Church is a classic one-person exhibition with works spanning from 1999 to 2017. It introduces the American artist’s multifaceted practice including painting, sculpture, drawing, furniture, performative events, zines, everyday objects, political statements, and souvenirs.
— Elmgreen & Dragset, Maurizio Cattelan
The director of the French Academy in Rome – Villa Medici is initiating a new project, in the form of temporary installations: “Thanks to curator Chiara Parisi we’re now launching the first of a series of light shows in the Villa gardens." The Festival of Lights, then, represents a brand-new exhibition format designed specifically for this garden setting, titled Open at Night.
— Mike Kelly, Sanford Biggers, Elmgreen & Dragset
Pantomime horses, a harp and brass marching band, a caped prom queen adorned in flowers and more accompany artist Mike Kelley (b. 1954, USA) wearing a floppy straw hat. This satirical half-time basketball musical, Extracurricular Activity Projective Reconstruction # 32 Plus, was commissioned by Performa and staged at Judson Church on Washington Square South in 2009.
— Liu Xiaodong, Zhao Gang, Ai Weiwei
Guggenheim presents Art and China after 1989: Theater of the World, with the work by 71 key artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms.
— Massimo Bartolini, Matt Mullican
Works of art that envelop the senses or can actually be entered: the ongoing exploration of the Museion collection and the languages of sculpture continues with pieces of an immersive nature that invite visitors to engage with them physically. The show features large-scale installations and light works that give rise to a spatial dimension.
“Slight Agitation”, a four-part project of newly commissioned, site-specific works hosted in sequence within the Cisterna in the Milan venue of Fondazione, continues with a third instalment by the Austrian collective Gelitin presenting a project titled POKALYPSEA-APOKALYPSE-OKALYPSEAP. Three large sculptures explicitly address classical architectural archetypes (the triumphal arch, the obelisk and the amphitheater), subverting their rhetoric and monumental components.
— Gianfranco Baruchello, Maurizio Cattelan, Carsten Höller, Lawrence Weiner
“Take Me (I’m Yours)” is a group exhibition that rewrites the rulebook for experiencing a work of art. Visitors to the show are invited to flout convention and do all the things they aren’t normally allowed to do in a museum: the works can be touched, used, or changed; they can be consumed or worn; purchased and even taken free of charge, or carried off in exchange for some personal item.
— Carsten Höller, Paola Pivi
The wide-ranging survey exhibition Like a Moth to a Flame, curated by Tom Eccles and Mark Rappolt with Liam Gillick, will officially inaugurate the Visual Arts Program at the renovated OGR in Turin—a 20,000 square-meter arts and innovation center opening in the Fall of 2017.
— John Armleder
Friday October 13th 2017, 7.00 pm, two projects – Per_formare una collezione: The Show Must Go_ON (“Per_forming a collection: The Show Must Go_ON“) and Per_formare una collezione: per un archivio dell’arte in Campania (“Per_forming a collection: For an Art Archive in Campania“) will be presented at Madre museum. Together, they represent the further, articulated chapter of the project – launched in 2013 and organised in various intermediate chapters – devoted by Madre to the gradual formation of the permanent collection.