International Museum Exhibitions

The following guide to museum shows currently on view is compiled from Artforum’s three-times-yearly exhibition preview. Subscribe now to begin a year of Artforum—the world’s leading magazine of contemporary art. You’ll get all three big preview issues, featuring Artforum’s comprehensive advance roundups of the shows to see each season around the globe.

“Kader Attia: The field of emotion”

THE POWER PLANT
TORONTO
January 27 - May 13
Curated by Carolin Köchling with Nabila Abdel Nabi

For more than two decades, French-Algerian artist Kader Attia has used different media—including sculpture, installation, photography, and video—to develop the concept of repair as an “endless process of intellectual, cultural, and political adjustments.” At the crux of Attia’s investigation is the strategy of reappropriation, a tactic illuminated in a wide constellation of historical references, such as the writings of Frantz Fanon. Attia’s far-reaching, intersectional practice transverses historical and cultural axes, pointing to the embeddedness of power relations and the necessity of confronting acts of colonial dispossession to begin healing injured psyches and bodies. For this solo exhibition—Attia’s first in Canada—the artist will develop a context-specific work that considers a Canadian history of oppression. The installation J’accuse and the film Reflecting Memory, both 2016, will also be on view. Travels to the Contemporary Arts Center, Cincinnati, June 6–September 9.

Nuit Banai

Ilya and Emilia Kabakov, The Appearance of the Collage #10, 2012, oil on canvas, 79 7/8 × 107 1/8".

“ILYA AND EMILIA KABAKOV: NOT EVERYONE WILL BE TAKEN INTO THE FUTURE”

TATE MODERN
LONDON
Through January 28
Curated by Juliet Bingham with Katy Wan

This retrospective will present a melancholy variation amid the year’s bountiful exhibitions dedicated to the centennial of the Russian Revolution. The Kabakovs are known for their virtuosic exploration of the gap between utopian promises and the humiliating minutiae of Soviet everyday life. Comprising more than one hundred objects and accompanied by an extensive catalogue, the exhibition begins with Ilya’s central role in Moscow Conceptualism and includes three ambitious installations. Its subtitle (named after one of the installations) derives from an episode, imagined by Ilya, in which Kazimir Malevich selected the artists who would—or would not—be taken into the future. Yet the topicality of the Kabakovs’ trademark pathos may lie in this statement’s inverse. The revolutionary potential of the best known of their works (think of The Man Who Flew into Space from His Apartment, 1985) reminds us that everyone will be taken into some future, but that we may very well want out. 

Kristin Romberg

Joan Jonas, Double Lunar Rabbits, 2010, video, color, sound, 4 minutes. © Artists Rights Society (ARS), New York/DACS, London.

Joan Jonas

TATE MODERN
LONDON
March 14 - August 5
Curated by Andrea Lissoni and Julienne Lorz with Monika Bayer-Wermuth

Tate Modern March 14–August 5 Curated by This exhibition will be the largest survey of Joan Jonas’s work ever presented in the UK, and the first to make use of multiple venues within Tate Modern and adjacent outdoor waterfront spaces. Displaying twenty works spanning Jonas’s five-decade-long career, the show will include large-scale multimedia installations, single-channel videos, films, and live performances, including germinal works such as Mirror Piece, 1969; Organic Honey’s Visual Telepathy, 1972; Mirage, 1976; The Juniper Tree, 1976; Reanimation, 2010;and Lines in the Sand, 2002–2005. In keeping with Jonas’s interest in returning to earlier projects as the basis for new work, several of the performances will be reinterpreted. A fully illustrated catalogue will provide a diverse collection of interviews with Jonas at different moments in her career, but the question remains: When will a comparable exhibition of Jonas’s work be mounted in the United States? Travels to Haus der Kunst, Munich, November 9, 2018–March 3, 2019. 

Ann Reynolds

Tacita Dean, Antigone, 2018, two-channel 35-mm film, color, sound, approx. 60 minutes.

“Tacita Dean: Landscape”

ROYAL ACADEMY OF ARTS | PICCADILLY
LONDON
May 19 - August 12
Curated by Sarah Lea and Desiree de Chair

“Landscape” is one of a trio of genre-themed exhibitions Dean will present in London this spring, as part of an unprecedented collaboration between three major institutions. (The National Portrait Gallery will focus, unsurprisingly, on Dean’s portraiture, and the National Gallery will show her still lifes.) Dean’s landscapes span disparate materials—chalk drawings, films, gouache on found postcards—but a beguiling interest in the contingent and the ephemeral is found throughout the artist’s extensive engagement with the genre. At the Royal Academy, a survey of this work will be accompanied by the premiere of a 35-mm film made using the same aperture—masking technique the artist developed for FILM, 2011, her monumental commission for Tate Modern’s Turbine Hall. Like that paean to analogue materiality, this new film will rely on distinctly photochemical means to explore the possibilities of compositing, an operation typically associated with digital imaging.  

Erika Balsom

Judith Hopf

KW INSTITUTE FOR CONTEMPORARY ART
BERLIN
February 10 - April 15
Curated by Anna Gritz with Maurin Dietrich

Judith Hopf is the first to note that her art emerges from a particular historical constellation: Nurtured in the Berlin scene of the early 1990s, she is invested in an expanded field of “post-painting” practices, collective production, and social engagement, which she infuses with a blend of comedy and critique. It is no accident that her brick and laptop sculptures, prime examples of such idiosyncratic combinations, will be central to the KW exhibition. This former margarine factory in the Mitte district became the city’s pioneering institution of contemporary art in 1991; today, rampant real estate speculation in the neighborhood triggers heated debates about the neoliberalization of culture. Hopf’s meditations on economic and technological change will also be evident in a newly produced film and a work for the facade of KW—both referencing the American architect John Hejduk and the German artist Annette Wehrmann. Texts by these historic figures will be included in the comprehensive reader alongside three commissioned essays and a series of graphic works by Hopf. Travels to the Statens Museum for Kunst, Copenhagen, May 2018. 

Nuit Banai

James Rosenquist, Hey! Let’s Go for a Ride, 1961, oil on canvas, 34 1/8 × 35 7/8". © VG Bild-Kunst, Bonn.

“JAMES ROSENQUIST: PAINTING AS IMMERSION”

MUSEUM LUDWIG, COLOGNE
COLOGNE
Through March 4
Curated by Stephan Diederich and Yilmaz Dziewior

Like many Pop artists, James Rosenquist drew on the teeming image world of postwar consumer society. But unlike many of his peers, he appropriated the representational techniques and even the massive scale of one of commercial advertising’s chief forms: the billboard. Juxtaposing body parts, commodities, and sly allusions to art history within his panoramically scaled and surreal canvases, Rosenquist bridged the gap between the epic gestures of Abstract Expressionism and the cool monumentality of Minimalism. This exhibition will highlight the artist’s sustained interest in immersive visual experiences. Featuring never-before- seen preparatory collages along with such environmentally extensive installations as F-111, 1964–65, and The Swimmer in the Econo-mist,1997–98, that utilized reflective materials, the show will consider the physical and affective impact of Rosenquist’s practice.  

Robert Slifkin