International Sculpture Center

   


April 2013
Vol. 32 No 3

A publication of the
International Sculpture Center

This selection of shows has been curated by Sculpture magazine editorial staff and includes just a few of the great shows around the world.

Brooklyn Bridge Park - Brooklyn, New York: Oscar Tuazon
Through April 26, 2013
“People,” Tuazon’s new project for the Public Art Fund, puts his improvisatory, DIY aesthetic to work in public space. Inspired by everyday creativity on the streets of Brooklyn, his three sculptural interventions—all combining natural and industrial components—push the limits of objecthood and function. These unexpected variations on familiar playground elements welcome a variety of imaginative uses and experiences: a tree becomes a fountain, a makeshift handball wall supported by a tree trunk sprouts a basketball hoop, and a cement cube breached by a tree offers unusual perspectives on the waterfront and Manhattan skyline. For Tuazon, a park is as close as the city comes to free space; in that spirit of liberation, he has made works for use by the people. Tel: 212.223.7800 Web site www.publicartfund.org

Oscar Tuazon, People.
Castello di Rivoli - Turin: Ana Mendieta
Through May 5, 2013
This comprehensive survey (Europe’s first retrospective devoted to Men?dieta) aims to “retrace” the figure of the artist as a model and icon for subsequent developments in contemporary art. Rooted in nature and the body, Mendieta’s output was inflected by personal identity and feminist concerns, particularly in the case of the hybrid forms that became her signature. The earth-body works of the “Silueta Series”—sculptural interventions that inserted her naked figure (or its outline) into the landscape—fuse conceptual, process, performance, body, feminist, and Land art into a visionary whole that defies neat categorization. Since most of her creations were ephem?eral, “She Got Love” relies on videos, photographs, sketches, and notes but stages the individual performances/actions in isolated, enveloping environments that open imagi?native access to a mindset in which the conceptual becomes spiritual.
Tel: + 39 011 9565222 Web site www.castellodirivoli.org


Ana Mendieta, Tree of Life.
Contemporary Art Museum -
Raleigh, North Carolina: Alistair McClymont
Through April 28, 2013
For McClymont, process is often more important than the finished work. Using a range of materials and practices that include sculpture, photography, and video, he reproduces natural phenomena in order to explore scientific and philosophical ideas. Though the means of production and the method of installation unveil the mechanics behind the effects, they acknowledge that something remains inherently unknowable and uncontrollable in these marvels. Inflated steel sculptures reveal the forces of changing air pressure; fans and a humidifier strapped to a simple scaffold produce a tornado; and in Everything we are capable of seeing, a nighttime rainbow reflects every hue visible to the human eye. A riposte to Keats’s poem “Lamia,” this work—like all of McClymont’s endeavors, whether they reduce natural processes to an experimental essence or arise from phenom?ena untamed by the artist—demonstrates that knowledge cannot “unweave a rainbow” or undermine feelings of wonder and awe in the face of beauty. Tel: 919.513.0946 Web site www.camraleigh.org

Alistair McClymont, The Limitations of Logic and the Absence of Absolute Certainty.
Contemporary Art Museum - St. Louis:
Jeremy Deller
Through April 28, 2013
Deller believes that “there’s enough stuff in the world.” Just as he rejects objects (unless they’re repurposed with a redeeming social function), preferring to explore ideas through collaborative endeavors, he also resists the mystique of the artist. Inevitably some critics question whether he is an artist at all, but there is no denying that his “theater of therapy,” as one Guardian reader called it, makes people think—often about things that they’d rather avoid. This mid-career retrospective collects a grab bag of free-ranging works that have helped to rewrite the rules of art. From The Battle of Orgreave—a restaging of the 1984 showdown between police and striking miners, with the participation of those very same Yorkshire policemen and miners—to social action parades and the public discussions spawned by It Is What It Is: Conversations About Iraq—a cross-country U.S. tour with an Iraqi artist, a U.S. solider, and a car blown up by a Baghdad bomb—Deller demonstrates that politically engaged art can be nuanced, open-ended, and far from preachy. Tel: 314.535.4660 Web site www.contemporarystl.org

Jeremy Deller, The Battle of Orgreave.
Hamburger Kunsthalle - Hamburg:
Alberto Giacometti
Through May 19, 2013
“The Playing Fields” picks up where “The Origin of Space” (Kunstmuseum Wolfsburg, 2011) left off, positing Giacometti as the inventor of virtual space. Beginning with the “game board” sculptures created between the wars, his work becomes united with the power of the void. As small as they are, these Surrealist miniatures assert a monumental corporeal presence while projecting an immeasurable distance between themselves and the viewer—even though they were intended as models for full-scale public squares inviting human participation. Moving in an intermediate zone between the tangible and the virtual, they pave the way for the late, large-scale works—figures inscribed with an inherent sense of space, temporal?ity, and motion. More than 100 sculptures, in addition to paintings, drawings, and photographs, step beyond stasis, infusing their surroundings with a palpable electric charge. Tel: + 49 (0) 40 428 131 200 Web site www.hamburger-kunsthalle.de

Alberto Giacometti, The Forest (seven figures, one head).
Hammer Museum - Los Angeles: Enrico David
Through May 5, 2013
David’s sometimes campy sculptures, gouaches, embroideries, photographs, and installations explore a broad range of cultural references, including Arte Povera, assemblage, and 1920s and ’30s design, as well as numerous literary sources and craft traditions. He shuffles and recombines these diverse influences to create enigmatic representations of the body that question personal identity within the public domain. Through his distortions, physical forms are broken down into fragments to express the impossibility of a bodily unity, and different elements coalesce into synthesized remnants—a head, limb, or indeterminate swelling. This installation takes its cue from a singular figure modeled in bronze around a hollow animal bone and bound to a protruding blade. Surrounding this anthropomorphic pocketknife, paper mummies crawl across walls, haunting silhouettes peer out of canvases, and ethereal profiles pierce see-through metal screens—all creating a surreal underworld outside ordinary societal norms. Tel: 310.443.7000 Web site www.hammer.ucla.edu

Enrico David, Untitled.
Haus der Kunst - Munich: Kendall Geers
Through May 12, 2013
Geers’s in-your-face approach aims to disrupt commonly accepted moral codes and principles. Although he has been described as an activist, he sees his works as identifying and redefining limits, without any ideological agenda: as he says, “Contra?diction, Truth, Desire, Passion, and Anarchist are nothing more than the names of perfumes.” His wall-paintings, readymades, sculptures, and videos examine the psychology of things that cannot be controlled, things beyond the gallery space that art cannot touch, from extreme phenomena to emotional states. In this arena, politics, language, and value systems become physical, engaged through sexuality, violence, and fear. This survey covers almost 25 years of razor-sharp takes on the state of the world, from early investigations into the ethical contradictions of apart?heid in his native South Africa (which ended up challenging all forms of power) to the more recent “Euro?animist” works, which seek (unlikely) connections between the external, material world and internal, metaphysical truths. Tel: + 49 89 21127-113 Web site www.hausderkunst.de

Kendall Geers, Master Mistress of My Passion VII.
Hayward Gallery - London: Light Show
Through April 28, 2013
Since the 1960s, artists from around the world have exploited the perceptual and psychological effects of artificial light, sculpting and manipulating this intangible material in order to create spatial and environmental experiences. From freestanding light sculptures and projections to immersive installations, “Light Show” presents a spectacular over?view of artistic investigations into color, duration, and intensity, as well as perceptual phenomena (including rarely seen and specially re-created works). Works by David Batchelor, Jim Campbell, Carlos Cruz-Diez, Bill Culbert, Olafur Eliasson, Fischli and Weiss, Dan Flavin, Ceal Floyer, Nancy Holt, Jenny Holzer, Ann Veronica Janssens, Brigitte Kowanz, Anthony McCall, François Morellet, Iván Navarro, Philippe Parreno, Katie Paterson, Conrad Shawcross, James Turrell, Leo Villareal, Doug Wheeler, and Cerith Wyn Evans demonstrate the power of light to dazzle, confound, mystify, and mislead, altering mindsets and approaches to the surrounding world. Tel: + 44 (0) 20 7960 4200 Web site www.southbankcentre.co.uk

Leo Villareal, Cylinder II, from “Light Show.”
MAK - Vienna: Signs Taken in Wonder: Searching for Contemporary Istanbul
Through April 21, 2013

Through April 21, 2013 “Signs Taken in Wonder” sketches an imaginative narrative of place, culture, and history. As in the novels of Orhan Pamuk, the city itself takes center stage, with three generations of artists responding to a legacy that fuses dream and reality, East and West, past and present. Like Calvino’s Venice, Istanbul generates a multitude of possible worlds, each one built on precise geography and observed details but filled with unique wonders, unrepeatable miracles, and impossible contradictions. Emphasizing the role played by individuality in the construction of “worldviews,” the images and ideas expressed here in a range of media argue for personal creativity and interpretive freedom in the face of globalized hegemonies. Tel: + 43 1 712 80 00 Web site http://mak.at

Emre Hüner, A Little Larger than the Entire Universe, from “Signs Taken in Wonder.”

Matadero - Madrid: Arqueológica
Through May 9, 2013
The artists featured in “Arqueológica” demonstrate how research into the past can provide new means of understanding the present. The field of archaeology proper investigates lost lives, histories, cultures, political systems, and urban structures—all buried underground, where they exist between reality and fiction. But the secrets of ancient triumphs and failures can be teased out from the smallest of clues, painstakingly reconstructed with equal parts science and imagination in order to move forward. The site-specific installations gathered here—by Christian Andersson, Pedro Barateiro, Mariana Castillo Deball, Mark Dion, Daniel Guzmán, Diango Hernández, Regina de Miguel, and Francesco Ruiz—respond to the powerful architecture of Matadero’s former slaughterhouse and cattle market, fusing perception and analysis, as well as memory and oblivion.
Tel: + 34 91 5179556
Web site http://mataderomadrid.org


Goshka Macuga, Model for a Sculpture (Family).
Museum Het Domein - Sittard, the Netherlands: Mark Dion
Through May 5, 2013
For more than 20 years, Dion has explored the crossroads of art and science, vision and the production of knowledge, collecting and modes of presentation. Playing various roles, he takes a humorous, yet critical look at the relationship of nature and culture—though he says that his work has become increasingly “macabre and laced with dusky pessimism.” From exploring the construction of history, the clas?sification of objects and ideas, and the transformation of natural expressions into culture, he has moved on to more actively directed investigations, all aimed at one pressing question: How have past constructions of nature determined current environmental politics and public policy? This exhibition, which focuses on work from the last 10 years, takes the form of a giant Wun?derkammer, divided into fictitious “departments,” including Bureaus of Zoology and Archaeol?ogy, Museums and the Culture of Collecting, and a Cabinet of Mystery. As the laws of order shift in the face of new juxtapositions and conclusions, curiosity becomes an essential attribute and the museum regains its role as a “powder keg of imagination.” Tel: + 31 (0) 46 4513460 Web site www.hetdomein.nl

Mark Dion, Mandrillus Sphinx.
Museum für Moderne Kunst - Frankfurt am Main: Carsten Nicolai
Through May 5, 2013
Nicolai’s work explores various aspects of human perception by exposing the mechanisms behind auditory and visual phenomena to conscious experience. Formed by a fusion of sound, painting, and sculpture, his installations filter creativity through strict codes, thereby revealing the limitations, and potential beauty, of logical systems (both natural and artificial). In unidisplay, he tackles vision with a 14-meter-long surface of constantly changing, projected patterns and forms that unfold over time to reveal how we construct sign systems out of visual chaos and process optical illusions.?? The sound chamber uni(psycho)?acoustic, developed with students at the Staatliche Hochschule für Bildende Künste Städelschule, adds audio to the visual elements, concentrating on psycho-acoustic phenomena and the effects of auditory impressions. Tel: + 49 69 212 30447 Web site www.mmk-frankfurt.de

Carsten Nicolai, unidisplay.

Nasher Sculpture Center - Dallas: Ken Price
Through May 12, 2013
Price’s glazed and painted clay works not only transformed traditional ceramics, they also expanded rigid definitions of sculpture. Among the first generation of iconoclastic L.A. artists to gain international stature, he denied any distinction between or hierarchical separation of art and craft. Like his Bauhaus heroes, he sought to bring the values of the handcrafted into the modern age. The evolution of his work—from the slumps, rocks, geometrics, cups, eggs, and mounds to the bulging, rippling, late voluptuaries—reflects different approaches to that 50-year mission. This retrospective (the first devoted to Price’s work in 20 years) reveals a life devoted to consummate craftsmanship, unorthodox technical exploration, and seductive formal wit.
Tel: 214.242.5100 Web site www.nashersculpturecenter.org


Ken Price, Underhung.
Orange County Museum of Art - Newport Beach, California: Richard Jackson
Through May 5, 2013
One of the most radical artists of the last 40 years, L.A.-based Jack?son has expanded the definition and practice of painting into once unimaginable dimensions. His wildly inventive, exuberant, and irreverent takes on “action” painting have dramatically extended its performative and spatial dimensions, merged it with sculpture, and repositioned it as an art of everyday experience. The 11 room-size installations featured in “Ain’t Painting a Pain” —painted environments, monumental stacks of canvases, and anthropomorphic painting “machines” that reinterpret historical masters—present major works never before seen in the U.S., including a sculpture conceived early in his career but never constructed and Bad Dog, a new outdoor piece that marks the museum as its own. Tel: 949.759.1122 Web site www.ocma.net

Richard Jackson, The Laundry Room (Death of Marat).
Sharjah, United Arab Emirates - Sharjah Biennial 11: Through May 13, 2013
Through May 13, 2013
In “Re:emerge, Towards a New Cultural Cartography,” curator Yuko Hasegawa re-assesses the Western?ization of knowledge and suggests an alternative flow that connects the Arab world, Asia, North Africa, and Latin America. Inspired by the Islamic courtyard, where public and private intertwine and the objective political world intersects with introspective subjective space, her show posits a hybrid space of experience and experimentation—an arena for learning and critical thinking that might serve as a model for vital zones of creativity, transmission, and transformation. More than 100 artists, architects, filmmakers, musicians, and performers have contributed works that take on cultural complexities and spatial and pol?itical relations; propose new forms of contact, dialogue, and exchange; and instigate new ways of knowing, thinking, and feeling. With more than 35 new commissions, SB11 unfolds in sites across the city and marks the inauguration of five new art spaces sponsored by the Sharjah Art Foundation. Tel: + 971 6 568 5050 Web site www.sharjahart.org

Matthew Barney and Elizabeth Peyton, Blood of Two (performance still), from Sharjah Biennial 11.
Solomon R. Guggenheim Museum - New York: Gutai: Splendid Playground
Through May 8, 2013
Arguably the most influential artist collective in postwar Japan and among the most important international avant-garde movements of the 1950s and ’60s, Gutai engaged a wide range of bold and innovative creativity. The name, translated as “concrete” or “embodiment,” underscores the emphasis on physicality and real life. Taking the tenets of wabi sabi a step further, Gutai focused on beauty that arises when things become damaged or decayed, celebrating process as a way of revealing the inner life of materials and objects. “Splendid Playground,” the first U.S. museum show devoted to the group, explores its unique, “anti-artificial” approach to materials, process, and performativity. From painting (re-imagined as gestural abstraction) and conceptual art to experimental performance and film, indoor and outdoor installations, sound art, mail art, interactive or “playful” art, and light and kinetic art, individual artists pushed the limits of what art could be or mean in a post-atomic age. More than 120 objects by 25 artists demonstrate radical experimentation across media and styles, prefiguring better known Western developments such as Fluxus and Kaprow’s Happenings.
Tel: 212.423.3500 Web site www.guggenheim.org


Tanaka Atsuko, Electric Dress, from “Gutai.”
Yorkshire Sculpture Park - West Bretton, Wakefield, U.K.: James Capper
Through April 14, 2013
Machines rule Capper’s world. His remarkable sculptures, which can walk, swim, burrow into the ground, and even climb mountains, stem from a fascination with mechanics, mediated through a child-like attraction to moving toys. Though his large-scale creations embrace an aesthetic of steel, they betray more than a hint of animal movement (and personality). This show features three works from Capper’s Earth Marking, Offshore, and Material Handling divisions, in addition to an indoor component that includes drawings, models, and films of other machines at work. Capper recently told the Financial Times, “There’s art for art’s sake, but this is serious.” As visitors study his ideas for wind turbines, walking ships, and floating oil rigs, he hopes that they will discover fragments of ideas to address the planet’s problems. Artist, fabricator, conceptual engineer, he is above all a problem-solver who wants to change how we look at things. Tel: + 44 (0) 1924 832631 Web site www.ysp.co.uk

James Capper, Tread Toe.

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