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November 2018
Vol. 37 No. 9

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 Museum - Brooklyn: Cecilia Vicuña
Through November 25, 2018
Cecilia Vicuña,
installation view of Disappeared
Quipu. For millennia, ancient peoples of the Andes created quipus--complex record-keeping devices made of knotted cords that served as an essential medium for reading, writing, and remembering. Vicuña has devoted a significant part of her artistic practice to studying, interpreting, and reactivating these communication devices, which were banned by the Spanish when they colonized South America. "Disappeared Quipu" pairs ancient quipus from the BMA's collection with a newly commissioned installation by Vicuña that combines monumental strands of knotted wool with a fourchannel video projection. Together, these expressions of past and present explore the nature of language and memory, the resilience of native peoples in the face of colonial repression, and Vicuña's own experiences living in exile from her home country of Chile.

Web site

Cecilia Vicuña, installation view of "Disappeared Quipu."
Institut d'Art Contemporain - Villeurbanne, France: Katinka Bock
Through January 20, 2019
Katinka Bock, Carla Look meets touch in Bock's understated, richly sensitive works. The sensory overlap makes sense for an artist whose primary material is clay--folded, crumpled, wrapped, molded, and rubbed by hand to create a broad vocabulary of forms and textures. Her process, located at the intersection of malleability and gesture, also embraces physical forces such as heat, evaporation, and other natural means of alteration, all of which leave their signature marks not only on clay, but also on stone, wood, copper, bronze, plants, and fabric. Her careful orchestrations of objects in space join together to enter the flow of life--precarious assemblages with the potential to tell multiple stories and take on different meanings and configurations. For Bock, who compares her works to words and her exhibitions to texts, nothing is finished; everything remains open to editing and reworking, existing in an intermediate, transient state. "Radio / Tomorrow's Sculpture" marks the final stage in a three-part series of exhibitions exploring the processes of artistic production and the principle of material co-existence.

Web site

Katinka Bock, Carla
Institute of Contemporary Art - Philadelphia: Ree Morton
Through December 23, 2018
Ree Morton, Devil Chaser, 2nd
version.Morton's career began late and ended too soon. But before her death in a car accident in 1977, she produced a steady stream of playful and poetic drawings, sculptures, installations, and performances. While reflecting the general tenets of post-Minimalism, her willfully idiosyncratic work does not shy away from decoration, storytelling, craft, or emotion. The drawings, sculptures, installations, and sketchbooks featured in "The Plant That Heals May Also Poison," the first U.S. retrospective of Morton's work, move from conceptual austerity toward process and personal narrative, attempting to be "light and ironic on serious subjects without frivolity." They reveal a literary artist of prodigious curiosity and inventiveness, with a richly eccentric inner life: Americana and kitsch meet conceptual rigor and concision to forge a distinct feminist legacy. Language rooted in drawing defines these stillfresh works--all united by a defining sense of personal, political, and emotional investment.

Web site

Ree Morton, Devil Chaser, 2nd version.
Kunsthalle Basel - Basel: Tania Pérez Còrdova
Through January 6, 2019
Tania Pérez Córdova,
Even (detail). In Pérez Còrdova's work, forms become memories, objects grow into experiences, and sculptures turn into events. She inscribes her seemingly static pieces with hints of contemporary life, teasing out moments in implied social and economic relationships. Odd juxtapositions embrace the ordinary world of daily transactions with other people and systems, though we only see a part. A single gold earring hangs from a bronze cast, an active credit card slots into a wood-fired clay platter, and a SIM card embedded in a terra-cotta slab signals missed calls. Each work embodies a nexus of negotiations between the artist and third parties-- the woman left with only one earring, the credit card user, the bank, and the whole credit system. Stand-ins for each and every one of us, and our place in social and digital networks, these "contemporary relics" act as clues to the everyday lives of others and to our culture as a whole--everyone tied into, and bound together by, far-reaching impersonal mechanisms that mold the personal and generate community.

Web site

Tania Pérez Córdova, Even (detail).
MSU Broad - East Lansing, Michigan: Matthew Angelo Harrison
Through November 25, 2018
Matthew Angelo Harrison,
Dark Silhouette: Manifold Composition.In his late teens, Harrison fell under the spell of Nelson Goodman, particularly The Structure of Appearance and its concept of irrealism--the simultaneous existence of various realities within one another. The construction of systems and the possible relativity of the world continue to drive his work, which uses the performative aspects of manufacturing and the latent potential in unfinished objects to explore race and identity in ingeniously subtle ways. His homemade 3D printers, built from low-tech parts and using DIY software, combine a Minimalist aesthetic with the industrial look of open-source hardware, churning out "prototypes" that are far from assembly-line products. Sourced from traditional African carvings, his hybrids are not replicas, but new creations generated from a "script" of formal data, either output in clay or carved in wood and housed in bulletproof glass. Tensions between authentic and inauthentic, repetition and difference, organic and inorganic also characterize his highly polished, transparent acrylic boxes enclosing the bones of African animals, works that pick apart the fetishization of perfection, the hand of the artist, and the role of tools, as well as the tropes of exoticism and display.

Web site

Matthew Angelo Harrison, Dark Silhouette: Manifold Composition..
New Museum - New York: Marguerite Humeau
Through January 6, 2019
Humeau, Monument for Humankind.A self-described "Indiana Jones in Google times," Humeau digs into the myths, speculations, fantasies, and occasional truths grounding our constructions of the world. Epic quests through time and space, her installations weave fact and fiction into physical, sensory experiences that reanimate sights, sounds, and smells from long-extinct creatures and distant eras. In "Birth Canal," she approaches her fascination with a future unmarred by human presence from a different perspective. Ten eerie figures--oracular chimeras formed from the conjunction of prehistoric Venus figurines and the contours of animal brains--beckon viewers into a darkened chamber permeated by a faintly sweet, mineral- like odor inspired by birth; then, they begin to prophesize. From their trance, they issue a choral lament, foreseeing the future extinction of their offspring--humanity--an ungrateful creation undeserving of the world it attempts to rule.

Web site

Marguerite Humeau, Monument for Humankind.

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