On the occasion of the centenary of the artist’s birth, MAXXI is devoting a major exhibition to Maria Lai (1919–2013), one of the most individual voices in Italian contemporary art.
Sublimations, a solo exhibition of the works of Diana Al-Hadid, will feature Al-Hadid's wall panels, sculptures, and drawings. The exhibition explores how Al-Hadid challenges and dissolves archetypal narratives that depict the female body in psychologically limiting terms. In collaboration with the Frist's exhibition, two large-scale outdoor works will be on display at the nearby Cheekwood Estate & Gardens. On view: May 24 - September 2, 2019 (Cheekwood closes September 1, 2019)
Embracing the accidental and the uncontrolled, as well as an approach that enters into a poetic and creative dialogue with nature, Braun creates immersive objects and collages as well as video installations that reflect his open attitude. For this he draws from materials such as industrially produced fabrics as much as he does from materials he finds in nature or which are produced by nature. This very potential to transform raw materials into novel, poetic and sometimes mysteriously and equally humorous form, which continually challenges the truth in the creation of works, are topics which engage Braun on an ongoing basis. This is Björn Braun’s first major presentation in Switzerland.
There is no dress code inside the tent. No choir, nor a bulletin. But the congregation is energetic and fully participatory. Presbyterian, Baptist and Methodist… this is a place to reach the lost, those with tender hearts. Under the big top is a transient group who have come to the revival to be filled with the spirit, to experience something beyond this immediate world. Chicago-based artist William J. O’Brien created this exuberant sanctuary for his other-worldly parishioners, fetishistic and ritualistic figures empowered by the glory.
Björn Braun is included in a group show at the Contemporary Arts Center in Cincinnati, Ohio titled Creatures: When Species Meet. The exhibition, curated by Steven Matijcio, looks not only at art that places the animal as the subject but also at works that employ the animal as a creative collaborator. Braun's nests, which are featured in this exhibition, are products of an ongoing collaboration between birds and the artist.
Hans Op de Beeck has been included in the sixth edition of GLASSTRESS, an exhibition that celebrates and revives the traditional craft of Murano glassblowing. Hans Op de Beeck will be exhibiting The Frozen Vanitas alongside glass works by artists including Ai Weiwei, Tony Cragg, and Laure Prouvost. GLASSTRESS is on view concurrently with the Venice Biennale.
Frank Stella: Selections from the Permanent Collection is open at the Los Angeles County Museum of Art. The exhibition features a curated selection of Stella’s works from the permanent collection that showcase significant developments in his oeuvre. Some of the works have not been on view for over 30 years and others, such as the large-scale sculpture, K.56 (large version) (2013), have been recently acquired by the Museum.
Jessica Jackson Hutchins and the Haas Brothers are both included in the Kentucky Museum of Art and Craft’s exhibition In the Hot Seat. The exhibition explores how the chair has become an indelible focus of creative inquiry for artists, who employ the chair for its ability to embody space, status, social conventions, personal identity, memory, family history, and other aspects of our humanity. Included are Hutchins’s The Way That You Live (2015) and the Haas Brothers' Hair-ic Coiff-man (2014).
Jennifer Bartlett's Rhapsody (1976) was put on display in the atrium at the Museum of Modern Art in New York. Rhapsody consists of 987 one foot-square steel panels stretching over an expanse of more than 150 feet. The monumental work can be read from left to right and is organized into seven thematic sections, which represent the themes that Bartlett would explore in-depth for decades to come.
Kunstalle Krems presents a solo exhibition by Hans Op de Beeck that includes special sculptural installations designed for the exhibition. The Cliff, which is the title of both the piece and the exhibition, is a romantic naturescape in the form of a life-sized sculptural installation. The exhibition includes monochrome sculptures, watercolors, ink paintings, and Op de Beeck's films including Staging Silence (2). Throughout the exhibition, art and everyday life blur into one another; real-looking persons and objects mutate into sculptures in their monochromy. Life seems halted, frozen like in Pompeiian cement, in the wondrously melancholic world of Hans Op de Beeck.
Across eight successive galleries, this exhibition presents practices that evolve from the flat plane of the wall to immersive sculptural environments. Staging a performance of material history, spatial occupation, and social positioning, Hinge Pictures: Eight Women Artists Occupy the Third Dimension resuscitates abstract modernist vocabularies, marked by patriarchal and colonial histories, for use in a new feminist formalism.
The Tarble Arts Center presents Sue de Beer: Come Wind, Come Weather a solo exhibition featuring two of her films in concert: The Blue Lenses (2015) and The White Wolf (2018). This installation will take viewers on an exploration of the real and unreal, often blurring the curious boundary between specimen and the observer. De Beer’s environments become extensions of the film, as she asks viewers to not only see, but also be a part of the unfolding mysteries she creates within both works.
Julia Dault's Untitled 38, 10:30 AM - 2:00 PM, April 4, 2016 (2015) is on view at the Museum of Contemporary Art Chicago in the group show Groundings. The exhibition considers the reciprocal influence between bodies in motion and the invisible forces that govern movement, such as gravity, time, and electricity.
NSU Art Museum in Fort Lauderdale, FL has unveiled a new site-specific wall installation by Serge Alain Nitegeka, titled Wall Drawing XIII. The work is included in the exhibition, Remember to React: 60 Years of Collecting, a comprehensive installation of the museum’s permanent collection that will be on view through June 30, 2019.
Hans Op de Beeck’s video piece, Sea of Tranquility, is now on view at the Het Scheepvaart Museum, Amsterdam. The fictitious cruise liner in the film was designed by Op de Beeck, following a short residence at Saint-Nazaire, France in 2008. During this time, the artist became intrigued by the remarkable story of this harbour town whose shipyards produce the world’s largest cruise liners. It seemed to Op de Beeck that the Queen Mary 2, then just completed, was, like the Burj Khalifa in Dubai, a suitable metaphor for our belief in spurious values and in such concepts as work, leisure time and luxury consumerism.