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Cologne, Museum Ludwig Presents Füsun Onur’s Retrospective.. and More

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Cologne, Museum Ludwig Presents Füsun Onur’s Retrospective.. and More

Germany_Cologne

Museum Ludwig Presents Füsun Onur’s Retrospective

Installation view of “Füsun Onur. Retrospective” at Museum Ludwig, Colgne, 2023. © Füsun Onur. Photo: Aljaz Fuis.

The Museum Ludwig, Cologne, presents a retrospective of Füsun Onur (b. 1938) through January 28, 2024. In the past few years, the Museum Ludwig has organized large-scale survey exhibitions of underrepresented artists such as Joan Mitchell, Nil Yalter, and Isamu Noguchi.

Fusun Onur is considered one of Turkey’s most important contemporary artists but rarely had a comprehensive exhibition to showcase her body of work. This exhibition brings together 94 installations created over the past 60 years, including a new large-scale installation created specifically for this retrospective.

Onur studied sculpture in Istanbul and studied in the United States during the 1950s and 1960s, a period of radical change in Turkish art history. Her early work blends influence from abstract art, constructivism, and minimalism. A recurring element in Onur’s recent practice is her family house in Istanbul. The gallery rooms are filled with furniture and memorabilia from the early 20th century, and Onur uses everyday objects and musical effects in the exhibition to stimulate the viewer’s imagination.

UK_London

The Mosaic Rooms Presents 4 Young Palestinian Artists in “In the shade of the sun”

Xaytun Ennasr, Revolution is a forest that the colonist can’t burn, 2023. Installation view at The Mosaic Rooms, London, 2023. Photo: Andy Stagg. Courtesy of The Mosaic Rooms.

The Mosaic Rooms, London’s art center for contemporary culture from the Arab world, presents “In the shade of the sun” through January 14, 2024. Through commissioned new works by four young Palestinian artists, the exhibition explores new languages to think about Palestine and the relationship between politics and aesthetics.

The exhibition features works in video, installation, music, and games. Mona Benyamin’s ‘Tomorrow, Again’ presents a dysfunctional broadcast with scenes representing everyday catastrophes in Palestine. Xaytun Ennasr’s ‘Revolution is a forest that the colonizer can’t burn’ celebrates the tree as a symbol of resistance and commitment. Dina Mimi’s ‘The melancholy of this useless afternoon’ is a fictionalized narrative about fugitives, smugglers, and bird smuggling that speaks to migration, loss, separation, and resistance. Makimakkuk’s new sound performance ‘What remains in the museum’ addresses identity, colonization, love, and relationships.

Bulgaria_Sofia

Bulgaria National Gallery: Sculptor Emilia Nikolova-Bayer and Her Mark in Modern Architecture

View of the main facade of Sofia Theatre. Photograph: Rainer Bayer. Credit: National Gallery.

In Sofia, The National Gallery of Bulgaria presents “The Art of Synthesis,” an exhibition featuring Bulgarian sculptor Emilia Nikolova-Bayer (b. 1934), on view through October 23.

Emilia Nikolova-Bayer left a unique mark on modern architecture with her proportional and harmonious bas-relief decoration of building facades. After studying ceramics and decorative monumental sculpture in Bulgaria, she began working as a freelance sculptor and decorating buildings. After settling in Berlin in 1975, she began working on large-scale sculptures for public environments such as parks and buildings. Nikolova-Bayer’s practice is acclaimed for its original combination of monumental art and sculpture.

The exhibition highlights her seminal works, the relief decoration of the Sofia Theater (1973-75) and the Friedrichstadt-Palast Theater in Berlin (1982-84). It also aims to present her personal and colorful artistic life as an avant-garde female artist active in Bulgaria in the second half of the 20th century. The exhibition features photographs of decorative reliefs, porcelain panels, stone inscriptions, and drawings for various sculptures taken from the artist’s archive.

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Mumbai, Experimenter Presents “Sakshi Gupta: If the Seas Catch Fire”.. and More

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Mumbai, Experimenter Presents “Sakshi Gupta: If the Seas Catch Fire”.. and More

India_Mumbai

Experimenter Presents “Sakshi Gupta: If the Seas Catch Fire”

Installation view of Sakshi Gupta’s “If the Seas Catch Fire” at Experimenter Colaba, Mumbai, 2023. Credit: Experimenter

Mumbai’s Experimenter gallery presents “If the Seas Catch Fire,” a solo exhibition by Indian sculptor Sakshi Gupta (b. 1979), on view through October 26.

Sakshi Gupta recycles industrial metal, waste concrete, and stoneware to create large-scale sculptures. Her work addresses the existential theme, the disconnect one experiences with oneself, and the turmoil this creates. She visualizes different human states through various metaphors: a confused, suffocating head depicted as a large chicken coop, and an overwhelmed heart portrayed as a ruffled carpet. By utilizing mundane objects and crossing animal, human, and plant forms, Gupta seeks to transcend the distinction between objects and lives to experience the self in a larger context. Gupta’s work is often described as horribly mutilated, irrational, and grotesque, but also as having a seductive and poetic beauty.

Japan_Tokyo

“Jam Session: The Ishibashi Foundation Collection x Yamaguchi Akira Drawn to the Irresistible Sensation”

https://www.artizon.museum/en/exhibition/detail/566

Artizon Museum, Tokyo, presents “Jam Session: The Ishibashi Foundation Collection x Yamaguchi Akira Drawn to the Irresistible Sensation” through November 19. Akira Yamaguchi (b. 1969) seeks to escape socially imposed art history and systems by pursuing an “irresistible sensation.” The jam session in the title refers to a concert where musicians freely jam after a performance.

Yamaguchi uses oil paint to create his works in the style of traditional Japanese painting. He also creates sculptures, comics, and installations, and has been involved in major public art projects in Tokyo.

Through Yamaguchi’s work, the show aims to question the meanings of “modernity,” “Japanese codes,” and “the essence of Japan.” It examines the impact of the influx of modern painting from Western Europe into Japan within the context of Japanese history, which differs from Western Europe. Alongside Yamaguchi’s work, modern paintings from the Ishibashi Foundation’s collection, both Japanese and Western, are on display.

Singapore

Group Show at SAM, “Proof of Personhood: Identity and Authenticity in the Face of Artificial Intelligence”

Poster image of “Proof of Personhood:Identity and Authenticity in the Face of Artificial Intelligence” at Singapore Art Museum, 2023-2024. Credit: SAM

From September 22 to February 25 next year, the Singapore Art Museum (SAM) presents “Proof of Personhood: Identity and Authenticity in the Face of Artificial Intelligence.” The group exhibition asks questions about humanity in the face of new technologies.

It examines the unstable relationship between identity, subjectivity, and authenticity under the influence of popular culture and new technologies, and sheds light on the changing concept of humanity. The works in the exhibition expand the portrait genre, depict human and non-human subjects, and explore the nature of humanity in the 21st century. They also question what “real” means today, as celebrities, regular social media users, and bots alike use the same digital technologies to commodify their authenticity.

The artists are Cécile B. Evans (b. 1983), Christopher Kulendran Thomas (b. 1979), Annika Kuhlmann (b. 1985), Dr. Heather Dewey-Hagborg (b. 1982), William Wiebe (b. 1992), Zach Blas (b. 1981), Jemima Wyman (b. 1977), Charmaine Poh (b. 1990), and Song-Ming Ang (b. 1980).

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New York, Ruth Asawa’s Drawings at the Whitney Museum of American Art.. and More

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New York, Ruth Asawa’s Drawings at the Whitney Museum of American Art.. and More

USA_New York

Ruth Asawa’s Drawings at the Whitney Museum of American Art

Ruth Asawa, Untitled (WC.252, Persimmons), c. 1970s–80s. Watercolor on paper, 14 × 17 in (35.6 × 43.2 cm). Private collection. Artwork © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York. Courtesy David Zwirner.

The Whitney Museum of American Art’s “Ruth Asawa Through Line” showcases the drawings of Japanese-American artist Ruth Asawa (1926-2013), best known for her wire sculptures.

Although Asawa is best known for her sculptures, the exhibition explains that drawing was central to her creative practice. Asawa drew every day, and she used to say that drawing was her “greatest pleasure and the most difficult.” The show presents more than 100 of Asawa’s drawings, many of which have never been exhibited. Asawa’s experimental approach to matter, line, surface, and space through drawing reveals the artist’s playful curiosity, technical dexterity, and interest in the aesthetic possibilities of the everyday. The exhibition is on view through January 15th of next year.

USA_New York

“Behold,” María Magdalena Campos-Pons’s Solo Show at the Brooklyn Museum

María Magdalena Campos-Pons, Red Composition (detail), from the series Los Caminos (The Path), 1997. Triptych of Polaroid Polacolor Pro photographs, framed.: approx. 37 x 29 in. (94 x 73.7 cm) each; approx.. 37 x 87 in. (94 x 221 cm) overall. Collection of Wendi Norris. © María Magdalena Campos-Pons. (Photo: courtesy of the artist)

The Brooklyn Museum presents “Behold,” a solo exhibition by María Magdalena Campos-Pons (b. 1959), on view through January 14, 2024.

Campos-Pons is a Cuban artist who works in multiple media, including photography, immersive installations, painting, and performance. Campos-Pons’s work explores themes of migration, diaspora, and memory, drawing on her family’s narrative to examine the global history of slavery, indentured labor, motherhood, and migration.

The show marks the first exhibition to bring together the artist’s multi-media work since 2007. It features performance-based works, explorations of Yoruba Santería symbolism, and the artist’s collaborations with communities in Boston, Cuba, Italy, and Nashville. The exhibition highlights Campos-Pons’s journey to create new ways of understanding and her engagement with historical and contemporary challenges.

USA_New York

Barbara Chase-Riboud and Alberto Giacometti Meet at MoMA

Installation view of the gallery "The Encounter: Barbara Chase-Riboud/Alberto Giacometti" in the exhibition "Collection 1940s–1970s." Credit: MoMA

Museum of Modern Art, MoMA presents “The Encounter: Barbara Chase-Riboud/Alberto Giacometti” through October 9. Barbara Chase-Riboud (b. 1939) is an American sculptor, best-selling novelist, and poet, and Alberto Giacometti (1901-1966) is a Swiss sculptor. The exhibition focuses on their encounters and shared interests that transcended their generations and nationalities: they first met in Paris in 1962, and then again in Milan shortly before Giacometti’s death.

The exhibition notes that both sculptors repeatedly returned to the human form and that they both used classical methods to create their figures. Giacometti preferred to model clay by hand and then cast it in plaster. Chase-Riboud used the classic lost-wax casting method to make her bronze sculptures, incorporating knotted and braided fibers, wool, and silk into the formed pieces.

For the first time in the United States, the exhibition presents five plaster sculptures from Giacometti’s masterpiece ‘Femmes de Venise (Women of Venice),’ created for the 1956 Venice Biennale. Alongside them are works from Chase-Riboud’s 70-year career. Two of Chase-Riboud’s seminal works are on view, ‘The Couple (1963)’ and ‘All That Rises Must Converge (1973).’

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“YOU SEMINAR TO THE EARTH,” an Exhibition that Reflects on Our Sense of the Planet.. and More

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"YOU SEMINAR TO THE EARTH," an Exhibition that Reflects on Our Sense of the Planet.. and More

Seoul Art Space Mullae

"YOU SEMINAR TO THE EARTH," an Exhibition that Reflects on Our Sense of the Planet

“YOU SEMINAR TO THE EARTH” Poster ©Seoul Art Space Mullae

From September 11 to October 6, the exhibition YOU SEMINAR TO THE EARTH will be held on the 2nd and 3rd floors of Seoul Art Space Mullae. This exhibition is a part of ‘2023 UnfoldX ‘, a program that selects and supports artists and curators working in the field of convergence art and this project is curated by Hong Heejin.

The “You Seminar” mentioned in the title is a space that appeared in Pixar’s animated movie “Soul,” where children live before being born on Earth. The exhibition imagines the ‘You Seminar” as a pre-human world and proposes to perceive the earth and nature through the natural abilities of humans and machines.

The participating artists are Jun Hyoung San, Yang Sookyun, Nam Sangbong, Yoon Hee Soo, Oh Hwajin, Jung Sungjin, Cho Sohee, and Yohan Hàn. On the second floor, works by Jun Hyoung San, Yang Sookyun, and Nam Sangbong using sound are installed in the lobby, box theater, and dressing room. If audiences follow Yoon Hee Soo’s sound installation <horizontal keynote trip> (2023) on the stairs to the third floor, audiences can see works by Oh Hwajin, Jung Sungjin, and Cho Sohee. Oh Hwajin installs hybrid creatures in the space based on short stories she has written, while Jung Sungjin uses white paper to create origami to address the thinking process of memory. Cho Sohee’s exploration of drawing incomplete circles takes place throughout the exhibition space, including the elevator. Yohan Hàn participated in the performance < SIWOLSANGDAL threading dance > (2023), which will be presented on September 25 at 7 p.m. on the rooftop.

*On the first floor, another selected project from the ‘Unfold X’, Defragmentation (09.02 – 09.26, 2023), is also on view.

Platform-L Contemporary Art Center

" The Night Migrations," a Solo Exhibition by artist Chang Yahon, who experiments with the Traditions of Chinese Literati Painting

Yahon Chang, Dream Land (Blossoms Flourishing: The Destination Series, 2014, Acrylic on canvas, 194x130cm ©Platform-L Contemporary Art Center

The Night Migrations, a solo exhibition by artist Yahon Chang (b. 1948), will run from September 7 to October 15 at Platform-L Contemporary Art Center. The exhibition will feature 46 paintings across four exhibition spaces.

Reinterpreting the Chinese literati painting tradition, Yahon Chang creates experimental ink paintings based on calligraphy. Understanding painting not only as an act that takes place on the canvas, but also as an act that connects the body, mind, and unconscious. The artist is known for his performance works, in which he stands on a large canvas or Chinese drawing paper and draws with a brush similar in size to his height.

This exhibition focuses on two series of paintings, <Shadow of Buddha> and <Blossoms Flourishing>, created between 1996 and 2005, as well as a selection of abstract landscape paintings created between 2005 and 2019. Gallery 2 and Gallery 3 will focus on the <Blossoms Flourishing> series. The large-scale paintings, which are stacked with vibrant colors such as pink and white, are reminiscent of the image of idealized nature in traditional Chinese landscape painting. In Annex 2 and Annex 3, the exhibition centers on <Shadow of Buddha>, which, unlike the explosion of colors in <Blossoms Flourishing>, is painted on a black canvas with black paint, so that the figure of Buddha is revealed subtly on canvas.

Former Embassy Residence

"BETTER NOT TO WRITE UNDER THE SPIRE", an Exhibition that quietly permeates an Empty House

“BETTER NOT TO WRITE UNDER THE SPIRE” Installation view at Former Embassy Residence ©Euirock Lee

Bahc Jimu’s solo exhibition, BETTER NOT TO WRITE UNDER THE SPIRE, will held from September 3 to 30 at the Former Embassy Residence. The exhibition space uses the structure of an empty house on its own. The works on display are reconstructions of scenes and events that the artist encountered while wandering around the exhibition space and Hannam-dong.

The exhibition is organized across some rooms and restrooms on the first and second floors of the space, as well as on an outdoor terrace on the second floor. After crossing the small garden in front of the space, the works are displayed in the living room and some rooms on the first floor. A series of ‘Knife Drawing’ and < ONE CENTURY > (2023), a flat work dominated by white color, hang on the white walls of the house and white dresser, feeling like part of the space. On the second floor, installations that utilize the spaces more actively stand out. < I’ve been touching the loose tooth for a decade > (2023) and < Copper Coins > (2023) are installed in the toilet and the gaps near the toilet. On the outdoor terrace, < Outlaw > (2023), with acrylic writing and drawings on flowerpot, evokes the familiarity and strangeness of the space at once.