The Watermill Center in New York City hosts “The Body” each summer, an artist residency program that focuses on the role of the body in art. This year, the organization is presenting a solo exhibition of the same title by Guatemalan poet and performance artist Regina José Galindo (b. 1974) to coincide with the residency. Through October 15, the exhibition features Galindo’s drawings, photographs, and videos.
Through performance, Galindo addresses ethical issues of sexism and racism, social violence, and injustice. She questions the inequalities that are endemic in all societies today and the human rights violations that result from them, often referring to the relationship between her body and the Guatemalan landscape. Since the early 2000s, her work has been shown at leading international institutions, including the Venice Biennale, where she earned acclaim for the poetic effects created by her use of the body.
The exhibition “Edward Steichen: In Exaltation of Flowers” has arrived at the Hudson River Museum after touring several museums in the United States. Until next February, the exhibition presents a large-scale painting project from the early career of Edward Steichen (1879-1973), a leading figure in 20th-century American photography.
Eponymous with the exhibition title, ‘In Exaltation of Flowers (ca. 1910-1913)’ consists of three large paintings and is one of seven murals Steichen created near the end of World War I. It was commissioned to decorate the foyer of the New York townhouse of Mr. and Mrs. Eugene Meyer Jr. The work depicts three women, from left, Katharine Rhoades, Marion Beckett, and a possible Agnes Ernst Meyer or Clara Steichen, flanked by flowers that symbolize their personalities.
The three women were part of Steichen’s circle of artists, intellectuals, and patrons. The exhibition focuses on the artistic circles and cultures of Steichen’s contemporaries. Alongside the paintings, the exhibition features Steichen’s self-portrait photograph and photographs of women and flowers by Steichen from the institution’s collection.
The MOMENTA Biennale de l’image takes place in Montreal, Canada, and has “image” as its broad topic. This year, the biennale celebrates its 18th edition with “Masquerades: Drawn to Metamorphosis,” directed by South Korean curator Ji-Yoon Han. The biennale runs from September 7 through October 22.
Everyone experiences the friction between the identities others assign to them and the identities they assign to themselves. Starting from this premise, this year’s Momenta Biennale explores the visible and invisible forces that shape our representations of ourselves and others, the function of representational images, and the idea of “mimicry” as a way to transform ourselves. The Biennial asks how we can intimately experience social space and otherness in a world where individuals are constantly being recorded, identified, and formalized, reshaping our understanding of identity and difference.
It features 23 artists from Canadian and international backgrounds. Participating artists include siren eun young jung from South Korea, Kristina Norman, Meky Ottawa, Anette Rose, Carey Young, Bianca Baldi, Mara Eagle, Valérie Blass, Jeannette Ehlers, Michèle Pearson Clarke, Marion Lessard, and Émilie Pitoiset, Naomi Rincón Gallardo, Séamus Gallagher, Lynn Hershman Leeson, Hito Steyerl, Chris Curreri, Maya Watanabe, Bianca Shonee Arroyo-Kreimes, Lindsay Katsitsakatste Delaronde, Rémi Belliveau, Tuan Andrew Nguyen, and Marianne Nicolson.