HELSINKI Sinne “Health and Safety” demonstrates Bradford’s ability to scope out oxymoronic circumstances and construct scenarios that expose their shortcomings. In that regard, the blandness of the title is strategically deceptive.
Olivia Erlanger
NEW YORK Luhring Augustine In Olivia Erlanger’s recent exhibition, “Spinoff,” a disruptive volley of arrows piercing the upper wall of Luhring Augustine Tribeca’s entry hall and main space lent a mythic spin to intriguing simulacra of a not-quite-natural world.
Gilberto Zorio
NAPLES Galleria Lia Rumma By intertwining concepts of energy exchange in space and time, Zorio seeks to make intelligible an encounter between artistic practice and the fluid, dynamic forces that are the essence of being.
Sami Tsang
NEW YORK Claire Oliver The best stories balance the personal with some sort of universal experience. In the case of sci-fi and fairytales, the mundane mixes with the fantastical, allowing protagonists to achieve their transformative or transcendent moment.
Pedro Gómez-Egaña
CAMBRIDGE, MASSACHUSETTS MIT List Visual Arts Center Virgo (2022), the central and most provocative work in “The Great Learning,” pays homage to Gordon Matta-Clark’s building cuts, but with a difference. Where Matta-Clark sought to reveal untapped potential, Gómez-Egaña instead explores our moment of too much potential.
Katie Hudnall
PHILADELPHIA Museum for Art in Wood“Delight” might seem too twee a word for contemporary art parlance, but it certainly fits Katie Hudnall’s current exhibition. “The Longest Distance Between Two Points” features 16 sculptures made of salvaged wood, string, springs, and brass hardware, as well as four large drawings and a suite of eight smaller drawings, that all manifest a dark yet playful and whimsical aura.
Rebecca Warren
NEW YORK Matthew Marks Gallery Installed on tilted plinths and dollies, each of Warren’s figures seems poised as if in mid-movement. Heavily worked surfaces trace the energy and marks of the artist’s hand while also capturing light and sustaining the sensation of fluid, mutable form.
Tom Bevan
NORTHERN IRELAND Down County Museum Assembled from cardboard or mountboard (most of it taken from the bases of fruit and vegetable boxes), the small forms were then collaged with found, painted, and drawn images and written commentary. Though these “building blocks” may recall simple children’s toys, they also contain a very strong sociopolitical axis that demands to be “read.”
Otobong Nkanga
DALLAS Nasher Sculpture Center Along the cord’s length, there is a rhythmic evolution to the colors: one section dark and earthen like compost, becoming a stringy, mottled cream, then a beetroot purple, studded with seeds. It is also punctuated by a number of enormous, milky glass beads in analogous colors. From afar this gives the form the look of an oversize rosary.
Gabriel Orozco
MEXICO CITY Museo Jumex “Politécnico Nacional,” Gabriel Orozco’s first museum show in Mexico since 2006 and his most expansive survey to date, presents the work of a global artist who nevertheless remains emblematic of Mexico City’s contemporary art scene.
