MINNEAPOLIS Dreamsong Nicole Havekost’s new drawings and sculptures demonstrate that, sometimes, complexity manifests most richly and strangely on the surface of things. Suturing, pricking, encrusting, sprinkling, saturating, slicing, waxing, burnishing, matting, and perforating are among the mark-making actions these works have sustained.
Tarik Kiswanson
GLASGOW The Common Guild As [Kiswanson] moves “outwards,” he addresses wider realities of humanity, using a variety of strategies to explore ideas around what he has called the “constant instability” of identity, and the embedded narratives and meaning that objects can hold.
Rachel Mica Weiss
NEW YORK Carvalho Park “Cyclicalities”—Rachel Mica Weiss’s most materially and thematically ambitious exhibition to date—features nine new sculptures that transform marble, alabaster, concrete, glass, and stainless steel from their everyday, utilitarian usage into things more softly meditative.
Wynnie Mynerva
LONDON Gathering Monumental unframed paintings on fabric are suspended from the walls of the ground floor and basement galleries, stretched out to a large extent, but with volumes of fabric tumbling downward and (sometimes) outward like fleshy folds.
“You Don’t Know Me”
WOOLWICH, MAINE Sarah Bouchard Gallery That there are only objects on view, and that they are tools of creative, domestic, and intellectual life and labor, points to an optimism, in critic Lauren Berlant’s sense of the word, about making itself.
Peter Fischli and David Weiss
NEW YORK Matthew Marks Just how do the artists get plastic to look like plaster, to resemble the swipe of a brush, the scuff of a shoe, a half-cleaned bowl? By separating looking from the physicality of touch and form from function or purpose, these handmade things can only affirm their authenticity as sculptural objects.
Hilary Heron
DUBLIN Irish Museum of Modern Art (IMMA) There has been little research on Heron, which is surprising because she was the key figure in introducing Modernism to Ireland, alerting Irish sculptors to the glories of British 20th-century sculpture (not only Epstein, Moore, and Hepworth, but also postwar figures such as Armitage, Chadwick, Turnbull, Meadows, and Frink).
Olivia Bax
SALISBURY, U.K. New Art Centre, Roche Court Sculpture Park Bax does not represent the exterior of things; instead, she presents experiences from the inside. Given this context, her internal/external armatures make perfect sense. This is the experience of the body from the inside out in all its rawness and vulnerability.
“These Mad Hybrids: John Hoyland and Contemporary Sculpture”
BRISTOL, U.K. Royal West of England Academy Hybridity has been a feature of British sculpture for decades. In the 1960s, it took two forms: transnational, epitomized by Anthony Caro’s formalist sculpture seen mostly in the context of American painting, and transmedial, characterized by an avid blurring of boundaries between painting and sculpture.
Hany Armanious
LEEDS, U.K. Henry Moore Institute The exhibition title, “Stone Soup,” is taken from a folk tale in which a traveler concocts a cauldron of soup, at first from nothing, yet, by employing the art of trickery, ensures an entire village is fed. This sparse show performs a similar act of conceptual magic.
