NEW YORK New Museum Water laps and pools, filling the vessel with poetic possibility as it becomes a fountain, a tub offering a restorative, healing bath, and a conduit of symbolic passage.
Donna Dennis
HUDSON, NEW YORK Private Public Gallery “What is that?” asked one disoriented visitor, as she beheld the enormous architectural structure before her—a replicated ore dock facing a vast ocean.
Zineb Sedira
BERLIN Hamburger Bahnhof In these film selections, Sedira seems to imply that emancipation is always entangled with fabrication, with making things up.
Leandro Erlich
MIAMI Pérez Art Museum “Liminal” isn’t quite a fun house, it’s more reminiscent of a film set, with dreamy façades and psychologically charged environments, just off-kilter enough to make you take notice and challenge assumptions.
Richard Ibghy and Marilou Lemmens
CHARLOTTETOWN, PRINCE EDWARD ISLAND Confederation Centre of the Arts I am writing this in a part of Nova Scotia where the farms that surround me grow grass. Each spring, verdant green fields are rolled up and taken away to become lawns in housing developments.
Sonia Boyce
MARGATE, U.K. Turner Contemporary Boyce’s videos of this session reveal how the participants grew in trust and how their improvised collaborations became increasingly confident and playful, questioning authority and authorship.
Lynda Benglis
LONDON Thomas Dane Beyond the straightforward binaries of masculine and feminine though, there is something Cyborgian, in a Donna Haraway sort of fashion, about Benglis’s tentacle-like mirrored floor sculptures, which one can imagine having been spawned from the severing of some monstrous creature, their puckered ends curling upward like truncated limbs.
Arthur Simms
LOS ANGELES Karma Improvisatory and yet obsessive, Arthur Simms’s sculptures manifest the intensity of his process. His work is provocative, compelling, hard to look at—and at least part of its power comes from his drive to make such fierce, volatile, and demanding objects.
Mike Nelson
LONDON Hayward Gallery An extraordinary feat of planning and labor, the exhibition, which covers 25 years, encompasses around 20 interconnected rooms and corridors, involving 40 tons of sand, 5,000 feet of reclaimed timber, and the skills of more than 30 builders and technicians.
Shari Mendelson
HUDSON, NEW YORK Pamela Salisbury Gallery Ancient, quasi-mystical artifacts—those once lively objects from the distant past that have survived—come to us as unknowable, fundamentally opaque, and foreign, displayed in the highly charged confines of museums.
