NEW YORK Jack Shainman Gallery Simpson’s figures are arranged toward each other; entering their presence feels like interrupting a conversation between old friends. Most of the exhibition’s dozen sculptures are life-size or larger, which adds to the sense of stepping through or meeting their gaze.
David Mach
LONDON Pangolin David Mach made a dramatic entry into the world of public art in 1983, when he used 6,000 car tires to construct a life-size replica of a Polaris submarine on the South Bank of the River Thames, near London’s Royal Festival Hall.
Henry Jackson-Spieker
SEATTLE MadArt Jackson-Spieker creates visual blind spots and distortions that he hopes act as a metaphor for the things we don’t see or question in our everyday surroundings.
Roger Ackling
LONDON Annely Juda Fine Art On the occasion of a previous exhibition at Annely Juda, in 1998, Ackling explained that the works don’t stand for anything. Rather, he said they stood beside him.
“Hurly-burly”: Phyllida Barlow, Rachel Whiteread, Alison Wilding
PARIS Gagosian Karsten Schubert, Wilding’s late gallerist, affectionately dubbed the trio of English artists “the three witches,” and this exhibition fittingly recalls the tumultuous “hurly-burly” they navigated during what was, back in the day, a particularly capricious and fickle male-dominated art world.
Markus Copper
HELSINKI Museum of Contemporary Art Kiasma Informed by personal experience, an interest in performance art, and tragic events, these visually compelling works can physically affect the body and veer into thematic territory that some viewers and critics have found shocking.
Cerith Wyn Evans
LLANDUDNO, WALES Mostyn Evans’s neon sculptures at Mostyn are, as he has described it, lit with “pale dispassion.” They do not force themselves on the viewer, but act tenderly in their relationships.
“Nothing is Forever: Rethinking Sculpture in Singapore”
SINGAPORE National Gallery Singapore With more than 70 works from the 19th century to the present, the exhibition challenges prevailing aesthetic norms, serving to redefine sculpture’s “object status,” just as the works themselves redefine structure, form, material, and production.
Anita Molinero
PARIS Musée d’Art Moderne Molinero’s approach is to melt her appropriated objects, a creative process that, like more traditional methods involving marble or bronze, is intimately linked to an act of destruction, or rejection.
Mariana Castillo Deball
LONDON London Mithraeum Bloomberg SPACE The Column of Conglomerates is built from lump-like components that cannot be separated—a clear allusion to archaeological finds in which coins, pins, and crumbled fragments are lodged together with larger unidentified masses of fused material.
