LONDON London Mithraeum Bloomberg SPACE There is the literal sense of stripping away layers to reveal what’s underneath, word play well-suited to a venue situated above the remains of a subterranean Roman temple and equally relevant to the Chilean artist’s core interest in the archaeology of memory and time.
Sheilah ReStack
HALIFAX, NOVA SCOTIA The Blue Building Gallery For ReStack, “control” is the chimera that we reach for in the face of uncertainty. As curator Emily Falencki writes, “ReStack explores the way her identities—mother, lover, artist, friend—are filled with the anxiety and wonder of being (and not being) in control of connection and outcome.”
Katie Paterson
EDINBURGH Ingleby Gallery Requiem, as an artwork and as an idea, remains central to the exhibition, which Paterson calls a lament or elegy. It is deeply melancholic, a requiem mass for a dying world, but it is profoundly optimistic, too.
Emii Alrai
WAKEFIELD, U.K. The Hepworth Wakefield Two enormous rocky mounds cleave the gallery in two. Following the length of this divide, or rupture, the eye is drawn to numerous glass vessels held in metal armatures mounted on the surface, which evoke something like an archaeological site.
Alan Saret
NEW YORK Karma With each sculpture and drawing purposefully demonstrating the range of his gestures, the exhibition examines 50 years spent tracing the spectacular subtlety of nature through almost immaterial manipulations of wire and other manmade materials.
“A Matter of Life and Death”
NAPLES Thomas Dane Gallery Hierarchical distinctions between craft and fine art have been steadily dissolving, and this most pliable and versatile of natural materials has become integrated into the broad variety of possibilities available to artists.
Laurie Anderson
WASHINGTON, DC Hirshhorn Museum and Sculpture Garden The body is paramount, manifesting as conduit and vessel, which makes the sculptural works highly effective agents of identification and empathy.
Bret Price
HAMILTON, OHIO Pyramid Hill Sculpture Park and Museum Price’s abstract sculptures revel in their setting. Rather than treating the environment as a handsome backdrop against which they might strut their stuff, they go out of their way to make you pay attention to every detail in your visual field.
Han Sai Por
SINGAPORE STPI Mulberry tree bark pounded out onto canvas, marble vessels re-imagined as fungi and bacteria, forest leaves sculpted from paper pulp—Han Sai Por’s works are populated by a menagerie that suggests we could look at nature as if it were art.
