BRUSSELS Fondation CAB Pictures taken in Brussels reveal a bar of wood on the floor of a subway station, among magazines at a newsstand, next to a man drying his hands in a washroom, and in the hands of an anonymous woman, who, along with two co-workers, appears to be amused by the object.
Amalia Mesa-Bains
BERKELEY, CALIFORNIA BAMPFA Mesa-Bains has often spoken about how scent is a powerful trigger for memory; in many instances, she doubles down on such devices for stimulating the recall of emotions with her Wunderkammer-like collections of objects and images, adding layers of complication.
Grada Kilomba
NEW YORK Pace Representing the ocean or a guardian female deity, the cloth is a synecdoche for a long history of migration journeys across global waters.
Jan Lütjohann
HELSINKI Galleria Myymälä2 Jan Lütjohann works wood. Using hand tools and pre-industrial techniques, he creates elements that seem rudimentary, reductive, even downright plain, from which he then forms sculptural installations that reveal constellations of ideas and references.
Tarik Kiswanson
STOCKHOLM Bonniers Konsthall While these meditative works convey solitude, stasis, and detachment, they also—like life’s transitory stages—embody transformation.
Jonathan Michael Ray
BRUTON, SOMERSET, U.K. Bo Lee and Workman Ray’s practice involves a complex process of reinterpretation and amalgamation. In his works, found objects acquire new meanings that unify the secular and sacred, making them a particularly appropriate choice for this setting.
Soojin Kang
LONDON Gathering There is something otherworldly about Kang’s humanoid sculptures. Sentinels of time and space, they double as bearers of the unconscious, channeling the unexamined, the unseen, the unresolved and sparking a momentary meeting of minds that establishes a dialectic between Kang’s experience of making and our experience of looking.
Don Porcaro
NEW YORK Westwood Gallery, NYC Stone’s materiality disallows ignorance of its history and import. Any artwork using its mass, even when small, conveys a message that droops slightly under its own gravitas.
Chryssa
NEW YORK Dia Chelsea Struck by New York’s seductively pulsing lights and flashing advertisements for everything from Admiral TVs to Pepsi, Chryssa seized on the potential of neon as a medium for art. The natural light of her native Greece was also etched in her memory, however, particularly the way that it bathed and warmed ancient sculpture and architecture.
