CHICAGO Museum of Contemporary Art, Chicago “S, M, L, XL,” organized by Michael Darling, chief curator at the Museum of Contemporary Art, took its title from a Rem Koolhaas book of the same name—a 1,376-page tome, published in 1995 for OMA (Office for Metropolitan Architecture), that contains essays, manifestos, diaries, fiction, travelogues, and reflections on the contemporary city as a place of change and ever-increasing scale. Unlike that innovative book, which was complex in scope and execution, this show was somewhat simplistic in its concept—it basically invited viewers to interact with sculpture.
“When You Cut into the Present the Future Leaks Out”
BRONX, NEW YORK Old Bronx Borough Courthouse Installed in the Old Bronx Borough Courthouse, a grand Beaux-Arts-style building built between 1905 and 1914 and undergoing renovation after it was closed for 37 years, “When You Cut into the Present the Future Leaks Out” featured the work of 26 artists invited by curator Regine Basha. Organized by No Longer Empty, a nonprofit group that presents curated exhibitions and public programs in underused spaces, the show took its title from William S. Burroughs.
Ruud Kuijer: Collage and Casting
At first sight, Ruud Kuijer’s “Waterworks,” seven monumental cast concrete constructions installed along the Amsterdam-Rhine canal, are a surprise. The enormous, pale “towers” seem unlikely in this nondescript, industrial area near the entrance to Utrecht harbor.
Flirting With Nature: A Conversation with Manuel Ameztoy
Argentine artist Manuel Ameztoy takes possession of architectural interiors, from museums to hotels, and even natural environments, establishing a subtle presence through delicate cutouts, abstract patterns, and vivacious colors. Though these works gently disappear, like everything ephemeral, they might reappear in other locations.
Spirit and Matter: A Conversation with Mildred Howard
Over the course of four decades, Mildred Howard has created rich and evocative work, taking common objects of daily life and infusing them with a spark that illuminates the underlying significance and historical weight of cultural forms.
Entering A Somewhat Random Universe: A Conversation with Renee Butler
Anyone who’s entered a darkened room and experienced a camera obscura might feel some deja vu inside a Renee Butler installation. Her work illuminates a wall or a structure with elements akin to that ancient optical effect real-world color, incremental movement, photographic detail, and in some cases, ambient sound.
Amy Stacey Curtis: Planning the Last Biennial
The potluck supper after the opening of Amy Stacey Curtis’s 2014 exhibition in Parsonsfield, Maine, was held by candlelight, not to set a mood, but because the building didn’t have electricity. Curtis’s self-produced shows don’t happen in typical gallery settings.
The Will To Live: A Conversation with Siobhán Hapaska
Siobhán Hapaska’s Untitled (Intifada), an installation shown at Rotterdam’s Museum Boijmans Van Beuningen, does what any good artwork does: sculpt a mental space for consideration and reconsideration of a subject, encouraging discussion. Over the last 20 years, Hapaska has created a large body of thought-provoking forms and symbols with diverse materials.
Pascale Marthine Tayou
London Serpentine Sackler Gallery “Boomerang,” Pascale Marthine Tayou’s first solo exhibition in London, was a hit on many levels and a crowd pleaser for all ages. His engrossing multimedia works created a circular flow within the square space of the gallery, transforming it into a unified, site-specific installation.
Nicola Costantino
Buenos Aires Colección de Arte Amalia Lacroze de Fortabat The Argentine artist Nicola Costantino can’t be ignored. Some people praise her persona and her work—which are almost the same thing since she has made her body the support of most of her works—and some people hate them; there is no gray area.
