LONDON Goldsmiths CCA Overton takes on Caro and other heavyweights of this traditionally masculine domain with aplomb, and on her own terms; her new works feature welded steel and hefty brass tubes alongside aromatic red cedar, mirrored disco tiles, and sheepskin, demonstrating a lightness of touch and material playfulness.
Raúl de Nieves
BOSTON Institute of Contemporary Art Whatever the form of de Nieves’s lines—strings of beads, shreds of paper, strokes of paint, or literal threads—they suggest how the present is connected to the past. To pursue his lines is to trail a map of remembrances.
Marianne Berenhaut: To Change Is Human
A chance encounter with two of Marianne Berenhaut’s evocative sculptures—Pour la troisième fois on l’a sorti du tiroir (For the third time it was taken out of the drawer, 2010) and Fleur électrique (Electric flower, 2020)—proved a watershed moment for me.
Nicole Eisenman
NEW YORK Hauser & Wirth Nicole Eisenman’s practice has always been intense, studio-focused, and personal. Their current exhibition, “Untitled (Show),” is overflowing with sculpture and painting, almost two shows in one.
Yuriko Yamaguchi
WASHINGTON, DC Addison Ripley Fine Art Yamaguchi’s sculptures, like elegant Rorschach inkblots, tease with allusion even as they morph to dazzling abstraction.
A Re-Enchanted 59th Venice Biennale, Part II: Collateral Projects and Museum Exhibitions
The joy of the Venice Biennale goes beyond the Giardini and Arsenale (explored in Part I), with collateral projects and exhibitions that entice you to get lost in the magnificent city and discover art shows within the extraordinary Venetian palazzos, churches, and museums.
Improvising and Transforming: A Conversation with Abraham Cruzvillegas
Many of Abraham Cruzvillegas’s projects are linked by the notion of autoconstrucción, or self-construction—a concept that draws from the ingenious and collaborative building strategies used in his childhood Mexico City neighborhood.
Fernando Casasempere
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.
All That Remains: A Conversation with Rachael Louise Bailey
In “Thirst of the Tide,” Rachael Louise Bailey presents a story of documentation, which easily flips to become a documentation of storytelling.
