Ghada Amer’s sculptures, embroidery paintings, and public garden projects create unsettled narratives of longing and love. Clear-cut definitions and judgments have no place in her work, which is all about ambiguity and paradox. Her recent bronzes are conceived as rectangular, mostly horizontal partitions, folded just enough to allow them to stand upright on the floor.
Tarik Kiswanson
GLASGOW The Common Guild As [Kiswanson] moves “outwards,” he addresses wider realities of humanity, using a variety of strategies to explore ideas around what he has called the “constant instability” of identity, and the embedded narratives and meaning that objects can hold.
New Mythologies: A Conversation with Suchitra Mattai
Suchitra Mattai’s multidisciplinary work explores how memory, myth, and oral traditions can be harnessed to unravel received narratives rooted in patriarchal and colonialist systems.
Circulating Energy: A Conversation with Yuko Mohri
Translated from Japanese by Gaku Kondo Yuko Mohri creates kinetic sound installations from reconfigured audio components and found everyday objects—everything from discarded furniture, motors, and rolls of paper to light bulbs and water. Networked assemblages that respond to the context in which they are fabricated, her multisensory environments form unique and changeable energy courses, their
Historias talladas en madera: Una Conversación con Aimé Pastorino
Nacida en El Bolsón, Río Negro, Argentina, la artista y docente universitaria Aimé Pastorino desarrolla un trabajo donde la memoria emotiva invade cada una de sus piezas, creando escenarios donde la intimidad de un hogar logra dar cuenta de un sentir social, de una época.
Rachel Mica Weiss
NEW YORK Carvalho Park “Cyclicalities”—Rachel Mica Weiss’s most materially and thematically ambitious exhibition to date—features nine new sculptures that transform marble, alabaster, concrete, glass, and stainless steel from their everyday, utilitarian usage into things more softly meditative.
Wynnie Mynerva
LONDON Gathering Monumental unframed paintings on fabric are suspended from the walls of the ground floor and basement galleries, stretched out to a large extent, but with volumes of fabric tumbling downward and (sometimes) outward like fleshy folds.
“You Don’t Know Me”
WOOLWICH, MAINE Sarah Bouchard Gallery That there are only objects on view, and that they are tools of creative, domestic, and intellectual life and labor, points to an optimism, in critic Lauren Berlant’s sense of the word, about making itself.
Pushing into New Territory: A Conversation with Juliana Cerqueira Leite
Juliana Cerqueira Leite’s large-scale, tactile sculptures occupy a place of possibility between abstraction and figuration, exploring the parameters and constraints of the human body.
Peter Fischli and David Weiss
NEW YORK Matthew Marks Just how do the artists get plastic to look like plaster, to resemble the swipe of a brush, the scuff of a shoe, a half-cleaned bowl? By separating looking from the physicality of touch and form from function or purpose, these handmade things can only affirm their authenticity as sculptural objects.
