McQueen’s project for Open Plan will center on a newly expanded version of his work End Credits, which presents documents from the FBI file kept on the legendary African-American performer Paul Robeson.
From February 26 through May 14, 2016, The Whitney Museum of American Art present Open Plan, an experimental five-part exhibition using the Museum’s dramatic fifth-floor as a single open gallery, unobstructed by interior walls.
Andra Ursuta: Alps
Curated by Natalie Bell and Massimiliano Gioni.
April 27 - June 19
Ursuta’s New Museum exhibition will debut a new sculptural installation, Alps (2016), which will be presented in dialogue with the artist’s recent sculptures, including her series Whites (2015). Ursuta’s Alps transposes her obelisk-like figures to an artificial landscape that envelops the gallery space. Informed by stylized representations of natural landscapes, Alps flanks the walls of the gallery with craggy geometric forms jutting out like crystalline growths.
For Early Man, Balema has created a new series of works using maps and globes from a range of origins and periods, which she has variously painted on and affixed with cast latex breasts. Using large expanses of color, Balema has painted over a number of large schoolroom style maps, which display population statistics, geographical borders and average temperatures. Predominately outdated, these highlight the limits of a cartographic impulse to capture a world constantly in flux. Picking out geographical areas based on shape and composition, washing over text and obscuring information, Balema renders these pedagogical, authoritative displays both messily fluid and obsolescent.
Steve McQueen (b. 1969), End Credits, 2012. Sequence of digitally scanned files, sound, continuous projection. Installation view: Schaulager, Basel, 2013. Courtesy of the artist; Thomas Dane Gallery, London; and Marian Goodman Gallery
Andra Ursuţa, Commerce Exterieur Mondial Sentimental, 2012 (detail). Marble, nylon jacket, gaffer tape, and coins. Courtesy Lyon Biennial. Photo: Blaise Adilon
Olga Balema, Globe, 2016, detail. Globe, latex, pigment
Leslie Hewitt in collaboration with cinematographer Bradford Young, Untitled (Structures), 2012. Production still.
Dora Budor, Our Children Will Have Yellow Eyes, 2015.
The exhibition will include two film installations along with recent sculpture and lithographs. Both film installations were created in collaboration with renowned cinematographer Bradford Young. New film installation, Stills (2015), incorporating footage from their shoots (2010–2012), will debut which furthers Hewitt and Young's nuanced and structural approach. Untitled (Structures) (2012) is a two-channel film installation inspired by an archive of civil rights-era photographs housed at the Menil Collection in Houston.
For N. Dash’s first solo exhibition with the gallery, his images have been imprinted onto an adobe ground, returning them to a more visceral state. Each image, selected from an ever-growing archive, is inverted and silkscreened, shedding its perfect apprehension, furthering its degradation through the pixel, and loosening its bond with the original pieces of fabric.
Under the equivocal rubric "Performance Capture," Ed Atkins will present an expansive new work explicitly concerned with how contemporary technologies of representation mediate our lives – to say nothing of our own willingness to be captured and rendered. Corralling live bodies, animated surrogates, and departed performances, the gallery will act as both screening room and venue for performances and public programs.
The show is comprised of new series of sculptural and wall hanging works, in a variety of mediums, tied together by Anderson’s mediation and archiving of objects and images that carry the narratives of unfulfilled histories. The show will explore motifs of possibility, loss and obsolescence across historical, artistic and personal boundaries. Galerie Maria Bernheim, Zurich