July 6–October 2019
Minimalismo, Posminimalismo y Conceptualismo / 60 – 70 (Minimalism, Postminimalism, and Conceptualism/60–70) at Fundación Proa in Buenos Aires presents early work from the 1960s by Dan Flavin, Dan Graham, Sol LeWitt, Bruce Nauman, and Fred Sandback, exploring the different ways in which the artists addressed the perception of space. Starting in 1963, Flavin used fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color to establish and redefine space. Among the works being presented by Flavin are editions of untitled (for Charlotte and Jim Brooks) (1964) and untitled (to dear, durable Sol from Stephen, Sonja and Dan) two (1969). The sculptures for which Sandback is best known use acrylic yarn to outline planes and volumes in what he called the “pedestrian space” of everyday life.
July 10, 2019–March 8, 2020
Work by Wolfgang Tillmans is included in VERY BRITISH: A German Point of View at Stiftung Haus der Geschichte der Bundesrepublik Deutschland in Bonn, a group exhibition exploring the historic relationship between Germany and the United Kingdom against the contemporary backdrop of Brexit. Tillmans, who now divides his time between Berlin and London, has a long connection with the UK. The artist studied at Bournemouth and Poole College of Art and Design and lived in London from 1992 to 1994, and again from 1996 to 2007. Tillmans was also the first foreign artist to win the Turner Prize; the award is given to “a British artist,” which includes non-nationals working in the UK and British artists working abroad. Tillmans created a series of posters as part of a campaign against Brexit in 2016.
July 13–November 3, 2019
A dual exhibition by Ruth Ewan and Oscar Murillo at Yorkshire Sculpture Park in the UK features Murillo’s ongoing Frequencies project. Initiated in 2013, Frequencies was originally conceived in collaboration with members of the artist’s family and political scientist Clara Dublanc. Murillo sends pieces of raw canvas to schools around the globe with the sole requirement that they be affixed to desks for a year and illustrated by students; after that year, Murillo collects the canvases. To date, hundreds of students in schools on five continents have participated. Lucas Zwirner describes the project in Cultured magazine.
Image: Installation view of Oscar Murillo’s Frequencies (2013–), 56th International Art Exhibition – La Biennale di Venezia, All the World’s Futures, curated by Okwui Enwezor, Venice, 2015