An installation view of Fred Sandback’s Untitled (Sculptural Study, Two-part Cornered Construction), dated c. 1982/2007 at Casa Gilardi in Mexico City, in 2016.
An installation view of Fred Sandback’s Untitled (Sculptural Study, Two-part Cornered Construction), dated c. 1982/2007 at Casa Gilardi in Mexico City, in 2016.
An installation view of Fred Sandback’s Untitled (Sculptural Study, Two-part Cornered Construction), dated c. 1982/2007 at Casa Gilardi in Mexico City, in 2016.
Opening in November
October 30, 2018

Thursday, November 1, 6:30 PM (registration required)

The Americas Society in New York hosts a book launch and panel discussion for Luis Barragán, Fred Sandback: Las propiedades de la luz/The Properties of Light. This publication records the 2016 installations of Sandback sculptures in the Barragán-designed Casa Luis Barragán, Casa Antonio Gálvez, Cuadra San Cristóbal, and Casa Gilardi in Mexico City. Organized in collaboration with Proyectos Monclova, these installations brought together the work of the artist and the Pritzker Prize–winning architect, both of whom considered the properties of light and color to be central to their practices. The book features texts by Daniel Garza Usabiaga, artistic director of Zona Maco, and Federica Zanco, Barragán Foundation director, with contributions by architect Roger Duffy, artist Amavong Panya, curator Lilian Tone, and art historian Edward Vazquez, whose Aspects: Fred Sandback’s Sculpture, released last year, is the first comprehensive study on the artist. Moderated by Polina Stroganova, director of Proyectos Monclova, the panel features Duffy, Tone, and Vazquez.

November 3, 2018–May 12, 2019

"Untitled" (Chemo) (1991), a beaded curtain work by Felix Gonzalez-Torres, is included in Groundings at the Museum of Contemporary Art Chicago (MCA). Organized by Grace Deveney, MCA assistant curator, and Tara Aisha Willis, MCA associate curator of performance, the exhibition explores movement through a combination of artists’ residencies—allowing performers to use the gallery space for live rehearsals and performances—and works from the MCA’s collection. "Untitled" (Chemo) was presented at David Zwirner in New York in 2017 as part of the gallery’s first exhibition of the artist’s influential work.

Wednesday, November 7, 7 PM

Suzan Frecon gives a talk at the Menil Collection in Houston in conjunction with the public opening of the Menil Drawing Institute on November 3. Frecon discusses the different elements that compose her abstract work, in which subtle, interacting arrangements of color appear to blur the distinction between matter and transcendence. First shown in a solo exhibition at David Zwirner in 2010, Frecon’s painting version 13 (2010) is concurrently on view at the museum. "I have spent my life trying to make art/painting that has the singular purpose of speaking for itself," she says.

November 9, 2018–February 24, 2019

Concurrent with the Shanghai Biennale, Francis Alÿs’s work is the subject of a solo exhibition—his first large-scale presentation in mainland China—at Shanghai’s Rockbund Art Museum (RAM). Curated by Yuko Hasegawa, chief curator at the Museum of Contemporary Art in Tokyo and professor of curatorial and art theory at the city’s Tama Art University, and Larys Frogier, director at RAM, Francis Alÿs: La dépense ("consumption") is being framed in terms of resisting the onset of digital experience with manual action. Among the works on view will be the video pieces Tornado (2000–2010) and A Story of Deception, Patagon (2006), the installation Silence (2003–2010), and small-scale paintings from the ongoing series Le Temps du sommeil, begun in 1996.

November 10, 2018–February 10, 2019

Thomas Ruff is among the artists whose work is included in Signal or Noise | The Photographic II at S.M.A.K. in Ghent. 

November 10, 2018–March 10, 2019

Francis Alÿs presents three video works and a maquette in the 12th Shanghai Biennale. The biennial is titled Proregress: Art in an Age of Historical Ambivalence and has been organized by Cuauhtémoc Medina, who has been a long-time collaborator and curator of Alÿs’s work on projects including the major solo exhibition A Story of Negotiation, which traveled to museums in North and South America from 2015 to 2017. This marks Alÿs’s second official participation in the biennial, which featured his work in 2012.

Saturday, November 10, 2 PM

Christopher Williams has been invited to speak as part of The Exhibition as Medium, a day of talks organized by London-based writer, curator, and artist David Campany during Paris Photo. Williams, whose work investigates conventions of pictorial production and presentation, has expressed an interest in establishing a more "mobile" position as an artist, alternately acting as "camera operator, picture editor, exhibition designer, graphic designer."

November 16, 2018–April 14, 2019

Minimalism: Space. Light. Object at National Gallery Singapore features work by gallery artists Felix Gonzalez-Torres, Donald Judd, Yayoi Kusama, and John McCracken. Organized by the museum’s senior curator Russell Storer, this exhibition explores the emergence, development, and legacies of Minimalism from the 1950s to the present day.

November 17, 2018–March 10, 2019

A reading of On Kawara’s epic One Million Years takes place at Museum MACAN in Jakarta. On Kawara: One Million Years (Reading) was last performed during the first three months of the 57th Venice Biennale in 2017. Documenting the passage of chronological time, One Million Years is a monumental twenty-volume collection comprising One Million Years [Past], created in 1969 and containing the years 998,031 BC through 1969 AD, and One Million Years [Future], created in 1981 and containing the years 1996 AD to 1,001,995 AD. Together, these volumes make up 2,000,000 years.

November 18, 2018–February 17, 2019

Completing a three-year tour which has taken the exhibition from the Hirshhorn Museum and Sculpture Garden in Washington, DC, to the Seattle Art Museum and the Art Gallery of Ontario in Toronto, among other venues, Yayoi Kusama: Infinity Mirrors opens this month at the High Museum of Art in Atlanta. Infinity Mirrors is the first institutional survey to explore the evolution of Yayoi Kusama’s immersive infinity mirror rooms, of which six are included in the exhibition, and also features other installation works, sculptures, and large-scale paintings. A review of the show in The Seattle Times describes Kusama’s work as "cathartic and concrete, universal and specific, infinitely appealing and intimately personal."

November 24, 2018–March 3, 2019

Camera Austria International: Laboratory for Photography and Theory at the Museum der Moderne Salzburg includes work by William Eggleston in its celebration of Camera Austria, a photography club based in Graz that has been active for more than forty years as—in the museum’s description—"a forum for debates, a gallery, a publishing house, an archive, a library, and a platform for workshops and symposia." Organized into eight thematic chapters including "Topography & Landscape," "Image & Identity," "Composition & Deconstruction," "Picture & Politics," and "Privacy & Public Image," the exhibition includes the work of thirty-nine artists from eleven countries.  A related talk at the museum takes place on November 23 by artist Joachim Koester and Reinhard Braun, artistic director at Camera Austria and editor of the magazine Camera Austria International.

November 29, 2018–February 24, 2019

Diana Thater: A Runaway World travels to the Guggenheim Bilbao from Borusan Contemporary in Istanbul, where it opened last fall and featured five video installations, three of which were recent commissions. The works As Radical as Reality and A Runaway World came to Istanbul from The Mistake Room in Los Angeles, where they were first shown in 2017. Curated by Manuel Cirauqui, the exhibition in Bilbao presents two works made from 2016 to 2017: As Radical as Reality and A Runaway World.

Cover Image: Installation view of Fred Sandback’s Untitled (Sculptural Study, Two-part Cornered Construction) (c. 1982/2007) at Casa Gilardi, Mexico City, 2016. © 2018 Barragán Foundation, Switzerland/SOMAAP. Artwork © 2018 Fred Sandback Archive. Photo by Moritz Bernoully. Courtesy Proyectos Monclova