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Urs Fischer, Adam Pendleton et al.

If on a Winter's Night a Traveler (group show)
Tel Aviv Museum of Art, Tel Aviv
17 December 2019 – 26 December 2020

Adam Pendleton,
Adam Pendleton, "Untitled (masks)", 2019. © Adam Pendleton. Courtesy the artist and Galerie Max Hetzler Berlin | Paris | London. Photo: Andy Romer

Mirosłav Bałka – Jean-Michel Basquiat – Max Ernst – Urs Fischer – 
Rashid Johnson – Michael Joo – Adam McEwen – Adam Pendleton 
– Ugo Rondinone – Henry Taylor

This small-scale group exhibition borrows its name from the title of Italo Calvino’s novel, published in 1979, towards the end of the Italian author’s life (1923–1985). If on a Winter’s Night a Traveler was written as an act of wandering through reading, during which the author leads us through various tales that remain unfinished, and never become a coherent plot together. It is written in the second person, making us, the readers, not only his companions on the literary journey but actual protagonists of the reading course. Inspired by the novel, the exhibition “If on a winter’s night a traveler” (in Hebrew it is a female traveler) aims to offer the viewer a journey following observation of art. The viewer (that is, you) is invited to wander along, opposite, beside and around 13 works of art created by ten artists: two lived and worked in the 20th century, the others live and work in the early 21st century. 
The links between the works will hopefully be revealed along the journey: questions of identity, masculinity (old and new), cruelty (between people and in relation to nature), figuring the humanbody and the way in which cultures nurture and enrich each other. “If on a winter’s night a traveler” invites you to wander through the gallery and compose your own story of the exhibition from layers of clues, meanings and sub-plots that the works bring forth.

Tel Aviv Museum of Art


Additional:

Adam Pendleton

US/U.S., 2020 featured on the cover of Artforum, October/November 2020 issue

Image: Adam Pendleton, US/U.S., 2020, spray painting on paper, © Adam Pendleton
Image: Adam Pendleton, US/U.S., 2020, spray painting on paper, © Adam Pendleton

Adam Pendleton is featured on the cover of Artforum October / November 2020 issue, as part of "Projects: Art of the Possible".

"For this election issue, Artforum asked nine artists to contribute projects reflecting on a moment that requires us to think the unthinkable. As of this writing, we are waiting to see whether Election Day 2020 will mark an end to the hallucinatory nightmare of Donald Trump's presidency; whether it will constitute a victory of a setback for the white supremacists who enabled him to rise; whether the reactionary violence against Black Lives Matter protesters and other enemies of the regime will effloresce into civil war. We are waiting to see if the unimaginable occurs. But if we are to truly move beyond this presidency and all the forms of violence and injustice that made it possible, we must change in ways that, while positive and necessary, are almost equally far-fetched. "

In a recent interview with Artforum, Adam Pendleton speaks about his work US/U.S., 2020, discussing also his use of spray paint. Watch the video by clicking here.

Artforum


Adam Pendleton

Adam Pendleton – Signed Edition (publication)

The first encompassing publication on the work of the groundbreaking American artist Adam Pendleton, published by Phaidon, is now available for pre-order.

Adam Pendleton's original and powerful body of work has been described as the embodiment of a new era. His multifaceted projects, which include painting, collage, film, and publishing, re-contextualize historical and theoretical positions on abstraction, blackness, and the avant-garde. Working predominantly in black-and-white, Pendleton often creates 'total works' that envelop viewers and push the limits of contemporary discourse.

Phaidon



Adam Pendleton

"I Voted" sticker for the 26 October issue of New York Magazine

© Adam Pendleton
© Adam Pendleton

48 artists including Adam Pendleton have designed special "I Voted" stickers for four different covers of the October 26 issue of New York Magazine.

The idea was initiated by New York Magazine and nonpartisan organization "I am a voter" to encourage people to engage in the mail-in and early voting for 2020 US Presidential Election. The stickers will be distributed along with the issue, and also be available at book-stores, museums, non-profit organisations, and official polling sites across the country.

New York Magazine


Adam Pendleton et al.

To Be Determined (group show)
Dallas Museum of Art, Dallas
27 September – 27 December 2020

Adam Pendleton, Untitled (WE ARE NOT), 2019. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.17. Courtesy of the artist
Adam Pendleton, Untitled (WE ARE NOT), 2019. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.17. Courtesy of the artist

To Be Determined juxtaposes works from many centuries, geographies, and cultures to trace how the significance of art can shift when presented in new contexts. Drawn from the DMA’s global collection, the exhibition features works of art, sacred objects, and design from the 13th century to the present, including 13 new acquisitions and important paintings by Dallas-based artists. To Be Determined affirms the resilience of individuals and communities through evocative—and occasionally unexpected—groupings of works that resonate with current and historical struggles.

Organized through collaboration among the DMA’s entire curatorial team, the exhibition explores what it means to be present with works of art after extended time apart. It shines a light on how viewers create their own meaning for the works they engage with. To Be Determined takes an audience-centered, open-ended approach to interpretation, encouraging viewers to make personal connections.

Dallas Museum of Art


Adam Pendleton

Who Is Queen? (solo show)
The Museum of Modern Art, New York
11 September 2021 – 2 January 2022

Images from L/R:
Images from L/R: "Poor People’s Campaign", Resurrection City, June 25, 1968. AP/ Bob Daugherty; Adam Pendleton, "Untitled (Who is Queen)", 2019; Adam Pendleton, "Queen" (detail), 2020

The Museum of Modern Art will present Adam Pendleton: Who Is Queen?, a large-scale multimedia installation that will be on view in the Donald B. and Catherine C. Marron Atrium. Based in New York, Adam Pendleton (American, born 1984) is a Conceptual artist who uses historical and aesthetic content from visual culture to explore the ways in which context influences meaning. Pendleton reconfigures words, forms, and images to provoke critical questioning.

For this presentation, Pendleton’s monumental installation will bring the formal mechanics of musical counterpoint—the folding and unfolding of simultaneous voices—into contact with the aesthetics of protest. For the duration of the exhibition, MoMA’s Marron Atrium will be transformed into an arena encompassed by three wooden, floor-to-ceiling vertical scaffolds. These modular systems, built from four basic units, will be designed to resemble balloon framing used in American house construction.

The Museum of Modern Art


Urs Fischer et al.

The Paradox of Stillness: Art, Object, and Performance (group show)
Walker Art Center, Minneapolis
15 May – 8 August 2021

Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance examines the notion of stillness as both a performative and visual gesture. This major Walker-organized exhibition features pieces by an international roster of artists testing the boundaries between stillness and motion, mortality and aliveness, the still life and the living picture.

Stillness and permanence are common qualities of painting and sculpture. Consider, for example, the frozen gestures of a historical tableau, the timelessness of a still life painting, or the unyielding bronze or marble figure. Translating these traditional mediums into actions, artists use performance to investigate the interplay between the fixed image and the live body.

The Paradox of Stillness showcases more than 100 works by some 65 artists, including up to 15 live performances activated in the Walker’s galleries or public spaces at intervals throughout the presentation. Works on view range from object-based art and pictures that subtly come to life or shift outside the frame to actions staged by live performers that slowly unfold or unexpectedly reappear. Across the exhibition, puppets and automatons dance through space, while burning candles and rotting fruit mark time’s passing.

Walker Art Center


Urs Fischer

The Lyrical and the Prosaic (solo show)
Aïshti Foundation, Jal El Dib
20 October 2019 – 31 October 2020

Installation view: Aïshti Foundation, Jal El Dib, 2019. Photo: Stefan Altenburger
Installation view: Aïshti Foundation, Jal El Dib, 2019. Photo: Stefan Altenburger

The Aishti Foundation is proud to present “Urs Fischer: The Lyrical and the Prosaic”, a major exhibition by Swiss born, New York based artist Urs Fischer.

In the past two decades Urs Fischer has been recognized as one of the most respected artists of his generation, having exhibited at prestigious institutions such as the Legion of Honor, San Francisco (2017), Garage Center for Contemporary Art, Moscow (2016), Museum of Contemporary Art, Los Angeles (2013), Palazzo Grassi, Venice (2013), New Museum, New York (2009), Kunsthaus Zurich (2004), and Centre Pompidou, Paris (2004), as well in numerous era defining exhibitions such as the 10th Gwangju Biennale (2014), the 54th Venice Biennale (2011), and the 2006 Whitney Biennial. His work is featured in some of the most important collections in the world including: the Pinault Collection, the Dakis Joannou Collection, the Brant Collection.

Conceived and choreographed by the artist, this will be Fischer’s first museum exhibition in the Middle East.

This exhibition brings together a selection of recent works shown along pieces from the Aishti Collection and a series of appositely realized new installations, paintings, and interventions.

Recurring throughout the exhibition is Fischer’s fascination with frequent subversions of scale and constant shifts from the monumental to the minuscule, and, as the title of the exhibition suggests, from the sublime to the prosaic.

Central to the exhibition is Fischer’s new and largest rain-storm installation composed of thousands of individually painted water drops dramatically suspended from the ceiling of the exhibition space.

The exhibition also features a new total environment with a wallpaper installation reproducing thousands of drawings originally created as part of Headz, an informal collaborative project Urs Fischer had initiated in New York in 2018 with Spencer Sweeney and Brendan Dugan.

Including a series of polychrome miniature bronzes, kinetic and wax sculptures, paintings and drawings, the exhibition confirms Fischer as a restless experimenter whose work reconnects to a lineage of contemporary sculptors and artists such as Claes Oldenburg, Martin Kippenberger, and Isa Genzken, all equally fascinated by the unstable beauty of humble materials and the tension between order and disorder.

This survey follows the major exhibition “Trance” by Albert Oehlen, and a trilogy of exhibitions (“New Skin”; “Good Dreams, Bad Dreams”; and “The Trick Brain”) devoted to works from the Aishti Collection.

The Aïshti Foundation