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
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
Adam Pendleton et al.
To Be Determined (group show)
Dallas Museum of Art, Dallas
27 September – 27 December 2020
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 – 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.
Adam Pendleton et al.
Yesterday's Tomorrow: Selections from the Rose Collection, 1933 – 2018 (group show)
Rose Art Museum, Brandeis University, Waltham
7 February – 20 November 2020
Despite language used to describe it, the past is rarely stilled within the fixed frame of retrospective distance. Instead, defying attempts at neat chronology, the past resurfaces and evolves in the expanding now. Images and narratives echo at the edges of the present and shade visions of the future. Interwoven with and twisted by current events and shifting perspectives, individual and collective understandings of history are forever in flux.
This presentation from the collection brings together works by artists who wrestle with, and create room for, such circuitous trajectories. Reckoning with complexities, atrocities, and losses both recent and removed, these artists confront the challenge of giving shape to subjects which resist direct representation, and locating their own place within the imprint of broad and tangled influences. Eschewing the inflexible formats of traditional monumentality, the objects in this exhibition open onto layered narratives, making room for history’s multiplicities and giving space to the subjective and intimate sway of memory. In doing so, they mirror the slippery footing with which we navigate our standing both in relation to an envisioned yesterday and an imagined tomorrow.
Rose Art Museum
Adam Pendleton et al.
Mapping the Collection (group show)
Museum Ludwig, Cologne
20 June – 11 October 2020
The exhibition Mapping the Collection takes a new look at two influential decades in American (art) history: the 1960s and 1970s. The exhibition presents a selection of artworks from the Museum Ludwig’s collection by female, queer, and indigenous artists as well as artists of color who are not represented in the collection, as an impetus for a broader reception of American art. The political and social events and developments of these two decades form the background against which our Western European conception and reception of American art history is critically questioned.
From a European perspective, when we think of the 1960s and 1970s in the United States we mainly remember the African-American civil rights movement, the assassinations of John F. Kennedy and Martin Luther King Jr., and the protests against the Vietnam War. However, we know little about the Brown Berets, the activists of the American Indian Movement, or the beginnings of gay liberation. Characteristic examples of art from this period include works by Andy Warhol, Roy Lichtenstein, Donald Judd, Robert Smithson, Robert Rauschenberg, and Robert Indiana. AfricanAmerican artists, on the other hand, are barely present in the narrative of twentieth-century American art, and indigenous or Latinx artists even less so. Yet they of course also made important contributions to the development of art and culture in the United States.
In addition to art works by these renowned artists from the Museum Ludwig’s collection, Mapping the Collection also features works by lesser-known artists, such as David Wojnarowicz and Leon Polk Smith, who are also represented in the collection, alongside loans of works by Senga Nengudi, Adrian Piper, and T.C. Cannon (Kiowa/Caddo). The aim is on the one hand to show how artists reacted to the social and political developments of these two decades and, on the other hand, to demonstrate that formal and stylistic developments and the exchange of ideas did not stop at the boundaries of gender and race. This combination also brings previously overlooked connections and alliances among artists and between artists and activists to the surface, which demonstrates that art always remains connected to the social and political context of its creation. At the same time, it underscores the obstacles faced by artists from indigenous, African-American, and other marginalized communities, as well as the influence that artists’ background—in regard to race, social class, and gender—has on the reception and understanding of art.
Mapping the Collection draws from feminist and queer discourses and questions the familiar (art) historical canon. But settler colonial theories are explored as well, taking the colonization of the American continent and the concomitant genocide of indigenous peoples as its point of departure. Through the addition of archival material, the works from the collection are “re”connected to the historical, political, and social context of their creation. This produces new links between artists, works, and art history. But the exhibition also examines the role of the museum itself in the creation and affirmation of these (art) historical narratives. Mapping the Collection raises questions about representation and agency that are as relevant today as they were then—in the United States and in Germany.
Consortium Museum, Dijon (solo show)
13 March – 18 October 2020
Adam Pendleton is a multidisciplinary conceptual artist whose work includes installation, performance, video, and text. He recontextualizes various art historical movements, from Dada to Minimalism to contemporary ballet and literature, combining them with elements highlighting historical figures and events of the civil rights era and the Black Power movement, from Martin Luther King to Malcom X and Stokely Carmichael, as well as today’s Black Lives Matter movement.
His practice is centered on the concept of “Black Dada” borrowed from Black Dada Nihilismus, a 1964 poem by political activist, poet, playwright, and jazz writer Amiri Baraka (1934-2014, formerly known as Leroi Jones). Yet Black Dada is an ever-evolving concept for Pendleton, a space in which viewers can establish new relationships to both language and image, where the body occupies both a physical and intellectual site. It allows the artist to find ways to deconstruct, reconfigure, and reimagine existing images and texts into something new, aligning aesthetics and political distinctions.
Pendleton’s art, which formally relates to modernist painting and the history of the monochrome, is often characterized by a limited palette of shades of black, white, and gray, combining texts and abstract motifs and using techniques such as enlarged Xeroxes, spray paint, digital prints and silkscreen prints. These feature in paintings as well as large-scale installations. He quotes variously from writers and poets such as Audre Lorde, Toni Morrison, June Jordan, Adrienne Rich, Joan Retallack, Ron Silliman, Leslie Scalapino, and Charles Bernstein. His work broadly strives to find a “way to talk about the future while talking about the past,” but also to create a productive overlap between language, conceptual art, lyrical poetry, and social and political activism.
For me, the object itself is not finite or complete. It’s really a point of departure. It’s this idea I always come back to, which is about viewing the object as a site of engagement. I’m interested in finding a mid-space location, which is maybe how revolutions start.
For his exhibition at the Consortium Museum, the first ever solo show devoted to his work in France, he will present a new monumental artwork specifically conceived for its “White Box” space, an installation designed to unveil What Is Your Name? Kyle Abraham, A Portrait, 2018-2019, a single channel video in which interviews the choreographer and 2013 recipient of a McArthur Fellowship (commonly known as a “genius” grant). This brand-new work is a continuation of earlier video portraits Pendleton made of former Black Panther Party Chief of Staff David Hilliard and artist Lorraine O’Grady, which are in part influenced by Gertrude Stein’s textual self-portraits, furthering Pendleton’s interest in language as material.
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
Elements of Me (solo show)
Isabella Stewart Gardner Museum, Boston
13 February – 15 November 2020
Adam Pendleton’s exhibition considers the relations between (geometric) abstraction, blackness, and languages of collectivity. Three basic shapes—square, triangle, and circle—are the refrains in this room-sized installation.
Pendleton is a New York-based artist known for work animated by what the artist calls “Black Dada,” a critical articulation of blackness, abstraction, and the avant-garde. Drawing from an archive of language and images, Pendleton makes conceptually rigorous and formally inventive paintings, collages, videos, and installations that insert his work into broader conversations about history and contemporary culture. His work is held in public collections including The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Carnegie Museum of Art, Pittsburgh; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, San Diego; The Studio Museum in Harlem, New York; and Tate, London, among others.
Isabella Stewart Gardner Museum
The Lyrical and the Prosaic (solo show)
Aïshti Foundation, Jal El Dib
20 October 2019 – 31 October 2020
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