Alicja Kwade: The Moving Emptiness of the Moment
26 March – 14 June
Schirn Kunsthalle, Frankfurt
Alicja Kwade once told an interviewer that when she was young, in place of bedtime fairytales, her father would pose challenges to her imagination, such as: ‘Just imagine space is endless.’ Born in Poland and now living in Berlin, Kwade’s predominantly sculptural work has a quasi-scientific nature, with constellations of objects that attend to time and space. The motif of the doppelganger is often present, along with layers of scientific and social realities, doublings and contradictions that evade easy explanation. In The Moving Emptiness of the Moment for the Schirn Rotunda, she deals with the movement of time in an installation which, we are told, will have a direct impact on the space and on visitors alike.
Alicja Kwade, O.T., 2013.
© Alicja Kwade
26 March – 2 August
Statens Museum for Kunst, National Gallery of Denmark
Presenting experimental art from the period 1965 to 1975, What’s Happening? shakes things up with the spirit of revolution, exploring a moment when art was torn from its pedestal and collided with popular culture, everyday life, media, fashion, sexual liberation, and the women’s movement. Expect collages, objects, posters, scores for happenings, experimental films and installations, by the likes of Andy Warhol, Robert Morris, Valie Export, Ursula Reuter Christiansen, Kirsten Dufour, Marina Abramović, Martha Rosler and Per Kirkeby.
Marina Abramovic, still from the film Art Must Be Beautiful, Artist Must Be Beautiful, 1975.
SMK, National Gallery of Denmark. © Marina Abramović
Lalla Essaydi: Photographs 2005–13
28 March – 4 August
San Diego Museum of Art
Lalla Essaydi’s work typically combines Islamic calligraphy with representations of the female body in the western European artistic tradition, addressing the complexities of Arab female identity, and often drawing on her own personal experience of growing up in Morocco. As she states: ‘In my art, I wish to present myself through multiple lenses — as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes.’ In Lalla Essaydi: Photographs 2005–13, the San Diego Museum of Art presents ten works from three different series, displayed in various spaces throughout the museum, positioned in dialogue with other works in the collection.
Lalla Essaydi, Les Femmes du Maroc-Grande Odalisque #2, 2011
© Lalla Essaydi. Courtesy Jenkins Johnson Gallery, San Francisco and Edwynn Houk Gallery, New York
Until 28 March
Regen Projects (West Hollywood), Los Angeles
Walid AlBeshti is an exhibition of recent work by Los Angeles-based artist and writer Walead Beshty, the playful title being a transliteration of the artist’s name from Arabic into English. Following his compelling installation at the Barbican’s Curve Gallery (2014) and other solo shows at The Power Station in Dallas and the Ullens Center for Contemporary Art in Beijing, this exhibition presents recent large-scale paintings and sculptures.
Installation view of Walid AlBeshti at Regen Projects
© Walead Beshty. Courtesy Regen Projects, Los Angeles
Ruth Ewan: Back to the Fields
Until 29 March
Camden Arts Centre, London
In Back to the Fields, London-based artist Ruth Ewan has resurrected the French Republican Calendar, which temporarily replaced the Gregorian Calendar from 1793 until 1805. It stripped away all religious references and put in place a structure formed in collaboration with artists, poets and horticulturalists to reflect nature and agriculture. The gallery has been transformed by the 365 items used to denote the days of the year – such as a lettuce, a cart, wax, a turnip, honey, a fir tree, ivy, figs, mercury, lava, moss, tuna, a pheasant, an axe – effectively evoking the system which Ewan finds so inspiring as an example of collaboration between artists and the state.
Installation view of Back to the Fields at Camden Arts Centre
© Ruth Ewan. Photo: Valerie Bennett
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