Alfredo Jaar’s work features on the exhibition Streamlines, organised by the Hamburg Deichtorhallen under the supervision of the curator Koyo Kouoh (SN) and running from 3 December until 3 March 2016. The exhibition reflects on the fact that waterways have always been used to move and exchange people, goods and ideas and have become the central nervous system of the capitalistic global economy. It examines the cultural repercussion of the global stream of goods and trade from the south to the north. Other artists on exhibition previously exhibited by Goodman Gallery include Kader Attia and Otobong Nkanga. A video documentation of Jaar’s work titled Times Square, April 1987: A Logo for America, 1987 shows at the Academy Art Museum in Paris on 5 December.
Until February 14 Kendell Geers appears on the group exhibition The Importance of Being: A Panorama on Belgian Contemporary Art at the Museo de Arte Moderna, Rio de Janeiro. The exhibition, which is curated by by Sara Alonso Gómez, opened earlier in the year at Museo Nacional de Bells Artes in La Habana, Cuba, then toured to Museo de Arte Contemporáneo in Buenos Aires, Argentina. With a focus on 40 contemporary Belgian artists, the exhibition raises questions concerning the polymorphy of the multilingual, transcultural mindset associated with a certain – elusive – Belgian identity.
Notes Toward a Model Opera at the Ullens Centre for Contemporary Art, Beijing is a comprehensive retrospective spanning 25 years of Kentridge’s output. It includes key pieces: from the early Soho Eckstein films and related drawings, the exhibition moves on to encompass major multimedia installations, recent ink paintings, and finally the titular project, a new work related to the particular aesthetics of modernity in socialist China. As Kentridge’s first solo exhibition in China, the exhibition offers a vantage point on his expansive practice uniquely suited to an audience in East Asia. Following its premiere in Beijing, from 1 December Notes Towards a Model Opera moves to the National Museum of Modern and Contemporary Art in Seoul where it will run until 27 March 2016.
Liza Lou’s installation Color Field, the artist’s largest sculpture to date is exhibited at the Neuberger Museum of Art Westchester, NY, until 3 March 2016. The work challenges traditional definitions of painting, sculpture, and craft in her dazzling installations made entirely of glass beads. The abstract work of over two million glass beads arranged in brilliantly coloured squares carpets nearly the entire floor of the Neuberger Museum of Art’s largest gallery. Lou originally created Color Field in Durban, South Africa, where she lived from 2005 to 2014, working with a team of nearly 30 Zulu women artisans. The exhibition also includes Lou’s Solid Gray and Color/White canvases, a series of monochromatic woven beaded works in various hues. On 7 November, at the opening Lou was handed the 2015 Neuberger Museum of Art Passionate Artist Award.
The new book Sue Williamson: Life and Work is published by Skira and will be launched in Paris in January, where Williamson will be in attendance, and will hold a public discussion with curator N’Goné Fall. According to the publisher the book presents for the first time all major works of Williamson and contains contributions by award-winning journalist Mark Gevisser, historians Chika Okeke-Ogulu and Ciraj Rassool, and leading scholar Pumla Gobodo-Madikizela. The book will be launched in Cape Town in February to coincide with the Cape Town Art Fair, where the artist will hold a book signing and roundtable discussion.
Works by Willem Boshoff, Kudzanai Chiurai, David Goldblatt and Sue Williamson are included on the exhibition 50/50, curated by South African art historian Rory Bester at the New Church Museum in Cape Town. Bester has selected works from the museum’s permanent collection and augmented these with loans that reflect on the patterns of repetition and recognition in turning over and overturning of art histories. The exhibition is a collation and juxtaposition of historical and contemporary works, all viewed through a responsive, documentary lens. As these repetitions and recognitions accumulate over time they come to bear on signifiers such as monuments, monumentality and iconoclasm, secrets and lies, the rise and fall of ideas, culture, cultivation, movement and mobility.
Candice Breitz’s Babel Series (1997-2004) is installed at the Pera Museum in Istanbul from 25 November until 7 February 2016. The installation forms part of the exhibition titled This is Not a Love Song, curated by Javier Panera that was previously exhibited at La Virreina Centre de la Image during LOOP festival in Barcelona 2013. The exhibition includes significant works in the history of video and experimental film that are formally and conceptually related to the iconography of pop and rock. Prominent artists apart from Breitz include the late Joseph Beuys, as well as Nam June Paik, Andy Warhol, Vito Acconci and Johan Baldessari.
Works by Albrecht Dürer and William Kentridge are on display from 20 November in an exhibition organised by the Berlin Kupferstichkabinett (Museum of Prints and Drawings) and Freie Universität as part of the German Research Foundation (DFG) transfer project Evidenz ausstellen. Researchers in this project teach the fundamental research studied in the “BildEvidenz: History and Aesthetics” research group at Freie Universität to those working in museums. The exhibition Double Vision presents graphic works by Dürer and Kentridge, thus bringing two visions of printed graphic art in a dynamic dialogue across epochal and cultural differences. The exhibition presents more than 100 works, including the monumental Triumphal Arch by Dürer and the almost two-meter-high lithography Remembering the Treason Trial by Kentridge. The exhibition runs until 6 March 2016, in the Kulturforum at Potsdamer Platz.
Alfredo Jaar is included in the exhibition Scenes for a New Heritage: Contemporary Art from the Collection, Museum of Modern Art, New York until 31 March, 2016 as well as Into Dust: Traces of the Fragile in Contemporary Art at the Philadelphia Museum of Art, until 25 October. In Porto Alegre, Brazil, Jaar is exhibited on Messages from a New America at the Mercosul Biennale 2015 from 8 October to 22 November, and on the IV Poly/Graphic San Juan Triennial: Latin American and the Caribbean from 24 October to 27 February 2016. Other exhibitions include Todovía Esclavos / Still Slaves at Museo de Arte Contemporáneo de Castilla y León, Léon, from 30 October to 22 November.