Your Guide to the Best Shows to See in New York – 纽约最佳节目指南

Critic's Guide - 01 May 2018

Your Guide to the Best Shows to See in New York

Senior US Editor Andrew Durbin selects his highlights of the shows in the city during Frieze Week

By Andrew Durbin


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Cici Wu, ‘Upon Leaving the White Dust’, 2018, installation view, 47 Canal, New York. Courtesy: the artist and 47 Canal, New York

Cici Wu, ‘Upon Leaving the White Dust’
47 Canal
18 April – 27 May

The Korean-American artist and novelist Theresa Hak Kyung Cha once described memory ‘as a collective source, as almost having physical and organic dimensions … It represents a body of time […] within which our existence is marked like a wound.’ At the time of that writing – which artist Cici Wu quotes extensively in the press release to her show ‘Upon Leaving the White Dust’ – Cha was attempting to finish her 1980 film White Dust from Mongolia, with her brother James in South Korea. Neither the film nor its accompanying novel was completed when a New York City security guard raped and murdered Cha in 1982. In Wu’s astonishing exhibition – her first solo show at 47 Canal – the artist returns to Cha’s unfinished work in a melancholy installation and film that presents, as homage, the wounds left by memory and time.

Wu’s show features small, mostly white, plaster-cast objects arranged in a grid on the gallery’s blonde wood floor: hands posed atop one another, bare feet, a mop, a train’s locomotive car, Lehmann Gross Bahn train tracks, an airplane and small, globular lights that pulse faintly in the half-dark. The objects are partially lit by a stark white film which fluctuates in brightness based on light data collected from Cha’s White Dust. In the dimly lit gallery, one might be tempted to first refer to the space as ‘dreamy’ or ‘dream-like’. It isn’t. Instead, Wu’s pieces crackle with the presence of history and the obscure mysteries that lie within them. ‘Upon Leaving’, with its ‘plurality of entrances’, as Wu writes, recalls Freud’s interpretation of the uncanny as the familiar which the subconscious has made unfamiliar. Here, world-historical narratives have plunged into small objects, endowing them with pasts – and futures – the present has scrambled to suppress.  


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Julia Phillips, Extruder (#1), 2017, partially glazed ceramics, screws, metal structure, metal pipes, concrete tiles, lacquer. Courtesy: the artist

Julia Phillips, ‘Failure Detection’
15 April – 3 September

In Julia Phillips’s first solo museum exhibition, we catch a glimpse, in the abstract, of the brutal intersection of our lives with various medico-industrial structures that have tightened around modern life. Poles, large screws, tables, all redolent of hospital décor, stand or lie upon tile floors. Ceramic casts of body parts – faces, bellies and the female pelvis – hang from crude metal frameworks nailed into those tiles or hang upon the museum’s walls. The exhibition’s three rooms at once suggest a gruesome torture centre as much as they do an operating room under the tenure of some Salvador Dalí-inspired doctor (here faces and flesh lie where once he might have hung a clock), they also recall the explicit photography of Robert Mapplethorpe, as in Extruder (#1) (2017), in which the dark purple cast of a mouth swallows a pole; behind that face, a cast of an ass – with a gaping hole for an anus – extends upward on a metal wishbone. Gone is what’s between: us. What’s left is all there is: system. But Phillips exceeds Mapplethorpe in her own stark assessment of the body’s sex and shapeliness, as well as the biopolitics that determine their place (read function) in the world; her austere sculpture disentangles our parts from their whole to emphasize that, for fleeting flesh, only representation lasts.


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Charles Atlas, 2003, 2018, installation view, The Kitchen, New York. Courtesy: the artist and The Kitchen, New York; photograph: Jason Mandella

Charles Atlas, ‘the past is here, the futures are coming’
The Kitchen
28 March – 12 May

At the Kitchen, two new video installations by Charles Atlas – 2003 and The Years (both 2018) – consider the way particular moments in time are registered in film, through found footage from television in 2003 overlaid with video portraits of Atlas’s peers (Eileen Myles, Yvonne Rainer, etc.), or re-imagined in some projected future, in The Years. Atlas has long been interested in reception, nostalgia and the plurality of presents – as well as queer futures – that compose our experience. See, for example, his much loved 2015 exhibition at Luhring Augustine, ‘The Waning of Justice’, which featured drag performer Lady Bunny in lengthy, freewheeling monologue about the grim state of the present. (Had she known of what was to come only a year later! Or did she?) In these new works, Atlas once again presents a colourful, candid, decidedly queer take on our image-clogged political and social universe, beginning with the year President George W. Bush dragged us into Iraq and ending in a ‘video graveyard’ in the distant future. Atlas has also programmed a concurrent variety programme at the Kitchen, ‘The Kitchen Follies’ (3–12 May), featuring the filmmaker’s new and long-time collaborators. Composer Jodi Melnick and performer Julianna Barwick will present a new collaborative work, as will Laurie Berg and the Illustrious Blacks (3–5 May only). Atlas, who has always worked in concert with artists and communities, both directly and indirectly, has held up a world of art (contra ‘the art world’) for decades – bringing together elements of nightlife, poetry, dance, music and drag into one glittering New York shindig. Whatever the future holds, we can at least take some comfort in living in a present alongside Charles Atlas.


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Marlene Dumas, Teeth, 2018, oil on canvas. Courtesy David Zwirner, New York/Hong Kong © the artist

Marlene Dumas, ‘Myths & Mortals’
David Zwirner
28 April – 30 June

In ‘Venus & Adonis’, one of Shakespeare’s few long poems, Venus becomes impatient with the hunter Adonis – the child of a tree – for refusing to kiss her. She is tormented by his indifference, and in turn by her own immortality, for she suspects his apathy is because she is a god and not a woman. No matter, for soon Venus finds Adonis’s purple corpse in the woods, slain by a boar. His death produces a single flower, coloured the same as Adonis’s flesh, that Venus weeps over. Such are the cruel symmetries that define the ancient world. In her first New York exhibition in eight years, Marlene Dumas has illustrated this poem – and the moody emotionality of those symmetries – in numerous paintings on canvas and paper (all ranging widely in size), each in her eerie, watery style. Dumas depicts Venus as a pleading figure, as the titles of her ink wash drawings (each slightly larger than the size of an A4 paper) of the god make clear: Venus pleads, Venus forces, Venus insists (all 2015–16). Paintings and drawings from 2018 continue Shakespeare’s themes without explicitly illustrating the poem, including pregnant bodies, kissing couples, an iPhone, nipples and so on. In these cloudy, pretty pictures, Dumas recasts Venus’s complaint of representation as ‘lifeless, cold and senseless stone, / well-painted idol, image dun and dead’ as its best asset in capturing the god’s stark loss of her mortal lover to nature’s brainless and bloody aggression.


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Carroll Dunham, Any Day, 2017, urethane, acrylic and pencil on linen, 2 x 2.5 m. Courtesy: the artist and Gladstone Gallery, New York and Brussels © the artist

Carroll Dunham
Gladstone Gallery
20 April – 16 June

In Carroll Dunham’s new, untitled exhibition at Gladstone Gallery, paintings of nude, hunky wrestlers – their muddy bodies stained with blood, their anuses stylistically prolapsed, their dicks notably flaccid – engage in manly struggle across rural landscapes. Following the artist’s utopic, 2015 series of women bathers, these men would have nothing to do with such peace; here, in canvases that glow as if made in Crayola marker, Dunham has infused his subjects with a comic, self-annihilating masculinity. In Green Hills of Earth (3) (all works 2017), two men hold their clubs above one another, ready to strike their enemy down. In the series ‘Left for Dead’, corpse-grey men lay on the grass, their black hair splayed before us, in mortal defeat or, perhaps, exhaustion. (Has he dispatched his enemy, or has he himself been dispatched?) The promise of peace appears just once in the exhibition, in Mud Men, which shows the men holding hands in a brown lake, their backs to the viewer, their rears quite plump. The painting – its figures roughly human-scaled – hangs down a long hall at the centre of the gallery, far from the rest of the exhibition, as if only a dream, or fantasy, of rapprochement. In other works, ominous, oversized black birds hover in the air or land upon their chests, strange signs of some possessive afterlife, lingering like fate.


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Miyoko Ito, Gorodiva, 1968, oil on canvas, 1.2 x 1.2 cm. Courtesy: Artists Space, New York and Karen Lennox Gallery, Chicago

Miyoko Ito, ‘Heart of Hearts’
Artists Space
7 April – 6 May

This year marks the centenary of Miyoko Ito’s birth, on 27 April 1918, in Berkeley, California. In a perfect world, this date would have received more attention than it did, with celebrations of this unjustly under-known painter’s curious, abstract paintings, made mostly when she was living in Chicago and rarely shown outside that city. ‘Heart of Hearts’ builds on a concurrent retrospective exhibition ‘Matrix 267’ at the University of California’s Berkeley Art Museum, and takes a closer look at Ito’s work from the 1970s and early-’80s, near the end of her life. (The artist died in 1983.) Working around the time of Chicago Imagism, Ito’s paintings nod to the group’s design-y, humorous tableaux while providing a more sombre, challenging visual cosmology of ovular and cylindrical shapes arranged like slatted furniture, walls and suggestive windows that view some southwestern dream world, in desert reds, yellows and oranges. The paint is thinly applied to canvas, which, at Artists Space, are sometimes torn at the seams – likely, it seems, from lack of care on the part of a collector than from the artist’s intention. Nails are driven only partially into the stretcher bars, and jut starkly out of the sides of some paintings, as in Todoroki (1974). While each painting (varying in size; averaging around 50 x 50 cm) is an unmistakable masterpiece, the connections they attempt to bridge between an outside and an inside, furniture and room, room and house, house and world feel necessarily incomplete, blurred, undone. This suggests there is more to be imagined.


Your Guide to the Best Shows to See in New York - 纽约最佳节目指南

Paul Bonet, Untitled, n.d., ink, impressed, die-stamp on paper, 27 x 21 cm. Courtesy: Galerie Buchholz, Cologne/Berlin/New York

Paul Bonet, ‘Drawings for Bookbindings’
Galerie Buchholz
4 May – 16 June

The French bookmaker Paul Bonet (1889–1971) is largely unknown in the US. He has no English-language Wikipedia page, though his drawings for book covers, endpapers and binding patterns, are in the collection of the Morgan Library and other prominent US institutions. This week, Galerie Buchholz opens ‘Drawings for Bookbindings’, an exhibition compiled by the Austrian artist Florian Pumhösl, providing a rare chance for US audiences to encounter a selection of this enigmatic artist’s work. While the show has yet to open as of this writing, we can expect that it will showcase the intricacies of Bonet’s abstract drawings, which were regularly used by the legendary French publisher Gallimard in the mid-century, from his curvy mandalas and ribbony lions’s faces to dazzling, almost cosmic plant life. Or, perhaps, we’ll find a new Bonet ferreted out of the archive – as German visitors did in the gallery’s Cologne venue in 2013, with another Bonet exhibition organized by Pumhösl. In either case, taking ample inspiration from this French cosmologist, I hope Buchholz inaugurates a new generation of Bonetistas among New York’s poets, artists and bookmakers.

For more shows to see in New York during Frieze Week head over to On View

Andrew Durbin

Andrew Durbin is the author of Mature Themes (2014) and MacArthur Park (2017), both from Nightboat Books. A monograph on Raymond Pettibon is forthcoming from David Zwirner Books in May 2018. He is a Senior Editor of frieze and lives in New York.

Critic's Guide
New York
47 Canal
The Kitchen
David Zwirner Gallery
Gladstone Gallery
Artists Space
Galerie Buchholz

《批评家》和《039》指南01 2018年5月《纽约最佳编辑》最佳指南《Andrew Durbin指南》在《Andrew Durbin周刊》中挑选了他在城市中的精彩片段。Upon LeaveWuff-DuSTY2.JPG Your Guide to the Best Shows to See in New York - 纽约最佳节目指南 CICI吴,“离开白色尘埃”,2018,安装视图,47运河,纽约。礼貌:艺术家和47运河,纽约CICI吴,“离开白色灰尘”WPAP60300 3BR 47运河WPAP60300 3BR 4月18日-5月27日,美籍朝鲜艺术家兼小说家特丽萨HakykyCa曾经描述记忆“作为一个集体来源,几乎身体有一个D有机维度……它代表着一个时间体[…],我们的存在被标记成一个伤口。“在那篇文章中,艺术家Cici Wu在离开《白色尘埃》的新闻发布会上广泛引用了她的话。”查克试图完成她的1980部电影。来自蒙古的白色尘埃,和她的兄弟杰姆斯在韩国。1982纽约一名警卫强奸并谋杀了查尔斯,这部电影及其附带的小说都没有完成。在吴令人惊讶的展览——她第一次在47条运河上的独奏表演中,艺术家在一个忧郁的装置和电影中回到了查克的未完成的作品中。吴的展览以小的,大部分是白色的石膏模型为对象,布置在画廊的金发木地板上:双手互相放在一起,赤裸的脚,拖把,火车的火车车,Lehmann Gross Bahn的火车轨道,一个小的,小球状的灯光,微弱地在半空中脉动。黑暗。这些物体被一个透明的白色胶片部分地照亮,白色的胶片根据从CHA的白色尘埃中收集的光数据在亮度上波动。在昏暗的画廊里,人们可能会想先把空间称为“梦幻”或“梦幻般的”。事实并非如此,吴的作品在历史的存在和隐藏在其中的朦胧奥秘中噼啪作响。正如吴所写的,“离开”,随着它的“多个入口”,回忆起佛洛伊德对神秘的解释,这是潜意识所不熟悉的熟悉。在这里,世界历史叙事已经跌入小客体,赋予它们过去和未来——现在已经被压制了。Julia Phillips,EPUTURDER1.1.JPG Your Guide to the Best Shows to See in New York - 纽约最佳节目指南,挤压机(1),2017,部分釉面Cela。采购产品MICS,螺丝,金属结构,金属管,混凝土瓦片,漆器。礼貌:艺术家Julia Phillips,“失败检测”WPAP60300 3BR MOMA PS1 WPA60300 3BR 4月15日-9月3日在Julia Phillips的第一次独奏博物馆展览,我们瞥见,抽象地,我们的生活与各种医疗工业的残酷的十字路口。围绕现代生活的结构。柱子、大螺丝、桌子、医院里所有的装饰物,在瓷砖地板上站立或躺着。身体部位的陶瓷铸型——脸部、肚脐和女性骨盆——悬挂在镶嵌在瓷砖上或悬挂在博物馆墙壁上的粗金属框架上。展览的三个房间一次暗示了一个可怕的酷刑中心,就像他们在一些萨尔瓦多·达利启发的医生(在这里可能是挂了一个钟的脸和肉躺在一起)的手术室里一样,他们还记得罗伯特·梅普勒索普的一个明确的摄影。在挤压机(1)(2017)中,嘴巴的深紫色铸件吞了一根杆子;在那面后面,有一个带有肛门张开孔的驴子,在金属叉骨上向上延伸。我们之间的距离已经过去了。剩下的就是系统了。但是菲利普斯超越了马普尔索普对她身体的性别和形状的鲜明评价,以及在世界上确定他们的位置(阅读功能)的生物政治;她朴素的雕塑将我们的部分从整体上解脱出来,强调,对于稍纵即逝的肉体,只有代表性。持续。K-6JPG WPA60260602IMG Charles Atlas,2003, 2018,安装视图,厨房,纽约。礼貌:艺术家和厨房,纽约;照片:杰森曼德拉查尔斯阿特拉斯,“过去就在这里,未来即将到来”WPAP60300 3BR厨房WPA60300 3BR 3月28日-5月12日在厨房,两个新的视频装置由Charles Atlas - 2003和年(B)OTS 2018)——考虑电影中的特定时刻,通过在2003的电视中找到阿特拉斯的同龄人(Eileen Myles,Yvonne Rainer等)的视频肖像,或者在一些预测的未来中重新想象这些年。长期以来,阿特拉斯一直致力于接受、怀旧和多个礼物——以及奇怪的未来——这构成了我们的经历。例如,他在LuLink奥古斯丁的2015次展览“正义的衰落”,其中拖拉演员Lady Bunny在漫长、自由的独白中描绘了当前严峻的现状。(她知道一年后会发生什么事吗?)或者她呢?)在这些新作品中,阿特拉斯再一次呈现了一种色彩丰富、坦率、绝对奇怪的形象,在我们的政治和社会领域受到阻碍,从总统小布什把我们拖进伊拉克,并在遥远的未来结束“视频墓地”的那一年开始。阿特拉斯还在厨房里策划了一个同时的多样化节目,《厨房愚人》(3—5月12日),以电影制作人的新的和长期的合作者为特色。作曲家Jodi Melnick和表演者Julianna Barwick将提出一个新的合作工作,Laurie Berg和著名黑人(3 - 5月5日只)。阿特拉斯一直与艺术家和社区合作,他直接和间接地在几十年里保持了一个艺术世界(艺术世界)——将夜生活、诗歌、舞蹈、音乐和拖曳的元素结合到一个闪闪发光的纽约狂欢中。无论未来如何,我们至少可以在与Charles Atlas一起生活的当下生活中获得些许安慰。DMAMA087YV1.JPG Your Guide to the Best Shows to See in New York - 纽约最佳节目指南 MARLNE DUMAS,牙齿,2018,油画布上。David Zwirner,纽约/香港,Marlene Dumas,“神话和凡人”WPAP60300 3BR David Zwirner WPA60300 3BR 4月28日-6月30日在“维纳斯和阿多尼斯”,莎士比亚的几首长诗之一,金星变得不耐烦与猎人阿多尼斯-第十树上的孩子——拒绝吻她。她被他的冷漠所折磨,又被她自己的不朽所折磨,因为她怀疑他的冷漠是因为她是上帝而不是女人。没关系,金星很快就在森林里发现了阿多尼斯的紫色尸体,被野猪杀死了。他的死亡产生了一朵花,颜色与阿多尼斯的肉体一样,金星在哭泣。这就是定义古代世界的残酷的对称性。在她八年来的第一次纽约展览中,Marlene Dumas在许多画布和纸上画出了这首诗——以及那些对称性的喜怒无常的情感。杜马斯把金星描绘成一个恳求的人物,因为她的水墨画的标题(每一个稍大于A4纸的大小)都清楚地表明:金星恳求,金星部队,维纳斯女神坚持(2015—16)。从2018开始的绘画和绘画继续莎士比亚的主题,没有明确地说明这首诗,包括怀孕的身体,亲吻夫妇,iPhone,乳头等。在这些阴郁、美丽的图画中,杜马斯把维纳斯抱怨的代表性描述为“无生命的、冰冷的、毫无意义的石头、画得很好的偶像、形象的遁世和死亡”,这是他捕捉上帝对她天生的情人的自然丧失,对大自然的无脑和血腥的侵略的最好的资产。CD1465.JPG Your Guide to the Best Shows to See in New York - 纽约最佳节目指南 Carroll Dunham,任何一天,2017,聚氨酯,丙烯酸和铅笔在亚麻布上,2×2.5米礼貌:艺术家和芭芭拉·格拉德斯通美术馆,纽约和布鲁塞尔,女艺术家卡罗尔邓纳姆WPA60300 3BR芭芭拉·格拉德斯通美术馆WPA60300 3BR4月20日- 6月16日在Carroll Dunham的新的,无题的展览在芭芭拉·格拉德斯通美术馆,裸体画,猛虎摔跤手-他们浑身上沾满鲜血,他们的肛门在风格上脱垂,他们的鸡巴特别软弱-从事男子在农村景观的斗争。继艺术家的乌托邦,2015系列女性沐浴者,这些男人将不会与这样的和平,这里,在油画中,如在克拉奥拉标志制作,Dunham已经注入了他的主题漫画,自我毁灭的阳刚之气。在地球的青山(3)(所有的作品2017)中,两个男人把他们的棍子握在一起,准备击倒他们的敌人。在“左死”系列中,尸体灰色的男人躺在草地上,他们的黑发在我们面前闪耀着,在致命的失败中,或者,也许筋疲力尽。(他派遣敌人了吗?还是他自己被派遣了?)和平的承诺只在展览中出现过一次,在泥人中,这表明男人们在棕色的湖里牵着手,背对着观众,他们的吼声相当丰满。这幅画——它的人物大致上是人类的轮廓——悬挂在画廊中心的一个长长的大厅里,远离展览的其余部分,仿佛只有一个梦想,或幻想,和解。在其他的作品中,不祥的、超大的黑鸟在空中或陆地上盘旋着,奇怪的迹象表明一些占有欲的来世,像命运一样徘徊。AS-ITOO122.JPG Your Guide to the Best Shows to See in New York - 纽约最佳节目指南 Miyoko Ito,GooDeVa,1968,油画布上,1.2×1.2厘米。礼貌:艺术家空间,纽约和凯伦伦诺克斯画廊,芝加哥MIYOKO伊托,“心脏之心”WPAP60300 3BR艺术家空间WPA60300 3BR今年4月7日- 5月6日标志着Miyoko Ito诞生的百年,1918年4月27日,在伯克利,加利福尼亚。在一个完美的世界里,这个日子会收到MO


Comments are closed.