Feb 15 2018

AAP MONTHLY PICKS: February–March, 2018

by The Editors

Yoko Ono: The Riverbed

Feb 22–Jun 3

Gardiner Museum, Toronto, Canada

Installation view of YOKO ONO’s Line Piece, 1966/2015, mixed media installation, dimensions variable, at “The Riverbed,” Galerie Lelong, New York, 2015–16. Copyright the artist. Courtesy Galerie Lelong & Co., New York.

“The Riverbed” spotlights the legacy of Yoko Ono’s instructional artworks—an ongoing project which Ono began in the 1960s, comprising guides for simple gestures, informed by the practices of Zen Buddhism and Dada. The exhibition is what the museum calls a “temporary village” of healing and contemplation. On view will be three key examples of Ono’s instructional works: Stone Piece (2015), Line Piece (2015) and Mend Piece (1966)—each of which asks the viewer to engage with objects such as inscribed stones, nails and string as well as fragments of ceramic vessels to complete the project. In addition to the main showcase, there will be public programs and events including film screenings and concerts by local artists, all inspired by Ono’s works from the 1960s and ’70s.

Latiff Mohidin: Pago Pago (1960–1969)

Feb 28–May 28

Centre Pompidou, Paris, France

LATIFF MOHIDIN, Neo Pago, 1967, acrylic on canvas, 153 × 122 cm. Courtesy Centre Pompidou, Paris.

Shifting its focus to Southeast Asia, Centre Pompidou will host the National Gallery Singapore’s first traveling exhibition, presenting the works of venerated modernist and Malaysian artist Latiff Mohidin. “Pago Pago (1960–1969)” will feature 70 key works, including drawings, sketches and paintings created during the artist’s formative period in Berlin and during his travels through Thailand and Indochina, tracing the complex influences of Modernism in Southeast Asia and in the West. The show also spotlights Mohidin’s “Pago Pago” (1964–68) painting series, which fuses bamboo-like forms with mosque minarets and fishing boats with shells, all rendered with brusque, definitive brushstrokes that reflect the colors of the Malay landscape.

The Rebellion of Moving Image

Mar 3–May 6

Museum of Contemporary Art, Taipei, Taiwan

JOHN AKOMFRAH, Auto Da Fé, 2016, still image from two-channel video installation: 40 min 30 sec. Copyright Smoking Dogs Films. Courtesy Lisson Gallery, London/New York and Museum of Contemporary Art, Taipei.

Led by independent curator Hsiang-Ning Huang, “The Rebellion of Moving Image” brings to Taiwan the works of Taiwanese conceptual artists Hsu Chia-Wei and Wu Tsan-Cheng, Israeli multimedia artist Yael Bartana, Ghanaian-British filmmaker John Akomfrah and British installation artist Issac Julien. Weaving together history and illusion, the artworks on view will include Hsu’s Testimony of the Aircraft, Frosted Bat and Deceased (2017), which, shown at the ruins of a second Navy Fuel Plant used during the Japanese occupation in Taiwan, centers its narrative around a former Japanese military officer’s memoir, tying the film to Taiwan’s colonial history. Also to be included is Akomfrah’s prize-winning video work Auto Da Fé (2016), which examines the history of migration and the refugee crisis, while reflecting on today’s political climate of intolerance.

Mohammed Ahmed Ibrahim

Mar 16–Jun 16

Sharjah Art Foundation, Sharjah, UAE

MOHAMMED IBRAHIM, Primodial, 1988, oil on canvas, 100 × 140 cm. Courtesy Sharjah Art Foundation.

Curated by director Hoor Al Qasimi, Sharjah Art Foundation will present an expose of works by Mohammed Ahmed Ibrahim—one of the most highly acclaimed conceptual artists from the United Arab Emirates and a member of the UAE’s avant-garde Group of Five. Throughout his artistic career, which spans more than 30 years, Ibrahim has explored topics of natural decay and urbanization, particularly in relation to the Arabian Peninsula. The show will delve into the artist’s spiritual connection to his hometown, Khorfakkan, which lies between the Gulf of Oman and the Hajar Mountains, where Ibrahim still resides to this day, and will feature his biomorphic paintings, sculptures, installations and drawings that play with grids and patterns.

Do Ho Suh: Almost Home

Mar 16–Aug 5

Smithsonian American Art Museum, Washington DC, USA

Installation view of DO HO SUH’s Wieland Strasse, 18, 12159 Berlin, Germany–3 Corridors, 2011, polyester fabric sculpture with stainless steel armature, 3.47 × 2.35 x 1.13 m, at “Perfect Home,” 21st Century Museum of Contemporary Art, Kanazawa, 2012–13. Copyright the artist. Photo by Taegsu Jeon. Courtesy the artist and Lehmann Maupin, New York/Hong Kong.

The colorful, ethereal works of Korean artist Do Ho Suh will transform the Smithsonian American Art Museum’s galleries into a temporary threshold of residential foyers and passageways. Highlights of the show include Suh’s life-size fabric work Hubs (2015–16)—a diaphanous installation inspired by the transitional spaces of the artist’s previous homes—and “Specimen” series (2011– ), a selection of framed fabric replicas of ordinary household objects. Informed by the artist’s own history of migration from Seoul to London to New York, the show probes the meaning of home during an era of global migration, cultural bereavement and loss of cultural identity.