Palazzo Reale and the Comune di Milano is pleased to present the “Arhat Cycle” by Takashi Murakami. Curated by Francesco Bonami and organized by Blum & Poe and Kaikai Kiki, the “Arhat Cycle” is a quintessential offering of Murakami’s ability to conflate historical, contemporary, and futuristic Japanese references with a myriad of styles, methodologies, and forms—trademarks of one of the most celebrated artists of our time.

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Simon Denny’s exhibition opening at Portikus this month revisits a pivotal occasion in the history of the South Korean multinational Samsung. The project is his most recent exploring the broader cultural message implied within the aspirations and legacy associated with a very spectacular but essentially closed, corporate event. It closely follows “Disruptive Berlin”, at Galerie Buchholz which quoted branding, media and rhetoric from a technology conference held in Berlin last year, interrelating aspects of the city’s identity to an emerging part of its economy, namely the local, so-called “start-up” industry.

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“What is sculpture?” Austrian artist Erwin Wurm ponders in an interview. “Sculpture is to add volume, to take volume away, and you can also say that when you gain or lose weight.” His own sculptures and installations, which often look as if they had been subjected to a brutal fattening-up regime or diet, warrant the analogy. Take the bloated Fat House (2003), for instance, and its counterpoint, Narrow House – a mere sliver of a place that visitors could walk straight through at the 2011 Venice Biennale.

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Best known for her exploration of Mexican anthropology and archaeology, Mariana Castillo Deball (Mexico 1975) graduated from UNAM’s Escuela Nacional de Artes Plásticas and earned a postgraduate degree from the Jan Van Eyck Akademie in the Netherlands.

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Rod Barton is pleased to announce a two-person exhibition featuring “Dean Levin & Oliver Perkins”. The new works are presented on either side of a wall that demarcates the gallery as two separate, yet permeable spaces. Each artist’s work stands autonomous, yet is linked conceptually through its ability to challenge notions of perception through subtle material reconfigurations that confuse our optic reading of painting’s conventionally two-dimensional surface. In both instances the work of Perkins and Levin subverts our ability to take objects for what they first appear to be and allow us to question what they actually are.
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Olga Balema, Georgina Braoudakis, Elaine Cameron-Weir, Georgia Dickie, David Flaugher, Aleksander Hardashnakov, Jason Matthew Lee, Jared Madere, Carlos Reyes, Eric Schmid, Andy Schumacher, Ben Schumacher, Luke Schumacher.
Organized by Ben Schumacher.

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This summer, Sadie Coles HQ presents an exhibition of new paintings by Urs Fischer. It is the first show that he has dedicated exclusively to painting, and comprises four large-scale works that signal a significant new approach to the medium.

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A joint project between Marianne Boesky Gallery and Marlborough Chelsea, “Another Look at Detroit” presents works and objects by over fifty artists, designers, and cultural contributors. The focus of this exhibition is the city of Detroit as a creative center, historically through to today. Spanning a period of 150 years, and taking place at both galleries’ Chelsea spaces, this exhibition is by no means a comprehensive survey. Rather, “Another Look at Detroit” intends to portray a vision as sprawling and complex as the biography of the city itself.

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Kiki Smith “Path”

Galleria Continua is pleased to host, for the first time, a solo show by American artist Kiki Smith. With over 150 one-person exhibitions around the world, she is a prominent figure in contemporary art.

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“A kind of unintentional parody hangs over everything, a tactical simulation, a consummate aesthetic enjoyment [jouissance], is attached to the indefinable play of reading and the rules of the game. Travelling signs, media fashion and models, the blind but brilliant ambience of simulacra.” Jean Baudrillard, Symbolic Exchange and Death, 1976

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Michael E. Smith

The work of Michael E. Smith is enigmatic, thought-provoking and often confounding. Frequently working with found objects of an abject nature such as crushed plastic containers, tarred bird feathers, deconstructed computer casing and resin-encrusted clothes, Smith places these fragments in empty expanses, dark recesses or high corners of gallery spaces.

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Dominique Lévy gallery presents a collaborative artists’ project inspired by the work of Italian Conceptualist Giulio Paolini. Titled “Hypothesis for an Exhibition” and curated by Begum Yasar, the project is comprised of two components: The first is an exhibition of work by Paolini and a dozen New York artists and collectives paying tribute to his ideas. The second component is a publication designed by Studio Manuel Raeder. In addition to Paolini, participating artists include Richard Aldrich, Harold Ancart, Sebastian Black, Kerstin Brätsch, Guyton\Walker, KAYA, Charles Mayton, Seth Price, Josh Smith, R.H. Quaytman, Antek Walczak, and Viola Yeşiltaç.

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KP Brehmer, Nicolas Ceccaldi, Gaylen Gerber, Suzy Lake, Ludmila Seefried-Matejkova. Curated by Will Benedict.

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As most exhibitions do, this one starts with a story. At first glance, it’s easy to think that Vern Blosum’s exhibition at Kunsthalle Bern, curated by Lionel Bouvier, is not an uncommon one. In the archaeological dig of the past it seems for each new young artist, there’s a rediscovered counterpart; the resurrection of figure forgotten by history, who for all intensive purposes may be forgotten just as quickly again. When you read a bit deeper, Blosum’s story comes with its fair share of intrigue, deception, and subversion—a young artist decides to play the game of the then-nascent movement of pop art and finds brief success. Leo Castelli sells the work, not knowing Blosum’s true identity. After mounting skepticism, Alfred H. Barr (a figure, who like most in art history, seem so foreign to our current landscape that they are almost a fiction themselves) begins a quasi-witch hunt, which led him to eventually find that there was no birth record in Blosum’s “birth state” of Colorado. The discovery of his lack of identity led to the physical (and perhaps equally ideological) removal of his painting from the Museum of Modern Art in New York.

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