What happens in translations between cultures, between languages, between a viewer and an artwork? In “The Spiral and the Square. Exercises in Translatability,” the works are varied exercises in translatability: Rivane Neuenschwander’s phantom draughtsman translates the visitor’s description of their first love into a portrait on paper. Cildo Meireles’ simple paper bags are translated into a series of volume units. Laura Lima’s living sculpture lends an image to the process of translation as a physical and demanding struggle. Cao Guimarães’ full-length film Ex Isto challenges how history is written by transferring European historical events to the Amazon rainforest.

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“Two Ways to Fall,” the title of this exhibition and one of the works in it, is taken from a country song about falling in and out of love. The show addresses a sense of balance between moving and falling forwards or backwards in time as well as the own past and possible future of materials.

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In 1787 during his travels in Italy, Johann Wolfgang von Goethe, in his position as celebrated author, was taken on a torchlit visit of the Vatican museum. Goethe became excited by the possibility of focusing on single art objects, visually removed from other objects in the vicinity and without the blanket illumination of a fully lit room. Drawing on this instance, recounted in his Italian Journal (1817), “Herbei ein Licht!” presents a group exhibition of 18 German artists responding to the themes inherent in Goethe’s most influential work, Faust.

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The work of Erick Beltrán (Mexico, 1974) should be understood as an accumulative process of ideas and the extension of his directions or divergences over the course of a body of work, in which the concept of edition in always present. From works such as ERGO SUM (2006) to The World Explained (2008), to Models for the Construction of Objects (2010), Erick Beltrán seeks an answer to the question, “What is discourse?”, explores our ignorance about the nature of the objects of daily life to expose a machinery of reality shored up by personal theories, and proposes an analysis of ideological systems as a function of the forms created through assemblages of objects.

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“The 2011 Bridgehampton Biennial” is a group exhibition organized by Bob Nickas in collaboration with Martos Gallery. The exhibition takes place inside and on the grounds of an 1860 farmhouse located in Bridgehampton, New York, and features works by thirty-eight artists, including:

John M Armleder, Richard Aldrich, Barry X Ball, Lisa Beck, Jules de Balincourt, Sascha Braunig, Graham Caldwell, Anne Collier, Trisha Donnelly, Ryan Foerster, Wayne Gonzales, Stefan Gunn, Guyton\Walker, Rachel Harrison, Mary Heilmann, Matthew Higgs, Jacob Kassay, Bill Komoski, Louise Lawler, David Malek, Chris Martin, Justin Matherly, Joseph Montgomery, Olivier Mosset, Amy O’Neill, Virginia Overton, Mai-Thu Perret, Ben Schumacher, Davina Semo, Alan Shields, Keith Sonnier, Aaron Suggs, Josh Tonsfeldt, John Tremblay, Andra Ursuta, Dan Walsh, Elaine Cameron Weir, B Wurtz

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A pioneering figure of photoconceptualism, Ian Wallace is best known for his works that combine photography and painting, a technique he has explored for the past three decades. Born in England and living and working in Vancouver since 1953, Ian Wallace has played an influential role in the Vancouver art scene not only through his art, but also through his teaching, as a professor at the University of British Columbia and at the Emily Carr Institute of Art and Design, Vancouver.

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Here we are again with the first exhibition after the summer break. “Organizing the world,” currently on view at Haus der Kunst, Munich, shows a selection of Matt Mullican’s works that are especially important for the development of his opus since the 1970s and places the rarely shown early installations in context with later developments.

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