This exhibition is meant to recall that atmosphere of Francis Alÿs, while at the same time critiquing the very format of the solo exhibition – in this case, a group show standing for a solo exhibition whose protagonist is only conceptually alluded to.
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South African photographer Pieter Hugo, who rose to prominence in 2005 with ‘The Hyena and Other Men’, his controversial series of images of itinerant hyena tamers, has again made a series of large-scale colour portraits, this time of Nollywood actors.
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Just as most British towns have a street named after Queen Victoria, many African cities have an Avenue Patrice Lumumba, named in honour of the Republic of Congo’s first democratically elected leader. South African photographer Guy Tillim took pictures of many of these eponymous streets in Angola, Benin, Mozambique, Madagascar and the Democratic Republic of Congo.
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The show is meant as a corrective to an image of rural America that’s largely dominated by clichés both good (individualistic, honest, hard-working, wholesome, pastoral, raw) and bad (closed, incurious, unsophisticated, fundamentalist). It also aims to redress the lack of attention that the art world pays to this ‘third coast’…
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The cozy relationship between music and art has been the focus of many recent shows, prodding BOZAR to steer clear here of art–music dabblers and dilettantes, and focus instead only on artists who treat music and visual art as equals.
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For nearly half a century now, Yayoi Kusama’s personal history has preceded her: the artist arrived in New York from Japan in the late 1950s, and soon became the city’s avant-It Girl, receiving praise from and exhibitions with the likes of Donald Judd, Frank Stella and Yves Klein.
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The childhood nostalgia that became a popular theme in much 1990s art hasn’t yet disappeared, and many shows are still rife references to pop-culture detritus from the 1970s and ’80s. But Tim Braden pushes the nostalgia clock back even further, re-imagining a genteel 1950s boyhood consumed by daydreams of adventure, exploration and treasure hunting.
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Centuries before modern-day fabulists like Jayson Blair and James Frey, there was George Psalmanazar, an ersatz historian who took creative license to a new level. When he arrived in London in 1703, Psalmanazar presented himself as a native of Formosa (now known as Taiwan) who had been kidnapped and taken to Europe by Christian missionaries.
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The history of grandiloquent architecture is a long and rich one, and Berlin-based artists Nina Fischer and Maroan el Sani explored this history in Amsterdam’s ‘South Axis’ development project, a playground of gleaming office towers with interchangeable names like Eurocenter, Forum and Atrium…
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The exhibition does have the introductory text, the book, the invitations and the events, but each component has been designed with an eye towards reinventing the form, suggesting that the ‘retrospective’ itself has become an artistic medium.
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