Art In The Age Of Planetary Computation
22 May – 23 August
Witte de With, Rotterdam
Part of the year-long Art In The Age Of… exhibition series, Art In The Age of Planetary Computation asks how telecommunications and information technologies inform contemporary artistic production and how art can hold a mirror up to these new realities. Artists look behind the screens to the infrastructure of code, machines and wires, and the socio-political interactions fostered by these devices. Antonia Hirsch’s Solaris Panel (2014) features approximately 90 shapes cut from black Plexiglas, exactly matching various makes and models of contemporary mobile devices that, in sleep mode, resemble the black Claude mirror, an artist’s aid first invented in the 17th century.
Antonia Hirsch, Solaris Panel, 2014 © Antonia Hirsch
Lee Miller and Picasso
23 May – 6 September
Scottish National Portrait Gallery, Edinburgh
Antony Penrose, Director of the Lee Miller Archive and son of Lee Miller and Roland Penrose, has described the depth of both his parents’ relationship with Picasso. ‘Beginning from the camaraderie and ideals shared on the beaches of the Côte d’Azur it developed rapidly into a love and creative collaboration.’ Roland Penrose became Picasso’s biographer, while Lee Miller lovingly captured both men in photographs that are works of art in their own right. Picasso, in return, created a series of portraits of Lee, including Portrait of Lee Miller as L’Arlesiennes (1937) on show here alongside 100 photographs and a selection of rare archival material.
Lee Miller, Pablo Picasso and Lee Miller after the liberation of Paris, Rue de Grand Augustins, Paris, France, 1944 © Lee Miller Archives, England 2015. All rights reserved. © Succession Picasso/DACS, London 2015
Grayson Perry: Provincial Punk
23 May – 13 September
Turner Contemporary, Margate
Turner Contemporary takes us back to Grayson Perry’s punk roots in this survey that is grounded in the artist’s work from the early 1980s. ‘I was a punk in the provincial sense,’ he says with typical humour. ‘I was there in my bedroom with an old school shirt stencilling the word “Hate” onto it, looking out onto the lush turf of the north Essex countryside.’ That spirit of anti-elitism pervades decades of work that has touched on issues of class, taste, craft, consumerism and war, represented here in 50 works including ceramics, tapestries, drawings, prints and films.
Grayson Perry, Sex and Drugs and Earthenware, 1995. Courtesy the artist and Victoria Miro, London © Grayson Perry
Imaginary Audience Scale: A sceptical approach to exhibition making
Until 23 May
Artspace, Newton, Auckland
Auckland’s independent institution Artspace presents an exhibition that thinks critically about the role of the audience, and how viewers can transform a work of art. The show takes as its starting point the Imaginary Audience Scale (IAS), a psychological test designed in the late 1960s intended to assess subjects’ willingness to believe that they are under constant, close observation by peers, family and strangers. Includes the work of pioneering conceptual artists, such as Art & Language, Bruce Barber, Ayşe Erkmen, Len Lye, Yoko Ono, Martha Rosler and Lawrence Weiner
Lawrence Weiner, As Far As The Eye Can See, 2015. Courtesy of the artist and Marian Goodman, New York
Until 24 May
Museo de Arte Contemporáneo de Monterrey
While Kati Horna’s work in collaboration with Leonora Carrington is currently on show as part of the Carrington exhibition at Tate Liverpool, this major retrospective covering six decades of the photographer’s work soon comes to a close in Mexico. In 150 works, including many vintage prints, the show presents a lifetime of work, from coverage of the Spanish Civil War to portraits of literary and artistic personalities such as Alfonso Reyes and Remedios Varo, as well as Carrington. Created in Hungary, France, Spain and Mexico, her work reveals the influence of Surrealism, the Bauhaus and Russian Constructivism.
Kati Horna, Ascent to the Cathedral, 1938. Colección Archivo Privado de Fotografía y Gráfica Kati y José Horna © 2005 Ana María Norah Horna y Fernández
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