網頁

博物館 - Guggenheim, Harvard Art, Forbes House, China Institute

SPRING 2018 PROGRAMS AT THE GUGGENHEIM
In conjunction with the exhibitions Josef Albers in Mexico and Danh Vo: Take My Breath Away, the Guggenheim Museum presents the following public programs and film series, as well as the thirtieth annual Hilla Rebay Lecture and eighth annual Robert Rosenblum Lecture. 

The Guggenheim, e-flux, and Verso Books Present: 
Duty Free Art and Supercommunity U.S. Book Launch
WEDNESDAY JANUARY 24, 6:30 PM
In collaboration with e-flux and Verso Books, the Guggenheim presents the U.S. launch of two recent Verso publications: Hito Steyerl’s Duty Free Art: Art in the Age of Planetary Civil War, a new volume of essays by the writer, filmmaker, and artist; and Supercommunity: Diabolical Togetherness Beyond Contemporary Art, a collection of essays, poems, short stories, and plays by artists and theorists selected from the 88-text issue of e-flux journal commissioned for the 56th Venice Biennale. The evening features Steyerl in conversation with media theorist Wendy Hui Kyong Chun, a presentation by artist and Supercommunity  contributing author Liam Gillick, and a one-act play by coeditors Julieta Aranda and Brian Kuan Wood. 

Free, RSVP for updates. For more information, visit guggenheim.org/calendar
Josef Albers in Mexico Programs
Exhibition Tours in Spanish
SUNDAYS, THROUGH MARCH 25, 10:30 AM
Join a conversational gallery tour in Spanish exploring Josef Albers in Mexico as well as other exhibitions throughout the museum. Facilitated by an educator trained in art history and gallery teaching, these tours consider the photographs taken during Albers’s travels to archaeological sites and monuments in Mexico alongside the resulting photocollages and his celebrated geometric, abstract paintings. 

Free with admission, no RSVP is required. Meet on the rotunda floor. For more information, visit guggenheim.org/calendar.
Eva Díaz: “Copies Have More Fun” 
TUESDAY, JANUARY 30, 6:30 PM 
In conjunction with the exhibition Josef Albers in Mexico, join Eva Díaz, Associate Professor, History of Art and Design, at Pratt Institute, for a lecture on Josef Albers’s artistic and teaching practices. In 2010, seventy-five years after Albers first visited Mexico, artist Jill Magid learned that architect Luis Barragán created and for years displayed two Homage to the Square replicas in his Mexico City home. Magid then used the annotations on the back of Albers’s works to paint her own body of copies modeled on the Homages—though Barragán did not produce his replicas in this way. She went on to show her series, cleverly titled Homage , in Switzerland, building on a controversial body of work about the lack of public access to Barragán’s archives, which are housed on Basel. This talk will discuss how Albers made pedagogical outreach to the viewer a central part of his work, particularly at a time when the educational process was understood as a creative enterprise that impelled personal growth and social transformation. Albers trained his viewers by offering perceptual tests of variation, seriality, and systems in his artwork, as well as by implicitly allowing—in a remarkably nonproprietary way—that viewers might enact their own versions of his works, just as Magid did. The program concludes with an exhibition viewing of Josef Albers in Mexico and reception.

$15, $10 members, free for students with RSVP. For more information, visit guggenheim.org/calendar.
Danh Vo: Take My Breath Away Programs
The information below is subject to change. Please contact the Press Office to confirm program information prior to publication. 
 
Eye to Eye: Artist-led Tours
TUESDAYS, FEBRUARY 20, 27 AND APRIL 10, 6:30 PM
Part of the Guggenheim’s ongoing Eye to Eye series, these intimate evening programs invite contemporary artists to reflect on themes and artworks in current exhibitions, and draw connections to their own practices. For a special iteration of the program on the occasion of Danh Vo: Take My Breath Away , artists identified by Vo as friends, mentors, and collaborators lead a small group of visitors through the exhibition. Each tour is followed by a reception in the Guggenheim’s iconic rotunda.

Tuesday, February 20: Moyra Davey and Jason Simon 
Tuesday, February 27: Julie Ault 
Tuesday, April 10: Rirkrit Tiravanija 

$20, $15 members, $10 students. For more information, visit guggenheim.org/calendar.

Film Series: Danh Vo Selects 
SATURDAYS, MARCH 3–31 
A series of films chosen by the artist to accompany his exhibition, “Danh Vo Selects” takes places on Saturdays during the month of March. Each week, two of the following films will be screened.
ROSETTA (1999), DIR. JEAN-PIERRE DARDENNE AND LUC DARDENNE, 93 MIN. 
MARCH 10 AND 31, 2:30 PM; MARCH 17, 5 PM
This intense vérité drama by Belgian filmmakers and brothers Jean-Pierre and Luc Dardenne closely follows a poor young woman struggling to hold on to a job that would support her and her alcoholic mother. It is a swift and simple tale made revelatory by the raw, empathic way in which the directors render Rosetta’s desperation, keeping the camera nearly perched on her shoulder throughout.

THE BALLAD OF NARAYAMA (1983), DIR. SHOHEI IMAMURA, 130 MIN. 
MARCH 3 AND 24, 5 PM; MARCH 17, 2:30 PM
Still strong at the age of 69, Orin prepares herself for an inevitable yet horrifying ritual. In her village, where food is scarce, life is harsh and people are desperate and cruel. Anyone who lives for 70 years is hauled to the mountaintop by their children and left to die in the dead of winter. Orin is prepared to accept her fate, but she also has one last, all-important task—she must find a suitable wife for her son, Tatsuhei.

THE EXORCIST (1973), DIR. WILLIAM FRIEDKIN, 122 MIN. 
MARCH 3 AND 24, 2:30 PM; MARCH 10 AND 31, 5 PM
One of the most profitable horror movies ever made and the first example of the genre to be nominated for an Academy Award for Best Picture, this tale of an exorcism is based loosely on reported actual events. It centers on a young girl’s bizarre and distressing behavior, which is identified by a local priest as a demonic possession. The priest makes a request to perform an exorcism, and the church sends in an expert to help with the difficult job.

Screenings take place in the New Media Theater, Level B, and are free with admission. For more information, visit guggenheim.org/films.
Thirtieth Annual Hilla Rebay Lecture
Irit Rogoff
WEDNESDAY APRIL 4, 6:30 PM
Writer, teacher, curator, and organizer, Irit Rogoff works at the intersection of contemporary art, critical theory, and emergent political manifestations. She is Professor of Visual Culture at Goldsmiths College, University of London, where she heads the Curatorial/Knowledge PhDprogram and the Global Arts MA program. Now in its thirtieth year, the annual Hilla Rebay Lecture series brings distinguished scholars to the Guggenheim Museum to examine significant issues in the theory, criticism, and history of art. This program is followed by a reception.

Free, RSVP for updates. For more information, visit guggenheim.org/calendar.

The Annual Hilla Rebay Lecture is made by The Hilla von Rebay Foundation.
Eighth Annual Robert Rosenblum Lecture
Terry Winters in Conversation with Lisa Phillips
TUESDAY, APRIL 17, 6:30 PM
Join artist Terry Winters as he discusses his practice with Lisa Phillips, Toby Devan Lewis Director of the New Museum of Contemporary Art, New York. The program is followed by a reception in the Guggenheim’s iconic rotunda. Winters’s (b. 1949, New York) work has been the subject of surveys at numerous museums, including the Tate Gallery, London; Walker Art Center, Minneapolis; Museum of Contemporary Art, Los Angeles; and Whitney Museum of American Art, New York. Winters was elected to the American Academy of Arts and Letters in 2013. As director of the New Museum, Phillips initiated the design and construction of its first dedicated freestanding building and cocurated exhibitions on John Waters, Carroll Dunham, and Paul McCarthy. Phillips has presided over surveys of major influential artists such as Richard Prince, Frederick Kiesler, Terry Winters, and Cindy Sherman. She graduated cum laude from Middlebury College and did doctoral work at the Graduate Center at CUNY. She lectures on contemporary art throughout the world and has served as a visiting critic at Yale University. 

The Annual Robert Rosenblum Lecture honors the wide-ranging career of Robert Rosenblum (1927–2006), former Guggenheim Swid Curator of 20th-Century Art, and Henry Ittleson Professor of Modern European Art, New York University. This program is followed by a reception.

Free, RSVP for updates. For more information, visit guggenheim.org/calendar.

The Annual Robert Rosenblum Lecture series is facilitated by the donors to the Robert Rosenblum Fund who are gratefully acknowledged for their generosity.
Art After Dark
FRIDAY, MARCH 9, 9 PM–MIDNIGHT; EXCLUSIVE MEMBERS' HOUR: 8–9 PM
An after-hours private viewing of current exhibitions including Danh Vo: Take My Breath Awayand Josef Albers in Mexico, featuring a cash bar and live music.

$25, members free. Purchase tickets online in advance or become a member. Cash bar serves wine and beer. Guests will be asked for a photo ID. Limited general admission tickets will go on sale closer to the event date. No tickets are sold at the door. For more information, visit guggenheim.org/artafterdark

Art After Dark is supported in part by SHOWTIME®.
Mind’s Eye Tours
FEBRUARY 12, MARCH 14, APRIL 9 AND MAY 9 
Monthly Mind’s Eye tours and workshops for visitors who are blind or have low vision are conducted by arts and education professionals through verbal description, conversation, sensory experiences, and creative practice. For visitors who wish to visit the museum on their own, the free Guggenheim app includes verbal imaging tours and VoiceOver. Download the app or borrow a device for free with museum admission.
 
February 12, 6:30–8:30 pm: Love and Art 
March 14, 2–4 pm: Danh Vo: Take My Breath Away 
April 9, 6:30–8:30 pm: Permanent collection 
May 9, 2–4 pm: Permanent collection

Free with RSVP required one week before the program date. For more information, visitguggenheim.org/mindseye.
Curator’s Eye Tours
WEDNESDAYS, JANUARY 24, MARCH 21, AND APRIL 18, 12 PM
Public gallery tours providing an opportunity for visitors to explore the museum’s exhibitions with the exhibition curator sharing expert knowledge of the work on view. Tours interpreted in American Sign Language (ASL) upon request.

January 24: Josef Albers in Mexico
Lauren Hinkson, Associate Curator

March 21: Danh Vo: Take My Breath Away
Susan Thompson, Associate Curator 

April 18: Danh Vo: Take My Breath Away
Katherine Brinson, Daskalopoulos Curator, Contemporary Art

Free with museum admission. Limited capacity, advance onsite registration is required. Registration opens one hour before the tour at the Information desk. Check-in begins 15 minutes prior to the start of the tour. For more information, visit guggenheim.org/calendar.
Daily Public Tour
Art in the Round
DAILY AT 2 PM
Art in the Round public tours are led by gallery educators. Specialists in fields of art, art history, and gallery teaching, educators provide informative and meaningful experiences by engaging visitors in a shared process of close looking and conversation, with the occasional surprise. For everyone from first-time visitors to long-term members, these daily tours are invaluable for learning about the collection, special exhibitions, and the Frank Lloyd Wright–designed building. Visitors of all ages and abilities are encouraged and welcome to join. 

Free with admission, no RSVP is required. Meet on the rotunda floor. For more information, visit guggenheim.org/calendar.
Major support for Josef Albers in Mexico is provided by LLWW Foundation. Funding is also provided by the Robert Lehman Foundation, the Mex-Am Cultural Foundation, Inc., and The Mexican Cultural Institute of New York. The Leadership Committee for this exhibition is gratefully acknowledged for its generosity, with special thanks to Alice and Thomas Tisch; David Zwirner, New York/London; Lisa and John Miller; and Louisa Stude Sarofim. The catalogue for this exhibition is supported in part by Furthermore: a program of the J. M. Kaplan Fund. 

Funding for Danh Vo: Take My Breath Away is provided by Art Mentor Foundation Lucerne. Additional support is provided by the Juliet Lea Hillman Simonds Foundation, the National Endowment for the Arts, the Obel Family Foundation, the Jacques and Natasha Gelman Foundation, Beckett-Fonden, and the Danish Arts Foundation.
The Leadership Committee for this exhibition is gratefully acknowledged for its support, with special thanks to Mara and Marcio Fainziliber, Cochairs; Stefan Edlis and Gael Neeson; Marian Goodman Gallery, New York, London, Paris; kurimanzutto, Mexico City; Robert Soros; Faurschou Foundation; Inigo Philbrick and Francisca Mancini; The Pritzker Traubert Foundation; Murray Alexander Abramson; Peter Bentley Brandt; Galerie Buchholz, Berlin/Cologne/New York; Galerie Chantal Crousel, Paris; Xavier Hufkens; The Jamil Collection; and Naomi Milgron and John Kaldor. The catalogue for this exhibition is supported by the New Carlsberg Foundation. 
The Annual Hilla Rebay Lecture is made possible by The Hilla von Rebay Foundation. 

The Annual Robert Rosenblum Lecture series is facilitated by the donors to the Robert Rosenblum Fund who are gratefully acknowledged for their generosity.
 
Public programs are presented by The Sackler Center for Arts Education, a gift of the Mortimer D. Sackler Family. Endowment funding is provided by The Engelberg Foundation, the William Randolph Hearst Foundation, The Elaine Terner Cooper Foundation, and the Esther Simon Charitable Trust.

Educational activities and/or public programs are made possible in part by the William Randolph Hearst Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, Stavros Niarchos Foundation, The Edmond de Rothschild Foundation, The Hilla von Rebay Foundation, and The Seth Sprague Educational and Charitable Foundation.
 
Funding is also provided by The Horace W. Goldsmith Foundation; the Windgate Charitable Foundation; the Sidney E. Frank Foundation; Guggenheim Partners, LLC; the Rose M. Badgeley Residuary Charitable Trust; Dorothy and Elihu Modlin; and The Barker Welfare Foundation. 

Additional support from Con Edison; the Gap Foundation; Katherine and Peter Kend; the Jane A. Lehman and Alan G. Lehman Foundation; the Milton & Sally Avery Arts Foundation, Inc.; Jamie Johnson and William S. Dutterer; The Robert & Toni Bader Charitable Foundation; the Henry E. Niles Foundation, Inc.; and the Metzger-Price Fund, Inc. is gratefully acknowledged. 

The Solomon R. Guggenheim Foundation thanks the members of the Education Committee for their support. 



Installation view: Josef Albers in Mexico , Nov. 3, 2017—March 28, 2018. Photo: David Heald © Solomon R. Guggenheim Foundation, 2018

Guggenheim Museum Presents Josef Albers in Mexico

(NEW YORK, NY, November 2, 2017)—From November 3, 2017, through February 18, 2018, the Guggenheim Museum will present Josef Albers in Mexico, an exhibition illuminating the relationship between the forms and design of pre-Columbian monuments and the art of Josef Albers (b. 1888, Bottrop, Germany; d. 1976, New Haven). The presentation will feature a selection of rarely shown early paintings, iconic canvases from Albers’s Homage to the Square and Variant/Adobe series, and works on paper. The exhibition also includes a rich selection of photographs and photocollages, many of which have never before been on view and were created by Albers in response to frequent visits to Mexican archaeological sites beginning in the 1930s. With letters, studies, and unseen personal photographs alongside works drawn from the collections of the Guggenheim Museum and the Josef and Anni Albers Foundation, Josef Albers in Mexico presents an opportunity to learn about the least known aspect of his practice, photography, offering a new perspective on his most celebrated abstract works.

Josef Albers in Mexico is organized by Lauren Hinkson, Associate Curator, Collections, Solomon R. Guggenheim Museum.
An artist, poet, theoretician, and professor of arts and design at the Bauhaus, Dessau and Berlin; Black Mountain College, Asheville, North Carolina; and Yale University, New Haven, Albers worked across the mediums of painting, printmaking, murals, and architecture. With his wife, the artist Anni Albers, he traveled to Mexico and other Latin American countries more than a dozen times from 1935 to 1967 to visit monuments of ancient Mesoamerica, which archaeologists were then excavating amid a resurgence of interest in pre-Columbian art and culture. On each visit, Albers took hundreds of black-and-white photographs of the pyramids, shrines, and sanctuaries at these sites, often grouping multiple images printed at various sizes onto paperboard sheets. The resulting photographs and photocollages reveal Albers’s innovative, if understudied, approach to photography and also underscore the importance of seriality within his overall body of work.
Albers’s collaged images also suggest a nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper. Several of the latter are titled after key sites in Mexico, and formal resonances between the two bodies of work become apparent, especially when viewed together as in the Guggenheim presentation. Albers’s embrace of pre-Columbian imagery may be considered within the complex and often-fraught history of modernist artists looking toward non-Western cultures for source material. His work contrasts with that of the revolutionary Mexican artists with whom he met on his trips, including Diego Rivera. At the same time, Albers’s long-term commitment to studying Mexican art and architecture also positions him as a prescient figure in the history of post–World War II American art, when artists such as Donald Judd, Ad Reinhardt, and Robert Smithson looked toward ancient traditions with a new sensitivity and self-awareness.
A fully illustrated catalogue, with scholarly essays by Hinkson and Joaquin Barríendos, accompanies Josef Albers in Mexico. The volume also includes writing by Josef Albers and an illustrated map documenting the Alberses’ journeys. The legacy of education is a strong element of his practice and will be reflected in public programs, such as a November 18 workshop for educators on the color theory he developed within his seminal pedagogical project Interactions of Color (1964).
Major support for Josef Albers in Mexico is provided by LLWW Foundation. Funding is also provided by the Robert Lehman Foundation, the Mex-Am Cultural Foundation Inc., and The Mexican Cultural Institute of New York. The Leadership Committee for this exhibition is gratefully acknowledged for its generosity, with special thanks to Alice and Thomas Tisch; David Zwirner, New York/London; Lisa and John Miller; and Louisa Stude Sarofim. The catalog for this exhibition is supported by Furthermore: a program of the J. M. Kaplan Fund.

ABOUT THE SOLOMON R. GUGGENHEIM FOUNDATION

Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

VISITOR INFORMATION

Admission: Adults $25, students/seniors (65+) $18, members and children under 12 free. The Guggenheim’s free app, available with admission or by download to personal devices, offers an enhanced visitor experience. The app features content on special exhibitions as well as access to more than 1,600 works in the Guggenheim’s permanent collection. Additionally, information about the museum’s landmark building is available in English, French, German, Italian, and Spanish. Verbal Description guides for select exhibitions are also included for visitors who are blind or have low vision. The Guggenheim app is supported by Bloomberg Philanthropies.
Museum Hours: Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit the museum online at: guggenheim.org

AN EXHIBIT OF SILK ROAD ART TREASURES FROM DUNHUANG CAVES COMING TO BRYANT SEPT. 27-OCT. 6
For ten days this fall, Bryant University will use virtual reality and painstakingly reconstructed replicas to bring an ancient Chinese cave and its artistic treasures to campus. 
The exhibition, Dunhuang: An Oasis for East-West Cultural, Commercial, and Religious Exchanges Along the Ancient Silk Road opens Sept. 27 in the George E. Bello Center for Information and Technology. Bryant is the first academic institution in the United States to host this interactive exhibition. After its 10-day run at Bryant, the exhibition will travel to other U.S. colleges and universities, including the University of Maryland, University of New Hampshire, and West Virginia University.  When the U.S. tour concludes, portions of the exhibit will be donated to Bryant for permanent display. 
Overview 
Opening ceremonies will take place September 27, and from September 28-October 6, guided tours will take visitors through the exhibition — a panoramic projection of the cave site — and into the reconstructed cave to inspect the splendid murals and statues in close range. The interactive exhibit also includes virtual reality, digital imaging, and short movies. Events related to the exhibition include a series of seminars focusing on arts, culture, history, environment, and religions represented in these caves.
“We are excited to bring this exceptional exhibition to Bryant after a year of planning and preparation,” said Hong Yang, Ph.D., Vice President of International Affairs and Dr. Charles J. Smiley Chair Professor of Science and Technology. “People will be able to experience something they’d otherwise have to travel thousands of miles to a Chinese desert to see. It is truly a unique cultural opportunity, and we look forward to sharing it with the Bryant community as well as other universities, organizations, and individuals throughout the country.”
About Dunhuang
Dunhuang is an oasis located in China’s northwestern Gansu Province, more than 1,400 miles from Beijing. According to Dunhuang Academy, it was the main and only gateway to and from China on the route known as the ancient Silk Road that ran between China, Western Asia, and the sub-continent of India. For more than 1,000 years, from the 4th to 14th centuries, Dunhuang was an ancient “cultural melting pot” where different cultures and religions met, traded, and interacted. Over the centuries, it became customary for travelers to dig caves into the sides of mountains and decorate them with art, with the hope for safety and success on their long and often dangerous journeys.
The Mogao Caves at Dunhuang house one of the world’s most extensive sites of Buddhist art, containing ancient Buddhist murals, statues, silk, manuscripts, as well as arts from Islamic, Daoist, Greek, Christian, and other cultures and religions. The centerpiece of the exhibit is a replica of Cave 285 of the Mogao Caves, a visually rich 6th-century cave known for its exceptional collection of Buddhist artworks. Due to environmental and political changes these caves were buried in the sands until rediscovered a hundred years ago. It is now a world renewed culture heritage listed as a UNESCO World Heritage Site.
The Dunhuang exhibition at Bryant University is made possible by a partnership between Bryant University and Dunhuang Academy and co-sponsored by the Confucius Institute Headquarters and Government of Gansu Province.
Exhibition highlights


The Great Bridge: Matter and Memory of the Nanjing Yangtze River Bridge

Saturday, September 96:00-7:30PM
Refreshments will be served at 5:30-6:00 pm
Event fee: Free Admission
40 Rector Street, 2nd Floor, New York, NY 10006




Nanjing Yangtze River Bridge is one of the most significant cultural emblems of China in the 1960s-70s. Being regarded as both a political victory and a technological achievement, the Great Bridge became a popular icon that entered people's everyday lives nationwide. In this lecture, Professor Andong Lu will introduce the 'Memory Project of the Nanjing Yangtze River Bridge', a research on collective memory and a bottom-up urban regeneration project, and interpret the artefacts and memories of the Great Bridge from a historical perspective to reveal this unprecedented landscape of collective memory. Professor Andong Lu completed his PhD at the University of Cambridge and was elected a Fellow of Wolfson College. He is now Professor at the School of Architecture and Urban Planning, Nanjing University. He initiated the Memory Project of the Grand Bridge together with a group of scholars and volunteers, intending to revitalize the memories of the bridge and to create a contemporary place of memory. Prof. Lu was extensively quoted in a recent CNN report "How the Nanjing Yangtze River Bridge changed China forever" 

This Lecture will be conducted in Chinese, with no interpretation. Free, but advance registration is required.

Follow Renwen's WeChat: chineselectures

MYSTICAL SYMBOLISM PROGRAM

Vexations
Tuesday, September 26, 7 pm–Wednesday, September 27, 1 pm

This durational concert presents Erik Satie’s Vexations (1893), featuring a roster of established and emerging pianists from both classical and avant-garde spheres, including Timo Andres, Philip Corner, Sylvie Courvoisier, Karl Larson, Anne Queffélec, Joshua Rifkin, and Margaret Leng Tan. Satie composed this iconic piece on the heels of ending his involvement with the Salon de la Rose+Croix. It is unknown whether Satie intended for the work to be played or if it was simply a sort of jest directed at the esoteric excesses of Joséphin Péladan, the founder of the Salon. But the unlikely piece attracted the attention of John Cage, who first staged it. Cage organized a concert in New York in 1963 featuring contemporary musicians such as John Cale, James Tenney, David Tudor, and Christian Wolff, among others. In observance of one of Satie’s instructions, the score was repeated 840 times, lasting for almost 19 hours in an unprecedented serial undertaking that echoed the Minimalist and Conceptual concerns of the 1960s. More than 50 years later, the Guggenheim will once again present Vexations to a New York audience. A full list of performers and schedule will be announced in September.
$15 (includes after-hours viewing of Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897), $12 members, $10 students during after-hours portion of the program. Free with admission during museum hours on Wednesday, September 27. For more information, visit guggenheim.org/calendar.
This program is supported in part by the Cultural Services of the French Embassy and the Consulate General of Switzerland, New York.
Furniture in Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897 courtesy of Roche Bobois. Additional support provided by the Swiss Arts Council Pro Helvetia.

ART AND CHINA AFTER 1989: THEATER OF THE WORLD PROGRAMS

“Turn It On: China on Film, 2000–2017”
Fridays and Saturdays, October 13–December 16, Daytime Screenings Vary, Evening Screenings at 6:30 pm

Cocurated by Ai Weiwei and Wang Fen, this series presents 20 independent documentaries by China’s most daring artists and filmmakers investigating the political, social, economic, and cultural conditions of contemporary China. This 10-week festival encompasses twice-weekly daytime screenings and three featured evening events, and is presented concurrently with the exhibition Art and China after 1989: Theater of the World, on view October 6, 2017–January 7, 2018.
Daytime screenings take place in the New Media Theater and are free with museum admission. Evening screenings at 6:30 pm include a Q&A session with filmmakers and require a ticket. $20, $15 members, $10 students. For the full schedule, visit guggenheim.org/turniton.

Nightingale, Not the Only Voice 夜莺不是唯一的歌喉, 2000
Directed by Tang Danhong 唐丹鸿
Mandarin with English subtitles, 180 min.
Friday, October 13, 6:30 pm

Nightingale, Not the Only Voice follows the lives of three artists, including the film’s director, on their shared journey through real and psychological oppression to self-discovery. Tang Danhong examines her past—particularly her relationship with her parents—and looks at the painful, formative moments that inform her current psychological state, her life, and her art.
A Q&A with Tang Danhong, moderated by Chip Rolley, Senior Director of Literary Programs, PEN America, follows the screening.

We the Workers 凶年之畔, 2017
Directed by Huang Wenhai 黄文海
Mandarin with English subtitles, 173 min.
Friday, November 3, 6:30 pm

For over 30 years, China has been swept up in rapid capitalist development. The “China miracle” has been built on the backs of hundreds of millions of migrant laborers. This film features workers from different provinces spanning two generations who have resisted this force through activist struggle and action.
A Q&A with Huang Wenhai, moderated by Suzanne Nossel, Executive Director, PEN America, follows the screening.

Fairytale 童话, 2007
Directed by Ai Weiwei 艾未未
Mandarin with English subtitles, 153 min.
Friday, December 15, 6:30 pm

In 2007 Ai Weiwei took part in Documenta 12 with a participatory event called Fairytale, after the Brothers Grimm who were born in Kassel, the German city that hosts the famed art exhibition. Ai invited 1,001 people from China, many of whom had never been abroad before, to travel to Germany, live in a dormitory of Ai’s design, and freely wander the city and the exhibition. Ai’s studio recruited the applicants from the Internet. He also sent 1,001 Ming period–style wooden chairs, which were arranged throughout the exhibition hall as gathering spaces. The film opens with the project’s inception and takes us through its full enactment, recording the experiences of participants of all backgrounds to create a series of portraits woven together by a single event.
Includes a Q&A (speakers to be announced).
Organized by the Guggenheim Museum in conjunction with Art and China after 1989: Theater of the World. Presented in collaboration with PEN America. Support is provided by The Hayden Family Foundation.

The Chinese Lives of Uli Sigg, 2016
Directed by Michael Schindhelm
93 min., Courtesy Icarus Films
Friday, January 5, 6:30 pm

Ai Weiwei credits him with launching his international career. Renowned pianist Lang Lang describes him as a mentor to Chinese artists. Chinese art curator Victoria Lu says his influence has been felt around the world. When Swiss businessman Uli Sigg first went to China, art was far from his mind. But once he began to seek out contemporary artists, it changed his life, theirs, and the international art scene for generations to come. The Chinese Lives of Uli Sigg, directed by art historian Michael Schindhelm and produced by Marcel Hoehn, is a history of China’s opening to the West through the eyes of Sigg and the dazzling array of contemporary Chinese artists he championed. Luminaries including Ai, Cao Chong’en, Cao Fei, Feng Mengbo, Gang Lijun, Shao Fan, Wang Guangyi, and Zeng Fanzhi are interviewed along with curators, diplomats, architects, and business colleagues in this colorful documentary of contemporary Chinese art. The screening is followed by a reception and exhibition viewing.
$15, $10 members, $5 students. For more information, visit guggenheim.org/calendar.
The Leadership Committee for this exhibition is gratefully acknowledged for its generous support, with special thanks to Cochairs Thomas and Lynn Ou and Liam Wee Tay and Cindy Chua-Tay, Trustee, as well as Karen Lo, Sophia Ma, Jane Yong, Rachel and Jean-Pierre Lehmann, Yasko Tashiro Porté and Thierry Porté, Akiko Yamazaki and Jerry Yang, Jane Q. Zhao, and those who wish to remain anonymous. Art and China after 1989: Theater of the World has been made possible in part by a major grant from the National Endowment for the Humanities. Major support is provided by the Henry Luce Foundation. Funding is also provided by the W.L.S. Spencer Foundation, the E. Rhodes and Leona B. Carpenter Foundation, The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation, the National Endowment for the Arts, and the New York State Council on the Arts.

ARCHTOBER

In conjunction with Archtober—New York City’s monthlong celebration of architecture and design—and the 20th anniversary of the Guggenheim Museum Bilbao, the Guggenheim Museum presents a suite of workshops, tours, and public programs that provide an up-close look at Frank Lloyd Wright’s iconic design. For more information, visit guggenheim.org/archtober.

Saturday Sketching
Saturdays, October 7–28, 10 am–4 pm              

Drawing materials and prompts are available in the rotunda on a drop-in basis for visitors. Study Frank Lloyd Wright’s design and develop a deeper understanding of the Guggenheim museum’s architecture.
Free with museum admission. For more information, visit guggenheim.org/archtober.

Art in the Round Public Tours
Saturdays, October 7–28, 2 pm

Free tours with a special focus on the Guggenheim’s Frank Lloyd Wright–designed building. Specialists in art history and gallery teaching lead these informative and engaging experiences for visitors of all ages and abilities.
Free with museum admission (meet in the rotunda, no registration required). For more information, visit guggenheim.org/archtober.

After-Hours Architecture Tour
Wednesday, October 11, 6 pm

A unique chance to join a small-group tour of the museum after it closes to the public. Ashley Mendelsohn, Curatorial Assistant of Architecture and Digital Initiatives, gives an in-depth look at the iconic Wright-designed building and its history.
$45, $40 members. Registration required. For more information, visit guggenheim.org/archtober.

Drawing the Guggenheim: New York, Venice, Bilbao
Sunday, October 15, 10 am–4 pm

In a collaboration among sister museums Guggenheim Museum Bilbao, the Peggy Guggenheim Collection in Venice, and the Solomon R. Guggenheim Museum in New York, visitors to all museums on Sunday, October 15, have the opportunity to explore and sketch the buildings’ iconic architecture through a variety of public programs, tours, and workshops. Online, museum visitors can share their work and view drawings from around the world using #DrawingtheGugg.
New York events include:
  • Drawing the Guggenheim (10 am–1 pm): A workshop that uses drawing to study Frank Lloyd Wright’s design for the Guggenheim. After a short classroom presentation and guided tour, participants draw from various perspectives in the museum and then reflect on their discoveries together. No prior drawing experience is required. $25 per person (includes materials). Registration required.
  • Family Architecture Tour (10:30 am‐12 pm): A family-friendly exploration of the Frank Lloyd Wright–designed building. For families with children ages 8 and up. $30 per family, $15 members (includes admission). Registration required.
  • Open Studio (1–4 pm): Drop-in architecture-focused projects in the Studio Art Lab. For families with children ages 3 and up. Free with museum admission, no registration required.
  • Art in the Round (2 pm): An architecture-focused public tour for visitors of all ages. Free with museum admission, no registration required.
  • Drop-in Sketching (10 am–4 pm): Drawing prompts and materials for all visitors will be available throughout the museum for self-directed exploration. Free with admission, no registration required.
  • Film Screenings (11 am and 3:30 pm): In Frank Lloyd Wright’s Guggenheim Museum(2010), 85 min., architectural historian Neil Levine leads viewers through an engaging and personal tour of the building and its history. Screenings are free with museum admission and take place in the New Media Theater.
For more information, visit guggenheim.org/archtober.

Guggenheim Museum Bilbao 20th Anniversary

This October, the Guggenheim Museum Bilbao celebrates its milestone 20th anniversary as a catalyst for art and culture in Spain’s Basque Country. In the two decades since its opening, the Guggenheim Museum Bilbao has staged over 160 exhibitions of modern and contemporary art, and welcomes more than 1 million visitors annually. Special events around the anniversary include “Reflections,” a large-scale video projection on the iconic building’s facade, hosted on the evenings of October 11–14. The Guggenheim Museum in New York joins the celebration with new blog and video content on guggenheim.org and photos from anniversary celebrations shared on social media channels.
For more information and details on events and exhibitions in Bilbao, visit xx.guggenheim-bilbao.eus/en/.

MIDDLE EASTERN CIRCLE PRESENTS

An Evening with Slavs and Tatars
Wednesday, November 1, 6:30 pm

Artist collective Slavs and Tatars presents the New York premiere of I Utter Other (2014–present), a lecture-performance addressing the legacy of Orientalism in the Russian and Soviet context. Weaving together scholarship, satire, and comedy, I Utter Other looks to Edward Said’s seminal masterpiece Orientalism (1978) and asks what it means when one East looks to another East. Slavs and Tatars make visible the myriad assumptions that accompany public communication, translation, and historical remembering, especially as pertains to their ongoing research into the fluid geographies that lie between the former Berlin Wall and the Great Wall of China.
$15, $10 members, free for students with RSVP. For more information, visit guggenheim.org/calendar.
Funding is provided by members of the Solomon R. Guggenheim Museum’s Middle Eastern Circle.

ACADEMY OF AMERICAN POETS’ ANNUAL BLANEY LECTURE

An Evening with Claudia Rankine
Thursday, November 30, 6:30 pm

MacArthur “Genuis,” Academy of American Poets Chancellor, and best-selling poet Claudia Rankine delivers a talk on contemporary poetry and poetics, followed by a reception and book sale and signing in the Guggenheim’s famed Frank Lloyd Wright–designed rotunda. Rankine is the author of five collections of poetry, including Citizen: An American Lyric (2014), winner of the 2014 National Book Critics Circle Award in Poetry and the 2016 Rebekah Johnson Bobbitt Book Prize for Poetry, among other distinctions, and Don’t Let Me Be Lonely: An American Lyric (2004). She has written two plays and edited several anthologies including The Racial Imaginary: Writers on Race in the Life of the Mind (2015). Rankine is currently the Frederick Iseman Professor of Poetry at Yale University in the departments of African American Studies and English. The Blaney Lecture, offered annually by a prominent poet, was created in memory of former Academy of American Poets board member Dr. Dorothy Gulbenkian Blaney by a gift from her estate. This event is copresented by the Academy of American Poets and the Guggenheim Museum.
$30, $25 Guggenheim and Academy of American Poets members, $15 students. Members’ presale ticketing begins August 30. General admission tickets go on sale September 1. For more information, visit guggenheim.org/calendar.

ART AFTER DARK

Art After Dark: Halloween
Friday, October 27, 9 pm–Midnight; Exclusive Members’ Hour: 8–9 pm

A special Halloween-themed iteration of the Guggenheim’s popular after-hours series Art After Dark. The event will feature a private viewing of the exhibition Art and China after 1989: Theater of the World, a cash bar, and live DJ performance.
$65, $40 members. Limited tickets will go on sale in September. Cash bar serves wine and beer. Guests will be asked for a photo ID. No tickets are sold at the door.

Art After Dark
Friday, December 1, 9 pm–Midnight; Exclusive Members’ Hour: 8–9 pm

An after-hours private viewing of current exhibitions including Art and China after 1989: Theater of the World and Josef Albers in Mexico, featuring a cash bar and live musical entertainment.
$25, members free. Purchase tickets online in advance or become a member. Cash bar serves wine and beer. Guests will be asked for a photo ID. Limited general admission tickets will go on sale closer to the event date. No tickets are sold at the door.
Art After Dark is supported in part by SHOWTIME®.

MIND’S EYE TOURS

Select Mondays, 6:30 pm, and Wednesdays, 2 pm

For visitors who are blind or have low vision, tours and workshops focused on the Guggenheim’s exhibitions are presented through verbal description, conversation, and sensory methods.
September 13, 2–4 pm: Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892-1897
November 1, 2–4 pm: Art and China after 1989: Theater of the World
December 11, 6:30–8:30 pm: Holiday Gathering
Free, RSVP required. For more information, visit guggenheim.org/mindseye.

CURATOR’S EYE AND CONSERVATOR’S EYE TOURS

Wednesdays, 12 pm

Public gallery tours led by exhibition curators.
August 23: Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892-1897
Vivien Greene, Senior Curator, 19th-and Early 20th-Century Art
October 11: Art and China after 1989: Theater of the World
Philip Tinari, Director, Ullens Center for Contemporary Art and Guest Cocurator
November 15: Art and China after 1989: Theater of the WorldAlexandra Munroe, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts

Free with museum admission. Tours interpreted in American Sign Language (ASL) upon request. For more information, visit guggenheim.org/calendar.

Boston Children’s Museum to Host Boston’s Second Annual Maker Faire 
September 17, 2017 Boston Celebrates the Maker Movement
BOSTON, MA – August 22, 2017 – Boston Children’s Museum announced that in collaboration with Maker Media, WBZ-TV/CBS Boston, Boston Public Schools and the City of Boston it will host the second annual Boston Mini Maker Faire event on Sunday, September 17, 2017.  The Boston Mini Maker Faire will be held inside and outside the Museum on Fort Point Channel. 
The Maker Faire is an exuberant celebration of the innovation and creativity that radiates across Boston and its surrounding communities. Part science fair, part county fair, and part something entirely new, Maker Faire is an all-ages celebration of creative ingenuity in all its forms. It is an opportunity for the creative doers that make Boston an international leader in innovation to share their work and inspire the next generation of visionaries to go out and change the world. 
The Boston Mini Maker Faire brings together Boston’s technology innovators, designers, educators, tinkerers, hobbyists, engineers, artists, crafters, students, and more, and introduces them to the thousands of adults and children that attend the event. All of these “makers” come to the Boston Mini Maker Faire to show what they create with their bare hands and bold minds, and to share how they do it, why they do it, and what they learn. The Boston Mini Maker Faire is an event that inspires children and adults to think creatively and innovatively and to connect with people and projects in their own communities.
 
The maker movement, inspired by the desire to create and invent, and enabled by new tools such as 3D software and printers, desktop machine tools, laser cutters, electronics kits, and the growth of shared spaces where makers can access more advanced fabrication tools, is nurturing a new wave of hands-on innovation and entrepreneurship. The maker movement celebrates learning through doing, and the spirit of sharing.
Maker Faire sponsors, who help make the event possible, include AutodeskBose CorporationMathWorksNational GridSkyworks Solutions, Inc.UltimakerVelcro CompaniesVertex and Senator William "Mo" Cowan and Mrs. Stacy L. Cowan. With the support of these and other sponsors, the Museum has been able to expand the Faire in year two, and inspire an even wider range of families, educators, kids of all ages, and anyone who likes to tinker, imagine, and create. Corporations interested in Maker Faire sponsorships should visithttp://boston.makerfaire.com/become-a-sponsor/
The Museum invites local makers to showcase their ingenuity and creativity at the Maker Faire event. Interested makers can apply to host a booth at the event by emailing contact@makerfaireboston.com
“Today’s young Makers are tomorrow’s innovators, engineers, artists, and creative thinkers. The Boston Mini Maker Faire is a marketplace of possibilities for these future leaders,” said Carole Charnow President & CEO. “It is an event where children and adults alike are exposed to the amazing, the ingenious, and the captivating; and where anyone can shop around for creative endeavors they may not have thought possible.”
Maker Faire is the Greatest Show (and Tell) on Earth—a family-friendly showcase of invention, creativity and resourcefulness, and a celebration of the Maker Movement.  It’s a place where people show what they are making, and share what they are learning.  Makers range from tech enthusiasts to crafters to homesteaders to scientists to garage tinkerers.  They are of all ages and backgrounds. The aim of Maker Faire is to entertain, inform, connect and grow this community.
The original Maker Faire event was held in San Mateo, CA and in 2017 celebrated its twelfth annual show with some 1200 makers and 125,000 people in attendance.  World Maker Faire New York, the other flagship event, has grown in six years to 900+ makers and 95,000 attendees. Forty larger scale Maker Faires occur in cities around the world—Berlin, Paris, Rome, Tokyo, and Shenzhen to name a few—and over 170 community-driven, independently organized Mini Maker Faires are now being produced in the United States and 40 other countries around the world.
“Boston has so many world-class educational institutions and a wide breadth of maker spaces—it's an ideal context for a Maker Faire," said Sabrina Merlo, Maker Media Program Director.  “We are delighted to have Boston Children’s Museum as a partner, and are excited this year to see the Faire grow and turn out and celebrate more of the talented and diverse Boston maker community.” 
The Boston Mini Maker Faire is being led by Boston Children's Museum and an advisory board of leaders from local Maker organizations, including Artisan’s Asylum, The Eliot School, Roxbury Innovation Center, Boston Makers, Einstein’s Workshop, Olin College, Artists for Humanity, and NuVu Studio. Last year’s Faire in Boston was the city’s first, with 80 makers and thousands of visitors attending. The 2017 edition will build on that success and will host more makers and welcome even more visitors.
Admission to the Mini Maker Faire will be $20 per person, which includes indoor and outdoor activities. The cost to Museum members is $10. Given the nature of this special event, typical Museum discounts will not apply. Please also note that not all indoor Museum exhibits will be open during the event.  To purchase tickets in advance for the Mini Maker Faire http://bit.ly/2uP0tcs
Boston Mini Maker Faire is independently organized by Boston Children’s Museum and operated under license from Maker Media, Inc. 
For additional information visit http://boston.makerfaire.com/ and BostonChildrensMuseum.org

Guggenheim Museum Schedule of Exhibitions Through 2019









The information below is subject to change. Please contact the Press Office to confirm exhibition dates prior to publication.

FINAL WEEKS

ON VIEW

UPCOMING EXHIBITIONS

Art and China after 1989: Theater of the World

October 6–January 7, 2018


A fresh interpretative survey of Chinese experimental art framed by the geopolitical dynamics resulting from the end of the Cold War, the spread of globalization, and the rise of China. Art and China after 1989: Theater of the World, the largest exhibition of its kind ever in North America, looks at a bold contemporary art movement that anticipated, chronicled, and agitated for the sweeping social transformation that has brought China to the center of the global conversation. With a concentration on the conceptualist art practices of two generations of artists, this exhibition examines how Chinese artists have been both agents and skeptics of China’s emergence as a global presence and places their experiments firmly in an international art-historical context. Occupying the Guggenheim’s rotunda and two Tower Galleries, Art and China after 1989 highlights the artistic achievements of 71 artists and collectives, and features nearly 150 iconic and lesser-known works on loan from private and public collections across Asia, Europe, the Middle East, and the United States. Divided into six chronological and thematic sections, the exhibition showcases works in experimental mediums including film and video, ink, installation, and Land art, as well as painting, sculpture, photography, performance, and socially engaged participatory art and activism. Archival materials documenting and contextualizing key moments and movements in this contested history are also interwoven throughout the exhibition. Art and China after 1989: Theater of the World is organized by Alexandra Munroe, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum, and guest cocurators Philip Tinari, Director of the Ullens Center for Contemporary Art, Beijing, and Hou Hanru, Artistic Director of MAXXI, National Museum of 21st Century Arts, Rome. Xiaorui Zhu-Nowell, Research Associate and Curatorial Assistant, Asian Art, and Kyung An, Assistant Curator, Asian Art, Guggenheim Museum, have provided organizational support. Archival research has been developed in collaboration with Asia Art Archives, Hong Kong. The curators are working with an international advisory committee that has met under the auspices of the China Academy of Art, Hangzhou, and the Central Academy of Fine Arts, Beijing.
The Leadership Committee for this exhibition is gratefully acknowledged for its generous support, with special thanks to Cochairs Thomas and Lynn Ou and Liam Wee Tay and Cindy Chua-Tay, Trustee, as well as Karen Lo, Sophia Ma, Jane Yong, Rachel and Jean-Pierre Lehmann, Yasko Tashiro Porté and Thierry Porté, Akiko Yamazaki and Jerry Yang, Jane Q. Zhao, and those who wish to remain anonymous. Art and China after 1989: Theater of the World has been made possible in part by a major grant from the National Endowment for the Humanities. Major support is provided by the Henry Luce Foundation. Funding is also provided by the W.L.S. Spencer Foundation, the E. Rhodes and Leona B. Carpenter Foundation, The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation, the National Endowment for the Arts, and the New York State Council on the Arts.

Josef Albers in Mexico

November 3, 2017–February 18, 2018


On his first trip to Mexico, in 1935, Josef Albers (1888–1976) encountered the magnificent architecture of ancient Mesoamerica. He later remarked in a letter to Vasily Kandinsky, a former colleague at the Bauhaus, “Mexico is truly the promised land of abstract art.” With his wife, artist Anni Albers (1899–1994), Josef Albers made nearly a dozen trips to Latin America from 1935 through 1967, touring numerous archeological sites and monuments, especially in Mexico and Peru. He took hundreds of black-and-white photographs of the pyramids, shrines, and sanctuaries at these sites, many of which he later assembled, printed at various scales, into groups on 8-by-10 inch sheets. Albers’s innovative approach to photography remains an underappreciated aspect of his career. This exhibition brings together his photographs and photo collages from the Guggenheim’s collection and various lenders. These works, many of which have never been exhibited publicly, suggest a nuanced relationship between the forms and motifs of pre-Columbian monuments and the artist’s iconic abstract canvases. Albers’s experiences in Mexico offer an essential context for understanding his paintings and prints, particularly from his Homage to the Square and Variant/Adobe series, examples of which are featured in this show. Josef Albers in Mexico is organized by Lauren Hinkson, Associate Curator, Collections.
Major support for Josef Albers in Mexico is provided by the LLWW Foundation. Funding is also provided by the Robert Lehman Foundation, David Zwirner, New York/London, and Louisa Stude Sarofim. The catalogue for this exhibition is supported by Furthermore: a program of the J. M. Kaplan Fund.

Danh Vo

February 9–May 9, 2018


The first comprehensive survey in the United States of work by Danish artist Danh Vo (b. 1975, Bà Ria, Vietnam) will fill the ramps of the Guggenheim’s rotunda, offering an illuminating overview of Vo’s production from the past 15 years, including a number of new projects created on the occasion of the exhibition. Vo’s installations dissect the power structures, cultural forces, and private desires that shape our experience of the world. His work addresses themes of religion, colonialism, capitalism, and artistic authorship, but refracts these sweeping subjects through intimate personal narratives—what the artist calls “the tiny diasporas of a person’s life.” Each project grows out of a period of intense research in which historical study, fortuitous encounters, and personal relationships are woven into psychologically potent tableaux. Subjected to Vo’s vivid processes of deconstruction and recombination, found objects become registers of latent histories and sociopolitical fissures, frequently charged by knowledge of their former ownership or their status as historical bystanders. Whether presenting the intimate possessions of his family members, a series of thank-you notes from Henry Kissinger, or the chandeliers that glittered above the signing of the treaty that ended the Vietnam War, Vo subtly excavates the internal contradictions and veiled tensions embedded in his material. Ranging the full spectrum of the artist’s oeuvre—from early conceptual works such as The Marriage Project (2003–05), in which he married and divorced acquaintances in order to add their surnames to his own, to his recent sculptural hybrids of classical and Christian statuary—the exhibition will interweave installations, photographs, and works on paper from various points in his career to amplify their thematic resonances. This exhibition is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, with Susan Thompson, Assistant Curator.
Funding for this exhibition is provided by the Art Mentor Foundation Lucerne. Additional support is provided by the the Obel Family Foundation, Jacques and Natasha Gelman Foundation, and the Danish Arts Foundation. The Leadership Committee for this exhibition is gratefully acknowledged for its support. The catalogue for this exhibition is supported by the New Carlsberg Foundation.

The Robert H. N. Ho Family Foundation Chinese Art Initiative
Third and final commission and exhibition

May 4–October 21, 2018


The third and final exhibition of The Robert H. N. Ho Family Foundation Chinese Art Initiative will present new commissions by artists born in mainland China, Taiwan, Hong Kong, or Macao. Launched in 2013, the initiative engages artists, scholars, and curators from around the world to bring intersecting regional and global conversations and contemporary practices to the fore. Through the selection of key artists, practices, and issues arising from across Greater China, The Robert H. N. Ho Family Foundation Chinese Art Initiative strengthens the Guggenheim’s collegial network among the Chinese art community and expands the discourse and investigation of contemporary art today. The first exhibition of the initiative, Wang Jianwei: Time Temple (2014–15), featured a sculptural installation, paintings, a film, and a performance by Wang Jianwei, one of China’s leading conceptual artists. The most recent presentation, Tales of Our Time(2016–17), was a group exhibition that included a robot-operated installation of monumental scale, a public tea gathering in an indoor garden setting, and immersive video works to explore and challenge the notion of place. All works created through the initiative will form The Robert H. N. Ho Family Foundation Collection at the Guggenheim. The exhibition is organized by Xiaoyu Weng, The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art, and Hou Hanru, Consulting Curator, The Robert H. N. Ho Family Foundation. Kyung An, Assistant Curator, Asian Art, provides curatorial support.
This exhibition is made possible by The Robert H. N. Ho Family Foundation.

Giacometti

June 8–September 16, 2018


This comprehensive exhibition features more than 175 sculptures, paintings, and drawings by the Swiss artist Alberto Giacometti (1901–1966), in the first major museum presentation of the artist’s work in the United States in fifteen years. In 1955, more than 60 years ago, the Solomon R. Guggenheim Museum organized the first-ever museum presentation of Giacometti’s work in its former temporary quarters on New York’s Fifth Avenue and brought key works into its collection. A posthumous retrospective followed in the Frank Lloyd Wright–designed rotunda in 1974. The upcoming exhibition, co-organized by the Solomon R. Guggenheim Foundation and The Fondation Alberto and Annette Giacometti, examines anew this preeminent modernist who may be best known for his distinctive figurative sculptures that emerged after the trauma and anguish of World War II, including a series of elongated standing women, striding men, and expressive busts. Yet Giacometti’s rich career—spent largely working and living in France—spans several decades and various mediums, and his early production reveals his engagement with Cubism and Surrealism as well as African, Oceanic, and Cycladic art. Giacometti’s paintings and drawings, moreover, reflect his incessant investigations of the human body in sculpture, as he strove to capture the essence of humanity. A number of pocket-sized figures and heads begun immediately before the war years, for example, explore spatial concerns such as perspective and distance that became paramount to his work. Giacometti’s studio practice will likewise be a particular focus of the exhibition, examined through the inclusion of rarely exhibited plaster sculptures, in addition to ephemera and historical photographs documenting his relationship with the Guggenheim and with New York. Giacometti is curated by Megan Fontanella, Curator, Modern Art and Provenance, Solomon R. Guggenheim Museum, and Catherine Grenier, Director, The Fondation Giacometti.
This exhibition is made possible by Lavazza. The Leadership Committee for this exhibition is gratefully acknowledged for its support.

Hilma af Klint

October 19, 2018–February 3, 2019


In fall 2018, the Guggenheim Museum will present the first major solo exhibition in the United States of the work of pioneering artist Hilma af Klint (1862–1944), a long under-recognized innovator of abstract art. Af Klint had begun producing nonobjective paintings by 1906, significantly before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others widely considered trailblazers of the movement to free artwork of representational content. The bold color palettes and expansive formats af Klint frequently used were also like little else that had been seen before. Despite her prescience, af Klint was not well known during her lifetime or the decades following her death. Though she showed her portraits and landscapes, which were rendered in a deft academic style, she produced her more groundbreaking works as part of her spiritual practice. She hoped to install many of them in a spiral-shaped temple, but the building never came to fruition, and the works remained largely unseen. In her turn to abstraction, af Klint engaged many of the same cultural currents that came to inform the work of her better-known peers, including theosophy and anthroposophy, spiritualism, and major scientific discoveries of the period, such as evolution and atomic theory. When af Klint died in 1944, she stipulated that her work not be shown for another 20 years; she believed the world was not yet ready to understand her radically forward-looking compositions. Only over the past three decades have her paintings and works on paper begun to gain widespread attention. This presentation, organized by Tracey Bashkoff, Senior Curator, Collections and Exhibitions, will offer the opportunity to experience af Klint’s work in depth and gain insight into her unique artistic practice and singular historic achievements. In conjunction with the exhibition, the museum will feature a presentation of work by other artists highlighting resonances with af Klint’s output and practice.

Fernand Léger: The Last Decades

June–September 2019


This exhibition will present a renewed examination of this French artist’s late career, when his observations of city dwellers and the human form in action inspired a significant body of work organized by theme. Léger was among the few French artists of his generation to visit the United States. He first traveled to New York and Chicago in 1931, returned to attend his retrospective at the Museum of Modern Art in 1935, and, in 1938, spent several months here when he was commissioned by Nelson Rockefeller to decorate his apartment and several homes designed by architect Wallace K. Harrison. With the advent of WWII, Léger chose to wait out his exile in the United States. He taught and lectured across the country, exploring the diversity of its people and achievements. These observations yielded an entirely new approach to his painting, beginning in 1940, which marked his obsession with volume and monumentality and greater transparency of color. During his time in America, his subject matter encompassed a rich series of motifs in such works as Divers, Cyclists, Acrobats and Musicians and Country Outings. Returning to France in late 1945, Léger continued to record contemporary life in his Builders series and in chronicling the leisure activities of the working class, culminating in his masterpiece, the mural-sized Great Parade (1954), which was painted the year before the artist’s death and is a hallmark of the Guggenheim’s collection. Motivated in part by his political engagement with social issues and an unwavering humanist support of the travails of the common man, Léger stands as a defining force in modern art. Fernand Léger: The Last Decades is organized by Susan Davidson, Senior Curator, Collections and Exhibitions.

Guggenheim Museum Bilbao

Guggenheim Museum Bilbao 20th Anniversary


This year, the Guggenheim Museum Bilbao celebrates its milestone 20th Anniversary as a catalyst for art and culture in Spain’s Basque Country. In the two decades since its opening, the Guggenheim Museum Bilbao has staged more than 160 exhibitions of modern and contemporary art, and it today welcomes over 1 million visitors annually. Special events around the anniversary include Reflections, a large-scale video projection on the iconic building’s facade, hosted on the evenings of October 11–14. The Guggenheim Museum in New York joins the celebration with new blog and video content on guggenheim.org and photos from anniversary celebrations shared on social media channels. For more information and details on events and exhibitions in Bilbao, visit xx.guggenheim-bilbao.eus/en.
For the full schedule of exhibitions through 2018 at Guggenheim Museum Bilbao, please visit https://www.guggenheim-bilbao.eus/en/exhibitions/.

Peggy Guggenheim Collection


For the full schedule of exhibitions through 2018 at the Peggy Guggenheim Collection, please visit http://www.guggenheim-venice.it/inglese/exhibitions/mostre.php

VISITOR INFORMATION


Admission: Adults $25, students/seniors (65+) $18, members and children under 12 free. Available with admission or by download to personal devices, the Guggenheim’s free app offers an enhanced visitor experience. The app features content on special exhibitions, access to more than 1,600 works in the Guggenheim’s permanent collection, and information about the museum’s landmark building. Verbal imaging guides for select exhibitions are also included for visitors who are blind or have low vision. The Guggenheim app is supported by Bloomberg Philanthropies.
Museum Hours: Sun–Wed 10 am–5:45 pm, Tues 10 am–9 pm from June 20 to Aug 29, Fri 10 am–5:45 pm, Sat 10 am–7:45 pm, closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit the museum online at: guggenheim.org

School of Chinese Studies

Educators

Gallery Exhibitions

Arts & Culture Programs








Spotlight: 
Announcing Fall at China Institute

There is no better time to learn than this Fall at China Institute. We've broadened our Kids & Teens class offerings to now include Mandarin Munchkins for children 18 months to 2.5 years. We've added a Study Hall for students who are seeking help with their Chinese lessons and homework. And our Fall after-school program is as robust as ever, offering Chinese Language classes at all levels of proficiency. Plus, it's not too soon to start prepping for AP & SAT exams.

For Adult life-long learners, Classical Chinese IV: A Rare Linguistic Gem, taught by Ben Wang, China Institute Senior Lecturer, offers an inspiring and joyful language-study experience that acquaints students with the heights of Chinese culture. Reading Modern Chinese Literature is a 'must' course for any advanced student seeking to learn through prose about China's modern era. For those that are college bound or interested in pursuing a career utilizing their Mandarin, we also offer a new HSK Test Prep program.

Not ready for Fall? August still has lots going on at China Institute. Our Immersive Summer Day Camp for Kids and Teens offers your child the opportunity to learn, play and have fun! Stay cool and see a Film! Our Center for Arts & Culture is co-presenting some great Chinese Films as part of Lincoln Center's Asian American International Film Festival.

And for those art, culture and history lovers, come experience the Han Dynasty right here in Lower Manhattan! Only a handful (9!) extraordinary head to toe jade suits that promised immortality to the Chinese royals and dignitaries have ever been excavated complete, and the most spectacular one is on view at China Institute Gallery. Be sure to visit Dreams of the Kings: A Jade Suit for Eternity, Treasures of the Han Dynasty from Xuzhou. to see for yourself how the imperials treated death as life, and witness the most magnificent gold thread sewn jade burial suit ever excavated.




Fall Classes Registration Open Now!

Receive up to $50 off tuition byAugust 15! Fall Semester StartsSeptember 25









New! Reading Modern Chinese Literature

Thursdays

September 28 - December 7

6:30-8:30PM


Designed for advanced readers, this course will introduce the most influential authors and their works in the history of modern Chinese literature. 




Instructor: Steve Zhang, Senior Instructor of Language & Literature at China Institute  






Fall Special Course: Classical Chinese IV: A Rare Linguistic Gem

















































Tuesdays 





September 26 - November 28





6:30-8:30PM










Marked by its succinctness and expressiveness, classical Chinese manifests fully the unique characteristic of the visceral language, which is an uncanny blending of music and painting.



Instructor: Ben Wang, Senior Lecturer of Language & Humanities at China Institute







Private Tutoring





The Private Tutoring Program was established to meet students' specific language needs. Classes are offered both in-person or online, and every lesson is customized to fulfill an individual's language goals across multiple work streams. Our instructors are all native speakers with excellent credentials. 




HSK Preparation


Chinese Proficiency Test (HSK), an international standardized test of Chinese language proficiency, assesses non-native Chinese speakers' abilities in using the Chinese language in their daily, academic and professional lives. With experienced instructors, effective curriculum and rich resources, we offer quality private tutoring in HSK test preparation to help you achieve the highest score possible!  




Crash Course for Corporate Executives - Chinese Culture & Business Etiquette



Designed for corporate professionals doing business with the Chinese, this crash course provides executives with a business focused overview of Chinese culture and language and will help participants interact more confidently, build rapport and strengthen relationships with potential business partners.


Summer Day Camp - 


Last chance to enroll before session III

Enroll for our third session fromAugust 7 - August 18 *Fridays are field trip days and meet from 9am-12pm


Make your child's summer a fun-filled experience by enrolling in the Children's Summer Day Camp at China Institute.








Chinese Language - Fall 2017 




Fall 2017 Classes begin the week ofSeptember 11th, 2017. We are accepting new students for the fall semester ages 2-17 and for all proficiency levels! 














Early bird discount! 
Sign up before August 14th to get the $50 registration fee waived. 5% discount for siblings.








Private Tutoring

Flexible Schedule, 


Location & Times

Private tutoring through China Institute offers a flexible alternative to regular language classes.




SAT & AP PREP
Flexible Schedule, 

Location & Times
China Institute delivers personally tailored Mandarin Chinese SAT & AP Prep lessons. 
educators 


Case Studies for Better Teaching
October 1, 7, 14; December 3, 2017
10:00AM-3:30PM




Case Studies for Better Teaching (CSBT), a short course designed and delivered by Dr. Wei-ling Wu, is intended to examine the question through case studies that focus on implementation and practice. The participants will discuss and analyze various lesson plans, activities, tasks, projects, and even worksheets in light of the ACTFL Standards and the ACTFL Core Practices to see what works and what needs improvement.


Immigration in a Changing World: Identity, Citizenship, and Belo
...

[Message clipped]  View entire message

 “珍陶萃美” —清宫陳設钧瓷賞析

University Teaching Gallery, Harvard Art Museums
The Harvard Art Museums hold the largest and finest collection in the West of a rare and strikingly beautiful type of ceramic ware used in the private quarters of the Forbidden City, the Chinese imperial palace in Beijing. These numbered Jun wares—so named because each is marked on its base with a single Chinese numeral—have long been admired for their fine potting, distinctive shapes, and radiant purple and blue glazes. Opinions on these vessels’ dates of origin vary widely, and given the scarcity of numbered Jun in most museum collections, a comprehensive study of this unusual ware has never been undertaken outside the imperial collections in China and Taiwan.
Drawn entirely from the museums’ permanent collections, this exhibition introduces the typology, technical characteristics, collecting history, and controversies surrounding numbered Jun ware. It features approximately half of the museums’ 60 numbered Jun, all of which were given to Harvard in 1942 by Boston-area collectors Ernest B. Dane (Harvard College Class of 1892) and his wife Helen Pratt Dane. This exhibition marks the 75th anniversary of the Danes’ extraordinary gift of nearly 300 Chinese ceramics and later jades. It is also the first focused exhibition of their unique collection of palace Jun ware since it came to Harvard.
The exhibition is complemented by an online resource that provides further contextualization of Harvard’s entire numbered Jun collection. The Numbered Jun Ware Special Collection introduces this remarkable ceramic ware and explores its many complexities through descriptive summaries of its typology, technical characteristics, controversies, and collecting history, accompanied by a selection of representative images.
Curated by Melissa A. Moy, the Alan J. Dworsky Associate Curator of Chinese Art at the Harvard Art Museums.
The exhibition and online special collections feature are funded in part by the Gregory and Maria Henderson Fund and by generous support from Terry and William Carey.
Related Programming
Information about related events, including gallery talks in English and in Mandarin Chinese, can be found on our calendar.
Index magazine

Stories related to the exhibition can be found in the museums’ Index magazine. Click on the “exhibition” tag at magazine.harvardartmuseums.org.










Gallery Talk (in Mandarin Chinese): Adorning the Inner Court: Jun Ware for the Chinese Palace


中文導覽: “珍陶萃美” —清宫陳設钧瓷賞析 2017年7月13日 主講: 楊妍 館員、研究員 哈佛大學藝術博物館5月20日至8月13日舉辦主題展覽Adorning the Inner Court: Jun Ware for the Chinese Palace。圍繞館藏的鈞瓷精品,討論清宮陳設類鈞瓷的工藝特點、製作方法及其歷史和藝術欣賞價值。歡迎參觀! 導覽憑門票參加。名額限於15人。請於導覽開始前十分鐘在售票處領取,並於售票處旁的電子顯示屏前集合。 Yan Yang, curatorial assistant for the collection in the Division of Asian and Mediterranean Art, will give today’s gallery talk. Adorning the Inner Court...
  • Hours: 12:30pm - 1:00pm
  • Date: July 13, 2017








Works & Process, the Performing-Arts Series at the Guggenheim, Announces Fall 2017 Season



Highlights:

  • Works & Process Rotunda Project commission featuring American Ballet Theatre principal Daniil Simkin with costumes by Dior
  • A new commission featuring Ryan McNamara and John Zorn
  • A new commission by Nico Muhly inspired by the oldest song in the world
  • Previews of new operas by John Adams and Peter Sellars, and Thomas Adès and Tom Cairns
  • Performance and discussion celebrating the 50th anniversary of  Tanaquil Le Clercq’s The Ballet Cook Book with a dinner featuring recipes from the book.
  • Peter & The Wolf with Isaac Mizrahi
(NEW YORK, NY – July 31, 2017)—Works & Process at the Guggenheim is pleased to announce its fall 2017 season and opens the season with a commissioned performance made in and for the museum rotunda. Since 1984 the performing-arts series has championed new works and offered audiences unprecedented access to leading creators and performers. Each intimate, 80-minute performance combines artistic creation with stimulating conversation, and takes place in the Solomon R. Guggenheim Museum’s Frank Lloyd Wright–designed, 285-seat Peter B. Lewis Theater. The New York Times describes Works & Process as “a popular series devoted to shedding light on the creative process.” Additional information is available at worksandprocess.org.
Lead funding for Works & Process is provided by The Florence Gould Foundation, The Christian Humann Foundation, Mertz-Gilmore Foundation, Stavros Niarchos Foundation, Rockefeller Brothers Fund, Caroline M. Sharp, and Evelyn Sharp Foundation, with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

FALL 2017 SEASON SCHEDULE

WORKS & PROCESS ROTUNDA PROJECT

Falls the Shadow by Daniil Simkin

Monday and Tuesday, September 4 and 5, 8 and 9:30 pm
Commissioned by Works & Process and created by American Ballet Theatre (ABT) Principal Dancer Daniil Simkin, Falls the Shadow is a new production featuring Simkin, ABT soloist Cassandra Trenary, Ana Lopez from Hubbard Street Dance Chicago, and dancer Brett Conway; choreography by Alejandro Cerrudo; projection design by Dmitrij Simkin; and costume design by Dior. The performers’ movements will be captured by motion sensors, generating 3-D mapped visuals that will be projected onto the rotunda to create an immersive experience that merges technology, music, visual art, fashion, and dance. This 30-minute performance will be viewed from the ramps and requires audience members to stand for the duration of the program.
Leadership support for Works & Process Rotunda Projects provided by Mertz-Gilmore Foundation, Stavros Niarchos Foundation, Rockefeller Brothers Fund, and Caroline M. Sharp.
Daniil Simkin: Falls the Shadow lead support provided by Kerry Clayton and Paige Royer; Howard Paley; and Michèle and Steven Pesner.
WorldStage is the technology partner for Danill Simkin: Falls the Shadow.

Nico Muhly and the Countertenor

Sunday, September 17, 7:30 pm
Composer Nico Muhly discusses his music for countertenor. A selection of these works will be performed alongside a preview of a new Works & Process commission. Inspired by the Institute for the Study of the Ancient World’s interpretation of the oldest song in the world, the commission is an extension of Lenka Clayton and Jon Rubin’s project . . . circle through New York, part of the Guggenheim Social Practice initiative.

The Principles of Uncertainty by John Heginbotham and Maira Kalman

Monday, September 18, 7:30 pm
Choreographer John Heginbotham and author/illustrator Maira Kalman discuss their newest collaboration featuring imaginative production design and whimsical dance theater inspired by Kalman’s written work and visual art. Following the world premiere at Jacob’s Pillow Dance and before the New York premiere at the Brooklyn Academy of Music, Dance Heginbotham and members of The Knights orchestra will perform highlights set to a score by the orchestra’s artistic director Colin Jacobsen.

San Francisco Opera: Girls of the Golden West by John Adams and Peter Sellars

Thursday and Friday, September 21 and 22, 7:30 pm
Composer John Adams and librettist/director Peter Sellars discuss their newest collaboration with San Francisco Opera General Director Matthew Shilvock. Sourced from historical writings about California’s Gold Rush, the opera explores the dramatic and brutal stories of remarkable characters who are hoping to strike it rich and are quickly caught up in the optimism, greed, and prejudices of a rapidly changing world. Highlights are performed prior to the world premiere in San Francisco.

Lincoln Center Theater: JUNK by Ayad Akhtar

Saturday, September 23, 7:30 pm
Pulitzer Prize–winning author Ayad Akhtar and Tony Award–winning director Doug Hughes discuss Akhtar’s newest play before its New York premiere. Cast members perform highlights from the financial thriller, set in the hotbed of the 1980s, about Robert Merkin, the genius behind an upstart investment firm hell-bent on changing all the rules. Merkin sets in motion a financial civil war, pitting magnates against workers, lawyers against journalists, and ultimately, everyone against themselves.

The Living Word Project: |peh-LO-tah| by Marc Bamuthi Joseph

Sunday, October 1, 7:30 pm
In conjunction with Joseph’s project moving and passing, part of the Guggenheim Social Practice initiative, highlights from /peh-LO-tah/ will be performed prior to opening at the Brooklyn Academy of Music. Directed by Michael John Garcés, choreographed by Stacey Printz, and with music by Tommy Shepard, the work is a “futbol-framed freedom suite” inspired by Joseph’s first-generation American experience, and it explores the intersection of global economics, crossborder fan culture, and the politics of joy. Joseph will discuss the work with producer Cathy Zimmerman.

American Ballet Theatre Season Preview

Sunday and Monday, October 8 and 9, 7:30 pm
For over 75 years, ABT has been home to the most important figures in classical ballet. Join the company for an evening of discussion and dance as highlights of new commissions from the fall 2017 season are performed prior to their premieres.

The Metropolitan Opera: The Exterminating Angel

Music by Thomas Adès, libretto by Tom Cairns

Monday, October 16, 7:30 pm
Hailed by the New York Times at its 2016 Salzburg Festival premiere as “inventive and audacious. . . . a major event,” Thomas Adès’s The Exterminating Angel, inspired by the classic Luis Buñuel film of the same name, is a surreal fantasy about a dinner party that guests cannot escape. Prior to the American premiere, Met Opera general manager Peter Gelb discusses the opera with Adès, and singers perform highlights.

Open Rehearsal: Steve Reich and Ensemble Signal

Tuesday, October 17, 7:30 pm
Go into the rehearsal studio with conductor Brad Lubman and Ensemble Signal as they prepare for their Carnegie Hall concert featuring music by Steve Reich. Preview the New York premiere of Runner and hear Pulse in raw form, without technical equipment or sound reinforcement. Between performances, Reich and Lubman discuss the works.

NEW COMMISSION

Ryan McNamara and John Zorn

Sunday and Monday, October 22 and 23, 7:30 pm
See the premiere of a Works & Process commission for the unique architecture of the Guggenheim’s Peter B. Lewis Theater. Collaborating with a community of dancers and artists with whom he has worked for years, Ryan McNamara will create a performance set to Commedia dell’arte by composer John Zorn.

Tanaquil Le Clercq’s The Ballet Cook Book: A 50th Anniversary Celebration

Sunday and Monday, November 5 and 6, 7:30 pm
In 1967 ballerina Tanaquil Le Clercq published The Ballet Cook Book, her masterful compendium of ballet history, food stories, and recipes from over 90 leading dancers and choreographers of the day, including George Balanchine, Jacques d’Amboise, Melissa Hayden, and Allegra Kent. Celebrating the book’s 50th anniversary, dancers from New York City Ballet perform excerpts from roles originated by Ballet Cook Book contributors, and dance legends Jacques d’Amboise and Allegra Kent join food scholar Meryl Rosofsky and dancers Jared Angle and Adrian Danchig-Waring in a discussion of Le Clercq’s artistic and culinary legacy.
In conjunction with this program, select dishes from The Ballet Cook Book will be served at The Wright restaurant. For reservations call 212 427 5690 or visit opentable.com.

The Sarasota Ballet: Classical and New Voices

Sunday, November 19, 3 and 7:30 pm
American Ballet Theatre Principal Dancer and choreographer Marcelo Gomes, invited by director Iain Webb and executive director Joseph Volpe, recently performed with The Sarasota Ballet in Sir Frederick Ashton’s rarely seen The Two Pigeons. After working with Gomes, Webb commissioned a new choreographic work from him. Exploring classical and new voices, Gomes performs highlights from The Two Pigeons and company dancers perform excerpts from the new commission prior to the premiere in Sarasota. With Webb, Gomes shares insight into his creative process during the development of this new work.

Peter & the Wolf with Isaac Mizrahi

December 2, 3, 9, and 10, 2:30 and 4 pm
December 8, 6:30 pm
Isaac Mizrahi narrates Sergei Prokofiev’s charming children’s classic as Brad Lubman conducts Ensemble Signal and a cast performs choreography by John Heginbotham, bringing the 30-minute story to life for the young and young at heart.
For children 5 and up. Enter via the ramp at 88th St and 5th Ave.
FRONT ROW TICKETING: $100, $95 Friends of Works & Process and Guggenheim members

NEW COMMISSION

Holiday Concert

Sunday and Monday, December 17 and 18, 7 pm
Celebrate the season with the joyous sounds of holiday music and a new Works & Process commission by composer Nico Muhly in the museum’s iconic rotunda. George Steel conducts the Vox Vocal Ensemble in what has become a revered annual tradition.
FLOOR SEATING: $40, $35 Friends of Works & Process and Guggenheim members
RAMP STANDING: $20, $15 Friends of Works & Process and Guggenheim members

Location

Peter B. Lewis Theater (unless otherwise noted)
Solomon R. Guggenheim Museum
1071 Fifth Avenue at 89th Street
Subway: 4, 5, 6 train to 86th Street
Bus: M1, M2, M3, or M4 bus on Madison or Fifth Avenue

Tickets

$40, $35 members (unless otherwise noted)
$10 student rush tickets available one hour prior to each performance if space allows
(for students under 25 with valid ID).
Priority ticket access and preferred seat selection starts July 31, 2017, for Friends of Works & Process or Guggenheim members Associate level and above.
Season tickets will be on sale August 7. 2017.
For the box office call 212 423 3575, Mon–Fri, 1–5 pm.
For more information, call 212 758 0024 or 212 423 3587, Mon–Fri, 1–5 pm, or visit worksandprocess.org.

guggenheim.org/social
#WorksandProcess

The Solomon R. Guggenheim Foundation Appoints Karole P.B. Vail to Lead the Peggy Guggenheim Collection

(NEW YORK AND VENICE – June 8, 2017) –– Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, today announced the appointment of Guggenheim curator Karole P.B. Vail as Director of the Peggy Guggenheim Collection in Venice and Foundation Director for Italy. A member of the Guggenheim’s curatorial staff since 1997 and a granddaughter of Peggy Guggenheim, Ms. Vail becomes only the second director in the history of the Peggy Guggenheim Collection, succeeding Philip Rylands, who led the museum for 37 years and will become Director Emeritus. Ms. Vail will assume her duties in Venice this month, reporting to Richard Armstrong.
Ms. Vail’s most recent exhibition for the Solomon R. Guggenheim Museum in New York was the highly regarded retrospective Moholy-Nagy: Future Present (2016), which she organized in collaboration with the Art Institute of Chicago and the Los Angeles County Museum of Art. She is currently co-organizing the retrospective Alberto Giacometti, to be presented at the Guggenheim in New York in 2018.
Richard Armstrong said, “Having worked closely with Karole Vail for almost a decade, I have the deepest respect for her scholarship, curatorial insight, unfailingly sound judgment, and collegial management style. I have the utmost confidence in her ability to lead the Peggy Guggenheim Collection into the future, and know that her personal ties to the institution and roots in Italy and Europe will add an unmatched depth and nuance to her work.”
William L. Mack, Chairman of the Guggenheim Board of Trustees, said, “Karole Vail assumes leadership at an auspicious moment, when the Peggy Guggenheim Collection is enjoying record attendance and a strong exhibition program, and recently completed a successful capital campaign to support key renovation projects at the Palazzo. Karole’s appointment begins a special and exciting new chapter in the museum’s history.”
Karole Vail said, “I have known and loved Peggy’s collection, and the palazzo and garden that are its home, since I was a child. Now it is my privilege and honor to lead this exceptional institution, carrying forward Peggy’s vision and ensuring that it remains a vital part of today’s culture, as she would have wanted it to be. I embark on this role with a sense of great responsibility, an eye to the future and a deep appreciation for Peggy’s extraordinary accomplishments.”
About Karole P.B. Vail
Karole P.B. Vail, a curator at the Solomon R. Guggenheim Museum in New York and a member of its curatorial staff since 1997, will assume her duties as Director of the Peggy Guggenheim Collection and Foundation Director for Italy in Venice in June 2017.
Among the exhibitions at the Guggenheim Museum for which she has served as curator or co-curator, in addition to Moholy-Nagy: Future Present and Alberto Giacometti, are Peggy Guggenheim: A Centennial Celebration (1998); Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim (2005-06); and From Berlin to New York: Karl Nierendorf and the Guggenheim (2008).
Ms. Vail has also been a collaborator and coordinator for Surrealism: Two Private Eyes, The Nesuhi Ertegun and Daniel Filipacchi Collections (1999); Armani (2000); Boccioni’s Materia: A Futurist Masterpiece and the Avant-Garde in Milan and Paris (2004); Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints (2004); Lucio Fontana: Venice/New York (2006); Solomon’s Gift: The Foundation Collection of the Guggenheim, 1937-1949 (2007); Richard Pousette-Dart (2008); Kandinsky (2009), in conjunction with which she also organized the photography exhibition Kandinsky and Gabriele Münter in the Guggenheim’s Sackler Center for Education; Picasso Black and White (2013); and Monir Shahroudy Farmanfarmaian: Infinite Possibility, Mirror Works and Drawings 1974-2014 (2014-15).
Among the many publications that Ms. Vail has written, co-written or edited are The Museum of Non-Objective Painting: Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum, conceived of by Ms. Vail and published in 2009 on the occasion of the fiftieth anniversary of the Guggenheim Museum; Moholy-Nagy: Future Present, which received an Honorable Mention in the 2017 Awards for Excellence of the Association of Art Museum Curators; Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim; and Peggy Guggenheim: A Celebration. Ms. Vail has also contributed texts and entries to catalogues such as Kandinsky, Armani and Surrealism: Two Private Eyes, The Nesuhi Ertegun and Daniel Filipacchi Collections.
She is a co-founder and co-director of Non-Objectif Sud, a not-for-profit artist residency and exhibition program in the south of France.
Prior to joining the Guggenheim, Ms. Vail served as an archivist and researcher at Centro Di in Florence, Italy, a documentation center and publishing house specializing in art history, architecture and decorative arts, and as an assistant curator on independent projects. Educated in the U.K., she received her Bachelor of Arts degree from Durham University and a Diploma in Art History from the New Academy for Art Studies in London.

Guggenheim Celebrates 150th Birthday of Frank Lloyd Wright on Thursday, June 8 with Special Open Hours, On-Site Activities, and $1.50 Admission

Additional programs throughout June will honor the legacy of Wright, architect of the iconic Guggenheim Museum


Event: Frank Lloyd Wright 150th Birthday Celebration
Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Date: June 8, 10 am–5:45 pm
Website: www.guggenheim.org/flw150
(NEW YORK, NY—May 3, 2017)—Celebrate the 150th birthday of Frank Lloyd Wright through a series of activities at the architect’s masterwork: the Solomon R. Guggenheim Museum.
The celebration kicks off Thursday, June 8 with a special open day (10 am to 5:45 pm) and a reduced admission fee of $1.50 in honor of Wright’s 150th birthday. The Guggenheim’s newly renovated Cafe 3 will feature large-scale, rarely seen photographs of the museum during its construction and will add a special birthday cupcake to the day’s menu. An actor-historian portraying Frank Lloyd Wright will be on-site engaging with visitors between 10 am and 1 pm.
Additional activities will be offered during the month of June including architecture-specific tours of the museum as part of the Art in the Round program, sketch workshops such as Drawing the Guggenheim, and a variety of family programs. The Guggenheim Store will also feature new Wright-related merchandise, and the museum’s website will highlight new content about Wright.
To view a full schedule of Frank Lloyd Wright-related events at the Guggenheim this June, visit guggenheim.org/flw150.

JUNE 8 ACTIVITIES


10:30 am and 11 am: Fifteen-minute overview of the design and construction of the Guggenheim Museum in Cafe 3, led by an actor-historian portraying Frank Lloyd Wright
11:30 am–12:30 pm: Actor-historian portraying Frank Lloyd Wright greets museum visitors at the Fifth Avenue entrance
12-1 pm: Architectural tour of the museum led by Ashley Mendelsohn, Curatorial Assistant, Architecture and Digital Initiatives, Solomon R. Guggenheim Museum
1 pm: Birthday cake and candles in Cafe 3
Interview, photo, and b-roll opportunities available.

ABOUT THE SOLOMON R. GUGGENHEIM FOUNDATION


Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997) and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.
GUGGENHEIM LATIN AMERICAN CIRCLE PRESENTS PERFORMANCES ON MAY 5 First Public Presentation in the United States of Three Recently Acquired Artworks by OPAVIVIRÁ!, Amalia Pica, and Naufus Ramírez-Figueroa

 (NEW YORK, NY – April 25, 2017) –– On Friday, May 5, the Guggenheim Museum introduces three recently acquired artworks performed for the first time in the United States by Rio de Janeiro-based collective OPAVIVARÁ!, Amalia Pica (b. 1978, Neuquén, Argentina), and Naufus Ramírez-Figueroa (b.1978, Guatemala City). The evening marks the first public event organized by the museum’s recently formed Latin American Circle, a group of art patrons and collectors dedicated to raising awareness and support for museum public programs, acquisitions, and exhibitions, with a focus on contemporary Latin American art. Latin American Circle Presents: An Evening of Performance is organized by curator Pablo León de la Barra with Amara Antilla, Assistant Curator. Furthering its mission of collecting, preserving, and interpreting the art of our time in a global context, the Solomon R. Guggenheim Foundation has presented several exhibitions of Latin American art in recent years, including Doris Salcedo (2015) and Gabriel Orozco: Asterisms (2012–13), and produced Sanatorium by Pedro Reyes (2012). Through the Guggenheim UBS MAP Global Art Initiative, a distinctive program that creates direct access to contemporary art and education on a global scale via in-depth collaboration with artists, curators, and cultural organizations from three regions including Latin America, the Guggenheim increased its holdings of Latin American art by twenty percent and appointed Pablo León de la Barra as Guggenheim UBS MAP Curator, Latin America. Under the Same Sun: Art from Latin America Today (2014–16), presented in New York, Mexico City, and London as part of the Guggenheim UBS MAP Initiative, featured more than fifty new works added to the collection. Since the 1960s, the Guggenheim Museum has presented numerous performances in the rotunda by artists including Marina Abramović, Philip Glass, Dominique Gonzalez-Foerster, Pierre Huyghe, Joan Jonas, Meredith Monk, and John Zorn as well as performance-based exhibitions and installations by Matthew Barney and Tino Sehgal. Recognizing performance and time-based media as an essential aspect of art practice, and the issues it raises—regarding duration and ephemerality, the role of the document and the function of memory, the value of labor and the significance of personal interaction— the Guggenheim remains committed to the process of acquiring, maintaining and displaying ephemeral, durational works of art. Latin American Circle Presents: An Evening of Performance at the Guggenheim May 5, 7–9 pm On May 5, three performance works will be presented in the museum’s Frank Lloyd Wright rotunda. Amalia Pica’s Asamble (2015) takes the form of a procession involving more than two dozen participants—the circular form of which evokes a universal emblem of assembly—and explores the challenges of democratic communication. Naufus Ramírez-Figueroa’s A Brief History of Architecture in Guatemala (Breve Historia de la Arquitectura en Guatemala, 2010) is a dance performed in costumes modeled after iconic Mesoamerican building typologies—a Mayan pyramid, a colonial church, a modernist block—and examines the tendency of architecture to memorialize regimes of power and exploitation. In Kitchen Drumming (Batuque na cozinha, 2013/17) by OPAVIVARÁ!, basic kitchen tools mounted to the body become percussive instruments in a performance that fuses celebration and protest by evoking carnival parades, marching bands, and anti-government demonstrations. A reception and private view of the current exhibitions Visionaries: Creating a Modern Guggenheim and The Hugo Boss Prize 2016: Anicka Yi, Life is Cheap will follow. Tickets are $15, $10 for members, and $8 for students and can be purchased by calling the Box Office at 212 423 3587 or visiting guggenheim.org/publicprograms. Support for the performance is provided by Guggenheim Latin American Circle members Ximena Caminos and Alan Faena, Catherine Petitgas, and Camila Sol de Pool. About the Artists Founded in 2005 in Rio de Janeiro, OPAVIVARÁ! is an artist collective comprised of four members, who all received BFA degrees from the Parque Lage School of Visual Arts, Rio de Janeiro. The collective has participated in group exhibitions including Ecologica, Museu de Arte Moderna de São Paulo (2010); O Abrigo e o Torreno, Museu de Arte do Rio (2013); Acción Urgente, Fundación Proa, Buenos Aires; the Taipei Biennial (both 2014); Havana Biennial; The City Is Ours, the Body Is Mine: Urban Spatial Practices in Contemporary Latin America, James Gallery, The Graduate Center, City University of New York (both 2015); the São Paulo Biennial; Projeto Brasil/The Sky Is Already Falling, Hebbel am Ufer, Berlin; Transnomaden, Künstlerhaus, Frankfurt (all 2016). All the members of OPAVIVARÁ! live and work in Rio de Janeiro. Amalia Pica was born in 1978 in Neuquén, Argentina. She moved to Buenos Aires to study at Escuela Nacional de Bellas Artes P. Pueyrredón, completing her undergraduate degree in 2001. Pica has had solo exhibitions at Malmö Konsthall, Sweden (2010); University of Michigan Museum of Art, Ann Arbor (2011); Modern Art Oxford; Chisenhale Gallery, London; and Kunst Halle Sankt Gallen, Switzerland (all 2012); and MIT List Visual Arts Center, Cambridge, Massachusetts; Museum of Contemporary Art Chicago; Museo Rufino Tamayo, Mexico City, and Museo Nacional de Bellas Artes, Neuquén, Argentina (all 2013); Van Abbemuseum, the Netherlands (2014); and Kunstverein Freiburg, Germany (2016). She has participated in group exhibitions including the Venice Biennale (2011, 2015); The Ungovernables: New Museum Triennial, New Museum of Contemporary Art, New York (2012); Adventures of the Black Square, Whitechapel Gallery, London; Under the Same Sun: Art from Latin America Today, Solomon R. Guggenheim Museum (both 2015); and Gwangju Biennial, South Korea (2016). Pica received the Paul Hamlyn Foundation Award in 2011. She lives and works in London. Naufus Ramírez-Figueroa was born in 1978 in Guatemala City, receiving a BFA in Media Arts from Emily Carr University, Vancouver, in 2006, and an MFA from the School of the Art Institute of Chicago in 2008. He was a postgraduate researcher at Jan Van Eyck Academie, Maastricht, the Netherlands, in 2013. Ramírez-Figueroa has had solo exhibitions at Casa de América, Madrid (2011), Akademie Schloss Solitude, Stuttgart (2011), and Gasworks, London (2015). He has participated in group exhibitions including A History of Interventions, Tate Modern, London; Gwangju Biennial, South Korea (both 2014); The School of Nature and Principle, EFA Project Space, New York; BMW Tate Live: Performance Room, Tate Modern, London (all 2015); São Paulo Biennial (both 2016); and Venice Biennale (2017). He is the recipient of a John Simon Guggenheim Fellowship (2012), a DAAD fellowship (2015–16) and the 2017 Mies van der Rohe Award. Ramirez-Figueroa lives and works in Berlin and Guatemala City. About the Latin American Circle Formed in 2016, the Latin American Circle, co-chaired by Clarissa Bronfman and Rudy Weissenberg, is a dynamic group of art collectors actively involved in contemporary art and culture in Latin America. Dedicated to advising on and advocating for the Guggenheim’s Latin American contemporary art initiatives, the group works closely with curator Pablo León de la Barra to facilitate the museum’s ongoing efforts to diversify and strengthen its programming and collection through both emerging and established artists from Latin America. About the Solomon R. Guggenheim Foundation Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997) and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org. 

Abu Dhabi Tourism & Culture Authority Celebrates the Opening of The Creative Act: Performance, Process, Presence, Second Exhibition from The Guggenheim Abu Dhabi Collection

ABU DHABI, March 7, 2017)Under the patronage of His Highness Sheikh Mohamed Bin Zayed Al Nahyan, Crown Prince of Abu Dhabi, and Deputy Supreme Commander of the UAE Armed Forces, Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi) celebrated today the opening of The Creative Act: Performance, Process, Presence at Manarat Al Saadiyat on Saadiyat Island in Abu Dhabi. Featuring works by more than 25 artists from different nationalities and generations, the exhibition explores the related themes of performance, process, and presence through a variety of mediums. Running until 29 July 2017, The Creative Act is the second major exhibition of works from the Guggenheim Abu Dhabi collection.
HE Saif Saeed Ghobash, Director General of TCA Abu Dhabi, commented on the exhibition “The Creative Act offers a transcultural perspective on defining aspects of contemporary art by highlighting interconnections among artists working in various corners of the world since the 1960s. The works in the exhibition reveal common sources of inspiration, lines of influence, and distinctive contributions. Two commissions featured in the exhibition reflect the Guggenheim Abu Dhabi’s commitment to supporting the production of new work by living artists. This exhibition marks not only the next defining step for the Guggenheim Abu Dhabi, but also the establishment of the future museum’s role to encourage, inspire, and inform. Only through direct interaction with artworks, themes, creative professionals, and artists can we provide future generations with a fully rounded set of tools through which to understand the development of artistic expression.”
Three distinct yet interconnected themes of the exhibition—performance, process, and presence—provide a unifying framework for the exhibition, with many artists exploring more than one theme in the works on view:
Performance can be represented in several different forms: unfolding live in a given time and place, remaining afterward as recordings and documentations, or serving primarily as the means for creating discrete objects. The Creative Act features examples of live actions that constitute works in and of themselves and performative practices that result in drawings, paintings, sculptures, and videos. A selection of photographs document the renowned Emirati artist Hassan Sharif’s 1980s performances, which he realised in both London and Dubai. His conceptual, experimental, and performative practice greatly influenced the subsequent generation of artists in the United Arab Emirates, such as Mohammed Kazem, who is also featured in The Creative Act.
Many of the artworks offer insight into the process used to make them. A key work within this section is Anish Kapoor’s My Red Homeland (2003), a monumental sculptural installation composed of nearly twenty-five tonnes of red wax with a mechanical arm that circumnavigates the platform, continually altering the surface as it moves across the material. Works by pioneering 1960s experimental art practitioners including Rasheed AraeenJulio Le ParcNiki de Saint PhalleJean TinguelyGünther Uecker, and Jacques Villeglé, explore the process of creating with everyday materials and using performative techniques.
The theme of human presence is highlighted through artworks that involve the appearance of the artist or others in the works as well as visible traces of the physical acts undertaken to realize them. Paintings by artists affiliated with the Gutai Art Association (1954–72) including Motonaga SadamasaShiraga Kazuo, and Tanaka Atsuko epitomize these ideas. Video installations by Susan Hefuna and Anri Sala take the performing arts—dance and music respectively—and the theme of interpretation as points of departure. Autobiography (03-07) (2007), a series of forty photographs and a video, captures Emirati artist Ebtisam Abdulaziz’s performances in various public spaces in Sharjah and examines the often complex relationship between social and personal identities.
The Creative Act: Performance • Process • Presence is curated by Valerie Hillings, Ph.D., Curator and Manager, Curatorial Affairs, Abu Dhabi Project; Sasha Kalter-Wasserman, Assistant Curator, Abu Dhabi Project; with Sarah Dwider, Curatorial Assistant, Abu Dhabi Project, Solomon R. Guggenheim Foundation; and Maisa Al Qassimi, Head of Programmes – Guggenheim Abu Dhabi, with Muneera Al Sayegh, Programmes Officer – Guggenheim Abu Dhabi, Abu Dhabi Tourism & Culture Authority.
Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, commented: “The Creative Act brings into focus the complexity, poetry, and power of the human spirit. The exhibition also reflects our shared understanding of the vital necessity of global exchange that is at the heart of the Guggenheim Abu Dhabi project. The Solomon R. Guggenheim Foundation is proud to be working with Abu Dhabi Tourism & Culture Authority to realize this exhibition that celebrates the considerable scholarship underpinning the Guggenheim Abu Dhabi collection and the catalytic potential of the future museum as a vital addition to the cultural landscape of the region and the world.”
In line with the commitment of the Guggenheim Abu Dhabi to support original work by living artists, TCA Abu Dhabi has commissioned artists Hesam RahmanianRamin Haerizadeh, and Rokni Haerizadeh to create an installation inspired by the core themes of The Creative ActAnother Happy Day (2016–17) is a multiroom, immersive installation featuring artworks by the commissioned artists and others, which, like the selections from the Guggenheim Abu Dhabi collection, probe the nature of the creative artistic process while inviting visitors to become engaged and activated. This project, coupled with photographs by Tarek Al-Ghoussein, part of a series commissioned by TCA Abu Dhabi for the Guggenheim Abu Dhabi collection, offers a convergence of past, present, and future in our own time.
The Creative Act: Performance, Process, Presence is curated by Valerie Hillings, Curator and Manager of Curatorial Affairs, Sasha Kalter-Wasserman, Assistant Curator, with Sara Dwider, Curatorial Assistant, Abu Dhabi Project, Solomon R. Guggenheim Foundation; and Maisa Al Qassimi, Programmes Manager – Guggenheim Abu Dhabi, with Muneera Al Sayegh, Programmes Officer – Guggenheim Abu Dhabi, Abu Dhabi Tourism & Culture Authority.
About Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi)
Abu Dhabi Tourism & Culture Authority conserves and promotes the heritage and culture of Abu Dhabi emirate and leverages them in the development of a world-class, sustainable destination of distinction, which enriches the lives of visitors and residents alike. The authority manages the emirate’s tourism sector and markets the destination internationally through a wide range of activities aimed at attracting visitors and investment. Its policies, plans and programmes relate to the preservation of heritage and culture, including protecting archaeological and historical sites and to developing museums, including the Louvre Abu Dhabi, Zayed National Museum and Guggenheim Abu Dhabi. TCA Abu Dhabi supports intellectual and artistic activities and cultural events to nurture a rich cultural environment and honour the emirate’s heritage. A key authority role is to create synergy in the destination’s development through close co-ordination with its wide-ranging stakeholder base. http://tcaabudhabi.ae/en
About Guggenheim Abu Dhabi
The Guggenheim Abu Dhabi museum will promote the understanding and appreciation of contemporary art, architecture, and other manifestations of modern and contemporary visual culture from an international perspective. A curatorial programme with a transcultural perspective on art and visual culture from the 1960s to the present will have a strong focus on art from West Asia, North Africa, and South Asia, exploring the specific identity derived from the cultural traditions of Abu Dhabi and the United Arab Emirates. The future museum, and its growing collection, is owned by the Government of Abu Dhabi. Surrounded almost entirely by water, Guggenheim Abu Dhabi will have spectacular views of the Saadiyat Cultural District and the Arabian Gulf. Galleries, many unprecedented in scale, are distributed around the central atrium on four levels connected by glass bridges above. Open to the elements, the museum cones housing contemporary art commissions, recall the region’s ancient wind-towers, which both ventilate and shade the exterior courtyards in a fitting blend of Arabian tradition and modern design. The museum will also feature a 350-seat theatre, education workshops and classrooms, an onsite conservation lab, as well as a retail store, cafes, and a restaurant.
The museum will be a catalyst for scholarship in a variety of fields, chief among them the history of art from West Asia, North Africa, and South Asia in the 20th and 21st centuries. A dynamic programme of changing exhibitions will explore common themes and affinities among the work of artists across time and geography. An ambitious programme of commissions created for the collection and exceptional spaces of the Guggenheim Abu Dhabi will reinforce the museum’s commitment to working with artists and the art of our time.
Guggenheim Abu Dhabi is being developed in collaboration with the Solomon R. Guggenheim Foundation.
About the Solomon R. Guggenheim FoundationFounded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

Solomon R. Guggenheim Foundation Appoints Nancy Spector to the New Post of Artistic Director and Jennifer and David Stockman Chief Curator



Expanded Role Includes Leadership of Collections, Exhibitions, and Curatorial Programs at the Guggenheim Museum in New York City and All Guggenheim Museums Internationally

DOWNLOAD PRESS RELEASE
NEW YORK, NY—(February 15, 2017) — Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, today announced that Nancy Spector has been appointed to serve as the institution’s first Artistic Director and Jennifer and David Stockman Chief Curator, providing conceptual and strategic leadership of collections, exhibitions, and curatorial programs at the Solomon R. Guggenheim Museum on Fifth Avenue in New York and at all Guggenheim museums internationally. Through the new position of Artistic Director and Chief Curator, the Guggenheim will unify and strengthen artistic activities throughout its international constellation of museums and initiatives, both existing and in development, while accommodating the particular collections, initiatives, and audiences of each.
Nancy Spector previously served at the Guggenheim for more than 29 years, most recently in the role of Deputy Director and Jennifer and David Stockman Chief Curator. She joined the Brooklyn Museum in April 2016 as Deputy Director and Chief Curator. As Artistic Director and Chief Curator of the Solomon R. Guggenheim Museum and Foundation, she will report directly to Richard Armstrong.
Richard Armstrong said, “Over the past year, we have given fresh thought to the way the Guggenheim creates and manages its artistic program in New York and abroad. This exploration has identified the need for an individual who provides leadership and strategic vision for collections, exhibitions and programs across all aspects of the Foundation and all the museums in our international constellation. During her many years at the Guggenheim, Nancy Spector shaped our institution in singular and significant ways. She is the ideal person to take on this new role working with the Guggenheim to realize and reimagine the radical purpose its founders gave it 80 years ago. We are pleased to welcome her into her new role.”
Nancy Spector said, “I’m grateful to Anne Pasternak, the Trustees and the wonderful staff of the Brooklyn Museum for giving me the opportunity to work with them and learn from them in their great institution. It has been a privilege to participate in the museum’s vital engagement with its community and to address the possibilities of its encyclopedic collection. But when Richard Armstrong approached me with the new position of Artistic Director at the Guggenheim, I simply could not let this extraordinary opportunity—which is truly unique to the Guggenheim—pass me by. I look forward to working with my Guggenheim colleagues in New York and around the world in envisioning the many innovative programs and initiatives we will create together in the coming years.”
Anne Pasternak, the Shelby White and Leon Levy Director of the Brooklyn Museum, added, “We are truly grateful to Nancy for the wisdom and leadership she contributed during her tenure here at the Brooklyn Museum. From her thoughtful strategic planning contributions to reenergizing our curatorial department, exhibiting more of our historic collections, working on curatorial collaborations and prestigious partnerships, and boosting our public programs. Her time here has been a time of real action. We will build on these foundations and look forward to collaborating with Nancy in the future. We wish her all the best in this great new international adventure.”

About Nancy Spector

Nancy Spector received her Masters Degree in Art History from the Clark Art Institute at Williams College and her MPhil from City University Graduate Center in New York after graduating from Sarah Lawrence College. During more than 29 years at the Solomon R. Guggenheim Museum and Foundation, including 10 years as Deputy Director and Jennifer and David Stockman Chief Curator, she organized exhibitions on conceptual photography, Felix Gonzalez-Torres, Matthew Barney’s Cremaster cycle, Richard Prince, Louise Bourgeois (with Tate Modern), Marina Abramovic, Tino Sehgal, Maurizio Cattelan and Peter Fischli/David Weiss. She also organized the group exhibitions Moving PicturesSingular Forms (Sometimes Repeated); and theanyspacewhatever. She was Adjunct Curator of the 1997 Venice Biennale and co-organizer of the first Berlin Biennial in 1998. Under the auspices of the Deutsche Guggenheim Berlin, she initiated special commissions by Andreas Slominski, Hiroshi Sugimoto, Lawrence Weiner, and Gabriel Orozco, as well as a special exhibition on the work of Joseph Beuys and Matthew Barney.
She has contributed to numerous books on contemporary visual culture with essays on artists such as Maurizio Cattelan, Luc Tuymans, Roni Horn, Janine Antoni, Douglas Gordon, Tino Seghal, and Mona Hatoum. In 2007 she was the U.S. Commissioner for the Venice Biennale, where she presented an exhibition of work by Felix Gonzalez-Torres. Spector is a recipient of the Peter Norton Family Foundation Curators Award, five International Art Critics Association Awards, and a Tribeca Disruptive Innovation Award for her work on Youtube Play, a Biennial of Creative Video. In 2014, she was included in the 40 Women Over 40 to Watch list. At the Brooklyn Museum, where she worked for as Deputy Director and Curator from 2016-17, she reorganized the curatorial staff structure, launched the 10-exhibition program Year of Yes: Reimagining Feminism, and spearheaded the cross-collection, long-term exhibition Infinite Blue

About the Solomon R. Guggenheim Museum & Foundation

Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997) and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.
ZhouTao_InstallationViewTalesOfOurTime
SPRING 2017 PUBLIC PROGRAMS AT THE GUGGENHEIM MUSEUM
The Sackler Center for Arts Education at the Solomon R. Guggenheim Museum presents the following public programs and film series in conjunction with the exhibitions Tales of Our Time and Visionaries: Creating a Modern GuggenheimMORE >
Tales of Our Time Programs
Gallery Reading: Ken Liu
FRIDAY, FEBRUARY 17, 12 PM 
Author Ken Liu (The Grace of Kings and The Paper Menagerie and Other Stories) reads from his commissioned short story in the Tales of Our Time exhibition catalogue and other texts inspired by works on view.

Free with museum admission. Limited capacity. For more information, visit guggenheim.org/calendar.
Film Premiere and Director Q&A: The Swim, directed by He Xiangyu
SATURDAY, FEBRUARY 25, 1 PM
The Guggenheim hosts the U.S. premiere of The Swim, an art film with documentary characteristics. To create the film, artist He Xiangyu returned three times to his hometown in Kuandian—a poor county located by the Yalu River on the China–North Korea border. Through interviews with Korean War veterans, defectors from North Korea, and their families, The Swim unveils the cruel reality hidden behind the beautiful scenery of Kuandian and presents the utopian fantasy projected on individuals. The event concludes with a Q&A with He Xiangyu and Xiaoyu Weng, The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art.

Free with museum admission. For more information, visit guggenheim.org/filmscreenings.
Hypnotic Show
TUESDAY, MARCH 7, 7 AND 9:30 PM
WEDNESDAY, MARCH 8, 7 AND 9:30 PM
An exhibition that takes place in the mind—individual and collective—this intimate experiment in cognitive exhibition making through art and hypnosis was conceived by Raimundas Malašauskas and Marcos Lutyens. It explores how the image and concept of place can be depicted through alternative modes of narrative and serves as an imaginary ending to the exhibition.

$18, $15 members, $10 students. For more information, visit guggenheim.org/calendar.
Unwritten Rules Cannot Be Broken: Tea Gatherings
WEDNESDAYS, THROUGH MARCH 8, 1:30–5:45 PM
Since 2002 Yangjiang Group has been inviting neighbors in Yangjiang, its small hometown on the southern coast of China, to drink tea, play soccer, practice calligraphy, and enjoy communal dinners. As part of Unwritten Rules Cannot Be Broken, their newly commissioned work for Tales of Our Time, visitors are invited to converse and contemplate calligraphy over a cup of tea prepared and served by local tea brewers. Visitors are also encouraged to measure their blood pressure and heart rate before and after experiencing this installation—a humorous ploy designed to calculate the purported relaxing effects of a tea gathering.

Free with museum admission. No RSVP is required. For more information, visit guggenheim.org/calendar.
Tales of Our Time Tours in Mandarin
SATURDAYS, 12–1 PM
Join a conversational tour of Tales of Our Time in Mandarin facilitated by an educator trained in art history and gallery teaching.

Free with museum admission. For more information, visit guggenheim.org/calendar.
Tales of Our Time Film Program
FRIDAYS AND SATURDAYS, THROUGH FEBRUARY 25, 1 PM
These documentary and narrative films explore topics shared with the exhibition, investigating concepts such as boundaries, territory, migration, and place. Screenings take place in the New Media Theater, Lower Level, and are free with museum admission. For more information, visit guggenheim.org/filmscreenings

February 3–4Traces of an Invisible City, directed by Bo Wang and Pan Lu; The Wangs, directed by Bo Wang (Both screenings include a Q&A session with the director.)
February 10–11Life after Life, directed by Zhang Hanyi
February 17–18Terra Nullius or: How to Be a Nationalist, directed by James T. Hong (Both screenings include a Q&A session with the director.)
February 24–25The Swim, directed by He Xiangyu (February 25 screening includes a Q&A session with the director.)
Visionaries Programs
Long-Look Wednesdays
WEDNESDAYS, FEBRUARY–AUGUST 
Each Wednesday during the run of Visionaries, museum visitors have the opportunity to explore the Guggenheim collection, including one-hour focused experiences with a single work, in specialist-led learning experiences.

One Hour, One Object Tours
WEDNESDAYS, 2 PM Join a museum educator trained in art, art history, and gallery teaching to spend an hour focusing in detail on one work of art through conversation and close looking.

Collection in Focus
SELECT WEDNESDAYS, 12 PM Join a curator and conservator in the galleries for an in-depth discussion of topics including new historical research and scientific conservation studies/analyses. Limited capacity.

Curator’s Eye Tour of Visionaries
APRIL 12, 12 PM Megan Fontanella, Curator, Collections and Provenance, and curator of Visionaries, leads a tour of the exhibition.
Free with museum admission. Some events have limited capacity. For more information, visit guggenheim.org/calendar. 
Eye to Eye: Artist-Led Tours
TUESDAYS, APRIL 11 AND MAY 23, 6:30 PM
Guggenheim collection artists lead intimate after-hours tours through Visionaries, offering their unique perspectives on the works and  reflections on such topics as abstraction, mediums, and materials. Each program includes a reception in the Guggenheim rotunda.

April 11: Lucy Dodd
May 23: Julia Dault

$25, $20 members, $12 students. For more information, visit guggenheim.org/calendar
Peggy Guggenheim: Art Addict
FRIDAYS AND SATURDAYS, MARCH 3–25, 1 PM
On the occasion of Women’s History Month, the Guggenheim hosts weekly screenings of Peggy Guggenheim: Art Addict, directed by Lisa Immordino Vreeland. The film focuses on a key figure in the Guggenheim’s institutional history as she moved through the cultural upheaval of the 20th century to build one of the most important collections of modern art today.

Screenings take place in the New Media Theater, Lower Level, and are free with admission. For the full schedule, visit guggenheim.org/filmscreenings.
Seventh Annual Robert Rosenblum Lecture
John Giorno and Ugo Rondinone
APRIL 25, 6:30 PM 
Poet John Giorno and artist Ugo Rondinone met at a reading in 1997 and have since become life partners and each other’s muses. For the Seventh Annual Robert Rosenblum Lecture, Giorno and Rondinone discuss and reflect on their respective creative practices  in a conversation moderated by Laura Hoptman, Curator, Department of Painting and Sculpture, Museum of Modern Art. The program concludes with a reception in the Guggenheim’s iconic rotunda.
Free with RSVP. To RSVP or for more information, visit guggenheim.org/calendar.

This series is facilitated by the donors to the Robert Rosenblum Fund who are greatly acknowledged for their generosity.
Mind’s Eye Tours
SELECT MONDAYS, 6:30 PM, AND SELECT WEDNESDAYS, 2 PM 
For visitors who are blind or have low vision, these tours and workshops are presented through verbal description, conversation, sensory experiences, and creative practice. Free, RSVP required. For more information, visit guggenheim.org/mindseye.

Monday, February 13: Love and Art
Wednesday, March 8: Visionaries
Monday, April 3: Guggenheim Collection: Focus on Brancusi
Art After Dark
FRIDAY, MARCH 3, 9 PM–MIDNIGHT; EXCLUSIVE MEMBERS' HOUR: 8–9 PM 
An after-hours private viewing of current exhibitions, including Visionaries: Creating a Modern Guggenheim and Tales of Our Time, featuring a cash bar and live musical entertainment.

Free for members, $25 general admission. Purchase tickets online in advance or become a member. Cash bar serves wine and beer. Guests will be asked for a photo ID. Limited general admission tickets will go on sale closer to the event date. No tickets are sold at the door.


 China Institute
  Renwen Society

Symposium on Liu Haisu,    

Pioneer of Modern Chinese Art

Sunday, December 42:00-4:00pm

Speakers: Ms. Liu Chan, Mr. Chen Lusheng, Ms. Zhang Anna
Event fee: FREE
40 Rector Street, 2nd Floor, New York, NY 10006




Liu Haisu was a prominent twentieth-century Chinese painter and a noted art educator. He excelled at combining traditional Chinese painting methods with European techniques, especially those of van Gogh and Cézanne, and promoted this style as a model for revolutionizing art education in China. As the leader of art schools in Shanghai and Nanjing, Liu exerted extraordinary influence. The scion of a distinguished literary family, Liu studied calligraphy under Kang Youwei and traditional landscape and flower painting under Wu Changshi and Chen Hengke. He became one of the founders of the Shanghai Academy, the first art college in modern China. During the 1920s and '30s he organized several important national and international exhibitions and toured Japan and Europe, where he studied Western techniques and exhibited his own works. As a teacher, Liu maintained that painters should combine a knowledge of formal art theory with their natural talent and personal judgment, a departure from the Chinese tradition of copying the compositions and techniques of old masters. His works in traditional Chinese style were free-flowing and brilliant in color.  

To commemorate the 120th anniversary of his birth, The Renwen Society presents a special symposium on the art legend on Sunday, December 42-4 pmSpeakers include: 
Ms. Liu Chan, daughter of Liu Haisu, Guest Professor at Nanjing University of the Arts, Honorary President of the Liu Haisu Gallery in Changzhou 
Mr. Chen Lusheng, Former Vice President of the National Museum of China 
Ms. Zhang Anna, President of Changzhou Liu Haisu-Xiayiqiao Art Museum

Follow Renwen's WeChat: chineselectures  


About l Gallery Exhibitions l Programs & Events l School l Center For Business l Join & Support l Calendar

Abu Dhabi Tourism & Culture Authority Announces Second Exhibition of Guggenheim Abu Dhabi Collection: The Creative Act: Performance • Process • Presence

Abu Dhabi Tourism & Culture Authority Announces Second Exhibition of the Guggenheim Abu Dhabi Collection, Opening March 8


The Creative Act: Performance • Process • Presence will offer a transcultural perspective on art since the 1960s
Niki de Saint Phalle
Pirodactyl over New York, 1962
Paint, plaster, and various objects on two wood panels, 249.9 x 309.9 x 29.8 cm
Guggenheim Abu Dhabi
© Niki Charitable Art Foundation; Courtesy Galerie Georges – Philippe & Nathalie Vallois
Photo: © André Morain, Courtesy Niki Charitable Art Foundation and Galerie GP & N Vallois, Paris

Exhibition: The Creative Act: Performance • Process • Presence
Venue: Manarat Al Saadiyat, Cultural District, Abu Dhabi, United Arab Emirates
On View: March 8, 2017
(ABU DHABI, November 7, 2016)Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi) announced today the second exhibition of the Guggenheim Abu Dhabi collection, The Creative Act: Performance• Process • Presence, at Manarat Al Saadiyat on Saadiyat Island. The exhibition, which will run from March 8, 2017, will bring together artists of different nationalities and generations who have emphasised performance, process, and human presence in their practice, offering a transcultural perspective on these defining aspects of contemporary art. The Creative Act: Performance • Process • Presence follows the 2014 exhibition Seeing Through Light: Selections from the Guggenheim Abu Dhabi Collection, which welcomed more than 90,000 visitors and presented artworks from the Guggenheim Abu Dhabi collection for the first time.
HE Saif Saeed Ghobash, Director General of TCA Abu Dhabi, said: “Abu Dhabi has become a vibrant cultural destination through unique public engagement programmes establishing an interactive dialogue between Abu Dhabi and the world, and creating its own cultural characteristic around its urban and contemporary landscapes. The Creative Act exhibition will emphasise intertwined histories among countries, within regions, and across continents, consistent with the curatorial vision of the Guggenheim Abu Dhabi, and echoing TCA Abu Dhabi’s strategic endeavours to transform Abu Dhabi to a hub for world cultures. This exhibition will highlight connections between contemporary artists revealing common sources of inspiration, lines of influence, and distinctive contributions.”
Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation said:  “As with Seeing Through LightThe Creative Act presents some of the dynamic, original curatorial research underway for the future Guggenheim Abu Dhabi and draws back the curtain on the creative process through the work of a diverse group of artists featured in the growing collection. Many works in the exhibition focus on particular locales, among them Abu Dhabi, London, New York, Paris, and Tokyo. Both individually and collectively, they reveal a sense of wonder and magic that can be found in the everyday.”
The Creative Act exhibition will feature more than 25 works in a variety of media—installation, painting, photography, sculpture, video, and works on paper, representing more than 18 artists. The exhibition will focus on the related themes of performance, process, and presence, which frame the exhibition’s curatorial narrative:
PerformancePerformances can unfold in a given time and place, remaining afterward as recordings and documentations, and they can serve primarily as the means for creating discrete objects. Since the 1960s, many artists have adopted performative practices, sometimes serving as the central protagonist and undertaking carefully choreographed or spontaneous actions, and other times functioning as directors by providing instructions to participants. These aspects will be explored in The Creative Act, through works by artists such as Rasheed Araeen and Mohammed Kazem.
ProcessThe exhibition will bring together artworks that emphasise the act of creation and will feature photographs, films, videos, and archival documentation that will animate the methodology, inspiration, and innovation of the included artists. Many of the artists stress the importance of process, producing works that reveal how they were made, that forefront materiality, and that allow for transformation over time or in response to viewer interaction. Their art and related archival materials will bring to life the dynamic working methods of artists such as Shiraga Kazuo and Tanaka Atsuko, who were associated with the Gutai Art Association (Japan, 1954–1972). The Creative Act also will feature another group of 1960s pioneers, among them Niki de Saint Phalle and Günther Uecker, who are known for their development of experimental approaches that involve the use of ostensibly destructive techniques and everyday materials to comment on contemporary society. The section will also feature an artwork by Anish Kapoor who is known for his large-scale geometric and biomorphic sculptures reminiscent of nature and living organisms.
Presence
The Creative Act also will delve into the theme of human presence, manifested by the appearance of the artist or others in the artworks as well as visible traces of the physical acts undertaken to realise them. Three immersive installations particularly exemplify this aspect. Works on paper and a video installation by Susan Hefuna examine similarities between the choreography of dance and people’s everyday movements as they traverse city streets.
The Creative Act: Performance • Process • Presence is curated by Valerie Hillings, Ph.D., Curator and Manager, Curatorial Affairs, Abu Dhabi Project; Sasha Kalter-Wasserman, Assistant Curator, Abu Dhabi Project; with Sarah Dwider, Curatorial Assistant, Abu Dhabi Project, Solomon R. Guggenheim Foundation; and Maisa Al Qassimi, Head of Programmes – Guggenheim Abu Dhabi, with Muneera Al Sayegh, Programmes Officer – Guggenheim Abu Dhabi, Abu Dhabi Tourism & Culture Authority.
About Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi)
Abu Dhabi Tourism & Culture Authority conserves and promotes the heritage and culture of Abu Dhabi emirate and leverages them in the development of a world-class, sustainable destination of distinction, which enriches the lives of visitors and residents alike. The authority manages the emirate’s tourism sector and markets the destination internationally through a wide range of activities aimed at attracting visitors and investment. Its policies, plans and programmes relate to the preservation of heritage and culture, including protecting archaeological and historical sites and to developing museums, including the Louvre Abu Dhabi, Zayed National Museum and Guggenheim Abu Dhabi. TCA Abu Dhabi supports intellectual and artistic activities and cultural events to nurture a rich cultural environment and honour the emirate’s heritage. A key authority role is to create synergy in the destination’s development through close co-ordination with its wide-ranging stakeholder base. http://tcaabudhabi.ae/en
About Guggenheim Abu Dhabi
The Guggenheim Abu Dhabi museum will promote the understanding and appreciation of contemporary art, architecture, and other manifestations of modern and contemporary visual culture from an international perspective. A curatorial programme with a transcultural perspective on art and visual culture from the 1960s to the present will have a strong focus on art from West Asia, North Africa, and South Asia, exploring the specific identity derived from the cultural traditions of Abu Dhabi and the United Arab Emirates. The future museum, and its growing collection, is owned by the Government of Abu Dhabi. Surrounded almost entirely by water, Guggenheim Abu Dhabi will have spectacular views of the Saadiyat Cultural District and the Arabian Gulf. Galleries, many unprecedented in scale, are distributed around the central atrium on four levels connected by glass bridges above. Open to the elements, the museum cones housing contemporary art commissions, recall the region’s ancient wind-towers, which both ventilate and shade the exterior courtyards in a fitting blend of Arabian tradition and modern design. The museum will also feature a 350-seat theatre, education workshops and classrooms, an onsite conservation lab, as well as a retail store, cafes, and a restaurant.
The museum will be a catalyst for scholarship in a variety of fields, chief among them the history of art from West Asia, North Africa, and South Asia in the 20th and 21st centuries. A dynamic programme of changing exhibitions will explore common themes and affinities among the work of artists across time and geography. An ambitious programme of commissions created for the collection and exceptional spaces of the Guggenheim Abu Dhabi will reinforce the museum’s commitment to working with artists and the art of our time.
Guggenheim Abu Dhabi is being developed in collaboration with the Solomon R. Guggenheim Foundation.
About the Solomon R. Guggenheim FoundationFounded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997) and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.


Guggenheim Presents Recent Art from the Middle East and North Africa in the Third Exhibition of the Guggenheim UBS MAP Global Art Initiative

But a Storm Is Blowing from Paradise Opens April 29 at the Solomon R. Guggenheim Museum in New York and Travels to the Pera Museum in Istanbul in 2017


Exhibition: But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North AfricaVenue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Location: Tower 4 and Tower 5 Galleries
Dates: April 29–October 5, 2016
Media Preview: Thursday, April 28, 2016, 10 am–12 pm
(NEW YORK, NY—April 28, 2016)—From April 29 to October 5, 2016, the Solomon R. Guggenheim Museum in New York presents But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, the third exhibition of theGuggenheim UBS MAP Global Art Initiative. Organized by Sara Raza, Guggenheim UBS MAP Curator, Middle East and North Africa, the exhibition features a wide range of artistic voices and critical concerns from a rapidly evolving region through installation, photography, sculpture, video, and work on paper. Interwoven with questions and ideas about the region’s colonial histories, the exhibition investigates such themes as architecture and geometry, modernism and migration, and the process of unearthing hidden ideas.
As with the two previous exhibitions in the MAP initiative, which focused on contemporary art practice from South and Southeast Asia and Latin America, But a Storm Is Blowing from Paradise features artworks that have been recently acquired for the Guggenheim’s collection. Under the auspices of the Guggenheim UBS MAP Purchase Fund, the collection has now grown by over 125 works from more than 85 artists and collectives. Curatorial research for the exhibition was developed with an eye toward building on the Guggenheim’s distinguished history of internationalism, as well as fostering new scholarship and conceiving a range of educational initiatives and public programs within the museum and online. On-site and digital programs have served more than 14,000 adults, families, educators, and students worldwide. Following its presentation at the Guggenheim, the exhibition will travel to the Pera Museum in Istanbul in 2017.
Sara Raza said, “The exhibition enables viewers to experience a range of concerns among artists from a variety of access points to showcase the cross-circulation of knowledge. One of them is the migration of ideas and peoples in an age of anxiety, when civil liberties and freedom of movement have come under repeated attack. Another is architecture seen as an ideological tool and in reference to the former colonial powers that shaped the region. The exhibition’s artworks also embed numerous proposals—we might think of them as ‘conceptual contraband’—that contradict the mass media’s highly politicized representation of the Middle East and North Africa. As such, But a Storm Is Blowing from Paradisehighlights the formation of the present while acknowledging the continued influence of the past.”
“This exhibition bristles with challenging ideas and uncompromising artistic strategies, all of which help us to reflect upon a crucial region of today’s world,” said Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. “It is a superb realization of the ambitions of the MAP initiative in particular and the Guggenheim’s global program in general. We are grateful to our long-term collaborator and supporter UBS, to Sara Raza and our curatorial and education team, and to the artists in this exhibition for helping us rethink and expand the traditional purview of European and North American art museums. By working on the ground in different regions of the world with artists, arts professionals, and audiences, we can open the discussion to multiple histories of art and create a museum that more faithfully represents the world in which we live.”
“Artists rooted in the vibrant cultures of the Middle East and North Africa are currently addressing some of today’s most critical issues, and doing so from within a region at the center of sweeping global change,” said Jürg Zeltner, CEO, UBS Wealth Management. “The Guggenheim UBS MAP Global Art Initiative provides an exceptional opportunity to encounter the crucial ideas and insights of some of the best of these artists, and to engage in the kind of international dialogue that contributes to positive change. At UBS, our support for this exhibition, and for the MAP initiative as a whole, parallels our holistic approach to business relationships. We take pride in enabling our clients, employees, and the public to participate in the provocative and exciting creative community of the arts, much as we facilitate our clients’ informed involvement in the complex global economy.”
Exhibition Overview
But a Storm Is Blowing from Paradise features 18 works—many of them large-scale, mixed media installations—by 17 artists. The exhibition, installed on two levels of the museum’s Tower Galleries, draws its title from an artwork by Rokni Haerizadeh, which in turn is quoted from German philosopher Walter Benjamin in a noted essay from 1940. Haerizadeh’s But a Storm Is Blowing from Paradise (2010) is a suite of works on paper based on images appropriated from mainstream news sources. By overlaying these photographs of collective gatherings with gesso, ink, and watercolor, the artist employs fable to transform human protagonists into part-animal hybrids while rendering a grotesque view of downward descending contemporary events promulgated by the mass media.
Other works that implicitly challenge existing representations of the Middle East and North Africa include Latent Images, Diary of a Photographer, 177 Days of Performances (2015) by Joana Hadjithomas and Khalil Joreige, an installation of 354 books, displayed on 177 metal shelves, that purport to contain written descriptions of pictures taken by a fictional photographer, Abdallah Farah, during the Lebanese Civil War to illustrate the fine line between the process of mythmaking and the “real.”
Among the works that touch on the urgent subject of the migration of people and ideas isFlying Carpets (2011) by Nadia Kaabi-Linke, a stainless steel structure installed overhead that casts shadows in the gallery that evoke the outlines of the carpets on which undocumented migrants from North Africa and Asia display the goods they sell to tourists in Venice.
Architecture figures as a key element in the formation of modernism in the region and is prevalent in several works including Untitled (Ghardaïa) (2009) by Kader Attia, a scale model in couscous of the Algerian World Heritage Site of Ghardaïa, the traditional buildings of which influenced the modernism of Le Corbusier; Building (2009) by Susan Hefuna, a suite of nine drawings that suggest both cartographic diagrams and sketches of architectural elements such as the mashrabiya or traditional latticed window; Plan for Greater Baghdad(2015) by Ala Younis, a large installation of archival materials and architectural models of the gymnasium designed for Baghdad in 1957 by Le Corbusier and inaugurated in 1980 as the Saddam Hussein Gymnasium. By contrast, Abbas Akhavan’s Study for a Monument(2013–16), a series of bronze casts of plants native to the Tigris-Euphrates river system that are placed on the floor atop white sheets, suggests a range of alternative ideas around the culture and dissemination of public monuments.
A hybridized view of past and present is presented by Ergin Çavuşoğlu’s work Crystal & Flame (2010), which draws on literary texts from the nineteenth and twentieth centuries to meditate on social norms and moral codes through the depiction of three outwardly disparate but ultimately complimentary narratives that probe systems of value and polarity in contemporary society. Similarly, Ahmed Mater’s Disarm (2013) and Disarm 1–10 (2013), present video and photographs taken by the artist from the cockpit of a Saudi military helicopter scouting for unauthorized pilgrims approaching Meccathereby highlighting an urban landscape undergoing rapid structural and social change.
To showcase the breadth of videos acquired, two will be rotated halfway through the installation: A Brief History of Collapses (2012) by Mariam Ghani, a two-channel video installation that contrasts the eighteenth-century Fridericianum in Kassel, Germany (now restored from the damage it suffered in World War II) with the Dar ul-Aman Palace in Kabul, Afghanistan (built in 1929 and now a ruin), will be on view through July 6, along with Çavuşoğlu’s Crystal & Flame. Zineb Sedira’s Gardiennes d’images (2010), a multichannel video that explores the archive of Algerian-French photographer Mohammed Kouaci (1922–1996), who was active during the Algerian war of independence, and the reminiscences of his widow who is interviewed by the artist, will be on view from July 8 through the close of the exhibition. Evaders (2009), a two-channel video installation by Ori Gersht, which chronicles the 1940 flight into exile and subsequent death of Walter Benjamin, returns to the pertinent subject of migration and will also be on view beginning on July 8.
Artists represented in the exhibition are:
  • Abbas Akhavan (b. 1977, Tehran; lives and works in Toronto)
  • Kader Attia (b. 1970, Paris; lives and works in Berlin)
  • Ergin Çavuşoğlu (b. 1968, Targovishte, Bulgaria; lives and works in London)
  • Ali Cherri (b. 1976, Beirut; live and works in Beirut and Paris)
  • Ori Gersht (b. 1967, Tel Aviv; lives and works in London
  • Mariam Ghani (b. 1978, New York; lives and works in New York)
  • Joana Hadjithomas and Khalil Joreige (b. 1969, Beirut, Lebanon; live and work in Beirut and Paris)
  • Rokni Haerizadeh (b. 1978, Tehran; lives and works in Dubai)
  • Susan Hefuna (b. 1962, Berlin; lives and works in Düsseldorf)
  • Iman Issa (b. 1979, Cairo; lives and works in New York)
  • Nadia Kaabi-Linke (b. 1978, Tunis; lives and works in Berlin)
  • Mohammed Kazem (b. 1969, Dubai; lives and works in Dubai)
  • Hassan Khan (b. 1975, London; lives and works in Cairo)
  • Ahmed Mater (b. 1979, Tabuk, Saudi Arabia; lives and works in Jeddah, Saudi Arabia)
  • Zineb Sedira (b. 1963, Paris; lives and works in London)
  • Ala Younis (b. 1974, Kuwait; lives and works in Amman, Jordan, and London)
Additional acquisitions for the Guggenheim UBS MAP collection include work by artists Lida Abdul (b. 1973, Kabul; lives and works in Los Angeles and Kabul), Emily Jacir (b. 1972, Bethlehem, lives and works in Rome, Italy and Ramallah, Palestine) and Gülsün Karamustafa (b. 1946, Ankara, Turkey; lives and works in Istanbul.)
But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa is organized by Sara Raza, Guggenheim UBS MAP Curator, Middle East and North Africa. Joan Young, Director of Curatorial Affairs, Solomon R. Guggenheim Museum, provides curatorial oversight for the MAP initiative with Amara Antilla, Assistant Curator.
Public and Education Programs
But a Storm Is Blowing from Paradise is accompanied by a range of public, educational, and online programs. Highlights include a summer launch of performative debriefings by research group Public Movement that reexamine art histories throughout the exhibition, as well as a residency with Beirut-based artist and musician Raed Yassin, who will create a soundtrack inspired by the exhibition’s themes to be released in late July; a four-week film series, Hello Guggenheim, co-presented with Bidoun Projects from May 6 to 30; an Open House for Educators on May 16; artist talks featuring Ahmed Mater and Ala Younis on April 30 and Ori Gersht and Zineb Sedira on July 12; Sunday gallery conversations with multidisciplinary educators and scholars; gallery tours in Arabic and French on select Saturdays; a special two-part Mind’s Eye workshop for people who are blind or have low vision led by artist Susan Hefuna on August 1 and 10; an academic symposium in September; a technology and new media arts-based summer camp for 8- to 11-year olds from June 13 to 17, and a summer drawing series for families on July 17, 24, and 31, and drop-in family and school programs throughout the run of the exhibition. Education resources include a Family Activity Guide and Teacher’s Resource Guide, and a multimedia app featuring both commentary by the curator and exhibition artists, and verbal descriptions authored by Guggenheim educators. For more information, visitguggenheim.org/calendar.
Guggenheim Launches New Website Design
Enhanced Features Maximize Interaction with Art and Ideas

(NEW YORK, NY—April 21, 2016)—The Solomon R. Guggenheim Foundation launched an updated Guggenheim.org today, with a new user experience and design that places artworks at center stage, facilitates easy navigation of visitor information, and encourages engagement with the Guggenheim’s global, educational, and curatorial programs. The relaunch maximizes users’ interaction with art and ideas while preserving the institution’s visual and conceptual heritage.

It Takes Two at the Guggenheim Museum on April 23

Noted Speakers and Performers Address Creativity in Pairs Across Art, Architecture, Dance, Film, and Music for the Final Week of Peter Fischli and David Weiss Retrospective
Participants to Include Artist Matthew Barney and Composer Jonathan Bepler, Experimental Electronic Band Matmos, Architects Elizabeth Diller and Ricardo Scofidio, Filmmakers and Producers Moira Demos and Laura Ricciardi, and Philosopher Simon Critchley
(NEW YORK, NY—March 30, 2016)—The Solomon R. Guggenheim Museum presents It Takes Two on Saturday, April 23 from 9 pm to 4 am. This durational, multidisciplinary program is presented on the occasion of the retrospective Peter Fischli David Weiss: How to Work Better, on view through April 27. For the program, exhibition curators Nancy Spector and Nat Trotman, with Ben Vershbow, Director, New York Public Library Labs, invited a wide range of speakers and performers to address questions posed by Fischli and Weiss’s lifelong collaboration, including: Why do creative minds gravitate toward one another? What is the unique result of creating in pairs? Why is the trope of the comic/tragic duo so prevalent in film and literature?
Tickets are $30, $20 members, $15 students, and include overnight access to the Fischli Weiss exhibition. A cash bar will be available. Further details, an event schedule, and ticketing information will be posted atwww.guggenheim.org/ittakestwo
The list of participants is as follows, and is subject to change:
Artist Matthew Barney and composer Jonathan Bepler
Professor Beatriz Colomina, Princeton University
Lise Anne Couture and Hani Rashid, Asymptote Architecture
Professor and philosopher Simon Critchley, The New School
Performance duo Dancenoise
Filmmakers and producers Moira Demos and Laura Ricciardi, of the series “Making a Murderer”
Architects Elizabeth Diller and Ricardo Scofidio
Artist duo Elmgreen & Dragset
Art and performance duo Fischerspooner
Artist duo Gerard & Kelly
Renate Goldmann, Director of the Leopold-Hoesch-Museum and Papiermuseum Düren, Germany
Choreographer David Gordon and dancer Valda Setterfield
Artists and fashion photographers Inez van Lamsweerde and Vinoodh Matadin
Academy Award-winning songwriters Kristen and Bobby Lopez, of Disney’s film Frozen
Artist Nate Lowman
Giorgia Lupi and Stefanie Posavec, creators of the Dear Data project
Experimental electronic band Matmos
Curator Linda Murray, New York Public Library
Associate Professor Bibiana Obler, George Washington University
Curator Christopher Phillips, International Center of Photography
Curator Doug Reside, New York Public Library
Multimedia performance and music duo Royal Osiris Karaoke Ensemble
Joshua Wolf Shenk, author of Powers of Two
Artist duo Doug and Mike Starn
Architects Tod Williams and Billie Tsien
For general information, call 212 423 3500 or visit the museum online atguggenheim.org and guggenheim.org/connect.
Exhibition Funders
Major support for the exhibition has been provided by Laurenz Foundation, Schaulager, Basel.

The Leadership Committee for Peter Fischli David Weiss: How to Work Better is gratefully acknowledged for its support, with special thanks to Chairs Maja Oeri and Hans Bodenmann. Additional support is provided by Matthew Marks; Monika Sprüth and Philomene Magers; Galerie Eva Presenhuber; Glenstone; Collection Ringier; Alfred Richterich; Per Skarstedt; Walter A. Bechtler Foundation, Switzerland; Thomas Ammann Fine Art AG, Zürich; Ulla Dreyfus-Best; Hauser & Wirth; Gigi and Andrea Kracht; Arend and Brigitte Oetker; and Sylvie Winckler.

Funding is also generously provided by ART MENTOR FOUNDATION LUCERNE, National Endowment for the Arts, the Swiss Arts Council Pro Helvetia, and New York State Council on the Arts.

Chiang Yee: The Silent Traveller from the East

Bookmark and Share
Boook cover showing photo pf Chiang Yee and Chiang's illustration of geese flying in formation
Professor Da Zheng's book is a cultural biography of Chiang Yee, whose illustration of geese in flight is part of the exhibit, courtesy of the Boston Athenaeum.