In conjunction with Simon Lee Gallery New York’s group exhibition Studio Photography: 1887-2019, the gallery will present a free, weekly screening program of films selected by artists on Wednesday evenings throughout the summer.

Seating is limited, please RSVP to jeremy@simonleegallery.com

Film still: Women on the Verge of a Nervous Breakdown, directed by Pedro Almodóvar, 1988.

Opening at the Badischer Kunstverein under the title Grammar and Glamour is the first major solo exhibition in Germany devoted to the Swiss artist Mai-Thu Perret. The show features a representative selection of works, with a focus on current projects. Perret works with diverse formats and media, including painting, sculpture, ceramics, tapestry, film, performance, and texts.

For more information, please click here. 

Image: Mai-Thu Perret, Mirror Logic, 2019

Photography: Stuart Whipps

Works by acclaimed Italian artist Michelangelo Pistoletto can be seen throughout the city of Buenos Aires as part of this year's International Contemporary Art Biennial of South America, BIENALSUR.

For more information, please click here.

Image: Michelangelo Pistoletto, Venus of the Rags, 1967, 1974. Courtesy of Hirshorn Museum and Sculpture Garden

The National Ballet of Portugal will perform Fifteen dancers and changeable tempo, by João Penalva and Rui Lopes Graça.

Directed and designed by João Penalva

Choreography by Rui Lopes Graça

Sound by David Cunningham

Lighting by Nuno Meira

Photograph: Bruno Leitão

World-renowned photographer/filmmaker Larry Clark was born and raised in Tulsa. From 1963 to 1971, he photographed the daily lives of his friends. He captured unforgettable images of sex, violence, and drug use alongside intimate moments of solitary contemplation. These images were collected in Clark’s legendary and controversial 1971 book, Tulsa.

For more information, please click here.

Image: Larry Clark, Billy Mann (T2), 1963

The exhibition presents the work of Polish artists, among them Paulina Ołowska, in the broader context of international women’s painting, which takes on the challenge of representing the intensity of the external and internal worlds. The invited artists propose an affirmative version of womanhood by endowing their bodies with agency, autonomy and power of self-determination. The eponymous paint becomes a visceral, sticky matter that leads us towards the point where all meanings collapse. It blurs the categories of power and objectification, thus provoking the question of when do we look, and when do we look away?

For more information, please click here.

Image: Paulina Ołowska, Her English Is Far From Perfect..., 2013

Marnie Weber emerged in Los Angeles’s punk music and performance art scene of the 1980s, and has since become known for installations in which sculpture, film, music, costuming, and collage come together to form whole, fantastical worlds. Weber’s homespun, haunted-house aesthetic evokes the gothic side of American folkloric traditions, imparting a sense of old-time magic to narratives of lost innocence. Her dream-like films feature a cast of motley characters, including animals, monsters, trees, and clowns, with supernatural female protagonists at their centers. In the artist’s macabre fairy tales, these figures navigate uncanny landscapes on journeys of transformation.

For more information, please click here.

Film still: © Marnie Weber, The Campfire Song, 2008 / Courtesy of Simon Lee Gallery

Hinge Pictures: Eight Women Artists Occupy the Third Dimension is an exhibition in eight-parts, a confrontation with the patrimony of European modernism in the practices of eight leading women artists: Sarah Crowner, Julia Dault, Leslie Hewitt, Tomashi Jackson, Erin Shirreff, Ulla von Brandenburg, Adriana Varejão, and Claudia Wieser.

For more information, please click here.

Installation View: Sarah Crowner: Sapphire Tapestry Part 1, 2 & 3, Cacno, New Orleans

Photo credit: Courtesy the Contemporary Arts Center and Alex Marks

Annette, Adele, and Lee is the title of the new ballet by Rui Lopes Graça and João Penalva for the National Ballet of Portugal. 

The three proper names of the title may suggest a love triangle, but this is not a narrative ballet. They are, in fact, the names of three tap dance dancers recorded in a London sound studio in order to produce the material with which David Cunningham was to compose the sound for this ballet.

The classical ballet trained dancers we see dance to the sound of their tap dancing peers. As for these, we can only imagine them and wonder what they may look like. However, the thirty minutes of great complexity of sound and choreographic patterns in which their presence is continuous will make their names memorable.

It could be said that Annette, Adele, and Lee is, after all, a story of dancers.

For more information, please click here. 

“What you are basically deep deep down, far, far in, is simply the fabric and structure of existence itself” - Alan Watts

Deep deep down, far far in (and out) is an exhibition curated by Sérgio Fazenda Rodrigues, that presents a selection of sixteen works by twelve artists, among them João Penalva, all belonging to the collection of the Fundação Leal Rios, arranged along two floors and four environments. Deepening the relationship between two different movements, one introspective and the other expansive, the notion of focus shares the stage with the idea of inclusiveness, and each work calls for both an individual and a collective reading.

For more information, please click here.

Exhibition View: João Penalva, Deep deep down, far far in (and out), Fundação Leal Rios, 2019 

Photo credit: © João Penalva and Fundação Leal Rios 

Photography: Bruno Lopes

The Whitney Biennial is an unmissable event for anyone interested in finding out what’s happening in art today. Curators Jane Panetta and Rujeko Hockley have been visiting artists over the past year in search of the most important and relevant work. Featuring seventy-five artists, among them Eric N. Mack, and collectives working in painting, sculpture, installation, film and video, photography, performance, and sound, the 2019 Biennial takes the pulse of the contemporary artistic moment. Introduced by the Museum’s founder Gertrude Vanderbilt Whitney in 1932, the Biennial is the longest-running exhibition in the country to chart the latest developments in American art.  

For more information, please click here.

Image: Eric N. Mack, (Easter )The Spring / The Holy Ground, 2018 

The Pompidou Center revisits the work of Bernard Frize, an essential French painter of the international art scene, since its beginnings in 1977. Known for its abstract conceptual paintings, during the 1980s, Frize incorporates figurative elements into his practice and also interested in photography. 

Six themes structure the course of Oulipian inspiration and deliberately paradoxical: "With unreason, without effort, with system, without system, with mastery, without stoppping."

For more information, please click here. 

Image: Bernard Frize, Session, 1999

On the occasion of the 58th edition of the Venice Art Biennale, a major retrospective of Korean artist Yun Hyong-keun (1928 – 2007) will be presented at Palazzo Fortuny by the MMCA (National Museum of Modern and Contemporary Art, Korea) and MUVE (Civic Museums of Venice). The exhibition will be the first international retrospective show of the artist since his death in 2007 and follows a critically-acclaimed exhibition of his work at MMCA Seoul. The show will focus on Yun’s extraordinary life and work and will present 55 of Yun’s works that span his entire career. One of the highlights of the exhibition will be a meticulous reproduction of Yun’s atelier which will include outstanding works by other artists (Kim Whanki, Jeon Roe-jin and Choi Jongtae), which Yun had in his studio. While recognising his role in the development of Dansaekhwa, this retrospective aims to examine Yun's work in its own right and from a new perspective.

Curator: Kim Inhye, National Museum of Modern and Contemporary Art, Korea

Image: Yung Hyong-keun, Umber-Blue, 1975

Photo credit: © Yun Seong-ryeol / Courtesy The Estate of Yun Hyong-keun

In June 2019 the Marciano Art Foundation will present OBSIDIAN LADDER, the first large-scale solo exhibition in the United States by Donna Huanca. Huanca’s site-specific installation for MAF’s 13,000-square-foot Theater Gallery will reveal a new topography of triggered senses, combining sound, scent, and live performance.

OBSIDIAN LADDER will challenge the space of the former Scottish Rite Masonic Temple as a site of projected male power. In a series of regular performances taking place throughout the five-month run of the exhibition, painted femme models will inhabit the Theater Gallery as part of a direct intervention of a space formerly relegated to a secret order of men.

For more information, please click here.

Image: Donna Huanca, MUŠḪUŠŠU, 2018

Photo credit: Courtesy of Simon Lee Gallery and Peres Projects, Berlin

Experience Eric N. Mack’s site-specific installation Lemme walk across the room through a series of unique activations organized by the artist. First, Mack and curator Ashley James lead a special tour of the installation. Then, enjoy three artistic responses to Mack’s work. Poet and essayist April Freely offers a poetry set; Devin KKenny and Justin Allen present a new performance that incorporates manipulated found sound and tap dancing with movement, speech, and music; and MHYSA, the pop-star alter-ego of artist E. Jane, performs “Oasis,” which takes inspiration from R&B singer Kelis.

For more information, please click here.

Installation view: Eric N. Mack: Lemme walk across the room, Brooklyn Museum, New York

Photography: Jonathan Dorado

Japan Society Gallery cordially invites you and your guest to a Radical 60s Gallery Hop, an exploration of the experimental art of the 1960s and onward, focusing on Radical Japanese artists! Join Yukie Kamiya, Director of Japan Society Gallery, as we visit four must-see NYC gallery exhibitions, among them Keiji Uematsu: Invisible Force at Simon Lee Gallery  focusing on radical artists from the 1960s and onward.

Saturday, April 6th, 1-5pm 

Image: Keiji Uematsu, Vertical Position, 1973

To coincide with the exhibition of Simon Lee Gallery, New York, Invisible Force, there will be a film screening of the artist’s work, on 25 April. 

For more information, please click here. 

Image: Keiji Uematsu, Stone/Rope/Man II, 1974

LENGUA LLORONA is Donna Huanca’s first solo exhibition in Scandinavia. Presented as a site-specific multimedia installation, Huanca brings together painting, sculpture, scent, sound, and performance. The exhibition is organised as coherent organic landscape of islands made of bone-white sand and populated by sixteen monumental oil paintings, which are presented with a series of totem-like steel sculptures.

During the exhibition period, a series of eight performances will activate the exhibition. The models, as Huanca calls her performers, are decorated with paint, pigment, and textiles. Like living paintings, they populate the installation leaving physical body marks on the floor and walls, thus producing a lasting transformation of the space.

For more information, please click here. 

Installation View: Donna Huanca, LENGUA LLORONA, Copenhagen Contemporary, 2019

Today, when technology seems utterly smooth and weightless—composed of invisible waves, wireless signals, abstract codes—New Order explores the ways in which these systems are still stubbornly tied to the physical world and looks at the ways in which contemporary artists, among them Josephine Pryde, use—and misuse—tools and forms. The show features works made since the turn of the millennium that push and challenge the boundaries of technology: upending systems, experimenting with materials, and ultimately inventing novel techniques and substances.

For more information, please click here. 

Image: Josephine Pryde, It's Not My Body, XII, 2011

Puppets: Theater, Film, Politics, situates puppet theatre within the field of art history and within the broader context of the artistic, social, and political changes taking place in Poland in the 1950s and 1960s. The presentation of selected works, artists, and creative hubs, among them Paulina Olowska, has been woven around concepts such as anthropology of the body, pedagogy, or politics. The show’s authors broaden the reflection on the meanings and functions of puppets, asking about their political dimension. They exemplify diverse strategies of their use — from the exploitation of the propaganda repertoire to caricatural and derisive representations of ideological opponents – while highlighting their dangerous potential.

For more information, please click here.

Image: Paulina Olowska, The Doll House. After Michał Wasążnik, 2013

Japanese photographer Daido Moriyama is the recipient of the 2019 Hasselblad Foundation International Award in Photography. The award ceremony will take place in Gothenburg, Sweden on October 13, 2019. A symposium will be held on October 14, followed by the opening of an exhibition of Moriyama’s work at the Hasselblad Center, and the release of a new book about the artist, published by Verlag der Buchhandlung Walther König.

For more information, please click here. 

Image: Daido Moriyama, Coffee Shop, 1984

Photo credit: © Daido Moriyama / Courtesy of Simon Lee Gallery and Taka Ishii Gallery, Tokyo

Exhibition & online fundraising auction of over 200 unique works on paper, including João Penalva's work. 

Auction: 11 March 10am – 26 March 9.30pm

For more information, please click here. 

Image: João Penalva, Piet Mondrian, Monsieur, 2019

In October 2018, Caixa Geral de Depósitos employees joined curator Filipa Oliveira’s project of putting together an exhibition of works of the CGD Collection, among them João Penalva's work. The purpose was to go through the method of curating an exhibition and to show how works of art are understood, chosen and installed. It is now time for the 21 amateur curators to show the results of their learning and their findings.

For more information, please click here. 

Image: João Penalva, Piet Mondrian, (YOU — To be read as “ME”?), 1997

Photography: Laura Castro Caldas / Paulo Cintra

This display in the first floor galleries of the Fire Station focuses on some of the artists, that ensured that The South London Fine Art Gallery had a permanent home, among them João Penalva, their belief in social reform through art, literature and learning, and the ongoing legacy of their work.

For more information, please click here. 

Image: João Penalva, The Hair of Mr Ruskin, 1997, collection of the South London Gallery

Photo credit: Courtesy the artist and the Serralves Foundation, Porto, Portugal.

Photography: Mário Valente