LESS IS MORE
— Günther Förg, Olivier Mosset
January 19 — November 30, 2019
Today – over half a century later – artists are once again seizing on minimalistic principles including reuse, organisation and reduction. On the eve of a new era, these artists offer us tools for structuring our lives around the concept of less. This exhibition demonstrates how artists are returning to the essence of things: a new start and a clean slate.
BINION/SAARINEN: A MCARTHUR BINION PROJECT
— McArthur Binion
November 17 — March 10, 2019
In the studio of Chicago-based painter McArthur Binion, a handwritten note has been pinned to the wall for a decade that reads “Binion/Saarinen.” The artist’s initial concept was to create a painting inspired by architect Eliel Saarinen and his design of Cranbrook’s historic campus, where Binion received his MFA in Painting in 1973 and received the Distinguished Alumni Award in 2017. This early spark of inspiration will come to fruition at Cranbrook Art Museum and expanded through the creation of seven new works alongside a selection of Saarinen objects curated by the artist.
MINIMALISM: SPACE. LIGHT: OBJECT.
— Elmgreen & Dragset
November 16 — April 14, 2019
National Gallery Singapore and ArtScience Museum are collaborating for the first time to present the region’s first exhibition focusing on Minimalism. Led by the Gallery and set across these two sites, over 150 works will explore the history and legacy of this groundbreaking art movement, which continues to influence a wide range of art forms and practitioners across the world today.
— Andrea Zittel
November 07 — March 24, 2019
Explore today’s home through the prism of yesterday’s imagination. Are we living in the way that pioneering architects and designers throughout the 20th century predicted, or has our idea of home proved resistant to real change?
— Andra Ursuţa
November 02 — March 30, 2019
Vanilla Isis takes an irreverent look at the real and pretend extremisms manifest in contexts as disparate as terrorist groups and youth subcultures. Based on an analysis of the communicative strategies deployed by the Islamic State, whose internet-savvy appropriation of everything from computer games to Hollywood movie posters attracts vulnerable youths in the West, the show looks at how aesthetic trends migrate and are transformed or exploited to strange, unsettling effect.
THE OWL WITH THE LASER EYES
— Monster Chetwynd
November 02 — March 30, 2019
For her exhibition at the Foundation, the artist presents a new series of large-format paintings, which incorporate sculptural objects from previous performances in dialogue with visual backgrounds of different origin—ancient painting, cinema, illustration. Each work reconfigures fragments of images that belong to other works, stories, places, and times, according to a logic that recalls bricolage, or do-it-yourself, in the anthropological sense of the term.
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