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Picasso Sculpture, Museum of Modern Art, New York, 14 September–7 February 2016. Picasso’s three-dimensional works in bronze, clay and wood are as ingenious as anything he did with paint and canvas, but he rarely exhibited them. Sculptures from MoMA’s collection, including Bull, 1958, and many from the Musée Picasso reveal his less familiar side.
Hanne Darboven. A Retrospective in Two Parts: Enlightenment, Haus der Kunst, Munich; Art and Exhibition Hall, Bonn, 18 September–17 January 2016. “I inscribe, but I describe nothing,” said Darboven, regarding her use of numbers and musical notations rather than words in her text-based Conceptual work. This two-venue retrospective includes a recreation of the artist’s object-filled Hamburg studio.
Wifredo Lam, Centre Pompidou, Paris, 30 September–15 February 2016. This major show traces the artist’s peripatetic life, from his native Cuba to the avant-garde circles of Paris, where he met Picasso. The influence of Cubism is evident in such paintings as Le Bruit, 1943 (above), but Lam’s hybrid style and multicultural sensibility were uniquel
David Diao, Ullens Center for Contemporary Art, Beijing, 18 September–15 November. Spanning five decades, this exhibition sheds light on the artist’s cultural identity as a Chinese-American and on his stylised responses to Modernists like Kazimir Malevich, whose Suprematist compositions inspired Diao’s painting Glissement, 1984.
The Hunt: Masterpieces from Qatari and Turkish Royal Collections, Museum of Islamic Art, Doha, 16 September–9 January 2016. Hunting played an essential role in Islamic rulers’ lifestyles. Through manuscripts, metalwork and ceramics, such as a Mughal powder flask in the shape of a bull, museumgoers learn that hunting was not done out of necessity but rather to convey one’s power and bravery.
The World Goes Pop, Tate Modern, London, 17 September–24 January 2016. With its images of movie stars and consumer products, Pop art feels distinctly American. But as Tate Modern’s survey makes clear, the movement was a global phenomenon. Belgian artist Evelyne Axell used the vibrant visual language of advertising and commercial packaging, evident in Permis dans les deux sens, 1965, to “question and redefine traditional notions of femininity,” Tate co-curator Flavia Frigeri explains.
Matthew Barney: River of Fundament, Museum of Contemporary Art, Los Angeles, 13 September–18 January 2016. More than a decade after his epic Cremaster film cycle gripped the art world with its psychosexual take on the male anatomy, Matthew Barney is back with River of Fundament, his most ambitious project since. The Museum of Contemporary Art – the show’s only US venue – presents fourteen large-scale sculptures as well as drawings, photographs and vitrines inspired by or made for Barney’s epic film.
Ai Weiwei, The Royal Academy of Arts, London, 19 September–13 December. The Chinese artist will present a number of new large-scale installations in his first major survey held at a museum in the UK. His Remains, 2015, a powerful new work in porcelain, replicates a group of bones excavated at the site of a labour camp operated under Chairman Mao in the 1950s.
Rain Room, Yuz Museum, Shanghai, 1 September–31 December. Random International’s wildly popular installation drew record crowds in New York and London, with visitors reportedly waiting on queue for up to eight hours. The first showing in Asia, at Budi Tek’s Yuz Museum, will mark the most ambitious scale of the environment to date, with 50% more capacity for the motion-sense falling rain.