Philip-Lorca diCorcia: Eleven
10 February – 5 March 2011
David Zwirner
New York, US
www.davidzwirner.com

Philip-Lorca diCorcia exhibits for the first time photographs selected from a series of eleven editorial projects the artist created for W magazine between 1997 and 2008. DiCorcia’s fashion photography in New York, not only occupies an inspirational and improvisational role within his thirty-year-long career as an art photographer, but has also helped redefine the genre as a whole. Deploying characters in preconceived yet seemingly random poses and contexts, diCorcia’s photographs are far from candid snapshots, but rather explore the idea of the “indecisive moment” and revolve around a tension between the casual and the posed, the accidental and the fated.

Ceal Floyer
16 February – 16 May 2011
DHC/ART Foundation for Contemporary Art
Montreal, Quebec, Canada
www.dhc-art.org

Ceal Floyer’s art displays a clarity of thought within elegantly concise presentations. Engaged and active viewing is typically required—and then rewarded—in the artist’s minimalist-conceptualist amalgams. Her work, which resonates in a gently philosophical manner long after the first encounter, often draws attention to neglected everyday objects and situations. Floyer thinks of her art as very self-reflexive: not necessarily about anything outside of the work itself, but focused instead on the context and conditions of its production and display.

Shanna Waddell
17 February – 19 March 2011
Thomas Erben
New York, US
www.thomaserben.com

American painter Shanna Waddell debuts with a series of new paintings created after receiving her MFA from Tyler School of Art, May 2010. Playing impasto against splattered veils and contrasting urban colors with a new age palette, these works, which appear under the title “Misshapen Chaos of Well-seeming Forms”, distort material flatness into a warped spatiality and combine figuration with abstract symbols and uninhibited brushwork, holding together a spectrum of sensibilities that precipitates early American modernism into an apocalyptic, prophetic hyperbole and personal vision.

Walead Beshty
19 February – 1 May 2011
Malmo Konsthall
Sweden
www.konsthall.malmo.se

Walead Beshty’s works remind us how important it is to appreciate the transitory nature of daily life, especially its gaps, its pauses, and its moments of in-betweenness. His projects confront the urban landscape as a problem of ‘in-betweenness,’ depicting locations trapped in a state of geographic and temporal limbo, neither fully abandoned, nor actively integrated into the urban context. More recently, this engagement with the in-between has grown into a means of production, making use of such mundane procedures as air travel or sending a package, activities that usually recede into the background of an artist’s productive life. This exhibition of the Los Angeles-based artist Walead Beshty (b. London, 1976) brings together works from the past ten years in a site-specific installation designed for Malmö Konsthall.

Simon Starling: Recent History
5 February – 2 May 2011
Tate St Ives
Cornwall, UK
www.tate.org.uk/stives

Employing video, film, slide projections, photography and sculpture, Simon Starling’s work reveals rich, unexpected and complex histories, brought to light through his forensic – if sometimes elliptical- unravelling of an image, object or event. This exhibition, his major show in the UK since he won the Turner Prize in 2005, emphasises Starling’s long-running interest in the relationship and interplay between culture and nature, and his ongoing examination, excavation and transformation of the material world.

Daniel Silver: Coming Together
6 February – 1 May 2011
Kunsthaus Glarus, Switzerland
www.kunsthausglarus.ch

In his sculptural work the London artist Daniel Silver mixes all kinds of clichés of the western history of sculpture and culture together. Having grown up in Israel as the son of parents and grandparents who had emigrated from Eastern Europe to South Africa and Zimbabwe, he soon came in contact with the different heritage of different cultures. His artistic work feeds from this “in-between state” and illuminates the multicultural inheritance in a playful but also critical way.

Valie Export: Time and Countertime
19 February – 1 May 2011
MUSEION of modern and contemporary art Bolzano
Bolzano, Italy
www.museion.it

The art of Valie Export is devoted to radical social and political critique. Over more than four decades her wide-ranging career has spanned performances, actions, photography, film, expanded cinema, sculptures, texts and installations. Her works address markedly topical themes such as violence, wounds, the female image and how individuals are influenced by physical and social contexts. Early works with a powerful feminist stance, such as Tap and Touch Cinema and Action Pants: Genital Panic are now icons of art history. Throughout her varied career, manifest in this major solo exhibition, she has always tackled pressing contemporary issues in an entirely original formal language.

Geoffrey Farmer: Let’s Make the Water Turn Black
18 February – 10 April 2011
REDCAT
Los Angeles, CA 90012
www.redcat.org

Regarded internationally for his cumulative, research-based projects, Geoffrey Farmer creates context-specific sculptural works that grapple with his longstanding interest in the relationship between art objects and theories of drama and dramatization. In doing so, Farmer mines a diverse array of literary and artistic histories to reveal the pervasiveness of theatricality within cultural experience. For this exhibition, Farmer transforms the Gallery at REDCAT into both studio workshop and theatrical space where an assembly of performers and mechanized objects act out a scripted narrative in the form of a sculptural tableau.

Andro Wekua: Never Sleep with a Strawberry in Your Mouth
18 February – 5 June 2011
Kunsthalle Wien
Vienna, Austria
www.kunsthallewien.at

Attraction and rejection, perfection and obsession constitute the foundation for the Georgian artist Andro Wekua’s figures which seem oblivious to the world. Wekua relies on ambiguous gestures and stereotyped poses to convey his “anatomy of desire.” Drawing on remembered personal images and impressions from the life spheres of fashion, the cinema, and art, he creates atmospherical settings and theatrical presentations that stimulate the viewer’s subtle perceptual sensors.

David Claerbout: The Time that Remains
19 February–15 May 2011
Wiels
Brussels, Belgium
www.wiels.org

In this first major survey of David Claerbout’s work in Belgium, the development of the artist’s practice is traced across both thematic and chronological lines. Although he originally trained as a painter, the Belgian artist has made a name for himself with video, film, and photographic projections characterized by slowness, precision, and by the unraveling or freezing of time such that time itself is made almost physically palpable. As The Time that Remains, the title of his exhibition suggests, temporality and duration are the central axes along which this exhibition of his work is built.