Keren Cytter: The Hottest Day of the Year
29 January – 27 March, 2011
Kunstverein Munich
www.kunstverein-muenchen.de

In a modern society in which every sense of reality and memory is controlled by visual impulse, the Berlin-based artist Keren Cytter offers in her work a powerful juxtaposition between a visual and a scripted worldview. Cytter has become a key player within a young generation of contemporary artists that freely cross the borders of disciplines and genres. This exhibition gives the chance to look back at the recent evolution in Cytter’s oeuvre, providing ample proof of the diversity of her practice and its impressive quantity.

Keren Cytter: The Hottest Day of the Year

Varda Caivano
1 February – 12 March 2011
Victoria Miro
London
www.victoria-miro.com

Evocative, elusive, and exuding a quiet confidence, Caivano’s paintings present a series of explorations of the medium and the language of abstraction. In her practice, abstraction undergoes a rigorous examination, reinforcing this painterly territory as fluid, undetermined, and open for constant re-evaluation.

Varda Caivano

Matthew Day Jackson: In Search of…
27 January – 1 May 2011
MAMbo – Museo d’Arte Moderna di Bologna
Bologna, Italy
www.mambo-bologna.org

Taking his cue from our fundamental questions concerning human existence—who we are, where we come from, what lies ahead—Matthew Day Jackson enacts an exploration of personal and collective myths through a selection of works spanning from 2007 to 2010. The artist has transformed MAMbo’s venue, making it vibrate with colours by applying a layer of special film on the lighting fixtures, which then reverberate with the whole chromatic spectrum.

Matthew Day Jackson: In Search of...

k.364: A Film by Douglas Gordon
9 February 2011 – 26 March 2011
Gagosian Gallery
Britannia Street
London WC1
www.gagosian.com

This major exhibition by Turner Prize winning artist Douglas Gordon presents an installation of the artist’s new film, k364, which was premiered at last summer’s Venice Film Festival. k.364 is a portrait of a piece of music, tracing the journey made by Avri Levitan and Roi Shiloah – Israeli musicians of Polish origin – as they return to the lands their families were forced to leave.

k.364: A Film by Douglas Gordon

Adrian Ghenie
27 January – 12 March 2011
Tim Van Laere Gallery
Antwerp
www.timvanlaeregallery.com

Staking out an area between painting, collages and recently a three-dimensional installation, Adrian Ghenie’s work draws from source material ranging from personal narratives and historical references, to popular culture (e.g. Laurel and Hardy, slapstick) and artistic connotations (e.g. the Dadaists, the renaissance painting). For Ghenie this source material is part of our collective memory, and his project is to arrange elements from this collective memory into new compositions, creating visual gestures that feel familiar yet eerie to the experiencing subject.

Adrian Ghenie

Fan Chon Hoo
3 – 26 February 2011
Eleven Spitalfields Gallery
London
E1 6QH
www.elevenspitalfields.com

Exhibited in the highly fitting setting of No. 11 Princelet Street, a Georgian house in London’s Spitalfields, Fan Chon Hoo’s first solo show, ‘Into the world of palpable objects and fruitful delight’, presents two series of works inspired by Willow Pattern chinaware and the Victorian copper jelly mould. By assuming the role of a modern day amateur antiquarian and anthropologist, Hoo, who was shortlisted for the Saatchi Gallery and Channel 4’s New Sensations 2010, explores the role that cultural artefacts have as residues of the process of cultural translation.

Fan Chon Hoo

James Franco: The Dangerous Book Four Boys
12 February – 2 April 2011
Peres Projects MITTE and Peres Projects KREUZBERG
Berlin
www.peresprojects.com

James Franco’s works explore a variety of issues stemming from adolescence while acknowledging the contributions of influential artists and filmmakers such as Paul McCarthy and Kenneth Anger. This exhibition brings together short films, drawings, photographs, ephemera, sculptures and installations made over the last 4 years where Franco draws upon childhood experiences and suggests alternative paradigms for parental relations.

James Franco: The Dangerous Book Four Boys

Lindsay Seers: It has to be this way2
12 February – 12 June 2011
BALTIC Centre for Contemporary Art
Gateshead, UK
www.balticmill.com

This exhibition by the winner of the Derek Jarman Award explores the complexities and uncertainties of history and memory. The installation resumes the story of the disappearance of the artist’s stepsister, Christine Parkes. Presented on a circular screen within a structure derived from forts on the West African Gold Coast, Christine’s stepmother narrates her tale while the film retraces her travels through West Africa. The complex and unsettling story takes the viewer on a journey that navigates the occult, the subconscious and the fragmentation of personal memory.

Lindsay Seers: It has to be this way²

Art Rotterdam
10-13 February
www.artrotterdam.nl

From 10 – 13 February 2011 the old Cruise Terminal building of the Holland America line will again be the stage for Art Rotterdam. Over the past eleven years Art Rotterdam has developed into the most innovative and trendsetting international art fair of the Netherlands. This year expect to find 70 galleries from 10 different countries presenting their most talented artists.

art rotterdam

Anne Collier
Jack Goldstein
22 January – 27 March 2011
Nottingham Contemporary
Nottingham, UK
www.nottinghamcontemporary.org

Nottingham Contemporary presents related solo exhibitions by Anne Collier and Jack Goldstein. Anne Collier is one of the most exciting artists working in photography to have emerged in recent years, and Jack Goldstein is an artist she, and many of her generation, holds in high esteem. Both Goldstein and Collier studied under John Baldessari at CalArts, albeit decades apart, and both have divided their working lives between East and West coasts of the USA. The juxtaposition of their exhibitions begins to suggest a genealogy of appropriation from the 1970s to the 2010s. It also paradoxically suggests the psychological resonance that can arise from certain strategies of appropriating mass-produced imagery.

Nottingham Contemporary