Exhibitions

The artists and curator responsible for the Russian pavilion at the Venice Biennale resigned over the weekend as the Russian Federation’s offensive into Ukraine continued for a fourth bloody day. The pavilion in the Giardini will now remain closed for the 2022 edition of the prestigious art world event.
Artists Alexandra Sukhareva and Kirill Savchenkov, and the pavilion’s curator, Raimundas Malašauskas, each announced their immediate resignation from the pavilion on social media on Sunday, February 27. The commissioning body behind the pavilion also acknowledged the move on its Instagram, confirming that the pavilion would remain closed for the 59th Venice Biennale, which opens in mid-April.
“There is nothing left to say, there is no place for art when civilians are dying under the fire of missiles, when citizens of Ukraine are hiding in shelters [and] when Russian protestors are getting silenced,” Savchenkov wrote in an emotional statement posted to Instagram. “As a Russian-born, I won’t be presenting my work at Venice.”
The news of their withdrawal comes just days after the team behind the Ukrainian pavilion also announced that they had to stop all work on their exhibition due to the invasion. “I would do the same in their place,” Pavlo Makov, the artist who was set to represent Ukraine, told Artnet News, in response to the Russians’ announcements.
On February 24, Russia invaded the neighboring European nation of Ukraine with a multidirectional attack across the country. The attack has spurred a refugee crisis, causing more than 500,000 people to flee the country in just four days. Those remaining in the country, and especially the major cities, are under constant threat of air strikes.
“This war is politically and emotionally unbearable,” wrote curator Malašauskas, a Lithuanian who was born in the Soviet Union, in his statement. He added that the “people from Russia should not be bullied or cast-away solely due to their country’s oppressive policies.”
On Monday, the Italian organization acknowledged the decision in a statement to the press: “La Biennale expresses its complete solidarity for this noble act of courage and stands beside the motivations that have led to this decision, which dramatically epitomizes the tragedy that has beset the entire population of Ukraine,” it said.
The biennale statement added a condemnation of “all those who use violence to prevent dialogue and peace.”
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Cash-strapped museums suffering from a drop in visitor numbers and income during the pandemic may have found a lifeline in the form of a new partnership with a tech company and a commercial gallery.
Four major Italian museums, including the Uffizi Galleries in Florence, have signed onto an ambitious project that will see them sell editioned digital replicas of priceless masterpieces from their collections as NFTs.
The project debuted at London’s Unit gallery, in an exhibition titled “Eternalizing Art History,” which displayed digital replicas of six famous Italian masterpieces by the likes of Raphael and Leonardo da Vinci. These authorized digital copies are shown on digital screens set within handmade replicas of the artworks’ original frames. Each of the digital works (dubbed DAWs by the tech company that made them, Cinello) has been certified on the Ethereum blockchain and can be traded as an NFT. They are available in editions of nine—a common edition size for sculptural works—that are priced at between €100,000 and €250,000 ($114,000–$284,000) apiece.
The participating museums—Milan’s Pinacoteca di Brera and Veneranda Biblioteca Ambrosiana, Florence’s Uffizi Gallery, and the Complesso Monumentale della Pilotta di Parma—have signed off on the reproductions in exchange for 50 percent of the net revenue from the sale of the works, which will fund their art conservation programs. (The remaining 50 percent is split evenly between the gallery and its tech partner).
Leonardo da Vinci, Ritratto di Musico (Portrait of a Musician), conceived in 1490, digitized in 2021 DAW® (Digital Artwork). Image by Eva Herzog.
The move is part of a broader effort to tour works that cannot be moved due to their fragile state of conservation, and to show them to audiences experiencing more limited travel options. But, as professor Guido Guerzoni of Bocconi University said at the unveiling of the exhibition, the commercial endeavor is about more than just reaching new audiences.
“Museums need revolution if they want to survive,” he said. “In one year of the pandemic, European museums lost 70 percent of their visitors, and between 70 and 80 percent of their revenues. These numbers are impressive but the Italian situation was even worse. If we consider only state-owned museums [… ] this was 85 percent of visitors and almost 90 percent of their revenue.”
The professor added that while the pandemic forced museums to reconnect with local audiences, this strategy is not sustainable in the long run for museums like the Uffizi, which rely on revenue from international tourism. In the absence of physical visitors, museums rushed to deploy digital strategies to reach audiences—which themselves require a huge investment—but few of these digital initiatives have actually been successful revenue generators. Initiatives like this, which may have been regarded as “unthinkable” a few short years ago, are now being lauded as entrepreneurial solutions to the real world problems institutions are facing.
Joe Kennedy, director of Unit London, told Artnet News that there has been “overwhelming interest” in the project so far, with five sales confirmed, and a further 12-15 expected to be confirmed by next week.
Raffaello Santi (Raffaello Sanzio), Madonna del Cardellino (Madonna of the Goldfinch). Conceived in 1506, digitized in 2021 DAW® (Digital Artwork). Courtesy of Le Gallerie degli Uffizi (Florence) and Cinello.
Audiences at the opening were divided on a philosophical question: whether experiencing the digital reproductions could ever be considered a like-for-like experience with standing in front of their originals. “The DAWs are not intended to compete with the original paintings. It’s important to recognize that they are reproductions,” Unit’s Joe Kennedy told Artnet News, adding that their mobility allows them to reach new audiences and reveal the fascinating history and context of the original paintings. “They act as a storytelling tool which ensures these iconic works live on through new generations of art enthusiasts and only enhances the magical experience of viewing the original painting in person.”
But in an age where the metaverse and NFTs are in fashion, this view of the sacredness of the original—while perhaps shared by this reporter—might not be the only answer to this question. Panelist Serena Tabacchi, Cinello’s partnership manager, considered the experiences indistinguishable, and artist Misan Harriman postulated that getting up close and personal with the high quality copies could offer an “even better” experience for audiences. 
“I don’t know if the aura of the original is the same thing in our time,” art historian and Unesco Florence director Carlo Francini said, referencing Walter Benjamin’s seminal text The Work of Art in the Age of Mechanical Reproduction, which argued that the “aura”—or the unique aesthetic authority of a work of art—is absent from a mechanically produced copy. “Maybe now we are totally evolved digital spirits.” 
Installation view, “Eternalizing Art History,” Unit London, Image by Eva Herzog.
Indeed, if the “Immersive Van Gogh” phenomenon has taught us nothing else it is that people—some of whom may never have an interest in seeing the originals—will flock, and pay well, to experience digital reproductions. To some of these audiences, the copies of masterpieces by Leonardo, Caravaggio, Rafael, Modigliani, and Francesco Hayez could hold just as much sway as their originals. 
While the initiative seems like a no-brainer for museums, which have educational missions, and bank accounts to fill, the idea raises an interesting quandary. Considering the fragile state of conservation of many of these masterpieces—cited as one of the motives for the project—it is very well possible that these digital copies could outlast their original counterparts. Which in turn begs the question of institutional responsibility concerning ownership of these priceless objects, and whether they should be so cavalier about them disappearing into private hands.
“Eternalizing Art History: From Da Vinci to Modigliani” is on view at Unit London through March 19. 
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The late, great Toni Morrison, a giant of U.S. literature, died in 2019, at the age of 88. (Her 90th birthday would have been this Friday.) Her absence looms large in the American culture—which is why the author was a natural subject for New Yorker critic Hilton Als’s latest curatorial outing at David Zwirner Gallery.
The group exhibition, “Toni Morrison’s Black Book,” is named after her 1974 book, a visual scrapbook presenting a variety of historical sources about African Americans. (It follows Als’s Zwirner tribute to another Black writer, James Baldwin, as well solo shows he organized about Alice Neel and Frank Moore.)
There was no shortage of artists eager to participate in the tribute to Morrison. The final list includes Walter Price, Julie Mehretu, Amy Sillman, Joseph Cornell, Jacob Lawrence, Kerry James Marshall, Helen Marcus, Chris Ofili, Irving Penn, and James Van Der Zee, among others.
We spoke to Price, Mehretu, and Sillman about their relationship to Morrison’s work, the importance of her legacy, and how the author inspired their contributions to the exhibition.

Walter Price
Walter Price, Thinly coded language (2019). © Walter Price. Courtesy Greene Naftali, New York.
I had not heard of the The Black Book before being approached by Hilton. From the beginning, I thought Hilton’s concept was profound. He made a show that we can see and feel, a show that brings together great artists to express the gratitude of Toni’s legacy. Within those cold white walls, Hilton has given us the warmth of emotions.
When I made the works for the show, I was specifically thinking about The Black Book. I thought about the magic of Henry Box Brown escaping [slavery] in a three-foot box. I thought about Jack Johnson’s strength and shamelessness to continue to box under unfair rules. I thought about Bessie Smith being a pioneer of the blues.
Toni Morrison is such an important author because she has expressed the complexities of Black life. She speaks to the Black audience, while diminishing the role of the white audience. I think that is very clever and important. Toni Morrison’s writing resonates with me for because I can feel it!

Julie Mehretu
Julie Mehretu, A Mercy (after T. Morrison) (2019-20). © Julie Mehretu. Collection of Marguerite Steed Hoffman.
I have known of The Black Book for a long time. There are archives of blackness that are essential pillars of the culture. The Black Book, along with The Image of the Black in Western Art, FESTAC ’77 by Chimurenga, the 1619 Project by Nicole Hannah Smith, and many more, are crucial books and collections of visual archives.
I made the painting for this show specifically in response to re-reading A Mercy during the late spring weeks of quarantine, just after Hilton approached me about the project. It is a book that goes back to the origin of the making of this country and the various struggles and violences in that endeavor. We were in the midst of a wildly out-of-control pandemic with a criminally absent and vacant leader at the helm of the most powerful nation of the world. The precarity and far-right nativist political vertiginousness of our time was extremely palpable and terrifying.
The underpainting of this piece was created from a Rorschach of the inverse of an image from the white supremacist United the Right rally in Charlottesville in 2017. It’s a blurred image that creates spectral forms that play with the subliminal and the visceral haunting and fear being regurgitated by white supremacy, and generated by the years of the Trump administration. The painting is a direct response to both to those sources and the book A Mercy.

Amy Sillman
Amy Sillman, Paradise, (An Alphabet for Miss Morrison) (2021). © Amy Sillman.
In response to Hilton’s invitation, I had the idea to invent an alphabet for Toni Morrison, or a set of letters somewhere between an alphabet and hieroglyphics. I made a big stack of drawings based on the bodies in her novels, how they appeared, moved, leaned, etc. Then Hilton and I collaborated by arranging nine of the letters into a word to be “read” from left to right.
When I saw the whole show, I realized that Hilton had created a whole in-between zone, somewhere between a written essay and a visual exhibition, where everything was transitive: figures became letters, sculptures became stories, photographs were narratives, a handwritten letter was a picture, artworks were artifacts, and vice versa, all crisscrossing back to the work of Toni Morrison, whose powerful imagination invokes a world in which all conditions and relations could be different.
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An ambitious immersive artwork designed “to be experienced with your eyes closed” will begin touring around the U.K. in May as part of the rebrand of a pricey initiative originally planned for the celebration of Brexit.
Inspired by an experimental 1959 creation by artist-inventor Brion Gysin, Dreamachine promises audiences—with their eyes closed—an opportunity to experience colorful, kaleidoscopic patterns and hallucinated visions created by flickering light. The experience will be accompanied by a tailor-made soundscape, as well as what organizers describe as one of the largest scientific research projects to take a deep dive into the collective human psyche.
Bryon Gysin, right, and his Dream Machine, with William Burroughs, ca. 1970, London.
The work is a collaborative effort spearheaded by Collective Art, which brings together Turner Prize-winning artists Assemble and Grammy- and Mercury-nominated composer Jon Hopkins together with a team of technologists, scientists, and philosophers. It is one of the 10 projects commissioned as part of “Unboxed: Creativity in the U.K.,” formerly known as the “Festival of Brexit,” the £120 million ($163 million) extravaganza initiated by Theresa May’s government to celebrate British culture after the country cut ties with the European Union. The festival is funded by the four governments of the U.K.—England, Northern Ireland, Scotland, and Wales—and commissioned in partnership with Belfast City Council, Creative Wales, and EventScotland.
The work will tour London, Cardiff, Belfast, and Edinburgh between May and October 2022, presented with Cardiff Council, Northern Ireland Science Festival, W5 Belfast, Edinburgh International Festival, and Edinburgh Science Festival. More than 100,000 visitors are expected to be able to experience this mysterious work for free.
Collective Art, Dreamachine (2022). Photo: Christa Holka.
Gysin’s original vision was to create a device that could replace television, allowing each individual to “create” their own cinematic experiences by immersing themselves into the images generated by the flickering light. Gysin hoped such unique viewing experiences could keep people away from passive consumption of mass-produced media.
More than six decades later, Collective Art pushes Gysin’s vision further, creating an immersive environment woven from layers of music, technology, neuroscience, philosophy, and architecture. Visitors are led to a room and seated in front of the machine with their eyes closed. A soundtrack by Hopkins, who has worked with Brian Eno and Coldplay, guides visitors to a transcendental state.
Audiences will be asked to participate in the science research project “Perception Census” to look into “the unseen diversity of the nation’s inner worlds,” organizers said. Details of the project, as well as dates, ticketing information, and venues, will be announced in late March.
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London’s Institute of Contemporary Arts has opened a groundbreaking group exhibition inspired by the sex worker rights movement.
Titled “Decriminalized Futures,” the show includes works by 13 international artists who create moving images, embroidered works, books, sculptures, and works in other media to address the multiplicity of contemporary sex-worker experiences.
The show, on view through May 22, advances through interpersonal narratives, histories, and artistic expressions, making a compelling case for sex workers to assert their human and labor rights.
While selling sex is legal under U.K. law, related activities such as soliciting, renting premises for the purpose of sex work, and working with other sex workers, remain criminalized. 
“Full decriminalization of sex work is the rallying cry that unites the sex worker rights movement across the world,” co-curators Yves Sanglante and Elio Sea said in a statement. “Under this banner, sex workers and their allies have fought tirelessly for strong workers’ rights, an end to exploitation, an end to criminalization, and real measures to address poverty.”
Chi Chi Castillo and May May Peltier, still from Stone Dove.
The works on view present various feminist and intersectional perspectives on sex work and interwoven issues faced by sex workers, people of color, trans people, migrants, and disabled people. In also explores sex work thought racial and social justice movements, migrant rights, labor rights, mental health issues, gender, joy, and pain.
Works include a series of life-size linocut self-portraits by artist Khaleb Brooks exploring the relationship between body, gender presentation, and sexuality; four vignette-style films by artist Chi Chi Castillo and May May Peltier focusing on sex work and queerness through the experiences of four sex workers of color; and an altar of plants, zines, medications, and a bedazzled dildo created by queer Pakistani-Egyptian artist and stripper Aisha Mirza. 
“What do I feel about being objectified from an art perspective, as opposed to from a sex worker’s perspective? I think it’s great,” London-based Spanish queer sex worker and poet Letizia Miro told Artnet News.
“I was just talking to a colleague about this and I feel celebrated in a way that goes beyond activism. The beauty and experience and depth of emotion is being celebrated, as opposed to being super politicized or victimized or glamorized.”
Installation view of Yarli Allison and Letizia Miro, This Is Not For Clients (2021). “Decriminalised Futures” ICA. Photo ©Anne Tetzlaff.
Miro collaborated with Canadian-born-Hong Kong artist Yarli Allison on a two-channel video installation titled This Is Not For Clients (2021). Installed among large sculptural objects, including doll-house-scaled sex dungeons, the semi-fictional documentary explores the story of an imagined “ideal” sex worker from the perspective of a fictional client.
Through digital modeling and animation, Allison has created a kind of hyperreal narrative that transcends Miro’s real-life experiences into a fantasy realm, making visible the complexities—some of them dark—that go into clients’ imagined ideals, and the precarious position of sex workers.
“I was thinking about gender expectations and stereotyping,” Allison told Artnet News. “How do you satisfy that kind of client’s needs, and how do these fantasies work as a coping mechanism?”
The exhibition is hosted in partnership with political arts organization Arika, and is part of an ongoing project led by organizers from the sex worker-led collective SWARM (Sex Worker Advocacy and Resistance Movement). There is also an associated events program including poetry readings, screenings of sex worker-made films, panel discussions, and artists’ workshops.
“Decriminalized Futures” is on view at the ICA London through May 22.
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Los Angeles’s burgeoning gallery scene is offering an embarrassment of riches during Frieze Week, with a rash of openings timed for the fair’s opening day. Here’s our list of must-see gallery shows to check out while you’re in town.

“Will Gabaldón: This Must Be the Place” at Various Small FiresOpening February 15
Will Gabaldón, 48 Landscape (2021). Photo courtesy of Various Small Fires, Los Angeles.
For his first show with Various Small Fires, Chicago artist Will Gabaldón has made a series of oil-on-panel landscape paintings of scenes rendered from memory—or even imagined. The exhibition’s title comes from the 1983 Talking Heads song “This Must Be the Place (Naive Melody),” here suggesting a place that can only be encountered through art.
Various Small Fires is located at 812 North Highland Avenue, Los Angeles.

“The Rose Garden: Enrique Martinez Celaya” at UTA Artist SpaceFebruary 16–March 12, 2022
Enrique Martínez Celaya, The Laughter (2022). Photo courtesy of UTA Artist Space, Beverly Hills.
Enrique Martínez Celaya delves into our collective memories of crisis and chaos in an exhibition inspired by T.S. Eliot’s Four Quartets. Words from the writer’s poems are written on the floor of the gallery, which hosts large-scale paintings and sculptures meant to represent both our world and our inner selves. The artist also has solo shows at the at the University of Southern California’s Doheny Memorial Library (February 22–April 9) and the Fisher Museum of Art (through April 9.)  
UTA Artist Space is located at 403 Foothill Road, Beverly Hills, California.

“Raqib Shaw” at Dries Van NotenFebruary 16–March 26, 2022
Raqib Shaw, High on Hope (2021). Courtesy of Dries Van Noten, Jeffrey Deitch, and White Cube.
Dries van Noten is teaming up with Jeffrey Deitch and White Cube on a solo show of work by Raqib Shaw. His astonishingly detailed paintings are drawn from childhood memories of his mother’s garden in Kashmir, reimagined here in fantastical scenes where nature and the city collide.
Dries Van Noten is located at the Little House, 451 N. La Cienega Boulevard, Los Angeles.

“Momentary Pause” at Casa Perfect February 17–March 18, 2022
Chen Chen and Kai Williams, Stone Rose Table Lamp (2022). Photo courtesy of Casa Perfect.
Contemporary design, craft, art, `and technology come together in this group show about change and self-discovery organized by Future Perfect. Featured artists include Piet Hein Eek, John Hogan, Cody Hoyt, and Bradley L. Bowers.
Casa Perfect Los Angeles is at 1650 Carla Ridge, Beverly Hills.

“Anne Truitt: White Paintings” at Matthew Marks GalleryFebruary 17–April 2, 2022
Anne Truitt, Arundel XLIII (1977). Photo courtesy of Matthew Marks Gallery, Los Angeles.
This is the first show of Anne Truitt’s “Arundel” series since their debut at the Baltimore Museum of Art in 1975. There, one critic reportedly called for the government to cut the institution’s public funding in response to the spartan works, which feature a uniform white background, a handful of graphite lines, and a few titanium white brushstrokes.
Matthew Marks is located at 1062 North Orange Grove, Los Angeles.

“Phyllida Barlow: Glimpse” at Hauser and WirthFebruary 17–May 8, 2022
Phyllida Barlow, Undercover 2 (2020). Photo by Furukawa Yuya, courtesy the artist and Mori Art Museum, Tokyo.
For her first L.A. solo show, Phyllida Barlow worked on site at the late-19th- and early-20th-century industrial buildings that house the gallery to create new large-scale works that are tall enough for viewers to walk under.Hauser and Wirth is located at 901 East 3rd Street, Los Angeles.

“Womanhouse” at Los Angeles Nomadic DivisionFebruary 18–April 2, 2022
Karen LeCoq and Nancy Youdelman, Leah’s Room in the original “Womanhouse.” Photo courtesy of Los Angeles Nomadic Division.
It has been 50 years since Judy Chicago and Miriam Shapiro organized “Womanhouse,” an all-female art show about the home at an abandoned East Hollywood mansion, featuring the work of students from the CalArts Feminist Art Program in Los Angeles. LAND is partnering with Anat Ebgi Gallery on a new exhibition exploring the spirit of experimentation and collaboration that fueled the project and West Coast Feminist art in the first half of the ’70s, with work from the period and ephemera and photographs from the original “Womanhouse.”
“Womanhouse” will be on view at 4859 Fountain Avenue, Los Angeles. 

“Luncheon on the Grass” at Jeffrey DeitchFebruary 19–April 23, 2022
Cecily Brown, Luncheon on the Grass (2021–22). Photo by Genevieve Hanson, courtesy of the artist.
Taking a page from art history 101, Jeffrey Deitch presents a group show of over 30 contemporary artists reimagining Édouard Manet’s Le Déjeuner sur l’herbe (1863), considered by many to be the first Modern paining. Following in the footsteps of luminaries from Claude Monet to Pablo Picasso are new works by the likes of Nina Chanel Abney, Karen Kilimnik, Naudline Pierre, Christina Quarles, Walter Robinson, and Salman Toor, as well as a 1979 Robert Colescott.
Jeffrey Deitch is located at 925 N. Orange Drive, Los Angeles.

“Leilah Babirye: Ebika Bya ba Kuchu mu Uganda (Kuchu Clans of Buganda)” at Gordon Robichaux February 20–April 3, 2022
Leilah Babirye, Abambowa (Royal Guard Who Protects the King), 2020. Photo courtesy of Gordon Robichaux, Los Angeles.
In her wood and ceramic sculptures, Ugandan artist Leilah Babirye imagines an alternate queer history for the Bugandan clan system that still shapes the culture of the city of Kampala. These kuchu statues take their name from a code word used among the region’s trans community, elevating trash and other found materials to create totems that celebrate a group threatened under Ugandan law. Babirye herself sought asylum in the U.S. due to the anti-gay discrimination and criminalization she faced at home.
Gordon Robichaux is located at 1464 West Temple Street, Los Angeles.

“Noelia Towers: Opening an Umbrella Indoors” at De BoerThrough February 26, 2022
Noelia Towers, Remember Me. Courtesy of De Boer.
Chicago painter Noelia Towers was born in Barcelona, where, according to family lore, she was cursed from infancy when her parents refused to give a Romani woman money on the day of the artist’s baptism. She likens that bad luck to that of opening an umbrella indoors, the title of the show and the subject one of the exhibition’s works, painted in photorealistic style based on photos Towers took of herself.
De Boers is located at 3311 E. Pico Boulevard, Los Angeles.

“Rachel Harrison: Caution Kneeling Bus” at Regen ProjectsThrough February 26, 2022
“Rachel Harrison: Caution Kneeling Bus” at Regen Projects, Los Angeles, installation view. Photo courtesy of Regen Projects, Los Angeles.
Catch new works from Rachel Harrison, who uses readymade objects to make handmade, abstract sculptures. She’s also debuting paintings based on photos taken with the smartphone app Scanner Pro. Harrison sparingly paints atop partially distorted landscapes featuring glitches generated by the app’s algorithm.
Regen Projects is on view at 6750 Santa Monica Boulevard, Los Angeles.

“Jonas Wood: Plants and Animals” at David Kordansky GalleryThrough March 5, 2022
Jonas Wood, BBall Studio (2021). Photo by Marten Elder, courtesy of the artist and David Kordansky Gallery, Los Angeles.
Made over the last three years, the colorful, highly detailed paintings in Jonas Wood’s new show started out as photographs, drawings, and collages before reaching their final form in oil and acrylic canvases. These scenes of interior spaces and the natural world seemingly come to life in their vibrancy.
David Kordansky Gallery is located at 5130 W. Edgewood Place, Los Angeles.

“I Do My Own Stunts” at Spazio AmanitaThrough March 7, 2022
Mickey Lee, Wanton Fields (2022). Courtesy of Spazio Amanita.
Spazio Amanita has brought together a buzzy list of woman painters—Cristina de Miguel, Mickey Lee, Ruby Neri, and Karyn Lyons, among others—for this group show celebrating the physicality of art-making. Unlike massive workshops, these artists “do their own stunts,” so to speak, allowing the voice of the woman creator to retain its power.
Spazio Amanita is located at 1015 Cahuenga Boulevardd, Hollywood.

“Tori Wrånes: Mussel Tears” at Shulamit Nazarian Through March 12, 2022
Tori Wrånes, ECHO FACE, VEGA|ARTS Vega Scene Copenhagen. Photo by Frida Gregersen, courtesy the artist and Shulamit Nazarian, Los Angeles.
Combining elements of performance, sound, painting, and sculpture, multi-disciplinary artist Tori Wrånes mines her birthplace, the fishing town of Kristiansand, Norway, for inspiration for her own fantastical world. A soundtrack of foghorn sounds periodically in the galleries, while sculptures borrow the form of oblong mussels shells a vital, if threatened part of the local ecosystem that helps filter the coastal waters.
Shulamit Nazarian is located att 612 N. LaBrea Ave, Fairfax, Los Angeles.

“Olafur Eliasson: Your Light Spectrum and Presence” at Tanya Bonakdar Gallery Through April 2, 2022
“Olafur Eliasson:  Your Light Spectrum and Presence” at Tanya Bonakdar Gallery, installation view. Photo courtesy of Tanya Bonakdar Gallery, Los Angeles.
Olafur Eliasson’s long-term fascination with visible light can be seen—no pun intended—in this exhibition of 11 circular paintings from his “color experiment” series, dating from 2012 to 2021. Created in consultation with a color chemist, the paintings attempt to match an exact tone of paint to each nanometer of light in the spectrum.
Tanya Bonakdar Gallery is located at 1010 N. Highland Avenue, Los Angeles.

“Digital Combines” at Honor FraserThrough April 2, 2022
Daniel Temkin, Right-Triangular Dither 15% Teal. Photo courtesy of Honor Fraser, Los Angeles.
The 20th century had Robert Rauschenberg and his combines. Now, the age of NFTs brings us “Digital Combines” at Honor Fraser, a potential new genre proposed by artist Claudia Hart that allows physical paintings and a related digital file with relevant metadata to become one single conceptual object. The group show features Nancy Baker Cahill, Jakob Dwight, Claudia Hart, Tim Kent, Gretta Louw, LoVid, Sara Ludy, Daniel Temkin, and Saya Woolfalk, with contributing scholar Charlotte Kent.
Honor Fraser is located at 2622 S. La Cienega Boulevard, Los Angeles, California. 
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For the Indonesian artist Timoteus Anggawan Kusno, getting Luka dan Bisa Kubawa Berlari (Wounds and Venom I Carry as I’m Running) (2022), a monumental installation inspired by the Bible, on display at the Rijksmuseum in Amsterdam has been a long, fraught ride.
Commissioned by the museum, the contemporary centerpiece of the newly opened exhibition “Revolusi! Indonesia Independent” is more than the fruits of lengthy Zoom discussions and a challenging, cross-continental research process during the Covid-19 pandemic. The work, which employs historic objects from the Rijksmuseum’s collection, also symbolizes a realignment of Indonesia’s colonial history within the country’s former colonizer, the Netherlands.
“This is like a black box [flight data recorder] that reveals what had happened after a catastrophe, allowing us to reflect on the revolution,” Kusno told Artnet News about his creation. “Where are we standing now? What does history mean to you? Working on this piece has been emotional for me.”
Timoteus Anggawan Kusno, Luka dan Bisa Kubawa Berlari (Wounds and Venom I Carry as I’m Running) (2022). Photo: Vivienne Chow.
Turning an Artistic Lens on History
One of the powerful European economic concerns that encircled the globe, the Dutch East India Company, arrived in Southeast Asia in the 1600s, and after the company was abolished in 1796, the Dutch government took over governance of the Indonesian archipelago. The nation’s struggle for independence between 1945 and 1949—a chapter of colonial history that had a tremendous impact on many countries, yet that is comparatively under-discussed—is laid out in this major exhibition, which presents some 200 objects on loan from various private and public collections in Australia, Belgium, the U.K., Indonesia, and the Netherlands.
The exhibition, which runs through June 5, focuses on works and records from the period between two key historical events: the declaration of Indonesian independence on August 17, 1945, by the nationalist movement leader and revolutionary Sukarno, and his return to the country on December 28, 1949, the day after the Netherlands finally completed the transfer of sovereignty, following the Dutch-Indonesian Round Table Conference held in The Hague. A total of 97,421 Indonesians and 5,281 Dutch soldiers died during this period.
“Research and exhibitions in the Netherlands often focus on the Netherlands’ role in this period and its consequences here, but with this exhibition, we aim instead to provide an international perspective,” Taco Dibbits, the Rijksmuseum’s general director, writes in the exhibition catalogue. In particular, he adds, the show’s inclusion of personal histories, those “that were previously denied proper attention,” intends to rectify “a silence that is painful for many to this day.” “Revolusi!” follows the museum’s 2021 exhibition on slavery and the Dutch role in the slave trade and takes a similar tack, by re-contextualizing objects from the permanent collection to reveal stories less often told.
Tony Rafty, Battle of Surabaya (November 14, 1945). Photo: Vivienne Chow.
On one hand, it is an art exhibition, as there’s no lack of artworks on show. Besides paintings by some of the best-known Indonesian artists, such as Affandi, Hendra Gunawan, and Sudjojono, the exhibition also includes protest art and pamphlets confiscated by Dutch military intelligence, as well as a series of sketches of what appears to be a war zone by Tony Rafty, who was assigned by the Australian newspaper The Sun to cover the early months of the Indonesian revolution in 1945.
Other important works are miniature watercolors by Mohammad Toha, an 11-year-old boy who was among the five young pupils of realist painter Dullah. Disguised as a cigarette vendor, Toha secretly painted the scenes he witnessed during the Dutch military offensive between 1948 and 1949, which killed hundreds of civilians—including two of his fellow pupils. The Rijksmuseum later acquired Toha’s watercolors.
The exhibition also brings a firm historical backing, presenting an array of archival objects and rare footage to document this pivotal period. It is through these stories, told from multiple perspectives, with personal accounts from 23 eyewitnesses, that “Revolusi!” aims to weave a richer, more complex, and human narrative of Indonesia’s turbulent past.
Mohammad Toha, Republican Troops Returning to Yogyakarta (June 1949). Courtesy of the Rijksmuseum, Amsterdam.
A Collaborative Effort
“Revolusi!” is the outcome of a collaborative effort between curators from Indonesia and the Netherlands, who have managed to pull together the show despite challenges presented by the ongoing pandemic. Representing the Rijksmuseum are Harm Stevens, curator of history, and Marion Anker, junior curator of history; their counterparts in Indonesia are Amir Sidharta, director of the Universitas Pelita Harapan Museum and cofounder of the Jakarta-based Sidharta Auctioneer; and Bonnie Triyana, historian and editor-in-chief of Historia.ID.
To Anker and Sidharta, the collaborative curatorial process gave them the opportunity to learn about different versions of history. Both say that making this exhibition has been among the most meaningful projects they have worked on in their career.
“We found new things by accident sometimes. The stories that are told contribute a lot to the general knowledge,” Sidharta told Artnet News.
“We tried to have many different stories. Some may be known to [people in Indonesia] but not to me, because I didn’t learn it in the Dutch school. We hope to present different perspectives in this exhibition. Maybe people can see a part of themselves, and also see things that they do not recognize,” said Anker.
Hendra Gunawan, Pengantin Revolusi (Bruid van de Revolutie) (1957). Courtesy of Museum Seni Rupa, Jakarta.
The Past Is Present
The Book of Revelation in the Bible is one source of inspiration for Kusno’s newly created Wounds and Venom I Carry as I’m Running. The installation consists of objects from the Rijksmuseum’s archives, including flags signifying the anti-colonial forces, as well as empty frames that once held the portraits of the Dutch governor-general, laid on the ground as if they were tombstones in a cemetery.
“Colonialism was seen as the doomsday, the end of the world, and the fight against colonialism was a holy call,” Kusno said. “Years later, we are still being haunted by the leftovers of colonialism. Social injustice and the power mechanism [from the colonial times] linger in our contemporary life, and the impact of the colonial policies and governance still resonate today.”
However, Kusno says he appreciated the opportunity to look into a chapter of Indonesia’s colonial history on an institutional level. According to curator Sidharta, a version of this exhibition is expected to travel to Indonesia next year, though details are yet to be announced.
“It’s important to have this dialogue and discussion about this subject, otherwise it would just slip away,” said Kusno.
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