If you’re on the hunt for a thought-provoking dip into the Surreal, you can’t miss Magritte: The Mystery of the Ordinary exhibit at the MoMA (running through January 12, 2014). Curated by Anne Umland, the exhibit covers what the famed Belgian painter described as the most defining period of his career from 1926-1938.
The exhibit features many of his most acclaimed works including “Le Trahison Des Images” (pictured) wherein he notoriously paired his painting of a pipe with the beautifully scripted words “Ceci n’est pas une pipe” (“This is not a pipe”). After you absorb the whimsically provocative contradictions in his narrated paintings, check out “Les Amants” to peek at his popular portrait of two lovers kissing.
This week, the culturati makes its annual pilgrimage to Regent’s Park for the 11th Frieze London (Oct. 17-20), with pieces from 152 contemporary galleries from around the globe plus specially commissioned performances, pop-up restaurants, and let’s not forget the party scene. In an unprecedented partnership, British fashion house Alexander McQueen is a sponsor this time around; artworks curated by local gallerist Sadie Coles will be displayed at the brand’s London stores throughout the fair.
Of course, there’s also the second edition of Frieze Masters, the historically minded spin-off, and a full schedule of satellites. Among this year’s standouts, in collaboration with Tanzanian architect David Adjaye, Somerset House has unveiled 1:54 (through Oct. 20), the world's very first contemporary African art fair. Founded by Touria El Glaoui, daughter of Moroccan painter Hassan El Glaoui, it’s a platform for more than 70 artists—from DRC painter Chéri Samba (see La Vraie Carte du Monde, above) to Benin’s Romuald Hazoumé, with his colorful tribal-inspired “masks” made from discarded jerricans, and Gonçalo Mabunda, who turns AK47s and rocket launchers deactivated after Mozambique’s civil war into whimsical, Modernist thrones.
Thanks to dramatic transformations, these five world-class museums are casting a whole new light on their collections.
Amsterdam: After a 10-year renovation, a grand atrium now greets visitors to the Rijksmuseum(pictured). More than 8,000 objects, including masterpieces by Rembrandt, Vermeer, and Hals, have been rearranged as a historical survey. —Raul Barreneche
Honolulu: The extraordinary story of how Pacific Islanders developed their diverse cultures is told—with canoes, costumes, musical instruments, and more—in the renovated Pacific Hall, debuting this month at the Bishop Museum. —Peter Webster
New York City: Housed in a pavilion built for the 1939 World’s Fair, the Queens Museum reopens in November at twice its original size. One of the first shows, “The People’s UN,” nods to the building’s former role as host to the General Assembly.—Peter Webster
Mexico City: The Museo Jumex, displaying artists both Mexican (Gabriel Orozco; Carlos Amorales) and global (Olafur Eliasson; Tacita Dean), expands into David Chipperfield’s sawtooth-roofed building in November. —Raul Barreneche
Cleveland: Come December, the Cleveland Museum of Artwill unveil the last of three wings by Rafael Viñoly, showing works that range from Chinese bronzes to Impressionist paintings. —Peter Webster
While international tourists are shaking their collective fists at the closed gates of National Parks, another faction within the travel industry is grappling with the ugly effects of the government shutdown: witches, warlocks and their looky-loo friends in Salem, Mass.
After all, October is usually an extra-magical time of year for the hometown of the infamous 1692 witch trials. The month-long “Haunted Happenings,” which includes a psychic fair and witchcraft expo, conjures up about $30 million in revenue for the town, according to a recent AP article.
But here's the fly, or frog, in the ointment: Salem’s visitors center—the nerve center for the event—is run by the currently defunct National Park Service.
Move over penguins, there’s a new bird in Steel Town.
Currently floating down the Allegheny River is a 40-foot-tall (and 30-foot-wide) inflatable yellow duck. An art installation that simply goes by “The Rubber Duck,” created by Dutch artist, Florentijn Hofman.
The international sensation has debuted stateside as part of the Pittsburgh International Festival of Firsts. The festival is a four-week long series of dance, music, theater, performance and visual arts, presented by international artists making their U.S. debuts.
In New York City, incredible feats of architecture and design are all around us (like the New Museum, above)…if only we’d look up from our cell phones to notice while walking down the street.
Well, New Yorkers now have reason to stop and look around, as this week ushers in the beginning of Archtober, a month-long, citywide celebration of architecture and design organized by the American Institute of Architects New York Chapter (AIANY) and the Center for Architecture.
Now in its third year, Archtober offers over 150 curated programs, ranging from exhibits and walking tours to panels and workshops, and draws some of the biggest names in the industry—David Rockwell, MoMa’s Paola Antonelli, Jonathan Adler, Todd Williams and Billie Tsien, and more.
On paper, the scheduled ceremony has plenty of dignity: according to recent reports, the Dallas Symphony will perform on the morning of the 22nd at Dealey Plaza, where Kennedy was shot, followed by readings from the president’s speeches (by Presidential biographer David McCullough), a military flyover and a performance by the U.S. Naval Academy’s Glee Club. Area museums, such as the Sixth Floor Museum (in Dealey Plaza) and the Dallas Museum of Art, will be doing thoughtful exhibits.
When Greek-American filmmaker Chrysovalantis Stamelos took his first trip to Turkey in 2008, he was immediately besotted with Istanbul’s minarets, markets and countless layers of multicultural history. “I went knowing a lot about the Greek community’s past there,” Stamelos admitted, referring to grisly incidents like The Great Fire of Smyrna (present-day Izmir, a lively port city on the western peninsula of Anatolia), a monstrous blaze that prompted the systematic evacuation of Greek residents, circa 1922. “But it felt like home to me,” he continued, adding that he eventually moved from New York City to Izmir—permanently—approximately three years ago.
“Hello Anatolia,” Stamelos’s latest documentary, co-produced with Paras Chaudhari (the two launched their Queens-based production company, Crescent Street Films, in 2005) shadows Stamelos as he rediscovers the birthplace of his ancestors. “I couldn’t shake off the stories I grew up with…of old Smyrna and Asia Minor,” Stamelos recalled. Equal parts vibrant travelogue and poignant self-discovery, the film is a thoughtful blend of interviews, neighborhood exploration and artistic immersion.
The feeding frenzy known as the New York City Wine & Food Festival is just days away. You name a culinary superstar, and chances are good he or she will be there: Daniel Boulud, David Chang, Alex Atala, April Bloomfield—the list goes on. (Even Whoopi Goldberg is making an appearance at a chicken-themed evening.)
While many of the big-ticket items are already sold out—including Martha Stewart’s cake-decorating class and a dinner with Eleven Madison Park’s Daniel Humm and Will Guidara—there are still plenty of ways to get a taste of what the fifth anniversary event has to offer.
Ten years ago, New York City Center came up with an inspired idea: invite dance companies—ballet, modern, contemporary—and popular and national troupes from throughout the United States and around the globe; present sampler programs (four works by four companies each night); and offer all tickets at a rock-bottom price: $15. Ideal for the hard-core dance fan or the curious first-timer. The Fall for Dance Festival celebrates its 10th anniversary now through October 5 with performances by 24 international companies, Royal Ballet, Martha Graham Dance Company, Bodytraffic, among them, and three commissions from up-and coming choreographers: Annabelle López Ochoa, Justin Peck, and Liam Scarlet.
The dance cavalcade continues at City Center with the New York premiere of British choreographer-iconoclast Matthew Bourne’s Sleeping Beauty, set in turn-of-the 19th century and advancing to the modern day, with a gamekeeper instead of prince to woo Princess Aurora (October 23-November 3).