July
Europe empties out; the work stays installed and is easier to see without the crowds.
July is quiet by design. Venice keeps running, the Serpentine pavilion settles in, and Kunsthaus Bregenz opens a three-way conversation between Michael Armitage, Maria Lassnig and Chelenge Van Rampelberg. Paris turns its biggest glass roof over to Vivian Suter.
Michael Armitage, Maria Lassnig, Chelenge Van Rampelberg
A KUB Project staged in the foyer and the ground floor. Armitage curated it with the house, the Maria Lassnig Foundation and the Nairobi Contemporary Art Institute. The premise is straightforward: Armitage has named Lassnig as the painter who matters most to him, and he wants her hung alongside Van Rampelberg, the Kenyan sculptor whose wooden figures work in a different register entirely. The watercolours Armitage brought are sepia, quiet, attentive to animals. Lassnig's drawings do the thing they always do, turning the body into a diagram of how it feels from the inside.
