Advance Schedule of Exhibitions for MoMA & MoMA PS1

Please note that exhibitions are subject to change. 

Click here for a list of our touring or off-site exhibitions. 

Check the Press Release Archives for past exhibitions.

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Memory Exercises. 2016. Paraguay. Written and directed by Paz Encina. Courtesy of the artist

Paz Encina

February 10, 2017–February 12, 2017

The Roy and Niuta Titus Theaters

MoMA welcomes Paz Encina, one of Paraguayan cinema’s most compelling voices, to present her two features—the award-winning Paraguayan Hammock (2006) and Memory Exercises (2016)—along with rarely screened short films. Born in 1971, at the height of the one of the bloodiest dictatorships in the South Cone, Encina fuses complex soundscapes with an intensely poetic visual language to evoke the violence that for centuries has been ingrained in the Paraguayan landscape. Her characters speak in a lyrical combination of Spanish and Guarani (evoking the literary language of Augusto Roa Bastos and Juan Rulfo) as they confront traumas both historical and enduring, whether the return of a son after a long absence, the unhealed wounds of war, the dispossession of the lands of the Guaranies, or the effects of shock-therapy capitalism. In her documentaries, Encina uses archival material made during the decades-long dictatorship of Alfredo Stroessner to portray a harrowing bureaucracy of death, reawakening the language of denuncia, a cry for justice yet to be achieved. All films are directed by Paz Encina, from Paraguay, and in Spanish and Guarani with English subtitles.

Organized by Natalia Brizuela, Professor, University of California, Berkeley, and Kathy Geritz, Curator, Pacific Film Archive; and organized for The Museum of Modern Art by Mónica Ríos, intern.

Special thanks to UC Berkeley’s Regent’s Lectureship Program and the Department of Spanish and Portuguese.

The exhibition is supported by the Annual Film Fund.

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Rabbit in the Moon. 1999. USA. Directed by Emiko Omori. Shown, left to right: Haruko Fujita Omori and  Isao “Bob” Omori. Courtesy of Emiko Omori.

Doc Fortnight 2017

February 16, 2017–February 26, 2017

The Roy and Niuta Titus Theaters

Doc Fortnight, MoMA’s annual international festival of nonfiction film, returns with 10 days of important new discoveries in documentary cinema. Featuring recent films by emerging and established artists—many of whom will introduce their work in person—the festival offers fresh ways of considering the world around us in a time of increasing political uncertainty.

This year’s selection includes a retrospective of several works by award-winning filmmaker Emiko Omori, as well as an unusual 3-D collaboration between Open-Ended Group’s Paul Kaiser and Marc Downie and acclaimed experimental filmmakers Ken and Flo Jacobs. Combining short and feature-length work, Doc Fortnight continues its commitment to highlighting the many, ever-evolving styles within nonfiction media arts.

Organized by Kathy Brew, Guest Curator, with David Neary, Festival Manager.

The exhibition is supported by the Annual Film Fund.

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Crepusculo (Twilight).  1945. Mexico. Directed by Julio Bracho. Courtesy Filmoteca UNAM

Between Twilight and Dawn: Julio Bracho and the Golden Age of Mexican Cinema

March 01, 2017–March 09, 2017

The Roy and Niuta Titus Theaters

The sleeper hit of MoMA’s 2015 Mexico at Midnight series, Julio Bracho’s 1943 Distinto amanacer (Another Dawn) revealed a filmmaker of emotional resonance, formal mastery, and social insight.  Inspired by a retrospective held at the 2016 Morelia International Film Festival, this overview of Bracho’s work brings back both Another Dawn and Crepúsculo (Twilight) (1945) in new digital restorations, while demonstrating Bracho’s range beyond film noir with such films as the peasant drama Rosenda (1948), the surreal comedy La corte del faraón (The Pharoah’s Court) (1944) and the lush period romance Historia de un gran amor (1942).  A veteran of Mexico’s avant-garde theater movement of the 1930s, Bracho continued to experiment with complex interior spaces and extreme long takes as his work moved into the popular genres of the Mexican cinema, which was then fully competitive with Hollywood in terms of production resources and technical finish. He became one of the highest paid directors of the period now referred to as “la Epoca de Oro del Cine Mexicano,” but fell from political favor in 1960 with his daring La sombra del caudillo (The Shadow of the Leader), a critical look at Mexican politics in the 1920s and ‘30s. Banned for over 30 years, The Shadow of the Leader will be shown here in a restoration based on a 16mm print—the only copy known to survive.

Organized by Dave Kehr, Curator, Department of Film.

Special thanks to Daniela Michel, Chloe Roddick and Denis De La Roca, Morelia International Film Festival; Jose Manuel Garcia, Filmoteca de la UNAM; Dora Moreno Brizuela, Cineteca Nacional; and Mauricio Maille, Fundación Televisa.

The exhibition is supported by the Annual Film Fund.

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Uncertain. 2015. USA. Directed by Ewan McNicol and Anna Sandilands. Courtesy the filmmakers

MoMA Presents: Ewan McNicol and Anna Sandilands’s Uncertain

March 09, 2017–March 15, 2017

The Roy and Niuta Titus Theaters

The Museum of Modern Art and IFP’s Screen Forward series present a weeklong presentation of Ewan McNicol and Anna Sandilands’s feature debut Uncertain—previously featured in the 2015 edition of MoMA’s annual Best Film Not Playing at a Theater Near series. Uncertain, Texas (population 94), is the obscure home of the film’s three protagonists. Seventy-four-year-old Henry’s precarious living as a fisherman is threatened by a gradual parasitic infestation of the town’s lake. Hunting for sport rather than sustenance, middle-aged ex-con Wayne spends his nights waiting with a rifle, and infinite patience, to kill “Mr. Ed,” a legendarily large wild boar. And 21-year-old diabetic Zach kills small-town boredom and personal angst by drinking so prodigiously his doctor warns he’ll be dead by 35. Uncertain is an exemplary portrait of three generations of men processing personal and political trauma with the scarcest of resources. Levelheaded and deftly shot, the film evokes the traditions of vérité cinema and Southern gothic alike.

Organized by Sophie Cavoulacos, Assistant Curator, Department of Film.

Uncertain. 2015. USA. Directed by Ewan McNicol, Anna Sandilands. 82 min.
Thursday, March 9, 7:00pm. T2. (Followed by a Q&A with McNicol and Sandilands)
Friday, March 10, 7:00pm. T2.
Saturday, March 11, 4:00pm. T2.
Sunday, March 12, 5:00pm. T2.
Monday, March 13, 7:30pm. T2.
Tuesday, March 14, 7:30pm. T1.
Wednesday, March 15, 4:00pm. T2.

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Patti Cake$. 2017. USA. Directed by Geremy Jasper. Courtesy Fox Searchlight Pictures.

New Directors/New Films 2017

March 15, 2017–March 26, 2017

The Roy and Niuta Titus Theaters

The Museum of Modern Art and the Film Society of Lincoln Center announce the complete lineup for the 46th annual New Directors/New Films (ND/NF), March 15-26. Since 1972, the festival has been an annual rite of early spring in New York City, bringing exciting discoveries from around the world to adventurous moviegoers. Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, this year’s festival will screen 29 features and nine short films.

The opening, centerpiece, and closing night selections showcase three exciting new voices in American independent cinema: Geremy Jasper’s Patti Cake$, a breakout hit of Sundance, is opening night; Eliza Hittman’s portrait of a Brooklyn teenager’s sexual awakening, Beach Rats, is the centerpiece selection; and Dustin Guy Defa closes the festival with Person to Person, a day-in-the-life snapshot of a group of eccentric New York characters. This year’s lineup boasts nine North American premieres, seven U.S. premieres, and two world premieres, with features and shorts from 32 countries across five continents.

Organized by a selection committee comprising Rajendra Roy, the Celeste Bartos Chief Curator; La Frances Hui, Associate Curator; Sophie Cavoulacos, Assistant Curator and Izzy Lee, Department Assistant, Department of Film, The Museum of Modern Art; and Dennis Lim, Director of Programming; Florenze Almozini, Associate Director of Programming; Dan Sullivan, Assistant Programmer, and Tyler Wilson, Programming Coordinator, the Film Society of Lincoln Center.

New Directors/New Films is presented by The Museum of Modern Art and the Film Society of Lincoln Center and is supported by the Annual Film Fund of The Museum of Modern Art, Film Society’s New Wave, The New York Times, American Airlines, Variety, Shutterstock, and Row NYC.

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Samuel Fosso (French, born Cameroon 1962). Untitled from the series African Spirits. 2008. Gelatin silver print. 64 1/8 × 48 1/16" (162.8 × 122 cm). The Museum of Modern Art, New York. The Family of Man Fund, 2016. © 2017 Samuel Fosso.

Unfinished Conversations: New Work from the Collection

March 19, 2017–July 30, 2017

Floor Six, The International Council of The Museum of Modern Art Gallery

Press Preview: Tuesday, March 14, 9:30-11:30 a.m.

Unfinished Conversations brings together works by more than a dozen artists, made in the past decade and recently acquired by The Museum of Modern Art. The artists that make up this intergenerational selection address current anxiety and unrest around the world and offer critical reflections on the present moment.

The exhibition considers the intertwining themes of social protest, the effect of history on the formation of identity, and how art juxtaposes fact and fiction. From Cairo to St. Petersburg, from The Hague to Recife, the artists in the exhibition observe and interpret acts of state violence and the resistance and activism they provoke. They reexamine historical moments, evoking images of the past and claiming their places within it. They take on contemporary struggles for power, intervening into debates about government surveillance and labor exploitation. Together, these artists look back to traditions both within and beyond the visual arts to imagine possibilities for an uncertain future.

The title of the exhibition is inspired by John Akomfrah’s three-channel video installation The Unfinished Conversation (2012), which chronicles the life and work of the Jamaican-born British cultural theorist Stuart Hall (1932–2014). Hall recognized the power that museum collections have to both shape and reflect culture and communities, contending that they are sources of inspiration “which create thought-provoking visions of our past. They provide testimony to the darkest and brightest of human history.”

Unfinished Conversations includes works by John Akomfrah, Jonathas de Andrade, Anna Boghiguian, Andrea Bowers, Paul Chan, Simon Denny, Samuel Fosso, Iman Issa, Erik van Lieshout, Cameron Rowland, Wolfgang Tillmans, Adrián Villar Rojas, Kara Walker, and Lynette Yiadom-Boakye.

Organized by Klaus Biesenbach, Chief Curator at Large, The Museum of Modern Art and Director MoMA PS1; Lucy Gallun, Assistant Curator, Department of Photography; Thomas J. Lax, Associate Curator, Department of Media and Performance Art; Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints; and Yasmil Raymond, Associate Curator, Department of Painting and Sculpture, with Elizabeth Henderson, Department Coordinator, Office of the Chief Curator at Large. 

Allianz is a partner of contemporary art at MoMA.

Additional support for Unfinished Conversations: New Work from the Collection is provided by the Annual Exhibition Fund.

MoMA Audio+ is supported by Bloomberg Philanthropies.

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World Painting 1

.com/.cn

March 21, 2017–April 30, 2017

K11 Art Foundation Pop-up Space, Sheung Wan, Hong Kong

The K11 Art Foundation (KAF) and MoMA PS1 co-present .com/.cn, the first project jointly presented by the two institutions as part of an ongoing research partnership. Co-curated by Klaus Biesenbach and Peter Eleey of MoMA PS1 in New York, com/.cn includes work by Darren Bader, Cao Fei, DIS, Aleksandra Domanovic, Greg Edwards, Li Ming, Liang Wei, Lin Ke, Liu Shiyuan, Miao Ying, Laura Owens, Oliver Payne, Sondra Perry, Wang Xin, and Anicka Yi.

.com/.cn showcases artistic practices in China and the West that respond to, or are affected by, our digital ecosystem. Frequently described as a “network” or a “cloud,” this system is often assumed to be universal, unencumbered by territory, language, law, or national culture. However, distinct regional internets have developed under varying forms of state control, each conditioning different social behaviors, economies, and modes of thought. These variations are particularly evident in comparing artistic responses to the available internets of China and the West, and their respective political and economic systems.

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Anne Teresa De Keersmaeker’s Work/Travail/Arbeid March 25, 2017–April 02, 2017

Anne Teresa De Keersmaeker’s Work/Travail/Arbeid

March 29, 2017–April 02, 2017

Floor Two, The Donald B. and Catherine C. Marron Atrium

The starting point for Anne Teresa De Keersmaeker’s Work/Travail/Arbeid is a simple question: Can choreography be performed in the form of an exhibition? To answer that question, one of today’s most important dancer/choreographers reimagined her stage performance Vortex Temporum (2013)—choreographed to the eponymous work by the late French composer Gérard Grisey—for a museum space, away from a conventional theater setting.

Work/Travail/Arbeid is not De Keersmaeker’s first project to be performed in the museum space; in 2011 she performed the solo Violin Phase, part of her very first piece Fase: Four Movements to the Music of Steve Reich (1982), in MoMA’s Donald B. and Catherine C. Marron Atrium. But with Work/Travail/Arbeid the artist imagines the choreography in relation to the practices and protocols of an exhibition. The dancers from De Keersmaeker’s company, Rosas, and the musicians, from the Ictus ensemble, are not simply bringing dance into a museum; they are reinterpreting dance in the space of MoMA’s Marron Atrium in the form of a five-day exhibition, accessible continuously to the audience during public hours. The original hour-long piece has been expanded to a nine-hour cycle, with each hour offering different choreography and combinations of seven dancers and seven musicians. (Vortex Temporum is originally a sextet for piano, flute, clarinet, violin, viola, and cello.) Throughout her career De Keersmaeker has focused on the relationship between music and dance: rather than allow the dance to simply illustrate the music, De Keersmaeker uses music as a defining structure. The relation to music in Vortex Temporum, for example, influenced how she reconceived it for the exhibition. Time and harmonic space are expanded and condensed, creating the vortexes of time suggested by the work’s title.

Work/Travail/Arbeid is an itinerant exhibition, first staged at WIELS in Brussels over nine weeks in 2015; then at Centre Pompidou over nine days in a large square space with glass walls, which invited the city itself into the work; and then moving to Tate Modern in London, in the long rectangular space of the Turbine Hall. Each space presented different challenges of adaptation and reconceptualization, a dynamic that continues with the version being re-choreographed and re-created for the unique dimensions of MoMA’s Marron Atrium.

In each of those cases the result is a project that transforms the very material conditions that have long been essential to dance—and in particular the rigorous structure and choreographic language for which De Keersmaeker is known—into an entirely new form of exhibition. The expanded duration of Work/Travail/Arbeid reveals new insights into the complex conceptual, technical, and physical labor that is essential to the practice of dance.

Organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art; produced by Lizzie Gorfaine, Performance Producer, with Kate Scherer, Assistant Performance Coordinator.

Generous funding for the exhibition is provided by The Modern Women’s Fund and by The General Delegation of the Government of Flanders to the USA.

Piano provided by Steinway & Sons.

Additional support is provided by the Annual Exhibition Fund.

The exhibition is organized by The Museum of Modern Art in collaboration with Rosas, Ictus, and WIELS Contemporary Art Centre.

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Un caballo llamado Elefante (Elephant, the Horse). 2016. Chile/Mexico/Columbia. Directed by Andrés Waissbluth. Courtesy of Ibermedia

Latin American Cinema: The State of the Art

March 30, 2017–April 09, 2017

The Roy and Niuta Titus Theaters

Latin American Cinema: The State of the Art highlights exciting new voices in film from countries such as Argentina, Chile, Ecuador, Perú, and Venezuela from March 30 through April 9 in The Roy and Niuta Titus Theaters. The seven-film series includes works that illuminate young adult life in Latin America, including Rara (2016) and Alba (2016). Several screenings will feature post-screening discussions with filmmakers, including both Rara and Alba, the opening night film, Magallanes (2015), and Un caballo llamado Elefante (2016).

The series showcases films created with the support of Ibermedia—the intergovernmental organization which, for two decades, has advanced the making of fiction and nonfiction films in Latin America, Portugal, Spain, and, most recently, Italy. By supporting projects in various stages of the filmmaking process, from development and production to distribution, exhibition, and promotion, Ibermedia has been instrumental in elevating artistically significant works and nurturing emerging voices in cinema. Filmmakers who have been supported by Ibermedia include Manoel de Oliveira, Lucrecia Martel, and Miguel Gomes.

Organized by La Frances Hui, Associate Curator, Department of Film.

The exhibition is supported by the Annual Film Fund.

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Notorious. 1946. USA. Directed by Alfred Hitchcock

Modern Matinees: Mr. Cary Grant

April 05, 2017–May 31, 2017

The Roy and Niuta Titus Theaters

Cary Grant (American, b. Great Britain, 1904–1986) has always been described as a versatile actor. He possessed a keen wit and comic timing that made him a natural with the rapid banter of screwball comedies, and his charm and elegant good looks propelled him into the rarified company of cinema’s great leading men. From the start of his film career, in 1932, to its conclusion, in 1966, Grant worked with a who’s-who of iconic directors—from George Cukor to Alfred Hitchcock—on everything from outrageous physical comedies to intense dramas and thrillers.

The Bristol, England–born Archibald Leach was spellbound by vaudeville, and joined an acrobatic act called The Penders as a stilt walker. In 1920, Leach arrived in New York, where The Penders performed at the Hippodrome, and he remained in the States for several years. An uninspiring screen test at Paramount Pictures in 1931 nonetheless garnered him a contract—and a demand by studio head B. P. Schulberg that he change his name. Thus Cary Grant was born.

Elegant, mischievous, good-humored, masculine, cheeky, and sensual but never overbearing or pompous, Grant’s greatest gift was his peerless versatility. This series demonstrates that range with highlights from Grant’s three decades in American cinema, drawn primarily from MoMA’s collection. All films are from the US and star Cary Grant.

Organized by Anne Morra, Associate Curator, Department of Film.

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