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.
October 05, 2016–October 16, 2016
The Roy and Niuta Titus Theaters
The Museum of Modern Art presents the first major North American retrospective of the Georgian-born, Russian-based filmmaker Marlen Khutsiev, October 5–16 in the Roy and Niuta Titus Theaters. The Soviet and Russian filmmaker revitalized Soviet cinema with his New Wave sensibility during the Thaw of the mid 1950s and early 1960s before facing public condemnation by Nikita Khrushchev. Still making films at 91, Khutsiev (b. 1925, Tbilisi) will make a rare New York appearance to introduce screenings of Ilych’s Gate (1962) and July Rain (1967) and will take part in an onstage conversation on October 8. MoMA’s complete survey of his 11 feature films—many of them in new 35mm prints with more faithful subtitles—restores Khutsiev to his proper place in the pantheon of postwar cinema.
Orphaned by war, and unmoored by the end of Stalin’s totalitarian rule, the Soviet generation that came of age in the late 1950s felt restless and alienated. Marlen Khutsiev gave cinematic expression to their inchoate desires and anxieties during the Thaw, a fleeting moment of relative artistic freedom between the terrors of Stalinism and Brezhnevite stagnation. He chronicled the postwar generation’s social and political awakening in such landmark films as Springtime on Zarechnaia Street (1956), Ilych’s Gate (1962), and July Rain (1967). In addition to the North American premiere of The Scarlet Sail of Paris (1971), Khutsiev’s meditation on the anniversary of the Paris Commune, the MoMA retrospective features It Was the Month of May (1970), his deeply personal reflection on war crimes; the Tarkovsky-like metaphysical excursion Infinitas (1991); and …And Still I Believe (1974), a documentary testament to 20th-century upheaval that Elem Klimov and Khutsiev completed after their mentor Mikhail Romm’s death.
Moving freely across temporal periods through a polyphonic soundtrack of music, poetry, and inner thought, Marlen Khutsiev’s camera wanders the atmospheric streets of Moscow in search of private refuge from public duty. Khutsiev portrays Russia’s postwar generation of students, poets, lovers, and antiheroes with an unsparing realism that earned him top prizes at international film festivals like Venice and Berlin, as well as the admiration of Fellini, Godard, and many others. By the early 1960s, however, his films also brought harsh condemnation from Communist leader Nikita Khrushchev—the “morally sick” Illych’s Gate was banned until after perestroika—and though Khutsiev was never officially branded a dissident, he has walked a precarious line for much of his half-century career.
Special thanks to Gosfilmofund, Mosfilm, VGTRK, and Ruscico for their generous participation in this retrospective.
Organized by Joshua Siegel, Curator, Department of Film, MoMA; and Peter Bagrov, Curator, Gosfilmofund.
October 12, 2016–October 24, 2016
The Roy and Niuta Titus Theaters
William Shakespeare’s bountiful 17th-century literary output has had a monumental influence on the narrative and visual content of cinema, the art form most associated with the 20th century. From the silent cinema to today, moving image artists have interpreted Shakespeare’s work in countless original ways. Some remain faithful to iconic text while others radically re-chart the works with modern dress and language or gender shifts. These diverse and audacious reassessments of Shakespeare’s plays demonstrate the continued relevance of his work to the modern world.
While classical actor/directors such as Laurence Olivier grip us with a traditional Hamlet (1948), filled with shadows and stripped of empathy, along comes Tom Stoppard, who elevates two minor characters from the same tragedy in his farce Rosencrantz and Guildenstern Are Dead (1990). Whether Olivier remains faithful to Shakespeare or prose swirls out of the audacious imagination of Stoppard, Hamlet is the venerated source material. When a contemporary director known for innovation, like Julie Taymor, keeps close to the text of Titus Andronicus, this means she also dives deep into the fundamental absurdity and morbidity of the early Shakespeare tragedy. Critic Roger Ebert wryly noted Taymor’s mischievous casting of Anthony Hopkins as the meat-pie-eating King Titus, who knows that the secret ingredient in the delectable pasty he feeds Queen Tamora is her sons.
In March 2016, 400 years after the Bard’s death, Sir Ian McKellen and the British Film Institute and the British Council commenced a yearlong celebration of Shakespeare’s influence on culture, education, and society with a rich program of international events called Shakespeare Lives. Here at MoMA, Breaking Bard: Shakespeare on Film includes films both faithful to and paradoxical with Shakespeare’s texts—a unique range of cinematic adherence and divergence across a wide array of filmmakers.
Organized by Anne Morra, Associate Curator, Department of Film, in conjunction with the British Film Institute and British Council.
October 21, 2016–November 07, 2016
The Roy and Niuta Titus Theaters
An artful stylist and shrewd social critic, the Japanese filmmaker Tomu Uchida (1898–1970) left an illustrious body of work little seen or acknowledged outside his home country. Working within the Japanese studio system, he proved to be a dexterous, adaptable visionary comfortable at the helm of any production—from samurai films, thrillers, and literary adaptations to social satire and even a pseudo-Western set in Japan’s “Wild North” of Hokkaido. Uchida started making films during the silent period, found his career as a director interrupted by a decade spent in Manchuria at the end of WWII, and later returned to Japan to amass a rich and far-reaching body of work. This retrospective, the most extensive ever held outside Japan, includes works from the early 1930s through the late 1960s, when Uchida’s films tracked monumental social and political changes in Japan with a cinematic flair that puts the director among legends like Masaki Kobayashi and Kihachi Okamoto.
All films, which are presented in 35mm, are directed by Tomu Uchida, from Japan, and in Japanese with English subtitles, unless otherwise noted.
Organized by La Frances Hui, Associate Curator, Department of Film, The Museum of Modern Art, in collaboration with independent curators Alexander Jacoby and Johan Nordström, and the National Film Center, The National Museum of Modern Art, Tokyo.
October 23, 2016–March 05, 2017
MoMA PS1 presents the first comprehensive survey of the pioneering British artist Mark Leckey in the United States, and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, his dynamic and varied practice has helped give form to the transition from analog to digital culture, and powerfully influenced younger generations of artists. Occupying two floors of MoMA PS1, the exhibition will bring together major bodies of Leckey’s art, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highlights will be Leckey’s breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dancesubcultures in British nightclubs from the 1970s to 1990s; a selection of the artist’s Sound System sculptures (2001-2012), functioning stacks of audio speakers that recall those used in street music parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that consider “smart” objects and our increasingly technological environment; a significant installation UniAddDumThs(2014), which Leckey created as a “copy” of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before; and an expanded presentation of works relating to his recent autobiographical film Dream English Kid 1964–1999 AD (2015).
Mark Leckey is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art.
Mark Leckey (b. 1964, United Kingdom) was awarded the Turner Prize in 2008 and has been the subject of numerous solo exhibitions at institutions includingHaus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010). Leckey lives and works in London.
October 27, 2016–October 31, 2016
Donald B. and Catherine C. Marron Atrium
On the occasion of French Institute Alliance Française (FIAF)’s Crossing the Line Festival 2016, The Museum of Modern Art presents Artist’s Choice: Jérôme Bel/MoMA Dance Company. An exhibition series inaugurated in 1989 at MoMA, Artist’s Choice periodically invites contemporary artists to organize installations drawn from the Museum’s collection. When invited to be the first choreographer to participate in an Artist’s Choice, Jérôme Bel shifted his focus from the artworks in the collection to MoMA’s staff, and to the care and labor necessary to maintain the collection and make it visible. Bel also became interested in the relation of the Museum’s employees to specific artworks, to the institution, and to dance. Eventually, Bel decided to turn his Artist’s Choice exhibition into a performance: MoMA Dance Company.
Through an open call, MoMA Dance Company brings together 20 to 25 MoMA staff members from different departments who will perform during public hours in the Donald B. and Catherine C. Marron Atrium. Taking inspiration from his recent piece Company, Company, which features both amateur and professional dancers of different ages and backgrounds, Bel has invited each participating MoMA staff member to choreograph a brief solo dance of their choice. Based on the guiding principles of solo and group performances, MoMA Dance Company subverts the idea of a dance company and notions of virtuosity—and the typical focus of Artist’s Choice installations on objects—to challenge the imaginations and expectations of audiences and the institution itself. Artist’s Choice: Jérôme Bel/MoMA Dance Company is organized by Ana Janevski, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art, and produced by Lizzie Gorfaine, Performance Producer.
Presented on the occasion of FIAF’s Crossing the Line 2016, in conjunction with related programming at The Joyce and The Kitchen.
The Artist’s Choice exhibition series is made possible through The Agnes Gund Artist’s Choice Fund endowed by Iara Lee and George Gund III, Lulie and Gordon Gund, Ann and Graham Gund, and Sarah and Geoffrey Gund.
Additional support is provided by the MoMA Annual Exhibition Fund.
The artist gratefully acknowledges the Cultural Services of the French Embassy in the United States.
October 29, 2016–May 07, 2017
The Paul J. Sachs Galleries, second floor
The Shape of Things: Photographs from Robert B. Menschel presents an engaging survey of The Museum of Modern Art’s multifaceted collection of photography. Borrowing its title from the eponymous work by Carrie Mae Weems, the exhibition is drawn entirely from works acquired over the past 40 years with the support of Robert B. Menschel, telling the story of photography from its beginnings.
Covering more than 150 years of photography—from an 1843 view of Paris by William Henry Fox Talbot, the English father of photography, to Andreas Gursky’s contemporary monumental landscapes, the exhibition underscores an equal attention to the past and the present, and a strong belief that they complement each other; and that each generation reinvents photography. Since Menschel joined the Committee on Photography at MoMA in 1977, over 500 works have entered the collection through his support, including the promised gift of 162 photographs from his personal collection recently acquired.
Organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.
November 02, 2016–November 23, 2016
The Roy and Niuta Titus Theaters
One of MoMA’s most beloved film festivals, To Save and Project features dozens of newly preserved and restored films from around the world. Now celebrating its 14th year, this three-week exhibition of rarities and masterworks constitutes a rich survey of the invaluable work of international archives, studios, and independent filmmakers to save our cinema heritage. Many of these films are receiving their first American screening since their original release, others will be shown in meticulously restored versions, and others still are being shown for the first time ever in New York.
Organized by Joshua Siegel, Curator, and Dave Kehr, Adjunct Curator, Department of Film, MoMA.
November 21, 2016–March 19, 2017
The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor
Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is the first major exhibition in the U.S. to encompass the full range of Picabia’s audacious, provocative, and profoundly influential career. MoMA’s first-ever monographic exhibition of the artist, Francis Picabia brings together some 200 works in multiple mediums to explore the artist’s critical place in the history of 20th-century art.
Among the great modern artists, Francis Picabia (French, 1879–1953) remains one of the most elusive; he vigorously avoided any one singular style or medium, and his work encompassed painting, performance, poetry, publishing, and film. Though he is best known as one of the leaders of the Dada movement, his career ranged widely—and wildly—from Impressionism to radical abstraction, from Dadaist provocation to pseudo-classicism, and from photo-based realism to art informel. Picabia’s contributions to a diverse range of artistic mediums, along with his consistent inconsistencies, make him especially relevant for contemporary artists, and his career as a whole challenges familiar narratives of modernism.
Francis Picabia—conceived in partnership with the Kunsthaus Zürich, where its presentation is scheduled to coincide with the 100th anniversary of the founding of the Cabaret Voltaire, in 1916—assembles key selections and bodies of work, ranging in date from the first decade of the 20th century through the early 1950s. Picabia’s work as a painter—albeit one whose oeuvre consistently contests the term—will be represented, along with his activities as a publisher and contributor to vanguard journals, and his forays into screenwriting and theater. The core of the exhibition comprises some 125 paintings, along with approximately 45 key works on paper, one film, and a carefully chosen selection of printed matter.
Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich.
Organized by Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art, and Cathérine Hug, Curator, Kunsthaus Zürich; with Talia Kwartler, Curatorial Assistant, Department of Painting and Sculpture.
Major support for the New York presentation is provided by The International Council of The Museum of Modern Art.
Generous funding is provided by Lawrence B. Benenson.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Additional support is provided by the Annual Exhibition Fund.
November 23, 2016–April 02, 2017
Josef Albers (American, born Germany, 1888–1976) is a central figure in 20th-century art, both as a practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Best known for his iconic series Homages to the Square, Albers made paintings, drawings, and prints and designed furniture and typography. The least familiar aspect of his extraordinary career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this remarkable body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production.
The first serious exploration of Albers’s photographic practice occurred in a modest exhibition at MoMA in 1988, The Photographs of Josef Albers. In 2015, the Museum acquired 10 photocollages by Albers—adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago—making its collection the most significant anywhere outside the Foundation. This installation celebrates both this landmark acquisition and the publication of One and One Is Four: The Bauhaus Photocollages of Josef Albers, which focuses exclusively on this deeply personal and inventive aspect of Albers’s work and makes many of these photocollages available for the first time.
Organized by Sarah Hermanson Meister, Curator, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.
November 29, 2016–December 17, 2016
The Roy and Niuta Titus Theaters
Pedro Almodóvar will be honored with a major career retrospective at The Museum of Modern Art. Opening on November 29 with a special screening of Almódovar’s latest work and 20th feature film, Julieta (2016), to be released nationally on December 21, the retrospective will include all 20 of the director’s feature films, beginning with his first film Pepi, Luci, Bom, y otras chicas del montón (Pepi, Luci, Bom) from 1980.
Almodóvar (Spanish, b. 1949) made his exuberant entry onto the film scene in 1980, riding a post-Franco countercultural wave in Spain, and established himself as one of the most distinctive voices in cinema. His work contributed to the creation of a new Spanish cultural and social order, and through his production company El Deseo (founded in 1986 with his brother Agustín) he has made some of the most globally influential films of the past 30 years. His genre-defying films mix camp, melodrama, and humor to explore themes of transgression, desire, and identity. Almodóvar has constructed a colorful universe inhabited by offbeat characters, fluid sexual and gender identities, and complex and singular women. His all-inclusive, anything-goes spirit, which celebrates all beings, emotions, and reasons, appeals to a worldwide audience, allowing him to be at once a countercultural provocateur and the Oscar-winning writer/director of All About My Mother and Talk to Her.
Pedro Almodóvar is organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film, and La Frances Hui, Associate Curator, Department of Film, MoMA.