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Vera Lutter, Clock Tower, Brooklyn, XXXVI: June 16, 2009, 2009 © Vera Lutter

On View

Civilization
The Way We Live Now

Through February 2, 2020
National Gallery of Victoria, Melbourne, Australia
www.ngv.vic.gov.au

Civilization: The Way We Live Now features more than two hundred works from one hundred international photographers. The exhibition considers patterns of mass behavior and the complexities of life in twenty-first-century urban environments. This show originated at the National Museum of Modern and Contemporary Art, Seoul. Work by Mike Kelley, Vera Lutter, and Taryn Simon is included. 

Vera Lutter, Clock Tower, Brooklyn, XXXVI: June 16, 2009, 2009 © Vera Lutter

Taryn Simon, Exploding Warhead, Test Area C-80C, Eglin Air Force Base, Florida, 2007 (detail) © Taryn Simon

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Taryn Simon in
Aichi Triennale

August 1–October 14, 2019
Various locations in Japan
aichitriennale.jp

The fourth iteration of the Aichi Triennale features an international contemporary art exhibition alongside film, performing arts, and music programs, bringing together more than eighty individual artists and artist groups across a range of expressive domains to showcase their cutting-edge works. Work by Taryn Simon is included.

Taryn Simon, Exploding Warhead, Test Area C-80C, Eglin Air Force Base, Florida, 2007 (detail) © Taryn Simon

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

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Taryn Simon in
Leonard Cohen: A Crack in Everything

April 12–September 8, 2019
Jewish Museum, New York
thejewishmuseum.org

This multidisciplinary exhibition combining visual art, virtual reality, installations, performances, music, and writing offers the public a collection of new work commissioned from and created by local and international artists who have been inspired by Leonard Cohen’s style and recurring themes. This exhibition originated at the Musée d’art contemporain de Montréal. Work by Taryn Simon is included.

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

Installation view, What is an edition, anyway?, McEvoy Foundation for the Arts, San Francisco, May 24–September 7, 2019. Photo: Henrik Kam

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What is an edition, anyway?

May 24–September 7, 2019
McEvoy Foundation for the Arts, San Francisco
www.mcevoyarts.org

What is an edition, anyway? explores the traditions, conditions, and inventive expressions of the contemporary artist’s multiple. Photography, performance, illustration, technology, and installation further explore the notion of the edition as an idea reproduced in limited quantities. Work by Richard Prince and Taryn Simon is included.

Installation view, What is an edition, anyway?, McEvoy Foundation for the Arts, San Francisco, May 24–September 7, 2019. Photo: Henrik Kam

Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan, 2004–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
The Future Starts Here

March 21–August 4, 2019
ArkDes, Stockholm
arkdes.se

The Future Starts Here brings together groundbreaking technologies and designs currently in development in studios and laboratories around the world. Visitors are guided by a series of ethical and speculative questions to connect the subject matter to the choices that we all face in our everyday lives. This show originated at the Victoria & Albert Museum in London. Work by Taryn Simon is included.

Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan, 2004–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Taryn Simon, Agreement to form a Palestinian national unity government. Mecca, Saudi Arabia, February 8, 2007, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

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Taryn Simon in
Durch die Blume–Florale Metamorphosen

April 6–July 21, 2019
Kunstverein Heilbronn, Germany
www.kunstverein-heilbronn.de

In celebration of the Federal Horticultural Show, which in 2019 takes place in Heilbronn, Kunstverein Heilbronn is hosting Durch die Blume–Florale Metamorphosen, which examines Yves Bélorgey’s depictions of everyday architecture from the 1950s, ’60s, and ’70s and pairs it with the themes of gardens and parks. Work by Taryn Simon is included.

Taryn Simon, Agreement to form a Palestinian national unity government. Mecca, Saudi Arabia, February 8, 2007, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

Taryn Simon, Oxalis tuberosa, Peru (7CFR) (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

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Civilization
The Way We Live Now

March 9–May 19, 2019
Ullens Center for Contemporary Art, Beijing
ucca.org.cn

Civilization: The Way We Live Now features more than two hundred works from one hundred international photographers. The show addresses and illuminates major aspects of our increasingly global civilization and stresses the fact that contemporary society is an extremely complex collective enterprise. Work by Mike Kelley, Vera Lutter, and Taryn Simon is included. This show originated at the National Museum of Modern and Contemporary Art, Seoul.

Taryn Simon, Oxalis tuberosa, Peru (7CFR) (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

Taryn Simon and Aaron Swartz, Border, 9/30/16, 12:19pm (Eastern Standard Time), Image Atlas, 2012, website view © Taryn Simon and Aaron Swartz

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Taryn Simon in
For Ever More Images? Designing a Cybermachine for the Twenty-First Century

April 9–22, 2019
Onassis Stegi, Athens
www.onassis.org

In 1977, the Voyager I and II spacecraft began their respective interstellar journeys; onboard, each carried an audiovisual archive of a sort: a golden record containing a message to possible extragalactic recipients, a time capsule in which was encoded mankind’s existence and achievements on planet Earth. What would the images placed inside a similar time capsule mean today? Could they perhaps communicate our alarm about our planet’s uncertain future? Work by Taryn Simon is included.

Taryn Simon and Aaron Swartz, Border, 9/30/16, 12:19pm (Eastern Standard Time), Image Atlas, 2012, website view © Taryn Simon and Aaron Swartz

Top: photo courtesy the artist, Mass MoCA, and Matti Koivula. Bottom: photo courtesy the artist and Mass MoCA

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Taryn Simon
Assembled Audience | A Cold Hole

May 26, 2018–March 24, 2019
Mass MoCA, North Adams, Massachusetts
massmoca.org

In this ambitious exhibition featuring two new installations, Taryn Simon activates the ancient practices of applause and the cold-water plunge, examining individuals’ campaigns for public adoration, the status of physical community spaces in the digital age, and our persistent desire for a quick fix. Rooted in the artist’s longtime interest in the systems that support power structures, the works on view scrutinize the ways in which power penetrates the body through ritual.

Top: photo courtesy the artist, Mass MoCA, and Matti Koivula. Bottom: photo courtesy the artist and Mass MoCA

© Taryn Simon

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Taryn Simon in
Scripted Reality: The Life and Art of Television

November 15, 2018–March 24, 2019
Museo Jumex, Mexico City
www.fundacionjumex.org

This exhibition is a thematic survey of artists looking at television as a medium, both for their work, and as a significant and formative aspect of the contemporary period. The works in the show span the period from 1952 to the present, and address the formation of identity in relationship to television as a broadcast medium. Work by Taryn Simon is included.

© Taryn Simon

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
The World to Come: Art in the Age of the Anthropocene

September 18, 2018–March 3, 2019
Harn Museum of Art, University of Florida, Gainesville
www.harn.ufl.edu

The World to Come: Art in the Age of the Anthropocene chronicles an era of rapid, radical, and irrevocable ecological change through works of art by more than forty-five international artists. Our age, a new geological epoch defined by human impact, has controversially been termed the Anthropocene. Despite the challenges of disaster and denial, artists in the exhibition respond with resistance, imagination, and new ways of seeing and thinking about the world to come. Work by Taryn Simon is included.

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Vera Lutter, Clock Tower, Brooklyn, XXXVI: June 16, 2009, 2009 © Vera Lutter

Closed

Civilization
The Way We Live Now

October 18, 2018–February 17, 2019
National Museum of Modern and Contemporary Art, Seoul
www.mmca.go.kr

Civilization: The Way We Live Now features more than two hundred works from one hundred international photographers. The show addresses and illuminates major aspects of our increasingly global civilization and stresses the fact that contemporary society is an extremely complex collective enterprise. Work by Mike Kelley, Vera Lutter, and Taryn Simon is included.

Vera Lutter, Clock Tower, Brooklyn, XXXVI: June 16, 2009, 2009 © Vera Lutter

Taryn Simon, Research Marijuana Crop Grow Room, National Center for Natural Products Research, Oxford, Mississippi, 2007 © Taryn Simon

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Tubology
Our Lives in Tubes

April 21–December 30, 2018
FRAC Grand Large—Hauts-de-France, Dunkirk, France
www.fracnpdc.fr

Tubology: Our Lives in Tubes offers a totally new reading of the FRAC Grand Large collection from the 1960s up to the present day, and speculates about the prerequisites for rendering art and design relevant to a society mutating at high speed. Work by Marc Newson and Taryn Simon is included.

Taryn Simon, Research Marijuana Crop Grow Room, National Center for Natural Products Research, Oxford, Mississippi, 2007 © Taryn Simon

Taryn Simon, Finding Pursuant to Section 662 of the Foreign Assistance Act of 1961, as Amended, Concerning Operations in Foreign Countries Other than Those Intended Solely for the Purpose of Intelligence Collection, White House, Washington, D.C., United States, 1981, Paperwork and the Will of Capital, 2015 © Taryn Simon

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Taryn Simon in
Zeitspuren: The Power of Now

September 9–November 18, 2018
Kunsthaus Pasquart Biel, Switzerland
www.pasquart.ch

Zeitspuren: The Power of Now demonstrates how the passage of time can be expressed visually by artistic processes and how the duration of an action or the aura of memory can be represented. The exhibition uses video, film, painting, drawing, printmaking, and sculpture, as well as ephemeral and site-specific works to show how perspectives are being developed that make time perceivable as a relative and subjective dimension. Work by Taryn Simon is included.

Taryn Simon, Finding Pursuant to Section 662 of the Foreign Assistance Act of 1961, as Amended, Concerning Operations in Foreign Countries Other than Those Intended Solely for the Purpose of Intelligence Collection, White House, Washington, D.C., United States, 1981, Paperwork and the Will of Capital, 2015 © Taryn Simon

Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan, 2004–07 © Taryn Simon

Closed

Taryn Simon in
The Future Starts Here

May 12–November 4, 2018
Victoria & Albert Museum, London
www.vam.ac.uk

The Future Starts Here brings together groundbreaking technologies and designs currently in development in studios and laboratories around the world. Visitors are guided by a series of ethical and speculative questions to connect the subject matter to the choices that we all face in our everyday lives. Work by Taryn Simon is included.

Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan, 2004–07 © Taryn Simon

Taryn Simon, Chapter XVIII, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

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Taryn Simon in
Nothing Stable under Heaven

March 3–September 16, 2018
San Francisco Museum of Modern Art
www.sfmoma.org

Nothing Stable under Heaven reflects on the contested past, the turbulent present, and the unpredictable future, examining how individual and collective voices can be heard in an uncertain world. This exhibition explores the ways that artists inform our understanding of urgent social, ecological, and civic issues—including security and surveillance, evolving modes of communication, and political resistance. Work by Taryn Simon is included.

Taryn Simon, Chapter XVIII, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

Taryn Simon, Decision of general principle to ban third-party ownership of players’ economic rights, Zurich, Switzerland, September 26, 2014, Paperwork and the Will of Capital, 2015 © Taryn Simon

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Taryn Simon in
The World’s Game: Fútbol and Contemporary Art

April 13–September 2, 2018
Pérez Art Museum Miami
www.pamm.org

The World’s Game: Fútbol and Contemporary Art brings together works by more than forty artists who participate in diverse and intersecting dialogues formed around the sport. Featuring a variety of mediums—including painting, sculpture, photography, and video—the exhibition aims to create an experience in which the viewer employs the universal game to engage with the works of contemporary artists from around the world. Work by Taryn Simon is included.

Taryn Simon, Decision of general principle to ban third-party ownership of players’ economic rights, Zurich, Switzerland, September 26, 2014, Paperwork and the Will of Capital, 2015 © Taryn Simon

© Taryn Simon

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Taryn Simon in
Hold Still: The Photographic Performance

May 12–July 29, 2018
Art Gallery of New South Wales, Sydney
www.artgallery.nsw.gov.au

Hold Still deconstructs the gestures we habitually adopt while looking into a lens and proposes that the instant of capture is itself a performance. The exhibition explores the way the camera serves as a silent choreographer dictating our movements and presents incisive commentary about the way photography pervades contemporary life. Work by Taryn Simon is included.

© Taryn Simon

Installation view, Taryn Simon: Shouting Is under Calling, Kunstmuseum Luzern, Switzerland, February 24–June 17, 2018 © Taryn Simon. Photo: Marc Latzel

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Taryn Simon
Shouting Is under Calling

February 24–June 17, 2018
Kunstmuseum Luzern, Switzerland
www.kunstmuseumluzern.ch

This survey show includes works from 2008 to 2017, covering most of the artist’s best-known series. For Simon, visual media has always been a vehicle for larger conceptual ideas. Paired with text, her works reveal the structures behind controlling systems, from ancestry and borders to botany and diplomacy.

Installation view, Taryn Simon: Shouting Is under Calling, Kunstmuseum Luzern, Switzerland, February 24–June 17, 2018 © Taryn Simon. Photo: Marc Latzel

Taryn Simon, Smith & Wesson .44 Magnum Revolver Frame, Smith & Wesson Headquarters, Springfield, Massachusetts, 2007 © Taryn Simon

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Taryn Simon in
Age of Terror: Art Since 9/11

October 26, 2017–May 28, 2018
Imperial War Museum, London
www.iwm.org.uk

This exhibition examines the complex issues surrounding the global response to 9/11 through fifty works of art spanning film, sculpture, painting, installation, photography, and printmaking. These works highlight the crucial role of artists in representing contemporary conflict. Work by Taryn Simon is included.

Taryn Simon, Smith & Wesson .44 Magnum Revolver Frame, Smith & Wesson Headquarters, Springfield, Massachusetts, 2007 © Taryn Simon

Taryn Simon, U.S. Customs and Border Protection, Contraband Room, John F. Kennedy International Airport, Queens, New York, 2007 © Taryn Simon

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Taryn Simon in
Eat Me

September 23, 2017–May 21, 2018
Trapholt Museum of Modern Art and Design, Denmark
www.trapholt.dk

Eat Me makes the case that food is a metaphor of our time. In this exhibition, more than sixty artists present work that takes food as its focal point. Work by Taryn Simon is included.

Taryn Simon, U.S. Customs and Border Protection, Contraband Room, John F. Kennedy International Airport, Queens, New York, 2007 © Taryn Simon

Nam June Paik, Internet Dream, 1994 © Nam June Paik Estate. Photo: Steffan Harms

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Art in the Age of the Internet, 1989 to Today

February 6–May 20, 2018
Institute of Contemporary Art, Boston
www.icaboston.org

This exhibition examines how the Internet has radically changed the field of art, especially its production, distribution, and reception. The show comprises a broad range of works across a variety of mediums that all investigate the extensive effects of the Internet on artistic practice and contemporary culture. Work by Nam June Paik and Taryn Simon is included.

Nam June Paik, Internet Dream, 1994 © Nam June Paik Estate. Photo: Steffan Harms

Gregory Crewdson, Untitled, 2001 © Gregory Crewdson

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Inside Out
Photography and Psychology

February 7–May 12, 2018
DZ Bank Kunstsammlung, Frankfurt
www.dzbank-kunstsammlung.de

Photography and psychology are two very distinct fields that have significantly shaped our cultural modern age. The exhibition explores the correlation between the two areas and poses the question, In what ways has modern psychological inquiry influenced artistic and wider cultural production? And also, in counter to this, what potential does photography have to expose the capacities of the contemporary human psyche? Exhibits from the disciplines of both science and art will be on display. Work by Gregory Crewdson and Taryn Simon is included.

Gregory Crewdson, Untitled, 2001 © Gregory Crewdson

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

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Taryn Simon in
Leonard Cohen: Une brèche en toute chose/A Crack in Everything

November 9, 2017–April 9, 2018
Musée d’art contemporain de Montréal
macm.org

This multidisciplinary exhibition combining visual art, virtual reality, installations, performances, music, and writing offers the public a collection of brand-new work commissioned from and created by local and international artists who have been inspired by Leonard Cohen’s style and recurring themes. Work by Taryn Simon is included.

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon