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Ga­lerie Urs Meile is pleased to an­nounce artist Meng Huang’s

(b. 1966, in Bei­jing) ex­hi­bi­tion BO (Waves). This ex­hi­bi­tion will ex­tend the fo­cus on new de­vel­op­ments in his “Water” paint­ings. In his new se­ries of paint­ings the waves are a metaphor for the act of for­get­ting. Meng is record­ing – wit­ness­ing – the move­ments of the waves, mak­ing their mo­men­tary states some­how fixed and per­ma­nent. The paint­ings in dif­fer­ent sizes will be joined by the in­stal­la­tion Names con­sist­ing of 52 porce­lain plates, each of them em­bod­ies a name of a per­son died in Ti­bet in blind lan­guage. Ex­hi­bi­tion is open from April 26 - Au­gust 3rd, 2018.

The Train, RFK’s Last Jour­ney at SF Moma. On June 8, 1968, three days after the as­sas­si­na­tion of Robert F. Kennedy, his body was car­ried by a fu­neral train from New York City to Wash­ing­ton, D.C., for burial at Arlington Ceme­tery. The Train looks at this his­tor­i­cal event through three dis­tinct works. The first is a group of color pho­to­graphs by com­mis­sioned pho­tog­ra­pher Paul Fusco. Taken from the fu­neral train, the images cap­ture mourn­ers who lined the rail­way tracks to pay their fi­nal re­spects. Look­ing from the op­po­site per­spec­tive, the sec­ond work fea­tures pho­to­graphs and home movies by the spec­ta­tors them­selves, col­lected by Dutch artist

Rein Jelle Terp­stra in his project The Peo­ple’s View (2014–18).

The third, a work by French artist Philippe Par­reno, is a 70mm film reen­act­ment of the fu­neral train’s jour­ney, in­spired by Fusco’s orig­i­nal pho­to­graphs. Bring­ing his­tor­i­cal and con­tem­po­rary works to­gether in dia­logue, this pow­er­ful, mul­ti­dis­ci­plinary ex­hi­bi­tion sheds new light on this piv­otal mo­ment in Amer­i­can history. Ex­hi­bi­tion is open from March 17–June 10, 2018.

Be­ing: New Pho­tog­ra­phy 2018 at MoMA. Pre­sent­ing re­cent work by sev­en­teen artists from around the world, Be­ing, the lat­est edi­tion of MoMA’s New Pho­tog­ra­phy se­ries, asks how pho­tog­ra­phy can cap­ture what it means to be hu­man. At a time when ques­tions about the rights, re­spon­si­bil­i­ties, and dan­gers in­her­ent in be­ing rep­re­sented—and in rep­re­sent­ing oth­ers—are be­ing de­bated around the world, the works fea­tured in Be­ing call at­ten­tion to as­sump­tions about how in­di­vid­u­als are de­picted and per­ceived. To­gether, they ex­plore how per­son­hood is ex­pressed to­day, and offer timely per­spec­tives on is­sues of pri­vacy and ex­po­sure; the for­ma­tion of com­mu­ni­ties; and gen­der, her­itage, and psy­chol­ogy. Through Au­gust 19, 2018.

Judy DATER: A Ret­ro­spec­tive at Mod­ernism. Judy Dater’s sub­jects are her cast of char­ac­ters, she chooses them in­stinc­tively for what she per­ceives to be their abil­ity to ex­press emo­tions, to be play­ful, sexy and hu­mor­ous, and to re­veal what she iden­ti­fies as soul. Her work tran­scends the per­sonal and cre­ates a univer­sal lan­guage of ex­pres­sion that the viewer can iden­tify, con­nect, and em­pathize with on an in­tu­itive level. The hu­man face is in­fi­nite in its va­ri­ety. Dater finds her sub­jects any­where and ev­ery­where, from stand­ing in line to buy bread in Berke­ley, Cal­i­for­nia, to meet­ing some­one on the street in Tokyo, or a cafe in Cairo, to step­ping out of an el­e­va­tor in Rome. Ex­hi­bi­tion on through May 10 – June 30, 2018.

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