Sort of an anti-curated show, the theme of curators Stephanie Snyder and Samiya Bashir's exhibit is intentionally nebulous. (Self) asks the participating artists to contribute personal work without requiring it to define anything more than a momentary reflection. The show will feature some of Portland's most thoughtful and versatile contemporary artists, such as R.I.S.E. and the Nat Turner Project. The fact that the exhibit could go in just about any direction is pretty much the point. Reed College's Douglas F. Cooley Memorial Art Gallery, 3203 SE Woodstock Blvd., pica.org. Through Oct. 1.
A Situation of Meat
Disjecta opens its first full year of programming without founder and artistic director Bryan Suereth at the helm. The first show sounds like it will be of epic, freaky proportions, with large-scale installations by five different artists. Maggie-Rose Condit will re-create a sticky version of her childhood bedroom, and Dakota Gearhart's video installations will screen in a nest of cords and wires. Disjecta Contemporary Art Center, 8371 N Interstate Ave., disjecta.org. Sept. 23-Oct.29.
Kingdom of Girls
There's a village in India where a family's youngest daughter is its heir and husbands move into their wives' homes instead of the other way around. Berlin photographer Karolin Klüppel spent two years shooting the matriarchal village for National Geographic. When an exhibit opened in New York two years ago, Klüppel's work made headlines in the likes of The Atlantic and The Washington Post, but it's only now the exhibit is making its way to Portland. Blue Sky Gallery, 122 NW 8th Ave., blueskygallery.org. Oct. 1-31.
Translation is a strange field—in Bend Sinister, Nabokov describes it as like trying to re-create an ancient tree by growing your own tree of an entirely different species and hoping it will cast the same shadow. The glasswork artists in Bullseye's show use translation as inspiration for their work, but there'll also be an installation of Jeffrey Stenbom's Every Year, an enormous grid of small, reflective metal rectangles mounted on a wall. It's gorgeous, but also harrowing: The metal shapes are all military dog tags representing the more than 7,000 veterans who commit suicide each year. Bullseye Gallery, 300 NW 13th Ave., bullseyeprojects.com. Nov. 1-Feb. 3.
This year, Upfor Gallery has been bringing some format-shattering art to Portland—see exhibits like the online-only Grammatron remix or the trio of media artists the gallery hosted over the summer. It's capping 2017 with works that are fittingly difficult to characterize, by duo Tom Galle and Moises Sanabria. The New York artists' pieces include photographs of a subway rider swiping the air while wearing a Tinder VR headset and a Netflix- and chill-themed Airbnb that you can actually rent. Their work is more high-concept than that may sound, and even when it borders on bro-y, it's still undeniable that Galle and Sanabria are thinking about art in a way that most establishment artists aren't. Upfor, 929 NW Flanders St., upforgallery.com. Dec. 6-Jan. 13.