Wolfgang Tillmans has become one of the most important artists of his generation. He has a recent solo exhibition at Tate Modern in London until 11 June and now, as well, the Fondation Beyeler in Basel has dedicated its summer show to him, focusing for the first time on the medium of photography.
Tokyo-based designer Rei Kawakubo (1942) rejected expectations of traditional femininity from the time she started designing her avant-garde creations in 1969 under the name Comme des Garçons (“like some boys”). She insists she isn’t a feminist, but rather a realist.
Artificial tears are so fascinating. They are a prosthetic which suggest a deficiency, namely, that one is not producing enough tears. We might need them when we stare at our screens for too long and dry out our eyes. Studies have also shown that our prolonged screen-time has led to hyper-stimulation, resulting in literally “shallower” neurological structures.
The best thing about a Darren Bader “work” is that you may not know it’s a “work” at all. It just “is,” and often barely perceptible as such, like the infamous two burritos on a windowsill at MoMA PS1, left to rot in the sun, un-labeled. Or the inconspicuous donation boxes at the 2014 Whitney Biennial; one was for donations to “nothing,” and the other for “something.”
By moving through the gallery from left to right, the urge to go back and look at everything again only deepens. Fold marks vary in weight, like contours on a map. Borders appear and then vanish. Paper is no longer without feature but integral to the room itself, probing the gallery for points of surprise and unexpected change. The eye runs along a pencil line that begins with a cut and ends with a tear. And as cool air blows through the room it causes soft tissue to rustle, twitch and then subside, mapping paper as a active material regardless of whether it is blank, fixed or fluid.