Lucy McKenzie and Marc Camille Chaimowicz weave a long conversation, guided by the questions of the writer Michael Bracewell. The result is sophisticated analysis of an art that deftly incorporates territories of design, artistic techniques and craftsmanship to combine them in one’s poetics.
In the second part of the extensive interview with Thomas Schütte conducted by Hans Ulrich Obrist, the artist talks about a new solidity that is reflected in his works, inspired by architecture, and in the large sculptures, including Mann in Matsch, the “man in mud” on which he has worked for 26 years.
Dieter Roelstraete considers the singular nature of Brazil’s recent economic miracle and what it may mean for Brazilian art.
For PART OF THE PROCESS, Sofía Hernández Chong Cuy interviews Jennifer Allora and Guillermo Calzadilla who represent the United States in the 54th Venice Biennial. The discussion particularly focused on three sculptures incorporating performances by professional athletes which are currently on show at the Pavilion.
Jill Magid and Carey Young work on similar themes: systems of power and legitimation, and the contradictions of control mechanisms. Alessandro Rabottini introduces two conversations between the artists with a personal memoir.
David Medalla in a conversation with Adam Nankervis reveals the mnemonic, emotional, stratified genesis of his works.
Carolyn Cristov-Bakargiev involved Daniel Baumann, Barbara Casavecchia, Anselm Franke, Anthony Huberman, Raimundas Malašauskas, and João Ribas in a panel discussion about the present complex position of the intellectual figure.
TEN FUNDAMENTAL QUESTIONS OF CURATING, a project curated by Jens Hoffmann, sponsored by Fiorucci Art Trust and Mousse Publishing, explores the multifaceted physiognomy of the curator. The fifth of ten dossiers features Juan A. Gaitán answering the question “What Is the Public?” plus images selected by Christodoulos Panayiotou.*
R.H. Quaytman will show in Venice I Modi, a new “chapter” of her work, inspired by the homonymous book of pornographic sonnets illustrated by the master engraver Raimondi in 1524. David Joselit investigates the literary principle involved in the artist’s research.
The blank screen after the end of the programs. A void from which to begin reflection, a place subsequent to the events that give life to History. Elena Volpato traces back through the work of Fabio Mauri, starting at the end, the moment in which meaning begins to generate itself.
The readymade. Haven’t we already written all there is to write on the subject? Adam Kleinman has dug deeper into the question, discovering that the readymade is like poetry.
Amy Sillman and Kerstin Brätsch talk to each other about their work and their obsession with colors. Murderous colors that annihilate, enveloping everything, poison-colors, cure-colors, colors that mix on the palette and can never be found again.
Andrew Berardini dwells among the the art and ephemera of Allen Ruppersberg.
Guillaume Désanges and Hélène Meisel make an impassioned excursus on artists with a taste for excavation in buried memories and sketchy archives, in an attempt to rehabilitate forgotten personalities, the shipwreck victims of history.
Simply known as Jess, the Californian artist is mostly recognized for his “Translations”, executed between 1959 and 1976, 32 paintings which involved culling images from books, photographs, and other printed matter and “translating” them onto canvas. For LOST AND FOUND, Jens Hoffmann lingers onto his life and work.
It must be a good reason for going to a reading, if a Hungarian philosopher manages to send you invitations frequently, especially if he has been resting in peace for 43 years now. Jennifer Allen explains in HARK! how she became a follower of the cult of Béla Hamvas…
Danai Anesiadou has quickly managed to build a fascinating body of works, structured around chains of associations and a deep fascination with cinema. Vincent Honoré talks to the artist.
For SKELETONS IN THE CLOSET, Rachel Rosenfield Lafo entered the house of Rodney Graham in Vancouver to discover the many objects which inhabited the artist’s sets and the the tools of the trade of his alternate persona – the singer-songwriter and rock musician.
For REPRINT Will Holder made a selection of the writings of American composer Robert Ashley.
Darius Mikšys will convince you, even of things that don’t seem to make sense. Jennifer Teets takes us inside the eclectic practice of the Lithuanian artist.
Adrián Villar Rojas is representing Argentina at the Venice Biennale. A few weeks before this appointment he met with Cecilia Alemani to talk about his big scale projects, in NICE TO MEET YOU.
For PORTFOLIO, Sarah Lehrer-Graiwer loses her bearings over the volutes of the containers of Elias Hansen, amidst tubes and rods that penetrate infinite vitreous bodies.
“What is Alternative? Alternative to What?”, is the title of a series of discussions, conducted by Vincenzo de Bellis. The first one features Artists Space Director Stefan Kalmár in an email exchange with art critic Tirdad Zolghadr.
* Available only in subscription copies in Italy