This is Not an Exit
on Christopher Wool, See Stop Run
The congested cityscape of downtown Manhattan and occasional vistas of the Hudson River, framed by badly insulated windows, complement Christopher Wool’s work in “See Stop Run.” For his exhibition, the artist rented a vacant 19th-floor office space on the corner of Greenwich and
Toward Another Language
with Hilton Als on Curating and Joan Didion
How to illuminate a writer’s central themes through a dialog with visual art? The writer and curator Hilton Als does it regularly in his exhibitions. For the Hammer Museum in Los Angeles, he’s created an exhibition Joan Didion: What She Means, dedicated to the writer and essayist, who died
Always Reinventing Yourself
on Rosemarie Trockel at MMK
The inventory of German artist Rosemarie Trockel presents a constantly shifting terrain, substituting iconographic, linguistic, and material transformations for the expected guises of identity and representation she pries open. There is, in other words, always a restive triangulation of
Horizons Beneath
on Delcy Morelos at Dia
The atmosphere is thick entering Colombian artist Delcy Morelos’ two-part exhibition of Cielo terrenal (2023, Earthly heaven) and El abrazo (2023, The Embrace) at Dia in Chelsea. There is no title or wall text provided in which predictive themes and the artist bio are laid out.
Otherworldly Characters
on Belkis Ayón at Ludwig Forum
At some point a second time through Ya Estamos Aquí (‘We Are Already Here’), it’s hard not to overreach for somewhat familiar figures in taking in the startling vision of Belkin Ayón’s brief yet prolific career. Isis, Eurydice and Persephone come to mind, and fall away, even as more half-thoughts
Time Between
on Peter Hujar and Portraits in Life and Death
Peter Hujar’s (1934-1987) medium format, black-and-white universe has a deceptive quietude and pull that doesn’t leave you, once familiar. As Hujar himself once told a friend: ‘I wanted to be discussed in hushed tones. When people talk about me, I want them to be whispering.’
Petrified Unrest
with Paul Chan on Trump, Violence, and Sade for Sade’s Sake
A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power dynamics. Void of identifying features or specific characteristics, the animated silhouette within Chan’s restive vision invites and prompts us to
Becoming American
on James Baldwin and Adrian Piper
It is exactly the uneasy imaginary of becoming American that novelist and essayist James Baldwin took up in his 1959 meditation, “The Discovery of What It Means to Be an American.” Baldwin opens with the words of compatriot and self-exiled novelist Henry James; a direct salvo toward any
Oscar Tuazon: Collaborator
at Bellevue Art Museum
Collaborator is the first solo museum exhibition of Los Angeles-based artist Oscar Tuazon (b. 1975, Seattle, Washington) to take place in his native Pacific Northwest. The exhibition features more than thirty new and existing works from the past fifteen years that explore the pivotal role
Restless Painting
with Tom Burr on Ull Hohn
In 1986 Ull Hohn left Germany—after having studied in Düsseldorf with Gerhard Richter—and went to New York, where he found a fertile and congenial scene, with the gay community reacting to the AIDS crisis and Reaganite conservatism through strong solidarity and political awareness.
Andrea Büttner
at Walker Art Center
Büttner’s work often creates connections between art history and social or ethical issues, with a particular interest in notions of poverty, shame, value, and vulnerability, exploring and challenging the belief systems that underpin them.
Spaces of Critical Exchange
with Liam Gillick
FM: I want to ask you about your design for The Desperate Edge of Now at e-flux’s new exhibition space, a show that features the work of British documentary filmmaker Adam Curtis, curated by Hans Ulrich Obrist. For me, it recalibrated a number of projects you’ve been involved with here
Do What You Know
with Roe Ethridge
Roe Ethridge’s photographic imagery ranges from still life setups and fashion shoots to the everyday glow of a pink rose or the awkward lean of a mop – balancing spontaneity and staging to blur the boundary between fact and fiction, equal parts casual charm and high-end glamour.
Merce Cunningham: Common Time
at Walker Art Center
Renowned as both choreographer and dancer, Cunningham (American, 1919–2009) revolutionized dance through his partnerships with leading artists who created costumes, lighting, films, music, and décor and whose independent creative instincts he held in the highest regard
The Exhibitionist
on six hinge exhibitions
The German anthropologist Franz Boas is known for his founding role in American Anthropology, especially his articulation of such influential concepts as cultural relativism, diffusion, and historical particularism. But his curatorial contributions and professional disagreements
Mellon Interdisciplinary Research Initiative
at Walker Art Center
One-millon dollar grant project supported by the Mellon Foundation to support a three-and-a-half year Interdisciplinary Initiative, from July 2016 through December, 2019 focusing specifically on the intersection of performance, performing arts, and visual arts. The grant enbled deep research
Question the Wall Itself
at Walker Art Center
Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. The multimedia exhibition showcases work by 23 international, multigenerational artists who explore the political and social dimensions of interior architecture
After Images
at Jewish Museum of Belgium
The impression that remains after an initial exposure with an image or series of images relies upon a persistence of vision, evoking the unique sensorial ability to hold on to the perceptual remainder of image encounters.
Root of an Unfocus
on Merce Cunningham
With characteristic intention and clarity, Merce Cunningham dated his first mature piece of choreography to Root of an Unfocus (1944), the centerpiece of a series of six dances that made up his first solo concert. The performance took place in New York City in 1944, five years after he had
HISTORY _ OF _ UNIVERSE
on Camille Henrot
Camille Henrot’s installations and moving image works act as sites of rupture and reorganized looking that realize complex descriptive comparisons between gesture, object, image, and artifact via sequencing and composite image-objects. Enacting an intricate proximity of distinctions rather
A Lover’s Addenda
on Moyra Davey
As the saying goes, truth may reside in images but there is no image of truth. Images belong to the intermediary things of life—inscriptions, pictures, signs—and remain dependent upon routine patterns of behavior and looking in order to approach a way of seeing. Images are contingent, flawed things,
Time Again
at SculptureCenter
Time Again is an exhibition that explores the language of repetition, bringing together works that destabilize conventional ways of seeing and considering what is past and what is present. Engaging gesture, image sequence, material affect, and displaced narrative, the works on view
New Circuits: Curating Contemporary Performance
at Walker Art Center
New Circuits: Curating Contemporary Performance was an invitational curatorial research convening organized by Fionn Meade and Philip Bither with Misa Jefferies and Molly Hanse that focused on pressing areas of inquiry facing the field of curating contemporary performance.
Scene, Hold, Ballast: David Maljković and Lucy Skaer
at SculptureCenter
Scene, Hold, Ballast features new works by Maljković and Skaer that further explore affinities and correspondences in their respective practices. In an ongoing series Temporary Projections Cycle, David Maljković's retrospective mode of tracing and negotiation is turned toward his own studio
Nairy Baghramian - Beliebte Stellen/Privileged Points
at Walker Art Center
Beliebte Stellen/Privileged Points is an ongoing series of works by artist Nairy Baghramian, which dialogues with its institutional settings using different colours and volumes. The three bronze sculptures covered in brush-painted, pastel-coloured lacquer have been cast in the form of
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Nothing Was Delivered
on Laure Prouvost and The Wanderer
International Project Space presents The Wanderer (Betty Drunk) by Laure Prouvost, a newly commissioned film sequence and installation forming part of her ambitious feature-length film project The Wanderer. Comprising six narrative sequences, The Wanderer is based on script by
In the Eleventh Hour
on Mark Morrisroe
The show card for one of Mark Morrisroe’s first solo exhibition in 1981 at the 11th Hour Gallery in Boston captures the artist seated in drag—a tight halter dress, dark bouffant wig, gaudy jewelry, and thick lipstick—cupping his hands below his chin in imitation of a starlet’s headshot. Modeled on a
Theaster Gates: Black Vessel for a Saint
at Walker Art Center
Theaster Gates’ first permanent outdoor sculpture, is among 16 works added to the refurbished Walker campus and Minneapolis Sculpture Garden since its refurbishment.
The site-specific work takes the form of a passageway and platform constructed from a
Becoming American
at studio e, Specialist and SOIL, and San Juan Island National Historical Park
Radical Presence: Black Performance in Contemporary Art
at Walker Art Center
Radical Presence: Black Performance in Contemporary Art is the first exhibition to survey over fifty years of performance art by visual artists of African descent from the United States and the Caribbean. Black performance has generally been […]
Coming to Reality
at Futura and Galerie Nová síň
Where to find an exit from the transcendent ego, Descartes’ infamous Cogito ergo sum? How to see a turn from consciousness grounded in Kant’s “I”, the One as analytic self-consciousness becoming a systemic rational?
The Dutch philosopher Baruch Spinoza (a vocal
Catch as Catch Can
at Locks Gallery
Catch as Catch Can inhabits a gap between parody and seriousness, consorting and mingling with sculpture, film, graphic design, and poetry, but always with a wry yet beholden eye towards painting and its terms and limits. Taken from the nickname for wrestling match entertainments of th
Nachleben
at Goethe-Institut Wyoming Building
Taking up art historian Aby Warburg's signature idea of Nachleben, meaning both "afterlife" and "survival," a display of contemporary art works and a series of related programs bring together artistic practices that share an affinity with Warburg's proposals regarding associative thinking, image
The Issues of Our Time (3): Less Time, More Issues
at Artists Space
This third edition of the project The Issues of Our Time follows two previous iterations at castillo/corrales, a co-operatively run non-profit art space in Paris. In the context of Artists Space Books & Talks, the project will involve contributions from artists, writers and curators including Valentin