November 30, 2010 - art-agenda - What’s on the Agenda in November?
November 30, 2010

What’s on the Agenda in November?

Pierre Huyghe, Still from “The Host and The Cloud,” 2009-2010.
Marian Goodman, Paris.

What's on the Agenda in November?

Pierre Huyghe at Marian Goodman, Paris
Filipa Ramos puts her head into Pierre Huyghe’s Cloud at Marian Goodman, Paris, and comes out sensing confabulatory desire, or something very near like it.
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Frederick Loomis presents Edward Mathew Taylor at White Columns, New York
Antek Walczak is kraftwerking with Marc Jacobs and the kooky Frederick Loomis at White Columns: find out why.
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Karl Haendel’s “My Invisible Friend” at Tony Wight Gallery, Chicago
When is a suit of armor more than just a suit of armor? Michelle Grabner deciphers the possible meanings in Karl Haendel’s “Invisible Friend” in Chicago.
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Luc Tuymans’s “Corporate” at David Zwirner, New York
Paddy Johnson takes a crack at Luc Tuyman’s latest at David Zwirner—riding “the line between quiet and inert.”
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Thomas Struth at Galerie Max Hetzler, Berlin
Whether in paradise or the museum, Thomas Struth involves the spectator in compositions of the un-seen. At Max Hetzler, Michele Faguet seeks out the “metonyms of the absent subject,” as he takes us deep into the bowels of machinery.
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Artissima 17: Lingotto Fiere in Turin
Aoife Rosenmeyer heads south to Artissima to find out if the direction taken on by new fair director Francesco Manacorda might be seen “as Machiavellian mining of unexploited market niches”?
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Abraham Cruzvillegas’s “La Petite Ceinture” at Galerie Chantal Crousel, Paris
Chris Sharp tells us why Abraham Cruzvillegas’s “vast, wonky, constructivist sculpture” at Chantal Crousel hides bits and pieces of “Whip It!” Devo too.
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Angus Fairhurst at Sadie Coles HQ, London
Karen Archey takes a look at the recontextualization of Angus Fairhurst’s gorillas when put in the hands of the YBAs at Sadie Coles HQ.
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Danh Vo’s “All your deeds shall in water be writ, but this in marble” at Isabella Bortolozzi Galerie, Berlin
Ana Teixeira Pinto takes a tour of the brief history of Dahn Vo, ending up at a grave marker for his father (via a 19th century English poet’s headstone and a 17th century play), only to discover “the man without qualities.”
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