September 2006 in Artforum
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Zidanes dazzling and unerring footwork, his astonishing control of the ball, his instantaneous decision making all exemplify his seemingly unremitting focus on the game even as they combine to keep the viewer perceptually on edge. [But] a major part of the conceptual brilliance of Zidane consists in the fact that its protagonists sustained feat of absorption is depicted as taking place before an audience of eighty thousand spectators, with millions more watching via TV. –Michael Fried on Zidane
As much as any architect, Hadid has responded to the Futurist call for an opening of structure onto space, an interpenetration of interior and exterior, an intensification of figure and environment alike. –Hal Foster on Zaha Hadid
Plus: Mel Bochner reveals all the secrets behind The Domain of the Great Bear, his subversive collaboration with Robert Smithson concerning the Hayden Planetarium at New Yorks Museum of Natural History, on the fortieth anniversary of its original publication; Helen Molesworth finds Lee Lozano anything but prudish at the Kunsthalle Basel; James Quandt and John Kelsey consider the guerrilla poetics of Jean-Luc Godards cut-and-paste multimedia installation at the Centre Pompidou, Paris; Martin Herbert finds a complex ethics of framing in the art of Marine Hugonnier; T. J. Demos introduces the Otolith Group; Christoph Cox eavesdrops on Sonambiente in Berlin; and David Joselit assesses Jenny Holzers recent work and Consider This … at LACMALab, Los Angeles.
And: Liam Gillick reviews the circumstances around curator Chris Gilberts recent resignation from his post at the Berkeley Art Museum and the Pacific Film Archive; Jeffrey Kastner reinvestigates the cancellation of Manifesta 6; Thomas Lawson finds a home away from home in Los Angeles 19551985 at the Centre Pompidou; Mark Godfrey revisits the roles of sculpture and photography in Thomas Demands work at the Serpentine Gallery, London; and Matias Faldbakken runs down his Top Ten.
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