February–March 2013
Filmmaker, scriptwriter and television producer Alexander Kluge speaks with Jens Hoffmann about his relationships with Theodor W. Adorno, Fritz Lang, Heiner Müller and Christoph Schlingensief, as well as his love for the work of Jean-Luc Godard.
Ana Teixeira Pinto meets artist and theoretician Hito Steyerl to talk about the latter’s collection of essays The Wretched of the Screen, tracing the manifold ways in which capital flows permeate media imagery and the economy of digital globalization.
Lauren Cornell interviews John Kelsey, Katja Novitskova, Jacolby Satterwhite and Mark Leckey about their perception or preoccupation with our relationship to the non-human world and so-called techno-animism.
Science historian Lorraine Daston converses with Ana Ofak about art’s position in the Anthropocene.
For decades Czech director and artist Jan Švankmajer has represented one of the main sources of inspiration for many renowned artists and directors. In this conversation with Hans Ulrich Obrist, the extraordinary passages of the life and work of Švankmajer resurface.
Nicholas Mirzoeff sat down with Chelsea Haines to discuss the key topic of visual culture, which frequently has very little to do with the production of images.
Peter Hutton and Luke Fowler converse about their own particular lines of research, which share precise affinities, starting with the anthropological and historical intent of their films.
Once upon a time there was conceptual art, dry as a programmer’s string of characters. Then along came romantic conceptualism, still bony, but with a teardrop poised to fall. Today’s conceptualism is packed with conceits. Jennifer Allen individuates this trend.
The photographs of Sarah Conaway manage to simultaneously convey flatness and depth. Linda Green analyzes her practice based on documentation of everyday objects, collages and paper cut-outs that hearken back to early Surrealist experiments.
As photography radically transforms our relationship to life and each other, Marvin Heiferman wonders why the art world is so heavily invested in a self-reflexive view of the medium.
In NICE TO MEET YOU: Edgardo Aragón talks to Luigi Fassi about liberation from the logic of violence in his homeland, the Mexican state of Oaxaca; Carlo Gabriele Tribbioli explains to Simone Menegoi his investigations into the mechanics of ritual; Shane McCarthy tells Maeve Connolly whythe work is a situation producing associations and expectations.
The work of Philippe Parreno and Anri Sala on the acoustic environment of exhibitions is based to a great extent on their shared taste for the dialectic of image and sound in cinema. Cyril Béghin asked the two artists to discuss these themes.
Educational visionary, Adorno scholar and translator Robert Hullot-Kentor has activated a master’s program of Critical Theory and the Arts at the School of Visual Arts in New York. He shares some of his ideas about the program in a conversation with Bettina Funcke.
REPORTING FROM:
NEW YORK: Loretta Fahrenholz reveals to David Lieske some of the conceptual tentacles of her film Implosion, which provides a sideways angle on unavoidable topics on the eve of the Occupy movement, and is a complex stylistic response to certain currents of social critique in cinema.
PARIS: Bertille Bak spends long months sharing the lives of communities pushed to the edge of the dominant culture. Ida Soulard asks the artist about her performances, theatrical actions and objects made together with these communities.
BERLIN: Gerry Bibby and Natalie Häusler weave their works of sculpture, installation and performance around text sources. Sharing this particularity, the two artists produce a conversation through an exchange of writings.
LONDON: Laura McLean-Ferris met with Corin Sworn to talk about her practice of reinscription of appropriated media. Her latest works, The Rag Papers, have seen her interpreting a set of slides found in a skip, creating characters that can only speak in the words of cultural documents.
LOS ANGELES: Remnantsof minimalism litter the American landscape, mostly in the form of crumbling civic infrastructure. Andrew Berardini tells us how artist Fiona Connor manages to find, replicate and make human some of these inhuman objects.
Mark Grotjahn and Jonathan Pylypchuk converse about their ways of coping with art fame. An artistic trajectory dense with sadness, but also with friendship and mutual succour, against the backdrop of the LA scene.
Marion von Osten talks with Brian Kuan Wood about the economic integration of artistic life and artistic work.
In the world of advertising, branding and lifestyle agencies, trend forecasting is often sold in the form of PDFs. In 2010 a group of artists and writers in New York called K-HOLE launched their first peculiar “report.” They talked to Rachel Blatt about their influences, collaborations, and forthcoming projects.
Barbara Casavecchia converses with Jeffrey Schnapp about access to digital knowledge.
It’s hard to put into words what makes a good painting. But a conversation between two great painters might get us a bit closer. Alex Katz and Elizabeth Peyton belong to two different generations but have many qualities in common, starting with their ability to grasp the essence of the subjects they depict.
Are there other ways of understanding natural science in conjunction with artistic and literary practices? John Tresch tries to answer this question in a conversation with Armen Avanessian.
