Issue #26
December 2010 / January 2011
Jimmie Durham has an interesting theory about money: it’s a virus that’s using its biology, architecture and art to replace human nature with its own…
Nick Relph is tangled in the weave of a tartan. Kirsty Bell met up with him to discover his sources of inspiration, which range from his own closet to Ellsworth Kelly’s paintings, by way of DIY groups on the web.
In the last twenty-six years, Moyra Davey has photographed almost no one. On the other hand, she has very clear ideas about the role played by literature in her universe of objects and dust. Gigiotto Del Vecchio explored it with the artist.
Ten, twenty, or even thirty years ago, who would have thought that talking about art schools would become cool? Dieter Roelstraete has an astute theory about this epoch-making “educational turn”.
A two-ton asteroid is reason enough to set Guillermo Faivovich and Nicolás Goldberg to work on a project that incorporates scientific knowledge, socio-political history, and the inexplicable magnetism of an alien object. Johan Lundh talked about it with the artistic duo for PART OF THE PROCESS.
Laure Prouvost has a passion for arranging meetings in unusual places, and Francesco Pedraglio had to follow her through muddy tunnels for an interview about her work. Which lies at the border between surrealism and plausibility.
The Chto Delat? collective is inspired by Lenin and carries on the revolution through musicals. But can it keep political symbols from being co-opted by aesthetics? That’s one of the questions raised by Jakob Schillinger.
Běla Kolářová lived in the shadow of her husband, artist and poet Jiří Kolář, and yet her sophisticated, conceptual work, made up of personal objects, deserves a special place in art history. Alice Motard talks about it.
ARTIST PROJECT: Leonor Antunes.
Reporting from…
LOS ANGELES: Andrew Berardini reads the work of Frances Stark as if it were a long, beautiful love poem.
NEW YORK: Cecilia Alemani talks with Uri Aran about his bureaucratized formalism.
PARIS: The artists examined by Dorothée Dupuis do not copy images, they create their own, bringing them to life in homemade, revolutionary works.
BERLIN: Heike-Karin Föll met up with Willem de Rooij on the occasion of his show at Neue Nationalgalerie, to talk about his installation Intolerance.
LONDON: Alli Beddoes talks to Ed Atkins about his large body of works, titled “Death Mask”, that has to do with Madame Tussauds, but also with Derrida.
Plus…
For LOST AND FOUND, Jens Hoffmann traces the career of Marta Minujin, a pioneer of happenings and media art, a global artist ante litteram.
Barbara Casavecchia got the rare chance to take a look at his endless archive of useless images. As a result, through SKELETONS IN THE CLOSET, we too get to explore the terraced house in Chalk Farm, north of London, that belongs to John Stezaker.
Cristoph Keller owns a pamphlet that is a key text in conceptual art. He decided to share it with us for REPRINT.
Laura Fried met up with J. Parker Valentine for a new column about emerging international artists: NICE TO MEET YOU.
Archival photographs are widely used in art, but Fionn Meade has selected a few artists who have expanded their critical possibilities.
Ken Okiishi has been to Manhattan, and to Berlin as well. The two cities are part of a game that bounces between two artistic universes. David Lewis let himself be guided on this journey.
For HARK!, Jennifer Allen tries to take stock of the twenty years since the digital revolution and discovers that Valéry, in 1928, had it all figured out.
Raimundas Malašauskas left empty spaces that Pratchaya Phinthong did not fill in… But even so, their conversation was pretty interesting…
When Mihnea Mircan began thinking about a fresco in the Hall of Constantine at the Vatican, and The Imprint by Nina Beier and Marie Lund, her idea of curating took a new turn. She talks about it in CURATOR’S CORNER.
Time does not exist. Nor does understanding. And this is science, not science fiction; in fact, it has a certain influence even on art. Let Stefan Heidenreich explain.
Dieter Roelstraete answers the question How about pleasure?” in the second of ten dossiers for the project “Ten Fundamental Questions of Curating”, curated by Jens Hoffmann and sponsored by Fiorucci Art Trust and Mousse Publishing. Reflections that explore the multifaceted physiognomy of the curator, with selected illustrations by Pierre Bismuth. *
* Available only in subscription copies in Italy.
Cover:
Frances Stark, I must explain, specify, rationalize, classify, etc., 2007.
Courtesy: Thea Westreich and Ethan Wagner, New York.
