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This month in Artforum: Summer Preview. The magazine looks ahead to forty-five major exhibitions opening worldwide; architect Richard Meier previews the Le Corbusier exhibition at New York’s Museum of Modern Art; Christine Mehring, Flavin Judd, Guy Nordenson, Rainer Judd, and Rob Beyer inaugurate the newly restored Donald Judd residence, 101 Spring Street, in SoHo; and Francesco Bonami interviews Fifty-Fifth Venice Biennale curator Massimiliano Gioni.
· And: In the work of Monica Majoli, bodies appear reassembled: in bondage, in pleasure, and in states of virtual desire. Contributing editor Bruce Hainley enters the cover artist’s environments of intensely intimate realism, where new kinds of physical contact and experience come to light.
“Few paintings about the ‘body’ and its exposure have so thwarted the naive assumption that anyone truly knows what a body is now or how it longs to be configured.”
—Bruce Hainley
· On the occasion of James Turrell‘s retrospective, spanning three major institutions across the US this summer, Miwon Kwon elicits “1000 Words” from the artist about Aten Reign, 2013, his large-scale skylight installation slated to fill the rotunda of New York’s Solomon R. Guggenheim Museum beginning June 21.
“In the rotunda space the viewers will know they are inside, but experientially it may feel exterior; one may feel a suspension of limits.”
—James Turrell
· Historian Jean-Louis Cohen, architect Paulo Mendes da Rocha, and artist Josiah McElheny recall the visionary sightlines of Brazilian architect Oscar Niemeyer.
“If we consider a canonical work to be one that remains open, constantly lending itself to new interpretations, Niemeyer undoubtedly founded one of the canonical approaches of modernity.”
—Jean-Louis Cohen
· Perhaps the most important artist of the 1960s and ’70s you’ve never known, Les Levine was dubbed “the other Warhol” and the figurehead of “systems esthetics” before following a path into obscurity. As Levine’s work has begun to garner renewed interest from curators, scholars, and artists, Tom Holert leads us through the artist’s prescient experiments in synthetic environments, “social software,” and video.
“Levine had many vociferous detractors who felt, in critic John Perrault’s words, that he was ‘a science-fiction artist out to destroy Western Culture.’”
—Tom Holert
· Plus: Jessica Morgan takes on the weight of the work of Bangalore-based artist Sheela Gowda; David Joselit asks why recent exhibitions of postwar Japanese art have both forged and faltered at a global art history; James Quandt salutes the late Taboo director Nagisa Oshima; Claire Bishop finds abstraction of all kinds at Sharjah Biennial 11; artist Josef Strau notes foul perfection in the Stedelijk Museum’s Mike Kelley retrospective; Solveig Nelson eyes Steve McQueen‘s midcareer retrospective at the Art Institute of Chicago; Paul Galvez investigates Jonathan Binet‘s materialist paintings in an “Openings” on the Parisian artist; filmmaker Matthew Porterfield splices together his Top Ten, and much more.
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