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· Legendary director Pier Paolo Pasolini‘sfilmic excess was only part of his theoretically and politically driven contribution to cultural history. While the Museum of Modern Art in New York mounts its second full retrospective of the maestro’s motion pictures, Patrick Rumble wades through the many legacies of Pasolini, from his early poetry to his current significance as a martyr figure for antiglobal, anti-neoliberal movements.
“For Pasolini, a ‘cinema of poetry’ can expose us to things themselves in a way other languages and media cannot, which explains his almost mystical faith in the medium of cinema.”
—Patrick Rumble
· Over the past two years, Frances Stark has staged frank, funny, and often bawdy encounters with figures ranging from avant-garde-film scions to dancehall stars. Curator Mark Godfrey illuminates how these recent works—and a new project in the making—expand Stark’s career-long cross-media exploration of the pressures and pleasures of life as an artist.
“Stark’s take is a fresh kind of institutional critique—fresh because she wrests it away from being an orgy of art-world hand-wringing.”
—Mark Godfrey
· Amy Taubin elicits “1000 Words” from Academy Award–winning director Kathryn Bigelow on Zero Dark Thirty, her new blockbuster about “the greatest manhunt in history.”
“Film has the opportunity to invite an engagement with an event, when you look at it through a journalistic eye.”
—Kathryn Bigelow
· Chris Marker, the widely beloved progenitor of the essay film, passed away last July in Paris. In commemoration, a diverse group of writers, artists, and filmmakers—Nora M. Alter, Duncan Campbell, Sophie Fiennes, Patrick Keiller, Tom McCarthy, James Quandt, Lucy Raven, and Alexandra Stewart—share their thoughts on Marker as a friend, role model, and peerless artist.
“Every distant land represented in Marker’s films inevitably comes to reside on the same metaphoric continent, the far-flung made adjacent by the artist’s memory.”
—James Quandt
“From the collapse of the Left in France to the suppression and failure of revolutions around the world, Marker tries to understand what happened to the utopian promises of political modernity.”
—Nora M. Alter
· In advance of the Moderna Museet’s Hilma af Klint retrospective opening this February in Stockholm, Daniel Birnbaum unearths newly discovered works by the Swedish artist who is arguably the first modern abstractionist; Douglas Crimp peers through the keyholes of Elad Lassry‘s performance at the Kitchen; and Romy Golan gauges the formalist palette of the Solomon R. Guggenheim Museum’s “Picasso Black and White.”
· Plus: Two “Openings”—Beau Rutland considers the sculptural concoctions of Anicka Yi and Kaelen Wilson-Goldie takeson Lebanese artist Rayyane Tabet; Jordan Kantor contemplates “Rosemarie Trockel: A Cosmos” at the New Museum; Sarah Boxer lives through Deirdre Bair‘sbiography of Saul Steinberg; David J. Roxburgh tours the Musée du Louvre’s new galleries of Islamic art; Ina Blom absorbs the expanded cinema of Aldo Tambellini at the Tanks at Tate Modern; Quinn Latimer studies the Akram Zaatari survey at Le Magasin, Grenoble; and technoculture doyens Arthur and Marilouise Kroker track their Top Ten.
· And: WINTER PREVIEW. Artforum highlights forty-five exhibitions opening internationally between January and April, including the Guggenheim’s historic “Gutai: Splendid Playground” and a major gathering of Albrecht Dürer‘s masterworks at the National Gallery of Art in Washington DC.
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