March 2, 2011 - Artforum - March 2011
March 2, 2011

March 2011

March 2011 in Artforum

Curator Helen Molesworth takes a long look at blocked signals, futile gestures, and blank spaces in the work of Klara Lidén—one of many engagements with media and physical experience discussed in this issue. Wrestling with conventions of artistic production and gender identification, Lidén’s filmed actions, scavenged tableaux, and clandestine installations put the art world’s complacencies to the test.

“Are Lidén’s hidden spaces a proposition about what a room of one’s own might look and feel like today?”
—Helen Molesworth

• Also this month, “Epic Theater”: Provocateur Christoph Schlingensief pursued another kind of media campaign. Following the notorious director and filmmaker’s recent passing, and in advance of his major exhibition at the German pavilion in the Venice Biennale, critic Diedrich Diederichsen reflects in depth on Schlingensief’s wild stage productions, television shows, and interventions into public life in the wake of social sculpture and the total work of art.

“Schlingensief blocked off the escape route of irony, and he paid the price.”
—Diedrich Diederichsen

• Artist Marc Camille Chaimowicz unveils a new series of collages prompted by the writings of Jean Genet, each embroidered with decadent blooms, appropriated imagery, and hand-drawn details—a mass ornament for our time.

Amy Taubin sits down with filmmaker Todd Haynes to discuss serial television, melodrama, maternal instincts, and the making of his new HBO miniseries, Mildred Pierce, starring Kate Winslet.

• 1000 Words: On the occasion of Roberto Jacoby‘s current retrospective at the Museo Nacional Centro de Arte Reina Sofía, Nicolás Guagnini talks to the renowned Argentine artist about his unique stance on art and politics, including the recent censorship of his work at the Twenty-ninth São Paulo Bienal.

• Plus: Two “Openings”—T. J. Demos on Swedish duo Goldin+Senneby and Julian Myers on LA-based Karthik Pandian.

• And: Meredith Martin assesses the continuing controversy over contemporary art at Versailles and its eighteenth-century roots; James Quandt revisits Thai director Apichatpong Weerasethakul‘s Uncle Boonmee in time for its US theatrical release; Ekaterina Degot reviews two new tomes on Moscow Conceptualism by Boris Groys and Matthew Jesse Jackson; artist Morgan Fisher contends with the monochromes of Blinky Palermo; curator Nato Thompson interviews artist-activists W.A.G.E.; Cole Roskam casts an eye for detail on new architecture in Guangzhou; Martin Herbert steps into Simon Starling‘s curatorial timewarp at the Camden Arts Centre; Amy Taubin turns the spotlight on MoMA’s “Andy Warhol: Motion Pictures“; and artist Ashley Bickerton gives a very tropical Top Ten.

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