Subscribe to Artforum and receive the April issue free.
And get the mobile app for artguide—the art world’s most comprehensive directory of exhibitions, events, and art fairs in over 800 cities.
This month in Artforum:
Curator Cecilia Alemani talks with David Velasco about the 59th Venice Biennale
“What I wanted to do for this show—and which I was only able to accomplish because I had more time—was to develop a trans-historical exhibition, one that could create a dialogue between different generations of artists across a whole century.” —Cecilia Alemani
Alex Kitnick and R. H. Quaytman on Dan Graham
“Graham’s real subject was elsewhere, perhaps somewhere between the art galleries of Manhattan and the tract houses of New Jersey, in the morass of culture itself.” —Alex Kitnick
Emmelyn Butterfield-Rosen on Titian’s Poesie for Philip II
“It is a distinctive peculiarity of Titian’s poesie that ‘manly courage’ appears less as an internal property of the human man than as a displacement of his will or impulses onto animal surrogates.” —Emmelyn Butterfield-Rosen
A project by Nikita Kadan
“When the explosions began, the artist and activist Nikita Kadan was in Kyiv, the city where he was born and still lives. He found refuge in the Voloshyn Gallery, an underground space that functioned as a bomb shelter during the last world war and is now serving that purpose once again. In the days that followed, between organizing with peers and speaking with the press, he started to draw, creating vibrating declamations against Putin’s assault and atomized charcoal threnodies.” —David Velasco
And: Tausif Noor on the art of Basel Abbas and Ruanne Abou-Rahme, Michael Ned Holte on Kaari Upson’s “Portrait (Vain German),” 2020–21, Suzanne Hudson on Cameron Martin’s new paintings, and Cookie Mueller tells us the truth about the end of the world.
Also: James Quandt on Ramon and Silvan Zürcher’s The Girl and the Spider, Ian Bourland on Mildred’s Lane, Kate Sutton on Shubigi Rao and her work at the 59th Venice Biennale, and Lea Bertucci shares her Top Ten.
Plus: Meg Weeks on “Decriminalised Futures” and more than 35 exhibition reviews from around the globe.
