Art Criticism
The issue 1,2,3, — thinking about exhibitions combines discussions, interviews, and articles concerning recent discussions in Rotterdam and Hamburg. The symposium in Rotterdam, The Curators, at Witte de With emphasized the role of the curator-subject. This issue includes two interviews which critically review the contributions and results of the symposium, revealing different aspects and controversial facets of their topics. The two featured interviews include one with Nikolaus Schaffhausen and Zoe Gray, those responsible for the organization of the symposium, as well as one interview with Paul O’Neill, a contributor…
e-flux journal editors Julieta Aranda, Brian Kuan Wood, Anton Vidokle, and Kaye Cain-Nielsen discuss 10 years of e-flux journal.
Excerpt from the editorial of e-flux journal issue #95—WONDERFLUX:
In November 2008, the editorial for issue #00 said:
Historically, more than any single institution, art publications have been primary sites for discourse surrounding the artistic field. And yet most recently, the discourse has seemingly moved elsewhere—away from the formal vocabulary used to explain art production, away from traditional art capitals, and away from the printed page. At times, new discursive practices even replace traditional forms of art production. Given the current climate of disciplinary reconfiguration and geographic dispersal, ...
e-flux journal editors Julieta Aranda, Brian Kuan Wood, Anton Vidokle, and Kaye Cain-Nielsen discuss 10 years of e-flux journal.
Excerpt from the editorial of e-flux journal issue #95—WONDERFLUX:
In November 2008, the editorial for issue #00 said:
Historically, more than any single institution, art publications have been primary sites for discourse surrounding the artistic field. And yet most recently, the discourse has seemingly moved elsewhere—away from the formal vocabulary used to explain art production, away from traditional art capitals, and away from the printed page. At times, new discursive practices even replace traditional forms of art production. Given the current climate of disciplinary reconfiguration and geographic dispersal, ...
Is it possible to grasp a large-scale group exhibition based on a single artwork? This is the question posed by curator and critic Julia Moritz in her series of experimental reviews titled “Pick a Piece.” To Moritz, responding to the mushrooming of mega-exhibitions with the sturdy format of the art review means radical choice: to (en)counter the explosion of exhibitions with the implosion of inspection, with the selection of just one piece – this time from this summer’s art fairs and biennials in Basel, Palermo, and Berlin.
The following was announced on the windows of a small blue house at dOCUMENTA (13):
The 60 wrd/min art critic is available. Reviews are free of charge, and are written here on Mondays, Wednesdays and Saturdays between the hours of 1 and 6 p.m. Lori Waxman will spend 25 minutes looking at submitted work and writing a 200-word review. Thoughtful responses are guaranteed. Completed reviews will be published in the Hessische/NiedersächsischeAllgemeine (HNA) weekly, and will remain on view here throughout dOCUMENTA (13).
This book collects together all 241 reviews written during the d13 performance, with an afterword by Carolyn Christov-Bakargiev.
LIST OF ARTIST ...
A magazine about art and social engagement. A Blade of Grass (ABOG) was founded to support and deepen understanding for socially engaged artists who are enacting social change within a community.
In the framework of Resonance, an exhibition of the Goethe-Institut New York curated by Rivet and work by Agency, Faivovich & Goldberg and weareQQ, Diedrich Diederichsen was invited to deliver a talk that would tackle some issues of object-oriented thinking within the arts, as well as considering the potential for resonance among entities relevant to contemporary practice (human, non-human, animate or inanimate).
Because of Hurricane Sandy, Diederichsen’s talk had to be cancelled, but this change of plans led to a conversation between Diederichsen and the curators, Rivet (Sarah Demeuse and Manuela Moscoso), about the topics he had planned to bring forward. ...
This volume collects the curatorial writing produced at Noxious Sector Projects, a window gallery in downtown Seattle, curated by Ted Hiebert between 2011-13. The gallery had as its mandate to be a “formalized forum for informal inquiry” and to exhibit works that creatively challenged the boundaries between the imaginary and the everyday. Featuring the work of: Jackson 2bears, Cindy Baker, Cedar Tavern Singers, Tanya Doody, Neal Fryett, Tetsushi Higashino, Doug Jarvis, Arthur & Marilouise Kroker, Christian Kuras & Ben Tanner, Christian Kuras & Duncan MacKenzie, David LaRiviere, Nate Larson & Marni Shindelman, Urich Lau, Deirdre Logue & Allyson Mitchell, Susan ...
In April, the Kunstmuseum Basel opened its new building. More recently, the Bündner Kunstmuseum in Chur followed suit, and in Zürich construction on the extension of the Kunsthaus is well underway. These building projects suggest long-term confidence in publicly funded art museums. But what understanding of “public” is conveyed here? An inspection in Basel.
Laura Lamiel has been making work now for five decades. So in ways, the recent presence of her work in international contexts, or at least the inclusion of her work in biennials and her representation by young galleries with broad exposure, amounts to a rediscovery. That a private foundation in France has joined with the French Ministry of Culture in commissioning a text on Lamiel’s work – this fact alone gives some indication of what’s changed; if not in Lamiel’s work, then around it. It also suggests that Lamiel’s work has been underserved by writing in particular. So one of ...
a kind of forever present that takes the form of a theatrical script to perform a fictitious conversation among cultural theorists that considers what ever happened to postmodernism. The script culls parts of seminal texts by Fredric Jameson, Jean Baudrillard, Jürgen Habermas, Clement Greenberg and Jennifer Allen and combines them into a discussion about the transformation of postmodernism into a hybrid, constant stream of social media and digital technology that inherently changes our relationship with time.
It has been a long time since as many people took to the streets in the cause of feminism as did for the Women’s March on Washington. Protesters wore the hand-knitted pussyhats in such large numbers that they colored the crowds pink. The hats became a striking visual signature feature of the protest against the Trump administration. They stand for a feminism that has majority appeal, albeit with questionable references.
