Adam Kleinman

  • Navine G. Khan-Dossos

    “Soft power,” or the co-opting of personal desire through cultural persuasion, is a tactic employed by governments, terrorist organizations, and trolls alike. One could take ISIS and its media machine as a case in point, which is what Athens-based British artist Navine G. Khan-Dossos did through her exhibition “Command: Print.” Its centerpiece was Remaining and Expanding, 2016, a suite of thirty-six gouache-on-panel paintings sourced from the fifth issue (November 2014) of Dabiq, the online propaganda magazine of ISIS. Khan-Dossos reproduced pages from the issue and mounted the results together

  • Carlos Motta

    At the time of writing, the chilling echo of “Kill! Kill! Kill!” can still be heard. The cry came from right-wing Ukrainian nationalists as they disrupted and ultimately shut down a LGBTI festival in the city of L’viv, Ukraine, on March 19. The event is but one example of the social discord that has been raging across the country since it was splintered by a revolution in 2014. Responding to this context, at Kiev’s PinchukArtCentre, Colombian artist Carlos Motta exhibited Patriots, Citizens, Lovers . . . , 2015, a multimedia installation on the theme of Ukrainian LGBTI visibility, or lack thereof.

  • Sven Augustijnen

    As D. W. Griffith said, all audiences want to see is “a girl and a gun.” Sven Augustijnen has perverted this crowd-pleasing formula by throwing a topless male centerfold smack in the middle of his documentary-esque L’histoire est simple et édifiante: Une sélection d’articles parus dans Paris Match, première partie 1960–1972 (The Story Is Simple and Edifying: A Selection of Articles Published in Paris Match, Part One 1960–1972), 2014. The ever-photogenic Ernesto “Che” Guevara is the model in question, and here he is sprawled over a white bed while suggestively sipping yerba mate. The spread, shot

  • Emily Sundblad

    A plastic-wrapped rib-eye steak lay in the center of House of Gaga’s tile floor. Surrounding it were fifteen small illustrations hung on the gallery’s walls depicting captive beasts—big cats, apes, snakes, and so on—that artist (and cofounder of New York’s Reena Spaulings Fine Art) Emily Sundblad sketched from life on the grounds of the Santa Barbara Zoo. The drawings, each rendered in Yves Saint Laurent eyeliner on paper and mounted on leather, pleather, or mat board, were all protectively framed; a few were adorned with a piece of lace, a double reference to femininity—and animal

  • “Gwangju Folly II”

    What lasting, tangible benefits do large-scale recurrent exhibitions offer their host communities besides display halls and tourist dollars? Such questions lie at the heart of Gwangju Folly, which commissions permanent pavilions for public use. The project was initiated as part of the 2011 Gwangju Design Biennale, but, as of its second installment last year, has become independent while its “pavilions” seem to have radically expanded to include significant political and cultural engagement. Artistic director Nikolaus Hirsch (with curators Philipp Misselwitz and Eui Young Chun) asked eight

  • Glasgow International 2014

    With the referendum vote for Scottish independence scheduled for September, it is significant that this year’s Glasgow International is operating in partnership with Homecoming Scotland—an initiative of Visit Scotland aimed at “welcoming the world” while bolstering national identity and, no doubt, state revenue. Though such entrepreneurial liberalism might leave some with a sour taste, it is precisely the region’s growing cosmopolitanism and financial solvency that may have the greatest bearing on the country’s forthcoming bid for autonomy. Harnessing these tensions,

  • diary February 11, 2011

    Flirting with Disaster


    With a touch of dramatic irony, this year’s installment of the annual SITAC conference, at the Teatro Julio Castillo in Mexico City, centered on the “Theory and Practice of Catastrophe” and began with the circulation of two competing, contradictory program schedules. The resulting bafflement, however, was quickly forgotten as the bone-chilling coldness of the poorly designed lecture hall lulled guests into a state of torpor that would come to characterize the next three days of the conference.

    On Thursday, day one of the colloquium, the first speaker was the hotly

  • “Greater New York”

    AT THE PRESS CONFERENCE for “Greater New York,” organizers Klaus Biesenbach and Connie Butler (Neville Wakefield, the third organizer, was not present) admitted that it was a challenge to fill MOMA PS1’s large, awkward space on such a small budget. Their solution? To invite the artists to “move in and take it over,” in Butler’s words, thereby showcasing the “process of creation and the generative nature of the artist’s studio.” Whatever space remained would be used to stage complementary exhibitions—a cinema program in the basement, a “five-year review” of primarily performance-based work and