Andro Wekua

  • Andro Wekua, Yet to be titled, 2012, acrylic plaster, wood, steel, gypsum fiberboard, acrylic paint, 13 1/2 x 17 1/4 x 16 1/4".

    Andro Wekua


    HE HAD A FACE LIKE AN ASH-COLORED MASK. I could hear his heavy breathing beneath it.

    During warm, humid days he left the city and went to the swamp. He liked to use his foot to test the swamp. To this day, the memory of it takes his breath away. This was in March.

    A white motorcycle stood by with its headlight on. Dressed in a white T-shirt and blue sneakers, he was in the swamp up to his waist. He said he wanted to try standing on the surface or to at least feel the bottom of the damn thing. But I can’t really remember what he wanted. I waited, transfixed by his face. As I stared, I

  • Guy de Cointet, My Father’s Diary, 1975. Performance view, Greene Naftali Gallery, New York, February 4, 2009. Mary Ann Duganne Glicksman.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions and events were, in their eyes, the very best of 2009.


    “Pierre Bonnard: The Late Interiors” (Metropolitan Museum of Art, New York) You kind of get the feeling that Bonnard was a real artist. He was concerned not with the past (art history), present (his contemporaries), or future (his legacy), but with expressing himself in terms of his own perceptions, interactions, and experiences of the world. Whether of a room, a still life, or a loved one, each painting becomes