Anya Harrison

  • John Miller and Nina Beier, A True Mirror, 2018/22, mannequins, ceramic, fabric, framed photographs, artificial snow, dimensions variable. Photo: David Stjernholm.
    picks October 14, 2022

    “Another Surrealism”

    The site of the world’s first international Surrealist exhibition, in 1935, Den Frie currently hosts a group show that revisits this landmark moment in the institution’s history while reflecting on the reappearance of strategies associated with historical surrealism in contemporary artistic production. With works by over twenty Danish and international artists, including several from the original exhibition (see, for example, Vilhelm Bjerke Petersen’s Guardian of Morality, 1935, an array of sinuous, distorted forms that hint at a landscape), “Another Surrealism” avoids the standard historical

  • View of “The (Wo)Man of the Future.” Photo: Pierre Antoine.
    picks July 27, 2022

    Chris Korda

    EAT A QUEER FETUS FOR JESUS, 1996, and the now-ubiquitous slogan SAVE THE PLANET KILL YOURSELF, 1998, are among the proclamations printed and handpainted on banners, protest signs, and other assorted merchandise dispersed throughout Le Confort Moderne’s main gallery. Relics of the Church of Euthanasia, the environmentalist, antinatalist organization founded in 1992 by Chris Korda, they form the crux of the exhibition “The (Wo)Man of the Future,” which was curated by Paris-based art space Goswell Road. The retrospective spans the trans activist’s thirty-year career in art, music, performance,

  • Jimmy Robert, Untitled (Plié V), 2020, ink-jet print on paper, birch pedestal. Installation view.

    Jimmy Robert

    In an essay first published in 2002, critic and curator Jörg Heiser noted certain Romantic tendencies in 1960s and ’70s Conceptual art. Among the key figures of this so-called Romantic Conceptualism was Bas Jan Ader, who came to stand for an artmaking whose stripped-down, barely there form belied a vested concern with bodily politics and the construction and representation of subjectivity. Similar qualities can be found in Jimmy Robert’s solo exhibition “Appui, tendu, renversé”—the title literally translates to “Support, Tense, Reversed” but, minus the commas, simply refers to a handstand—where

  • Dorothy Iannone, The Next Great Moment in History Is Ours, 1970, silk screen on paper, 28 3⁄4 × 40 1⁄8".

    “She-Bam Pow Pop Wizz! The Amazons of Pop”

    In 1961, the contraceptive pill went into free circulation in the UK. Shortly thereafter, in the mid-1960s, the miniskirt appeared. As the story goes, the sexual revolution of the ’60s was instrumental in liberating women from the shackles of a society that for too long had kept them confined to a purely domestic sphere of family life. Women’s newfound powers were translated onto the pages of comic strips through the appearance of heroines such as Barbarella or Jodelle. Though these svelte bombshells were dreamed up by male authors, their sensuality and sexuality went in tandem with superhuman

  • Slavs and Tatars, Afteur Pasteur (Nice), 2020, acrylic on gelatin silver print, 10 5⁄8 × 8 5⁄8". Installation view. Photo: François Fernandez.

    Slavs and Tatars

    For nearly fifteen years, the collective Slavs and Tatars have been producing installations, sculptures, performative talks, and publications that address the relationship between language and the ever-shifting landscape of identity politics. Having started in 2006 as an informal reading group, Slavs and Tatars’ remit of research is, as their name suggests, the not-so-small region “east of the former Berlin Wall and west of the Great Wall of China.” The artists’ practice unearths the ways in which power dynamics, domination, cultural erasure, and colonization use language to do their dirty work:

  • View of “Kévin Blinderman: You’re The Worst,” 2021.
    picks April 27, 2021

    Kévin Blinderman

    Walking into Confort Moderne, a former foundry on the outskirts of Poitiers, feels like taking a wrong turn. The cavernous space that hosts Kévin Blinderman’s first institutional solo exhibition is very empty, largely devoid of the markers of his time spent here. Yet, this is where Blinderman spent the first lockdown (spring 2020) in residency. It was here he organized a club night in September 2020 with Paul-Alexandre Islas (see Queer is not a Label, the parties on which the two regularly collaborate), and it was also here that he may have orchestrated the shooting of a porn film. I say may

  • Rachel Rose, Second Born, 2019, rock, glass, 6 1/4 x 9 1/2 x 8".
    picks August 28, 2020

    Rachel Rose

    Rachel Rose’s exhibition transforms Lafayette Anticipations into a shadowed labyrinth, its darkness mitigated by videos casting light on the soft pile carpet that covers the floor of the galleries and brushes against the skin of seated viewers. Bodies, their very (im)materiality and presence, are inherently part of Rose’s molecular and technological field of vision. Governed by impermanence, our ever-shifting corporeality structures her sculptural and moving image works.

    The show begins with the “Borns,” 2019, a series of sculptures in which glass and rock—both made of silica, but formed on vastly