Aram Moshayedi

  • Hacienda’s building in Zurich.
    interviews September 02, 2013


    Hacienda is a new exhibition space located in Zurich’s Seefeld neighborhood. Co-organized by Arthur Fink, Fabian Marti, and Oskar Weiss, it follows in the vein of artist-run or “off” spaces that are a part of the city’s artistic scene. Taking on a salon-like atmosphere and including a library reading room, Hacienda opened recently with a new project by Basel-based artist Hannah Weinberger in its main exhibition space. Here members of the collective discuss the gallery. Weinberger’s show runs August 25 to October 12, 2013.

    THE SPACE is located in an apartment in a small townhouse that serves as

  • View of  “Connections,” 2012–13, Yucca Valley, California. Photo: Jaime Beechum.
    interviews February 07, 2013


    Working under the moniker Women, designers Neil Doshi and Scott Barry are in the first phase of a five-year design initiative that sets out to inhabit a different location and set of working conditions each year. Currently underway in Yucca Valley, California, their first year, titled “Connections,” will culminate in two structures integrated into the terrain’s large rock formations and natural environs, remaining after completion as a design residency and library.

    ONE OF OUR INITIAL IDEAS was to base our studio on a certain finiteness—the notion that we would only operate for one hundred projects.

  • Abraham Cruzvillegas, Boogie Woogie (handmade & sensual), 2012, rebar, chain, fabric, meat, 12' 6“ x 11' 7” x 6' 8".

    Abraham Cruzvillegas

    “How to generate a living sculpture nowadays?” Abraham Cruzvillegas asked in a notebook and online video that complemented his street-bound activities for Documenta 13. What about a sculpture without fixed form or shape? A definitely unfinished sculpture? A nonbudgetary sculpture? A sculpture made with nothing? A tale that is being written or told as a sculpture? These questions suggested a shift in the Mexican artist’s practice—a turn from autoconstrucción to autodestrucción. Outlining the largely invisible, unmarked, basically nonexistent works that Cruzvillegas placed throughout the city

  • Gregory Green, Biblebomb #1907, (Russian Style, Tampa), 2008, mixed media, 5 1/4 x 19 1/2 x 13".
    picks August 13, 2012

    “No Person May Carry a Fish into a Bar”

    Exploring intersections of art and crime, this extensive exhibition relays a set of sordid tales that underscore the fact that the activities of art are hardly ever devoid of ulterior motives. Cocurated by artists Julian Hoeber and Alix Lambert, “No Person May Carry a Fish into a Bar” privileges a history of deranged, gruesome, and corrupt events conveyed by a series of images and art objects that are both trustworthy and by nature deceptive. In most cases, it is left ambiguous whether or not the testimonies of the artworks hold up—whether, for instance, Robert Buck’s the shrine (from e to

  • View of Amanda Ross-Ho’s studio, June 2012.
    interviews June 21, 2012

    Amanda Ross-Ho

    “TEENY TINY WOMAN” is the first solo museum exhibition in Los Angeles by Amanda Ross-Ho. On view at the MoCA Pacific Design Center from June 23 to September 23, this show finds Ross-Ho characteristically spanning the disciplines of sculpture, photography, collage, and installation in a deliberately self-referential project that draws from and remixes her own output and artistic history of the past several years.

    THE IDEA OF THE RETROACTIVE GAZE is a consistent factor in my work, but not in the sense of cultivating historical distance or nostalgia; it is more a backward way of thinking, an

  • View of “La Trampa” (The Trap), 2012.
    picks May 13, 2012

    Edgardo Aragón

    Despite art criticism’s rampant overuse of words such as traffic (or interrogate or investigate) to describe the seemingly nefarious “activities” of works, there is no better term to describe Edgardo Aragón’s recent videos that deal in the practices and fallout of narcotrafficking throughout his native Mexico. The trilogy of video installations in his first solo exhibition in the US, however, presents an oblique form of trafficking animated by the harsh realities of the region’s narcoterrorism and drug-related violence: the drug cartels’ makeshift techniques of torture and interrogation as forms

  • Christodoulos Panayiotou, Never Land (detail), 2008, three slide projectors, 135 color slides, dimensions variable.


    JUST SHORT of its fourth anniversary as part of the eurozone, the Republic of Cyprus announced in the middle of last year that it was on the verge of becoming the next member state to seek a bailout from the European Union. At the time of my writing, this had not become an actuality—but other dangers loom, and the future of the euro itself is less certain than ever. As if possessed of an ability to foresee the future, Cypriot artist Christodoulos Panayiotou worked with the Central Bank of Cyprus in the months leading to the country’s monetary changeover in January 2008 to rescue all the

  • View of “Concrete Cakes and Constellation Paintings,” 2011.
    picks July 15, 2011

    Piero Golia

    With the location yet to be determined, Piero Golia announced in March of this year that it was time for his first show in Los Angeles. “I think [it] should be on June 23 . . . it is going to be paintings and sculptures,” he posted to Facebook, leaving it up to the galleries in the city to compete for the opportunity to unload the artist’s assortment of “Concrete Cakes and Constellation Paintings.” From the outset, Golia established the terms under which his precious objects were to be presented, and along the way he became the first artist ever to use social media to get a show at Gagosian.

  • View of “Barbara Kruger,” 2011. (Photo: Joshua White/JWPictures)
    interviews May 16, 2011

    Barbara Kruger

    Barbara Kruger’s latest solo exhibition is on view at L&M Arts, Los Angeles until July 9. Filling the interior and exterior of the gallery, the show includes recent installations, projections, and multichannel videos by the inimitable New York– and LA-based artist.

    FIVE HUNDRED WORDS can be too many or not enough. I should probably choose those words carefully. The choice of voice is important. I mean, this is Artforum, right?

    And what to say? Should I foreground the apparatus at work when artists appear in magazines? Because an artist’s relation to publications, websites, blogs, or any other

  • Left: William E. Jones, Youngstown / Steel Town, 2008, still from a two-channel video installation, 6 minutes 15 seconds. Right: William E. Jones, Contraband, 2010, still from a looped sequence of digital files, 3 minutes 59 seconds.
    interviews January 26, 2011

    William E. Jones

    William E. Jones is one of Los Angeles’s leading independent filmmakers; his films often circulate in the context of museum and gallery exhibitions. On February 2–5, the Österreichisches Filmmuseum in Vienna will host the first retrospective of his film works in continental Europe. On the occasion of this presentation, Jones discusses the recent shift in his approach to his practice as well as the changing expectations that viewers have from one viewing situation to the next.

    AFTER I FINISHED IS IT REALLY SO STRANGE? IN 2004, it became difficult for me to make another long film. I was left with

  • Paul McCarthy, Train, Mechanical, 2003–2010, mixed media, dimensions variable.
    picks November 29, 2010

    Jeff Koons’s Bowl With Eggs on the 210 Freeway, New Atlantis Enterprises, Paul McCarthy

    Few exhibitions this year rivaled the peculiar sight of Jeff Koons’s Bowl With Eggs, 2009, abandoned on the 210 freeway, moments after it had been unhitched from the truck responsible for its safe delivery from Carlson & Co. to the artist’s studio. On the same day that a video of the incident made its way onto YouTube with the title “jeffkoons.3gp,” the legendary art-fabricator announced that it was ceasing operations after almost forty years in the business. Many took this all to mean that the end was near, if it hadn’t come already. But in Los Angeles, where the cultural climate is by now

  • View of “Metemetrica,” 2010. Floor: Diamond, Caviar, 2010; From left: Touch, 2010; Carbon, 2010.
    picks November 15, 2010

    Carter Mull

    Although the images found in Carter Mull’s latest exhibition are photographic in nature, the postcamera processes by which they come into being bear an indeterminate relationship to the medium’s conventions. Most often, the individual works in “Metemetrica” waver back and forth between reverence and irreverence for the cultural expectation that photographic images necessarily share some relationship with the world they represent. In Mull’s works that are framed on the gallery walls and that are used to line the floor, there is a visual density that revels in the residue and static that has