Bettina Funcke

  • DISPLACED STRUGGLES

    WHY MIGHT PHILOSOPHER JACQUES RANCIÈRE have become increasingly interested in contemporary art, even as the art world, in neat symmetry, has become increasingly interested in him? He has apparently followed art for many years, he spoke at the Frieze Art Fair in 2005, and now he has chosen to publish an essay in and submit to an interview for this magazine—all signs of his confidence that the art world can provide a space for his multilayered discourse.

    Rancière is not an easy read, yet he is widely read (for a philosopher), largely because he situates himself between disciplines and debates and

  • John Armleder, Untitled, 1982, collage on paper, 26 x 19".

    John Armleder

    This retrospective of works on paaper by Swiss artist John Armleder originated at the Kunsthalle Zürich, but the ICA will hold the only US presentation, providing his first major exhibition in the country.

    This retrospective of works on paper by Swiss artist John Armleder originated at the Kunsthalle Zürich, but the ICA will hold the only US presentation, providing his first major exhibition in the country. Positing the confusion of different spheres of cultural production as a form of liberation, Armleder’s compositions are an amalgam of references, from abstract art (Russian Constructivism; Francis Picabia’s “mechanist” period) to chance procedures (automatic drawings; John Cage and Fluxus). A comprehensive examination of Armleder’s working methods and his vast storehouse

  • Thomas Schütte

    This retrospective of 250 works on paper by Thomas Schütte offers a rare opportunity to examine the thought process behind his characteristically deliberate sculptural work of the past three decades.

    This retrospective of 250 works on paper by Thomas Schütte offers a rare opportunity to examine the thought process behind his characteristically deliberate sculptural work of the past three decades. Documenting passing ideas and formal conundrums, these drawings attest to the development of radically different bodies of work, including watercolor series, diaristic sketches, portraits and self-portraits, and to early struggles with the two-dimensional representation of space arising from Schütte’s work with stage design and architectural models. The catalogue, with

  • Francis Alÿs

    Francis Alÿs was recently named the first recipient of the new blueOrange Prize, and much to the surprise of its funders, the German Cooperative Banks, he announced that he was donating his 70,000 Euro purse to an aid organization for homeless children in his Mexico City neighborhood. It’s an act typical of the artist—a beau geste, to use his own terminology—ducking the pressure of the prize and denying the institution its expected role in funding further art while still celebrating and making use of the reward in an artful way. To be a conduit and switching station between art and

  • Witness, 2000. Photo: P Taghizadeh.

    Susan Hiller

    Since turning from anthropology in the late '60s, Susan Hiller has employed disparate media to explore the margins of consciousness, particularly the implications of extransensory perception.

    Since turning from anthropology in the late ’60s, Susan Hiller has employed disparate media to explore the margins of consciousness, particularly the implications of extransensory perception. Her influence is visible in the work of artists like Douglas Gordon and Ann Hamilton, making this survey especially timely. The exhibition of twenty works from 1969 to the present includes mesmerizing video installations such as Belshazaar’s Feast, 1983-84, one of the first artist’s films broadcast on British television; recent investigations into paranormal powers like Wild Talents

  • James Turrell

    Since 1966, when he transformed his Santa Monica studio into an artwork by meticulously arranging natural and artificial light sources, James Turrell has made works composed almost exclusively of light cast on, around, and into architectural spaces: open-air rooms for viewing the changing sky, darkened spaces into which light emanates through windowlike apertures, and large-scale walk-in environments. Descriptions of these works generally oscillate between metaphysical references, in which Turrell’s use of light is seen in terms of Platonic, supranatural illumination of eternal truths, and a