Camila McHugh

  • Sharona Franklin, Drosophila Clock X, 2021, silver, brass, aluminum, mixed metal, expired pharmaceuticals, wood, foraged bone, antler, photographs, enamel, 19 3⁄4 × 19 3⁄4".

    Sharona Franklin

    IT AIN’T CARE IF IT AIN’T CAREFUL, read the black uppercase letters against lime-green shag in Sharona Franklin’s wool-carpet work If it ain’t careful, 2021. Stretching the length of the wood-paneled wall that faces the gallery entrance, alongside two other green-carpet text works, the piece functioned as a greeting—and an instruction of sorts—for visitors to Franklin’s exhibition “Axioms of Care.” (The show was curated by Laura Stellacci for the Pristina, Kosovo–based gallery LambdaLambdaLambda, which shares the Brussels space La Maison de Rendez-Vous with two other international galleries.)

  • Wilhelm Sasnal, Shoah (A Forest), 2003, oil on canvas, 17 3⁄4 × 17 3⁄4".

    Wilhelm Sasnal

    Wilhelm Sasnal’s deft shifts among painterly styles and techniques are positioned in his exhibition “Such a Landscape” as ways to broach the inadequacy—the inevitable lapse—of representations of the Holocaust. Curated by Adam Szymczyk and marking Sasnal’s first solo foray in his native Poland since 2007, the show brings together some sixty works made between 1999 and the present, ranging from the almost abstract green landscape Shoah (A Forest), 2003, which takes Claude Lanzmann’s 1985 film of the same name as a starting point, to a pair of photorealistic paintings, First of January (side) and

  • View of “Paul Neagu” 2021. Photo: Sandra Maier.

    Paul Neagu

    The Paul Neagu retrospective at the Kunstmuseum Liechtenstein opened with a leap—a looped clip of the artist’s repeated attempt to run up a wall from a film of his 1976 Hyphen-Ramp performance at the Serpentine Gallery in London. Neagu’s feet tapped the wall with each jump, as a blindfolded Perry Robinson, a student of his at the time, marked the end point of an invisible ramp delineated by his split-second ascent. The video introduced the exhibition’s emphasis on the way in which geometries mapped by and onto the body formed the core of Neagu’s abstraction as he moved between drawing, sculpture,

  • Lawrence Abu Hamdan, The Witness-Machine Complex (detail), 2021, fourteen LED lightbulbs, seven steel stands, seven projectors, sound, 23 minutes.
    interviews October 12, 2021

    Lawrence Abu Hamdan

    Lawrence Abu Hamdan’s exhibition “The Witness-Machine Complex,” on view through November 14 at the Kunstverein Nuremberg, focuses on the system of simultaneous interpretation that facilitated the Nuremberg trials. Here, Abu Hamdan reflects on the absence of the translation from the official history of the trial and his understanding of interruptions as veracious moments.

    IN 2018, I was invited to respond to the seventy-fifth anniversary of the Nuremberg trials, which was exciting because I’ve been thinking about systems of simultaneous translation for a long time, and the very first use of such

  • Wendelien van Oldenborgh, Pertinho de Alphaville (Close to Alphaville), 2010, slide projection, color, sound, 20 minutes.

    Céline Condorelli and Wendelien van Oldenborgh

    Céline Condorelli and Wendelien van Oldenborgh’s “Work, Work, Work (Work)” opened with Condorelli’s wall vinyl Credits, 2021, acknowledging the dozens of people involved in mounting the two-artist show. Also noting the time (sixty days), the space (476 square meters), and the materials (digital files, paper, paint, and so on) that went into the exhibition’s production, the piece was emblematic of the show’s ethos: a concern with orienting infrastructure to facilitate collectivity. Echoing film credits, the piece anticipated the way in which many of Condorelli’s sculptural works appeared to shape

  • Rudolf Maeglin, Jüngling (Youngster), 1959, oil on board, 14 5⁄8 × 6 1⁄4".

    Rudolf Maeglin

    Among the earliest works of Swiss painter Rudolf Maeglin (1892–1971) are portraits of dye-factory workers in his native Basel. In the 1930s and ’40s, he painted these Farbarbeiter (literally “color workers”) with their lips tinted a pale green or bare chests stained a brilliant red by the toxic pigments they produced. With these fine-featured workers rendered crudely in oil on canvas and on board, Maeglin developed a characteristic style—simple shapes, bright colors, flat perspective—in which he painted Basel’s laborers and construction sites until his death. The recent Maeglin retrospective

  • Puppies Puppies (Jade Kuriki Olivo), Brain on Estrogen, progesterone, spironolactone, Truvada, Advil and Marijuana, 2018, cow brain, marijuana leaf, progesterone, estrogen, spironolactone, prep and pain killers. Photo: Courtesy the artist.
    interviews August 17, 2021

    Puppies Puppies (Jade Kuriki-Olivo)

    Jade Kuriki Olivo’s retrospective at the Kunsthaus Glarus in Switzerland brings together the Brooklyn-based artist’s work from the past decade. On view through August 22, the show maps the evolution of her practice as she transitioned from working under the guise of Puppies Puppies to living as an openly trans woman. Here, Olivo reflects on this transformation and discusses refusing to hide, the turning point represented by this exhibition, and the weekly Stonewall Protests for Black Trans Liberation that have kept her going over the past year.

    I WAS HIDING from the world for a long time. In

  • Marek Włodarski, Montaż konstrukcji (Construction Montage), ca. 1949, watercolor, gouache, and pencil on paper, 11 5⁄8 × 8 1⁄4".

    “Henryk Streng/Marek Włodarski and Jewish-Polish Modernism”

    In 1942, painter Henryk Streng destroyed his identity documents, acquiring papers under the name Marek Włodarski, which he maintained for the rest of his life. In hiding in Lwów, Poland (present-day Lviv, Ukraine), over the next two years, he scraped the signature with his Jewish name from numerous canvases, which Janina Brosch, his future wife—and a member of the Polish underground resistance—regularly transported to her family home. Piotr Słodkowski, the curator of “Henryk Streng/Marek Włodarski and Jewish-Polish Modernism,” discovered the erased signatures in 2017 via infrared photography,

  • Kara Walker, The Welcoming Committee, 2018, gouache on paper, 22 x 30''.
    picks May 31, 2021

    Kara Walker

    Kara Walker reveals her archive for the first time in an exhibition at Kunstmuseum Basel, presenting a trove of works on paper that wrestle with representation in drawing and the written word. This accumulation of manifold narrative strategies—from storyboards to word webs, dream diaries to cartoons—lays bare the material process, and psychological processing, behind Walker’s silhouettes and monuments, excavating the inner workings of Walker’s mind and the annals of an abject American history. In The Welcoming Committee, 2018, a work alluding to the snatching, routine in the eighteenth and

  • View of “Dorothy Iannone and Juliette Blightman: The Köln Concert,” 2020–21. Photo: Mareike Tocha.

    Dorothy Iannone and Juliette Blightman

    “The Köln Concert,” an exhibition of works by Dorothy Iannone and Juliette Blightman, curated by Nikola Dietrich, arose from an emotional connection between the artists across the nearly five decades that separate them, resonant with the vital role that love plays in both their practices. Their exchange was sparked by Blightman’s encounter with Iannone’s 1970 publication The Story of Bern (or) Showing Colors (exhibited here as a slideshow), which narrativized the censorship of her work from the 1969 group exhibition “Freunde” (Friends) at the Kunsthalle Bern in Switzerland. For that show, curator

  • Mariola Przyjemska, Little Cannons (One-Niners), 2005, gouache on cardboard, 27 1⁄2 × 19 5⁄8". From the series “Cosmetics,” 1997–2005.

    Mariola Przyjemska

    In the gouache-on-cardboard Little Cannons (One-Niners), 2005, Mariola Przyjemska painted tubes of lipstick that look like bullets, their pink points sharpened such that they recall both makeup and ammunition. The work is part of the artist’s 1997–2005 “Cosmetics” series, which was the focus of her recent exhibition “Avenue of the Winners.” The painting’s tilted tubes also form a bridge with her “Pistols” series, 2014–16, two works from which—Bolo and Čezetka, both 2014—punctuated the show. The first of these paintings depicts an early-twentieth-century Mauser, the second a Modern Czech gun,

  • Jill Mulleady, Sade en Prison, 2020, oil on linen, 61 × 70 7/8".

    Jill Mulleady

    There was something feral about the figures in Jill Mulleady’s “Decline & Glory”: A woman pawed at her own face; a wolfish canine panted by a river; a ruddy-cheeked Marquis de Sade stared crazedly at the wall of his prison cell. Mulleady builds tension through the contrast between highly controlled composition and hints of disorder and decay; the image seems a thin and fragile surface over life’s unruliness. An elusive temporality moved across the works here, as a woman reappeared aged and flowers wilted, breaching painting’s attempt to hold a reality in suspension. An allegory for this failed