Christine Mehring

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  previews September 2004

  Rebecca Horn

  The show places about eighty-five drawings alongside both her early fabric appendages, which extend their wearers’ body parts, and four recent machine installations that perform repetitive bodily tasks.

  This Rebecca Horn exhibition promises to prove that it is not mere platitude to speak of pencil and paper as an extension of the artist’s body. The show places about eighty-five drawings alongside both her early fabric appendages, which extend their wearers’ body parts, and four recent machine installations that perform repetitive bodily tasks. Though bios of Horn routinely mention the year she spent in a sanatorium recovering from lung damage after working with polyester and fiberglass, the artist’s own body has remained a refreshingly puzzling absence in her work.

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  print May 2004

  CONTINENTAL SCHRIFT: THE STORY OF INTERFUNKTIONEN

  “Who’s this fascist who thinks he’s an antifascist?”

  With these words, as Benjamin H.D. Buchloh recalls, Marcel Broodthaers voiced his outrage at Anselm Kiefer’s “Occupations” series, featured in the 1975 issue of the German art magazine Interfunktionen. Kiefer’s 1969 project showed the young artist performing the Nazi salute in front of European monuments such as the Colosseum and prompted Broodthaers to withdraw one of his artist’s books from publication under Interfunktionen’s mantle. His reaction effectively cut off funding for the next issue and sealed the fate of what until then had arguably

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  print October 2002

  FOUR OF A KIND: THE ART OF BLINKY PALERMO

  IT'S TOO BAD THE BLINKY PALERMO exhibition scheduled to open next month at Barcelona's Museu d'Art Contemporani won't be traveling to the United States. Four Palermo retrospectives have toured European cities since 1980, and none of them has made it to the artist's beloved America. Not that he hasn't been welcome. A Palermo work has just gone up at the Museum of Modern Art's temporary home in Queens, New York, and the Dia Center for the Arts is scheduled to display To the People of New York City, 1976, in the Dia's new Beacon space a short distance up the Hudson next year. To the People was the