Elena Filipovic

  • “Teresa Margolles: Mundos”

    Death is Teresa Margolles’s medium. For more than thirty years, the Mexican artist has turned the endemic violence of her home country into fodder for her installations and performative interventions. Who can forget her Mexican pavilion at the 2009 Venice Biennale, where visitors who innocently walked onto the wet floor of the crumbling palazzo were faced with the realization (evidenced by the grimy streaks that increasingly marred the continuously washed floor) that the rags used to mop it had been soaked with blood from Sinaloan drug-trade killings?

  • Elena Filipovic

    1 PIERRE HUYGHE (CENTRE POMPIDOU, PARIS; CURATED BY EMMA LAVIGNE) Three hours into my first of several visits to this show, I called several people (breathless, one remembered) to tell them to drop everything and come see it. It wasn’t just that a dog (named Human) roamed the galleries, that steam occasionally erupted in one of the museum’s rooms, that an ice-skater intermittently pranced about an actual ice rink, or that costumed actors walked across the space as if they had stepped out of one of Huyghe’s films. The exhibition’s strength lay in something far more fragile and almost numinous:

  • Paul Sietsema

    Paul Sietsema is best known for his slow and sumptuous 16-mm films, though his complex practice extends to other media. If he carefully constructs his films as meditations on original and copy, in his works on paper the LA-based artist takes mimesis to an extreme, rendering them all but indistinguishable from old photographs or paint-splattered newsprint. Via convoluted replication processes and incredible handwork, Sietsema’s excavations of material culture present things that are not as they seem, pinning fiction against truth, the now against historical fact.