Eugenia Bell

  • Still from Lost Forest, 2006.
    picks September 11, 2006

    Stephen Vitiello

    Night Chatter, 2006, is part of a series of field recordings made in Virginia by former musician Stephen Vitiello, who has recorded in locations as diverse as the World Trade Center and the Brazilian rainforest and collaborated with Nam June Paik, Scanner, and Tetsu Inoue. Here, Vitiello is interested in examining organic sound vis-à-vis the terrorist “chatter” so talked about by the intelligence services in residence in the state.

    The work is broadcast in the gallery’s small rear room, which is hung with six speakers. The effect of the surround-sound forest is patently unreal and somewhat

  • Trackers No. 1, 2005.
    picks August 14, 2006

    Ahlam Shibli

    Entering Max Wigram’s new, discreet Bond Street space, the visitor is confronted with a regal three-quarter portrait of an Israeli Defense Force soldier. Or is he? Despite the endless wave of news out of the Middle East over the past three weeks, indeed over the past three decades and longer, one sector of the Israeli army gets precious little coverage. The soldier in the photo is a “tracker,” one of hundreds of Israeli Arabs (mostly of Bedouin descent) who, every year, volunteer for service in IDF units that patrol the Israeli border and the Israeli-occupied Palestinian territories.

    Ahlam Shibli’s

  • Kaye Donachie

    In 1973, Harald Szeemann—while working on his Museum der Obsessionen—became himself obsessed by the Swiss utopia Monte Verità, near Lake Maggiore, and eventually a museum was established to celebrate the site’s history. The mountaintop retreat—nominally founded by the anarchist Mikhail Bakunin (at a time when it was still known as Monescia) in the 1870s—flourished between 1900 and 1940, when it attracted anarchists, nudists, and Theosophists alongside such figures as Martin Buber, Hugo Ball, Tristan Tzara, Rudolf von Laban, Isadora Duncan, Hermann Hesse (who famously had his alcoholism treated

  • Still from Flight, 2005.
    picks February 06, 2006

    Dryden Goodwin

    On entering Chisenhale’s vast space one encounters five stark white display boxes set on trestles. Each contains an agglomeration of small illustrations, thickly penned and in various states of completion and perspective. They will resonate with anyone familiar with Dryden Goodwin’s thoughtful cityscapes and portraits, and while they don’t stand alone the way his earlier “Plot” or “State” series (both 2004) do, this mass of drawings is effectively and dramatically displayed. It isn’t until one is drawn by a roaring sound track behind a curtained-off portion of the gallery and into Flight, 2005,

  • Acanthus, 2005.
    picks October 04, 2005

    Tom Gallant

    Brussels-based artist Tom Gallant’s second exhibition of kirigami pieces reveals not only a vast improvement in his paper-cutting skills—the simple flowers and birds of his last show are nowhere to be found here—but also a broadening of his interests. Meticulously crafted from the pages of porn magazines (as was his earlier work), these new pieces draw inspiration from nineteenth-century British designer/poet/idealist William Morris—indeed, some are conscious imitations of Morris designs. While the obsessive nature of his craft is intended to reflect the popular fixation on

  • Installation view, 2005.
    picks October 03, 2005

    Clare E. Rojas

    San Francisco-based singer, filmmaker, and painter Clare E. Rojas’s talents come into sharp focus in her first U.K. exhibition of paintings. Rojas’s visual vocabulary draws from Pennsylvania Dutch hex signs, Hopi kachina dolls, and Russian matryoshkas, and proliferates across the walls of the gallery’s vast new room in dozens of preciously small gouaches. These new paintings depict scenes from naive yet somewhat dark fables: childlike, but not for children. Mythical, matronly babouschkas commune with costumed bears; couples dance around lily plants sprouting small men; and wooden boards covered

  • Gropius Lounge Chair, Lincoln, 2002, 2004.
    picks June 26, 2005

    Dayanita Singh

    The photographs on view in Dayanita Singh’s current show are culled from a larger exhibition at Boston’s Isabella Stewart Gardner Museum, which commemorated her residence there in 2002. Drawn to the chairs in the museum’s incomparable decorative arts collection, and having recently photographed the interiors of her family’s homes in India, Singh continued her domestic documentation. The results, pictures of chairs from three countries—India, America, and Italy—demonstrate Singh’s comfort with the quiet lives of uninhabited rooms and with, as she puts it, “conversing with chairs.” They also

  • Gregorian 1, 2005.
    picks June 17, 2005

    Dan Holdsworth

    This small show concentrates Dan Holdsworth’s latest group of photos, “The Gregorian,” 2005, into only three representative works, and is a graceful distillation not just of the larger series, but of his work to date. The 2001 Beck’s Futures finalist has always observed the marginal spaces between the natural and the constructed and the peripheries of time and place. In the process, Holdsworth manages to eliminate almost all evidence of context, making the banal abstract: Dislocated mall parking lots and roadside billboards are barely recognizable. For “The Gregorian,” Holdsworth traveled to

  • Drawing 1, 1994.
    picks June 17, 2005

    Lucia Nogueira

    The premature death of London-based Brazilian sculptor Lucia Nogueira in 1998 left a hole in the city’s art scene, and a longing to know where her small, innovative works were headed. Nogueira drew throughout her career—not just sketches for potential projects, but delicate, humorous depictions of animals (an elephant on wheels) and objects (a group of yellow prosthetic legs) in ink and watercolor. Many of her drawings did eventually become the basis of her mechanical, sometimes almost menacing, sculptures, but the surprise of this posthumous exhibition of works on paper is that the drawings

  • Atlas Dress, 2004.
    picks May 16, 2005

    Susan Stockwell

    Empire Dress and Cartographic Dress, both 2004, are the showstoppers in Susan Stockwell's exhibition at the jewel-box-sized Studio Caparrelli. Constructed from the pages of old atlases, the life-size dresses bear resemblance in form and content to some of Yinka Shonibare's mannequins. Imperial Quilt, 2004, also made from maps, was stitched as the war in Iraq trundled on, and that country has pride of place at the center of the design, with Washington D.C. not far off. The proximity highlights how the U.S. capital is inextricably linked to Baghdad; the rest of the US forms the quilt's border,

  • Crab #1, 2004.
    picks April 28, 2005

    Dorothy Cross

    Cross may be best known for her sculptural objects involving the skins and udders of cows, but this group of works is decidedly marine in content and at a slight visceral remove from her earlier fleshy affairs. Parachute, 2005, comprises a small blue parachute from which a taxidermied gannet (a goose-like bird) hangs by its feet. The spotless-white, perfectly preserved bird, which the artist found dead on the beach in front of her coastal Irish home, looks oddly peaceful, and its gentle “parachuting” to the gallery floor seems apt; it’s an unexpectedly moving work. The video Antarctica, 2005,

  • Teatro Rojo, 2004.
    picks April 09, 2005

    Guillermo Kuitca

    Guillermo Kuitca’s fascination with plans, maps, and architectural drawings took on a new dimension a few years ago, when he began drawing the seating plans of European theaters—culminating in his series “Puro Teatro,” 2003. This turn is not surprising, given his experience designing stage productions in Buenos Aires in the ‘80s, and his move from painting to collage might be considered a natural extension of the theatrical craft. He credits a visit to the Royal Opera House in Covent Garden, during which he realized that seating plans usually reveal an actor’s-eye view of the audience, with