Eungie Joo

  • Eungie Joo

    1 KARA WALKER WITH JASON MORAN, THE KATASTWÓF KARAVAN (PROSPECT.4, “THE LOTUS IN SPITE OF THE SWAMP,” NEW ORLEANS) At Algiers Point in New Orleans, you may find a weirdly factual plaque in the ground that reads, “enslaved africans. In the 1720s, at a spot of land now eroded by the river, stood the barracks where enslaved Africans from the Senegal-Gambia region were held before being ferried across the river to the Slave Auctions. Early Algiers Point was also the home of the slaughterhouse and the powder magazine for New Orleans.” That paltry memorial cannot express the brutal suffering, defiant

  • Keith Arnatt, Liverpool Beach Burial, 1968, gelatin silver print, 10 1/4 x 7 1/8". From “Ends of the Earth: Land Art to 1974.”

    Eungie Joo

    1 “Ends of the Earth: Land Art to 1974” (The Geffen Contemporary at MoCA, Los Angeles; curated by Philipp Kaiser and Miwon Kwon) Not only do Kaiser and Kwon brilliantly reframe the widely accepted idea that Land art was a macho US phenomenon, they actually provide a compelling plot that locates its origins in the aftermath of World War II, flows through various Conceptual practices, and becomes entangled with performance art. Certainly worth a trip to Munich, where the exhibition is on view at Haus der Kunst through January 20, 2013.

    2 Faustin Linyekula, more more more . . . future (The Kitchen,