Joanna Fiduccia

  • Alisha Kerlin, Solitaire (OBE), 2010, oil on canvas, 36 x 48”.
    picks June 08, 2010

    Alisha Kerlin

    Alisha Kerlin paints failed games of solitaire, but it would be a disservice to take that allegory of painting-as-stalemate at its word. Judging by her lustrous, lively palette, there is more to her position than just an admission of failure. A trio of paintings in this exhibition depict playing cards disposed in their terminal positions over a ground of atmospheric color—brassy ocher, periwinkle, and rose-amber, as luminous and conflicted as a Turner sky. The cards themselves come in an array of greasy hues, and though their arrangement and rendering are disheveled, Kerlin’s active brushwork

  • Meredith James, A stand of roadside cholla against which small birds had been driven by the storm and there impaled, 2010, lamp, lightbulb, grow light, wood, sand, cacti, magic sculpt, crow wings, crow skull, plastic, acrylic paint, glass, oil paint, rocks, mirror, dimensions variable. Installation view.
    picks May 04, 2010

    Meredith James

    Meredith James’s first solo exhibition at this gallery is titled “Espalier,” which nicely captures the artist’s elaborate conceptual frameworks and her work’s natural charm. This rare combination might account for why James’s material investigations—which often consist of hermetic, media-based puzzles—seem so oxygenated. To make Six (all works 2010), for instance, James filmed the eponymous subway train through a small hole, zooming through this aperture as the train ground its way through Grand Central Station, and then refilmed the footage while it was projected onto a TV set that simultaneously

  • “Les Sculptures meurent aussi”

    The third and last in a cycle of exhibitions curated by Lorenzo Benedetti at the Kunsthalle Mulhouse, “Les Sculptures meurent aussi” (Sculptures Also Die) looked like a primer on recent European sculpture, however predicated on such sculpture’s extinction. A twist on the opening lines from Chris Marker and Alain Resnais’s 1953 film of the same name—“When men die, they enter into history; when statues die, they enter into art”—Benedetti’s title evoked a familiar endgame while suggesting that there might be a more concrete, or at least pithier, solution: Maybe dead sculptures enter purgatory, a

  • View of “Loveless Marriages,” 2010. From left: Anicka Yi, Yes, It’s Made for That, 2010; Anicka Yi, 235,681K of Digital Spit, 2010; Anicka Yi, Skype Sweater, 2010; Anicka Yi, City Type Century, 2010.
    picks April 20, 2010

    Josh Kline and Anicka Yi

    Capping off (and gamely repudiating) a series of exhibitions at 179 Canal featuring collaborations, Josh Kline and Anicka Yi’s exhibition “Loveless Marriages” playfully suggests the kind of irreconcilable differences that make good creative bonds go bad. Although Yi and Kline work together in the collective Circular File, they’ve staged a split for the purposes of this show, dividing the space down the middle to feature work from their individual practices. On one side, Kline’s treacly mural of a blue sky with puffy white clouds foregrounds computer workstations, slathered with paint in the (

  • Simon Faithfull, 0°00° Navigation, 2008, still from a film in Super 8 mm, 55 minutes.
    picks April 14, 2010

    Simon Faithfull and Christoph Keller

    A Plexiglas panel, installed above the entrance to the Crac Alsace, reads, “Je haïs les voyages et les explorateurs” (I hate traveling and explorers)—the first line from Claude Lévi-Strauss’s Tristes tropiques (1955), as well as German artist Christoph Keller’s apparent riposte to the exhibition title. A survey of works by Keller and English artist Simon Faithfull, “Voyages extraordinaires” (Extraordinary Voyages) cultivates this kind of contrariness against a background of Jules Vernian escapades. Faithfull’s beguiling film OºOO Navigation, 2008, captures the artist as he walks the length of

  • Armando Andrade Tudela

    The stereograph was first popularized in the mid-nineteenth century as a device for “parlor travel,” a way to see the world’s exotic sites in 3-D from the comfort of one’s home. Figuratively speaking, however, stereoscopy—the juxtaposition of two perspectives that, viewed together, create an impression of depth—has always been the domain of the émigré, a class to which the Peruvian-born, Berlin- and St. Etienne–based artist Armando Andrade Tudela belongs. His exhibition at the frac Bourgogne came equipped with room-size View-Masters—again, figuratively speaking: two ad hoc walls staggered in

  • View of “Solace,” 2010. From left: Julian Bismuth, Dead Air Comedy, 2010; Peter Coffin, Untitled (Balloon Equilibrium), 2009.
    picks March 28, 2010


    The exhibition “Solace” could be one of two things: a reflection of the timeless function of art, or a response to the perfect storm of global misfortune that has left us all in need of a little consolation. To judge by its punch-drunk side-programming—a big medley of maudlin and musical performances—the latter seems more likely. Yet the variety of sensibilities offered throughout, which shows real curatorial derring-do, suggests a far more general, and generous, reach.

    Curated by Severin Dünser, Christian Kobald, Emanuel Layr, Andreas Stadler, and Rita Vitorelli, the show presents a range of

  • Anne Bass, Dancing Across Borders, 2009, color film, 88 minutes. Production stills. Left: Sokvannara “Sy” Sar at the International Ballet Competition in Varna. Right: Sokvannara “Sy” Sar performing at the International Ballet Competition in Varna. Photo: Stoyan Lefedzhiev
    film March 27, 2010

    Moving Picture

    IN 2000, American dance patron and philanthropist Anne Bass spotted a Cambodian teenager perform in a classical Khmer dance recital in Angkor. Impressed by his grace and charisma, Bass spirited the kid—Sokvannara “Sy” Sar, then sixteen years old—to Manhattan to study at the School of American Ballet. Thus begins Dancing Across Borders (2009), Bass’s documentary about Sar’s arduous progress and uneasy assimilation into the role nominated for him: a ballet prodigy, modeled after Rudolf Nureyev’s unconventional rise. (Nureyev, too, began his ballet training in his late teens.)

    Undeterred by frustrations

  • Emily Wardill, Game Keepers Without Game, 2009, stills from a 16-mm film transfered to DVD, 76 minutes.
    interviews March 04, 2010

    Emily Wardill

    Emily Wardill’s films are known for their historical and intellectual appetites, as well as their stylistic restlessness. Her most recent, feature-length film, Game Keepers Without Game is currently on view at the Showroom in London, where she is also at work on her newest project, Fulll Firearms. Selections from this work in progress, which Wardill discusses here, will be screened at the gallery on March 13.

    I’VE BEEN WORKSHOPPING A FILM based on Sarah Winchester and the Winchester Mystery House. It reimagines her today as the inheritor of an arms dealer’s fortune––a business that, like

  • View of “Øystein Aasan,” 2009. From left: Display Unit (UT UT UT), 2007; Double Trouble, 2009; Devil’s Canyon (Like jungle beasts they fight for her love!), 2009; and Memory Game, 2009.
    picks February 03, 2010

    Øystein Aasan

    Norwegian artist Øystein Aasan has something up his sleeve: controlled explosions of images or text that stealthily disarm their reader. Aasan divides his source materials into small squares, spaced at small intervals, as if a grid of negative space has wedged apart the image. In “Double Trouble,” his modest presentation at La Vitrine, a poster of Alfred Werker’s 1953 Devil’s Canyon has been thusly “pixelated” and affixed to Alu-Dibond panels. In Display Unit (UT UT UT), 2007, the gridded content is a phrase from Finnegans Wake. Printed on slanted shelves in a “display unit” lined with mirror

  • Left: Lili Reynaud-Dewar, Antiteater, 2009. Performance view. Right: Lili Reynaud-Dewar, Black Mariah (The dancers’ films & performance objects), 2009, 
two fabric jackets, six leather skins, two painted wooden panels, DVD performance documentation, 55 1/8 x 47 1/4 x 19 5/8". Installation view, Pouges les Eaux, France, March 2009.
    interviews January 20, 2010

    Lili Reynaud-Dewar

    Lili Reynaud-Dewar engages a motley fold of influences in her performances and installations––from gender theory to Rastafarianism to the origins of cinema––presented by a cast of collaborators that includes her mother and burlesque performer Mary Knox. Her exhibition “Antiteater” at the Frac Champagne-Ardenne opens January 21.

    THE PERFORMANCE is really the starting point for this exhibition. Unlike my previous work, which has always been staged autonomously inside an exhibition space, this performance occurred over the course of an evening of productions celebrating the Frac Champagne-Ardenne’s

  • Joe Scanlan

    Igor Ansoff, applied mathematician and management theorist, introduced to the business world in 1957 the Product-Market Growth Matrix, a schema that mapped the risks and advantages of diversification—developing new products for new markets—for a single company. Ansoff also served for a time as the vice president of Lockheed Corporation, one of the preeminent profiteers of the past four American wars. That fact adds a sinister edge to his pragmatic aptitudes—an edge that also informed Joe Scanlan’s latest exhibition, “Diversification.” Despite the simultaneous generosity and market savvy proffered