print February 2020

5th Ural Industrial Biennial of Contemporary Art

Originally published in 1912, Alexander Bogdanov’s short story “Immortality Day” was written in the shadow of Cosmism, a late-nineteenth- to early-twentieth-century school of thought that hailed scientific advances such as blood transfusions and the evolving understanding of genetic inheritance as stepping-stones to eternal life. Bogdanov’s wry narrative follows the interplanetary chemist Fride as he hits a midlife (early-eternity?) crisis, spurred on by the realization that, having dedicated centuries to the intellectual pursuits of astronomy, literature, and art, he had exhausted his brain’s

print January 2020

OPENINGS: HANA MILETIĆ

IN 1804, French weaver Joseph Marie Jacquard unveiled an invention that would revolutionize the textile industry: an apparatus that automatically controlled which threads were pulled on a loom, based on information stored on a looping series of punch cards. Intricate fabric patterns previously requiring hours of tedious manual labor could now be produced quickly, efficiently, and at scales capable of meeting the demands of the burgeoning global market. But the Jacquard loom would affect more than just brocade. Famously, the invention also inspired the Analytical Engine, a nineteenth-century

picks December 03, 2019

Anna Witt

Speculation around the Singularity maintains that as man makes machines, soon, machines will unmake man, stripping humanity of the functions that have bolstered class structures and social standing: that is, our jobs. This fantasy of forced obsolescence is one part Matrix, one part Jetsons, and, increasingly, one part reality. Of course, machines aren’t coming for our jobs so much as for our tasks, relegating humans to the role of assistant, the stopgap between automated operations. (Yes, George Jetson may have outsourced childcare to a sentient vacuum, but he still had to put in time mindlessly

books November 18, 2019

Socialist Media

AGENTS OF ABSTRACTION, BY ANA OFAK. Sternberg Press, 2019. 389 pages.

BLAME IT ON THE SPOMENIKS. All asymmetrical concrete stems, rippling aluminium wings, and bold swooping bodies, these massive monuments read more like Starfleet spaceships, crash-landed amid the forests of former Yugoslavia. Often sited in remote rural areas, these abstract memorials were commissioned primarily in the 1960s and ’70s as part of a nationwide push—yes, one fronted by charismatic president Josip Broz Tito (who tends to get the sole credit for “Tito’s monuments”), but, in keeping with Yugoslavia’s signature emphasis

print November 2019

CITY OF DREAMS

ON JULY 26, 1963, a 6.1-magnitude earthquake leveled roughly 80 percent of Skopje, now the capital of the recently christened country of North Macedonia, but then known as the third-largest city in Yugoslavia. An unprecedented international outpouring of support in the disaster’s wake allowed the city to rebuild at the edge of the architectural vanguard, with an ultramodern aesthetic and an urban layout partially developed by Kenzō Tange, the elder statesman of the Metabolism movement. A half century later, Skopje’s Museum of Contemporary Art, an institution forged during the reconstruction,

picks October 24, 2019

Hew Locke

Empire manifests itself in myriad ways, from the statues populating public squares to how many sugars a culture takes in its tea. During the Victorian age, technological advances enabled the mass-production of busts of British royals in Parian, a slip-cast porcelain substitute for marble. Developed in the early 1840s, the material made a splash at the Crystal Palace Exhibition, where the affordable statuettes were snapped up as aspirational décor by the burgeoning middle class. Still others circled the globe as “souvenirs” from the exhibition, traveling to the outer reaches of the commonwealth.

print October 2019

Alex Ayed

In 1991, Judit Polgár, a fifteen-year-old Hungarian chess prodigy known for her unflinching stare and imaginative approach to the game, broke Bobby Fischer’s record by becoming the youngest player ever to receive the title of grand master. Defying convention, her playing style was marked by flamboyant risk-taking and a near-reckless fervor that kept her opponents constantly off-balance.

Polgár’s inventive strategy provided one catalyst for Alex Ayed’s exhibition “Soap Opera,” but it is safe to say the two play fundamentally different games. If, as the artist believes, chess is predicated on

interviews September 24, 2019

Hamja Ahsan

Last month, journalist Ciara O’Connor took to social media to point out the disparity between the language of “agency” and “accountability” used in Tate Modern’s exhibition “Olafur Eliasson: In Real Life” and the show itself, which was partially blocked to her as a wheelchair user. O’Connor’s account highlights how the art world’s advocacy for intersectionality rarely expands beyond social, sexual, or political ties to cover physical or neurological forms of difference as well. While the “eccentric genius” trope persists, today’s artists are expected to deliver service with a smile as they

picks September 03, 2019

“Concetto spaziale”

This three-artist exhibition tackles one of the most accessible but, simultaneously, most elusive and insufficiently understood phenomena in Western society: the human vagina. The show’s title—“Concetto spaziale”—repurposes the nomenclature Lucio Fontana used for his slashed canvases, drawing a direct line from the Italian master to Edona Vatoci’s installation Plan B, 2015–19, a shiny, cotton-candy-colored silk cube, two meters tall with a narrow slit on one side. Entrance requires not only some physical maneuvering on the part of the visitor, but also consent, by way of a pre-signed mutual

previews September 2019

EVA LEWITT

Curated by Amy Smith-Stewart

Eva LeWitt’s vibrant, wall-spanning compositions quite literally hang in the balance. Each piece must be assembled on-site, as the artist deploys the properties of her primarily synthetic materials in an intricate calculus that leverages the weight of one element against the pliancy of another. LeWitt offsets the industrial accents of her materials with manual interventions, whether she’s hand-cutting swaths of latex or vinyl or pigmenting and polishing the polyurethane foam “pellets” she uses for ballast. The artist tends toward an eclectic, electric palette with

passages June 25, 2019

Martin Roth (1977–2019)

I FIRST MET MARTIN ROTH five years ago, while he was helping install Pierre Huyghe’s big show at LACMA. Human the dog didn’t have the right papers to work in Hollywood, so we took her for a walk in the canyons of Griffith Park, where she promptly befriended a pug wearing a vest nearly the same shade of fuchsia as the paint on her leg.

Martin’s work had the gentle, elusive grace of its author. Even in recent years, when his projects had stronger ties to current political events, his approach left more questions than answers. For his show last year at the former Eldridge Street gallery yours mine

diary June 21, 2019

Vienna Calling

IT WAS IN THE DAIRY AISLE I FIRST SPOTTED HIM. Warned there was a dancer on the loose in Lidl, I had quickly closed in on the likeliest suspect, a wispy blonde boy wearing cropped pants and a Fjällräven backpack. I trailed him as he inspected a bunch of bananas, delicately extracting a single one, before moseying over to peruse the canned coffee drinks. It was only when he shot a withering look at me and my expectant camera that it occurred to me he might not be there to perform. Indeed, the dancer I was looking for turned out to be a man with a sensible shirt and a silvery mane (“our Július

diary May 09, 2019

Persons of Interest

INTERESTING. Few words have such angular ambiguity, signifying both a viewer’s interpretive generosity while subtly acknowledging that the thing in question just might not be that good. Ralph Rugoff, the artistic director of the Fifty-Eighth Venice Biennale, which opened Tuesday to select press and professionals, played on the word’s double meaning in the title for his show, “May You Live in Interesting Times,” a phrase attributed as an “ancient Chinese curse” but, like the Ivanka Trump/fortune cookie variety, with no actual “ancient” or “Chinese.” The dash of Orientalism was either snarkily

previews May 2019

GOSHKA MACUGA

Curated by Christina Végh and Lea Altner

Whether through sleek display cabinets, animatronic robots, or multigenerational chronicles woven into tapestries, Goshka Macuga enacts a type of séance within her exhibitions, calling forth the hosting venue’s ghosts. For this show, her installations, sculptures, textiles, and collages will face the spirits of the Bauhaus on the occasion of its centenary, drawing out the conflicts that existed within the movement as well as its relationship to the Kestnergesellschaft. In addition to supporting new commissions made in collaboration with lighting designer

picks April 11, 2019

“Without Anesthesia”

The Meštrović Pavilion has not had a good year. To residents’ outrage, the city administration uprooted the beautiful park that surrounded the modernist landmark, supposedly in tribute to architect Ivan Meštrović’s “original” concept (though more likely to benefit the mayor’s inner circle). When the call for the Fifty-Fourth Zagreb Salon went out, the application stipulated that participating artists could not publicly criticize the Artist Union or the venue it calls home—a gesture that stirred up its own protests.

This tension made “Without Anesthesia,” the exhibition put together by

print March 2019

OPENINGS: GABRIELE BEVERIDGE

GABRIELE BEVERIDGE’S works dip into the dream life of consumer culture to deliver a contemporary vanitas attuned to the temporality of modern commodities, on-demand objects whose promises of “forever” are only as good as the next upgrade. Rather than present a critique of commodity goods by way of simulation, Beveridge takes the cosmetic mechanisms that prop up consumer desire and carries them to their logical extreme. Her assemblages put display on display, spotlighting the modular shelves that populate the innards of high-street shops: steel pegboard panels, “slatwall” panels, chrome

print March 2019

Hélio Oiticica

With its no-frills title, the exhibition “Spatial Relief and Drawings, 1955–59,” offset one of the suspended objects made by Hélio Oiticica (1937–1980) with two of his early series from the late 1950s. The first, “Metaesquemas,” 1957–58 (loosely translated as “Metaschemes” or “Metastructures”), comprises abstract gouache drawings on cardboard, and the second consists of works produced during his affiliation with Grupo Frente, an artist collective founded by Oiticica’s teacher Ivan Serpa and active in Rio de Janeiro from 1954 to 1956. With members including Aluísio Carvão, Lygia Clark, and Lygia

picks February 01, 2019

Mithu Sen

“Language imposes a strange and alien logic that tells us not to smell poetry, hear shadows or taste lights,” Mithu Sen warns in the introductory text to her multimedia installation I have only one language; it is not mine, commissioned for the 2014 Kochi-Muziris Biennale. The artist tried to counteract this logic by becoming stranger and more alien herself, conducting an experiment in “radical hospitality” over three days in a state-operated home for female orphans and victims of abuse in Kerala, India. Posing as Mago, an itinerant being with a camera strung around her neck, Sen attempted to

diary December 17, 2018

Train Spotting

WE HAVE A BIENNIAL, what are we to do with it? It is so indivisible and so . . . ours.

If Osip Mandelstam rejoiced to see his body blow warm breath against “the window glass of eternity,” it still remains to be seen what kind of mark our globalized art world may leave on the Future. The millennial explosion of biennials and large-scale exhibitions has paved a global highway for the circulation of contemporary art, giving rise to an international community with its own vernacular—instead of shibboleth, we have Szymczyk. We’ve effectively achieved the “platform for international discourse” that

passages October 07, 2018

Geta Brătescu (1926-2018)

IT'S IMPOSSIBLE TO PICTURE Geta Brătescu and not see her in her studio (the occasional flashes of the traveling Lady Oliver aside). Not simply because the recent resurgence of interest in her work arrived at a time when her mobility was already reduced, a fact that kept her from personally presiding over the triumph of her long overdue Romanian Pavilion at the Venice Biennale last year. Nor only because so much of her practice is thematically tied to the studio, with one of her most celebrated works—Atelierul (The Studio), 1978—quite literally enshrining its physical space against the

Kate Sutton