diary June 04, 2018

Georgia on My Mind

TUCKED BETWEEN the assorted empires of Russia, Iran, and Turkey, Georgia has somehow managed to avoid the melting-pot mentality of other crossroad cultures. As mounting travel bans slowly shutter other ports in the region, the country’s distinctive capital, Tbilisi, has shot to the top of tourism lists as “the new Istanbul,” among a cavalcade of other shiny “new” epithets. But Tbilisi isn’t new. It was once an obligatory stop on the Grand Tours of the Russian and later Soviet empires, earning admiration for the depths of its cultural wells, from its unparalleled gastronomic and viticultural

print Summer 2018

Aslan Gaisumov

“Truth” and “reconciliation” do not always go together. The imperative to testify—particularly in instances of collective trauma—is presumed to outweigh any costs, emotional, psychological, or even legal. But who really has the right to demand those truths? To whom do they belong? For whose benefit are they shared? And to whose detriment? In his films and objects, Aslan Gaisumov walks the line between silence and articulation. Born in the Chechen capital of Grozny, he creates work that not only revisits the devastation of the recent conflicts, but also traces them back to their roots

print May 2018

Eva LeWitt

Commissioned in 1918 but completed only in 1950, Oslo’s stately city hall, or rådhus, showcases several decades of Norway’s achievements in art and crafts, alongside local natural resources such as the resplendent Fauske marble. Hailing from the Arctic Nordland, the stone is dubbed “Norwegian rose” for its predominantly pinkish hue, but it can also be found in variations of glacial white, warmed by creamy emerald undertones, edged in lilac. This same marble was used throughout the rådhus’s adjacent facilities, including the former welfare office, built in 1937 on what is today Tordenskiolds

previews May 2018

“Wael Shawky: The Crusades and Current Stories”

With its cast of expressive, intricately garbed marionettes animated by unseen hands, Wael Shawky’s “Cabaret Crusades” video trilogy, 2010–15, spurns the Eurocentric narrative of the campaign for the Holy Land, drawing instead on medieval Islamic accounts by Usama Ibn Munqidh and Ibn al-Qalanisi, and on Amin Maalouf’s more contemporary retelling, The Crusades Through Arab Eyes (1984). For this exhibition at ARoS, the three films will be accompanied by more than forty marionettes, while two new woodcuts and a hand-carved wooden relief will

diary April 16, 2018

Don’t Panic!

DUBAI—THE GREAT DESERT CAPITAL of Starchitecture-on-Speed and the distinct Khaleeji brand of Hypercapitalism-as-Luxury-Entertainment that artists Fatima Al Qadiri and Sophia Al Maria famously dubbed “Gulf Futurism”—is starting to show its age. In an era when every other province has a bargain-bin Zaha Hadid or two, the skyscraper archipelagos and man-made islands just look, well, dated. As theorist and first-time visitor Mi You so pithily put it, “This feels like a Little China.”

Where desert sandscapes once readily lent themselves to fantasies of Life on Mars, now “the future” has taken on more

print April 2018

Sanya Kantarovsky

Amid the public displays of penitence in the #MeToo era, the knee-jerk qualifier “as a father” has been particularly maligned for its implication that parenthood is somehow a prerequisite for possessing respect for human dignity. At the same time, there is a specific torment to being a parent in a moment when the monsters under the bed have been revealed as more than just shadows, and the helplessness of the child is openly matched by that of the parents, who can never fully shield their offspring against the abuses rampant in the world.

Sanya Kantarovsky mined this double vulnerability in his

picks February 10, 2018

Teresa Margolles

World’s Fair pavilions are designed to create a lasting impression of monumental (though ultimately momentary) grandeur. As such, their architects rarely account for an afterlife. Take Zagreb’s French pavilion, a striking cylindrical building that alternately suggests a birdcage and a zoetrope. Designed by architect Robert Camelot for the 1936–37 fair, the structure was consigned to an ambiguous life as “storage space” up until its recent renovation. This phrasing strategically obscures the building’s brief turn in 1941 as an impromptu detention center for Croatia’s fascist-sympathizing Ustaše

slant February 2018

Jasmina Cibic’s NADA trilogy

IN HIS LEGENDARY German pavilion for the 1929 Barcelona International Exposition, Ludwig Mies van der Rohe kept his spaces bare, pairing prototypes of the celebrated Barcelona chair and matching stool he designed with Lilly Reich with one other object: Der Morgen, Georg Kolbe’s 1925 sculpture of the goddess of dawn, which was reverently stationed on a small pedestal in one of the two reflecting pools flanking the building. This juxtaposition of high-modernist design and the classical female nude would become a recurring motif within Mies’s interiors, with coquettish statuettes from colleagues

print January 2018

the 4th Ural Industrial Biennial

One of the more resilient myths of cinema history holds that at a screening of Auguste and Louis Lumière’s 1896 film L’arrivée d’un train en gare de La Ciotat (Arrival of a Train at La Ciotat Station), the fifty-second reel of a locomotive engine pulling into the station incited a stampede out of the theater by audience members unfamiliar with moving images. This legend provided the point of departure for curator João Ribas’s exhibition “New Literacy,” the main project of the Fourth Ural Industrial Biennial of Contemporary Art. In surveying the semiotic stumbles and surges enabled by new forms

picks December 08, 2017

“Starless Midnight”

In November 1967, Dr. Martin Luther King Jr. accepted an honorary doctorate from Newcastle University with a powerful improvised speech that railed against three “great and grave problems that pervade our world”: racism, poverty, and war. On the fiftieth anniversary of this speech, “Starless Midnight” confronts King’s hard-won insights with contemporary realities. Curated by Edgar Arceneaux and Laurence Sillars, the nine-artist show opens with the heartrending juxtaposition of Louis Cameron’s NOW!, 2016, a black wall branded with the one-word call to arms, against Karon Davis’s Waiting Room,

picks December 08, 2017

Anna Conway

In contemporary usage, ideas of luxury and aspiration tend to draw upon the same visual vocabulary. Architecturally speaking, this means the cool, clean lines of midtown modernism, accentuated by an expensive-looking emptiness. After all, true luxury implies exclusivity. For it to matter most, it must be yours, and yours alone.

Anna Conway attends to the slippages between the haves and have-nots with this able-bodied fleet of eight oil paintings. The images immerse viewers in the sleek surrealism of ad-ready landscapes, poured-concrete playgrounds for upmarket sedans or the kind of Arco-lit

diary November 30, 2017

Once Upon a Time in the West

A FEW WEEKS BACK, in the Great Awokening of the post-Weinstein news cycle, I noticed a question bobbing along the surface of my social-media streams: If “Abuse of Power Comes as No Surprise,” why do we all still want power? What would it look like to wield power ethically? Is that even possible?

The Saturday before Thanksgiving, the School of Visual Arts’ Steven Henry Madoff convened a weekend-long summit to address these issues. Titled “Curatorial Activism and the Politics of Shock,” the conference featured twenty-one international powerhouses, from Serpentine Gallery codirector Hans Ulrich

diary October 02, 2017

Forest for the Clouds

AS TITLES GO, “Clouds ⇄Forest,” Yuko Hasegawa’s for the Seventh Moscow Biennale, is lyrical, if a little typographically challenging. While clouds and forest may intertwine, the former will never know what it means to take root, just as the latter will never take flight. Hasegawa meant this as a metaphor for a generational shift between what she terms “Forest Tribes”—artists using more or less traditional media—and “Cloud Tribes,” the children of this recent rootless era of networked communications and digital technologies. (The CliffsNotes version might call this “89plus.”)

Hasegawa’s brand of

print October 2017

Gorgona

In a 1986 action titled Deposition, artists Josip Vaništa and Marijan Jevšovar and critic Radoslav Putar dutifully lugged one of Vaništa’s signature horizon-line paintings to a snowy forest outside Zagreb, Croatia, where they propped it against a tree. On return visits, the group would photograph the painting in its new environment, tracking the gradual damage to the snow-soaked canvas, until one day in the spring, when it disappeared altogether.

Decades earlier, Vaništa, Jevšovar, and Putar had served as founding members of Gorgona, an artistic alliance that, like Deposition, left little but

diary September 11, 2017

Now I Know How Joan of Arc Felt

JOANS, GET OUT HERE with your skills . . . UP!

The call-to-arms at the core of Adam Linder’s To Gear a Joan came from a pert, partially armored performer following a slow parade around the attic space of the Trevarefabrikken, an old cod-liver oil factory lately serving as a “social shelter.” Conceived as a “wearable libretto,” “activated” by the Stavanger-born vocalist Stine Janvin Motland, Linder’s performance will recur throughout the September run of this year’s Lofoten International Arts Festival, which kicked off the Friday before last in Henningsvær, a comely little fishing village roughly

previews September 2017

“CHTO DELAT: WHEN WE THOUGHT WE HAD ALL THE ANSWERS, LIFE CHANGED THE QUESTIONS”

Chto Delat is a group of writers, philosophers, and artists that takes its name, which translates to “What is to be done?” from the title of an 1863 novel by the political revolutionary Nikolay Chernyshevsky (a title lifted by Lenin for his own 1902 tract). Since its founding in 2003, the Saint Petersburg–based collective has applied the eponymous query to both the specific situation in Russia and the larger systems of global capitalism. For its first solo presentation in Mexico, Chto Delat tests what value a self-organized collective holds

print September 2017

Iván Argote

You can tell a lot about a society by how it imagines its opposite. The term antipode derives from the Greek for having one foot facing the wrong direction. Its geographical usage—designating points diametrically opposite one another on the globe—stems from the ancient belief that the other side of the earth held a kind of netherworld, where everything was inverted, causing the men who lived there to walk backwards.

Iván Argote tests this theory, surveying a pair of modern-day antipodes for his twenty-two-minute video As Far As We Could Get, 2017. Urban antipodes are rare, with only

print September 2017

Geta Brătescu

In a 2014 diary entry, Geta Brătescu compares the artist to an acrobat, reasoning that the two face a shared obstacle, daunting enough to name in uppercase letters: “SPACE.” The ninety-one-year-old Romanian artist has dedicated much of her seven-decade career to negotiating enclosures ranging from the confines of a blank page to the mutable gap between her thumb and her index finger. Her maneuvers frequently draw on the recurring motif of the studio—another concept that looms large for Brătescu.

“The Studio: A Tireless, Ongoing Space” explored a place of possibility, suspended in a constant

picks July 27, 2017

“Wormwood”

Amid the B-movie monstrosities of the Book of Revelation lurks the Wormwood star, destined to hit the earth and poison a third of its waters upon impact. This doomsday comet shares its name with Artemisia absinthium (absinthe wormwood), the bitter medicinal herb responsible for absinthe’s curious coupling of extreme clarity and hallucinogenic stupor.

Organized by Todd von Ammon, this group exhibition mingles decadence, delirium, and decay in a cocktail best sipped slowly. Associations with prophecies and poisons align in the forked tongues of Olivia Erlanger’s Slow Violence, 2016, a duo of

diary July 18, 2017

Faded Memories

IN AN AGE OF FRANCHISE ENTERTAINMENT, the best sequels might be those not planned too far in advance. Or so it seemed at last Friday’s opening of “FADE IN 2: EXT. MODERNIST HOME – NIGHT,” an exhibition that seeks to blur the lines between art and cinema.

Organized by Swiss Institute director Simon Castets and curator Julie Boukobza and hosted by the Museum of Contemporary Art Belgrade’s Gallery-Legacy Čolaković, the show marks the inaugural outing of the freshly launched Balkan Projects, a Los Angeles–based cultural platform fronted by actress Marija Karan.

The exhibition’s first iteration—“FADE

Kate Sutton