Kate Sutton

  • View of “Eva LeWitt,” 2018. Photo: Christian Tunge.

    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

  • “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

  • Global Art Forum commissioner Shumon Basar. (All photos: Kate Sutton)
    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

  • Sanya Kantarovsky, Letdown, 2017, oil, watercolor, and pastel on canvas, 85 x 65".

    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

  • Teresa Margolles, Sutura, 2018. Performance view, the French pavilion, Zagreb, 2018.
    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

  • Jasmina Cibic, NADA: Act II, 2017, HD video, color, sound, 13 minutes 1 second. Production still.

    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

  • Yvonne Rainer, Hand Movie, 1966, 8-mm film transferred to video, black-and-white, silent, 8 minutes. From the 4th Ural Industrial Biennial of Contemporary Art.

    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

  • Karon Davis, Waiting Room, 2016, mixed media, dimensions variable.
    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,

  • Anna Conway, Potential, 2015, oil on canvas, 52 x 80".
    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

  • Left to right: Brian Kuan Wood, Joshua Decter, Clémentine Deliss, Ute Meta Bauer, Nicolas Bourriaud, Carolyn Christov-Bakargiev, and Defne Ayas at the SVA MA Curatorial Practice international summit on “Curatorial Activism and the Politics of Shock,” November 18, 2017. Photo: Birdie Piccininni.
    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

  • Left: Moscow Biennale curator Yuko Hasegawa. Right: Moscow Biennale Expert Council Members Semyon Mikhailovsky, Zelfira Tregulova, and Joseph Backstein. (Except where noted, all photos: Kate Sutton)
    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

  • Josip Vaništa, Deposition (detail), 1986, digital print on archival paper, multipart, each 18 7/8 x 13".

    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