Maria Lind

  • Marion von Osten. Photo: Wolfgang Stahr.
    passages February 23, 2021

    Marion von Osten (1963–2020)

    MARION VON OSTEN was a warmhearted punk who took punk’s contrarian and collaborative ethos to unexplored domains. She made it impossible to identify her role in any production process. If you wanted an artist, you might get a curator, and if you wanted a curator, you might get a researcher. If you wanted a professional, you might end up with an amateur equestrian. Dealing with Marion, one could not help but feel their own limited epistemology and imagination put to the test. If you wanted to have a serious discussion, she would drive you to tears of laughter. If you wanted to make a joke, she

  • Doug Ashford, Many Readers of One Event, 2012, eighteen tempera paintings on wood and eleven ink-jet prints on wooden shelf, hut. Installation view, Karlsaue Park, Kassel. From Documenta 13. Photo: Nils Klinger.

    Doug Ashford

    Both pedagogue and painter, Doug Ashford is a founding member of the collective Group Material, whose radical work defined an era of activism in art. In his current solo practice, Ashford explores the means by which abstraction—despite its historical baggage—might still be an effective and empathetic tool for social reform. Curator Maria Lind sat down with Ashford to talk about his recent work, including his installation at Documenta 13, and the ways in which such projects continue and extend his earlier activist ideals.

    MARIA LIND: A highlight for me from last summer’s Documenta 13

  • Claire Barclay, Shadow Spans, 2010, wood, grass, cotton, unfired clay, leather, soil. Installation view, Whitechapel Gallery, London. Henrietta Hale performing Dog Kennel Hill Project’s dance Figure Stuck Stuck, November 2010. Photo: Patrick Lears.

    Claire Barclay

    FOR HER SPRAWLING PROJECT Shadow Spans, 2010, currently on view at London’s Whitechapel Gallery, Claire Barclay has responded to the site—a former library that retains many of its original Victorian details—by creating a mise-en-scène that chimes with the building’s faintly Dickensian aura. There are large black sculptures reminiscent of window frames; door-like slabs painted light violet; sheets of cotton printed with a brickwork pattern; brass implements resembling keys, cups, and other household items; mutated top hats; leather “gloves” with only one finger; and terracotta pots.

  • Carte Blanche

    AT FIRST GLANCE, it seems like selling out: the genie of capital being let out of the bottle once and for all. Carte Blanche, a unique project at the Galerie für Zeitgenössische Kunst in Leipzig, involves eleven private individuals and companies who were invited to pay approximately twenty thousand euros each (including the cost of heating, insurance, invigilation, and so on) for the privilege of curating exhibitions at GfZK, the first institution for contemporary art built in the former East Germany after the fall of the wall. The contributors included three collectors, two commercial galleries,

  • Susan Hefuna, SEE, 2006, wood, ink, 55 1/8 x 78 3/4".

    “Project Europa: Imagining the (Im)Possible”

    Twenty and a half years after the fall of the Berlin Wall, this ambitious exhibition of works by eighteen artists and artist groups wants to “explore the conflicts and contradictions of Europe’s democratic dream.”

    Twenty and a half years after the fall of the Berlin Wall, this ambitious exhibition of works by eighteen artists and artist groups wants to “explore the conflicts and contradictions of Europe’s democratic dream.” While Cologne-based Marcel Odenbach presents a 1989–90 video installation portraying a candlelight procession from before the wall’s dismantling, Bucharest, Romania–based Dan Perjovschi is making a new wall drawing. The rest of the seemingly random team, many relatively unknown in the US, contribute plenty of photography and more video and drawing. Thematic

  • “the curatorial”

    IS THERE SOMETHING we could call the curatorial? A way of linking objects, images, processes, people, locations, histories, and discourses in physical space? An endeavor that encourages you to start from the artwork but not stay there, to think with it but also away from and against it? I believe so, and I imagine this mode of curating to operate like an active catalyst, generating twists, turns, and tensions—owing much to site-specific and context-sensitive practices and even more to various traditions of institutional critique. The curatorial would thus parallel Chantal Mouffe’s notion of “