Nuit Banai

  • Cosima von Bonin

    Was there a critical entry point into Cosima von Bonin’s reference-laden retrospective, or have we reached a historical condition in which the “handmade readymade”—a couture item especially manufactured for the museological context that also refers to the stream of mass-produced commodities—is all we have at our disposal? The exhibition’s title, “Hippies Use the Side Door. The Year 2014 Has Lost the Plot,” offered a heavy-handed hint. Since, for a time, only the side doors to the museum were open, anyone who accessed the building during this period was automatically branded a

  • Suara Welitoff

    Since the visual devices in Suara Welitoff’s photographs and video—subtle shades of gray and muddled focal points—are often employed to signal nostalgia, the artist’s recent exhibition “Sometimes Time Trembles” can all too hastily be reduced to an “elegy” for time passed. And while the dreaminess of Welitoff’s images may inspire a meditation on the elusiveness of duration, we should be wary of pigeonholing them as operating in the register of melancholy. Instead, imbricating incompatible data systems that code, capture, and transmit tenuous sensory experience, her images reveal points

  • Carlos Jiménez Cahua

    In his witty Boston solo debut, Carlos Jiménez Cahua added a new twist to a long-standing philosophical quandary: Can art capture and communicate sensations, images, and systems that are normally imperceptible? That the artist answered in the affirmative is perhaps less remarkable than the way in which his compendium of simple gestures was wedded to some of the building blocks of globalization to produce surprising visual effects.

    Identified by the gallery as a digital video, Untitled #102 (all works cited, 2013) might be better described as a three-and-a-half-hour durational performance by a

  • “and Materials and Money and Crisis”

    As T. J. Clark and other Marxist critics have argued, the thorny entwinement of modernity and aesthetic praxis has, since the late-nineteenth century, preoccupied some of history’s most inventive artists and intellectuals as they have sought ways to engage this nexus through their given craft. Particularly urgent for curator Richard Birkett, who together with artist Sam Lewitt conceived of this show, was the dematerialization of the art object beyond the physical specificity of its medium in an era characterized by intensified economic abstraction and a growing separation between capital and

  • Marrakech Biennale 5: “Where are We Now?”

    Like many biennials today, the fifth installment of Marrakech’s bid aims to upend the political and artistic hierarchies of center and periphery and redefine relations between local and global. To assert the thousand-year-old city’s cultural import as a contemporary hub—rather than a hippie mecca of the 1960s and ’70s—the curators have invited thirty-two artists from sixteen different countries to produce (in five disciplines) commissioned and site-specific pieces that respond to the titular

  • “She Who Tells a Story: Women Photographers from Iran and the Arab World”

    In the current sociopolitical climate, it is difficult to address aesthetic production emerging from the Arab world without incurring an often polarized response of benediction or ire. Formerly neglected and emerging voices from the region are now circulating in the international art market thanks to both a surge of private galleries, art fairs, biennials, and museums opening in the Middle East and a swell of interest in the West, as evidenced by exhibitions (albeit problematically titled ones) such as “Unveiled: New Art from the Middle East” at Saatchi Gallery in 2009; “Light from the Middle

  • Barry McGee

    His myth looms large: Barry McGee, tag name “Twist,” San Francisco–based art-school graduate, graffiti artist, and vital player in the emergence of the Mission School aesthetic. Following its breathless tributes to Shepard Fairey in 2009 and Os Gemeos in 2012, the ICA Boston is hosting McGee’s traveling survey, which originated at the University of California, Berkeley Art Museum and Pacific Film Archive, where it was organized by Lawrence Rinder and Dena Beard. While the show offers a tempting occasion to rehearse the problematics of populist curatorial programming, those critical arguments

  • Cildo Meireles

    One of the most significant Brazilian artists to emerge in the 1970s, Cildo Meireles epitomizes the ways in which Latin American artists have reshaped art-historical narratives of modernism and its aftermaths. His practice opens onto the experiential with formal elegance and arresting political critique. In Madrid, Meireles presents more than 100 pieces, a selection organized around an axis of four major works: Olvido (Oblivion), 1987; Marulho (Surge of the Sea), 1991; Abajur (Lantern), 2010; and Amerikka, an installation conceived in 1991 that comprises a floor of 20,000

  • Amalia Pica

    In her first major museum exhibition in the United States, Amalia Pica considers the urgency of communication and our continual experience of its failure. Honing this discussion, the London-based Argentinean deliberates on the relationship between the one and the many and on the ways in which singular speech acts simultaneously contain the possibility and hopelessness of collective enunciation. Pica’s conceptual practice at large is highly attentive to images and forms, broaching “the political” in the broadest possible terms—a distinct strategy among a generation of artists represented to

  • Amnon Ben-Ami

    In “Zephyr,” an exhibition bringing together a decade of work, Amnon Ben-Ami stealthily assumed an aesthetic nonchalance to suggest how difficult it is to communicate ideas and remind us of how intricate the processes of looking and knowing can be. However light and schematic his touch in a painting such as Sole, 2011, and however insignificant its subject, the work’s impressive scale forces a moment of reckoning; and while the bonding of two pieces of wood is demonstrated with the greatest possible literalness in Gluing, 2010, his paintings and sculptural objects are far from simple. Levity,

  • Dor Guez

    In Dor Guez’s 2009 video July 13, the artist’s maternal grandfather, Jacob Monayer, declares, “I won’t go into politics.” Jacob, the patriarch of the Christian Arab family that is the subject of Guez’s recent exhibition “100 Steps to the Mediterranean,” nevertheless goes on to recount the conquest of the city of al-Lydd by the Israel Defense Forces on the titular date in 1948—a day when much of the population (approximately one thousand Palestinians, mostly Christians) was forced into exile, taking refuge in and around the Church of Saint George. The area, soon cordoned off by the Israelis

  • Julianne Swartz

    “How Deep Is Your,” the elliptical title of Julianne Swartz’s first major museum survey, doubles as the title of a 2012 work that comprises a seemingly incompatible overlay of two distinctive sound tracks about love transported through the museum’s meandering architecture by way of bright blue plastic and pvc tubing. The unlikely entwinement of the John Lennon/Plastic Ono Band track “Love/Sing” with the Bee Gees’ sentimental pop song “How Deep Is Your Love” offers a synesthetic invitation to consider the many improbable aesthetic dualities that course through nearly everything Swartz produces.

  • Larry Abramson

    The title of Larry Abramson’s recent exhibition “1967” inevitably evokes the Six-Day War, which took place in June of that year. The two works it included raise questions about the ideological conditions that made this campaign conceivable as a national endeavor as well as the implications of the decisive geographical expansion following Israel’s victory. At the same time, thanks to Abramson’s sustained exploration of the tensions between figuration and abstraction as they intersect with the genre of landscape, the show was firmly grounded in an art-historical investigation of the ways in which

  • picks August 24, 2012

    “Critical Mass”

    While the debut exhibition at this museum’s new Herta and Paul Amir Building looked to Europe, with monumental oil paintings by Anselm Kiefer, the second turns toward South Asia, with a group show of seventeen emerging and established Indian artists working in video, photography, installation, painting, and sculpture. “Critical Mass” is an ambitious sprawl that tries, in the curators’ words, to capture India’s “material density”—shorthand for the dissonant textures, cultures, and living conditions in this country’s expanding economy.

    The desire to synthesize the salient features of “Indian art”

  • picks June 19, 2012

    Pavel Wolberg

    Pavel Wolberg’s recent photographs use genre and technique to convey the peculiar bind tying both religious and secular contemporary Israeli culture to historic mandates and the desire for self-realization in a modern nation-state. As large-format, black-and-white panoramas, they stake out a place within the historical genre of landscape, while their rather straightforward documentary mode links them to the immediacy of present-day life in diverse sectors of Israeli society. In these images, located simultaneously in the monumental longue durée and the fleeting moment, Wolberg reveals the often

  • diary May 26, 2012

    Back to School

    A MINISTRY OF TOURISM SNAFU had me arriving in Tel Aviv the day after the professional preview of the Fresh Paint art fair, cabbing it on the fly from Jerusalem because there were no hotel rooms to be found in the coastal city known as “the bubble.” Nevertheless, catching the fifth installment of the fair on the particularly humid night of the public opening was a revelation. Thousands of sweaty bodies jammed the sandy parking lot of a newly built high school in the northwestern part of the city. It was a crowd of flip-flops, shorts, and T-shirts, and together we slouched into the facilities to

  • Josh Mannis

    The rather beguiling title of Josh Mannis’s exhibition “Zeal for the Law” interconnects what might otherwise seem to be a rather disparate body of work. Such an emphatic allusion to authority also invites appraisal of the artist’s drawing, collage, and video work as successful citations of art-historical styles and provocative explorations of genre. His compilation of procedures, which hits all the right contemporary signifiers, emits a distinct whiff of le bon ton; yet, with equal aplomb, Mannis transgresses these very same aesthetic regulations.

    For example, The Law, 2011, is a hanging tartan

  • “Real/Virtual: Argentine Kinetic Art in the Sixties”

    The aesthetic networks connecting Europe and Latin America have generated extensive research in recent years, and this double genealogy of kinetic art in France and Argentina places “Le Mouvement”—Parisian gallerist Denise René’s pivotal 1955 show of “Color-Light-Motion-Time”—at the fulcrum. From there, curator María José Herrera locates three crucial points of reception, radicalization, and regularization in the Argentinean expanded field: Victor Vasarely’s 1958 arrival in Buenos Aires and the influence of his “lessons” in seriality; Groupe de Recherche

  • “Ori Gersht: History Repeating”

    Since the early 1990s, in photographs and films, Ori Gersht has been exploring the traumatic chasm between images and their referents.

    Since the early 1990s, in photographs and films, Ori Gersht has been exploring the traumatic chasm between images and their referents. Whether documenting symbolically charged landscapes in Israel, Poland, and Japan or violently animating staged Dutch still lifes, Gersht burrows into the techniques of representation to suggest that pictures cannot fulfill the profound task of historical testimony. Despite the poignant cultural references that Gersht explores, his reliance on freeze-frame photography, extended exposure, and compositing procedures produces an almost self-enclosed

  • Andrew Masullo

    Andrew Masullo’s abstract paintings pose formal dilemmas, linguistic slippages, and categorical paradoxes that turn formal analysis into a game—and perhaps that’s the point. To attempt to describe these pieces is to willingly abandon the possibility of fixity, as his work has an uncanny way of being perpetually in advance of its pursuer. Stated another way, Masullo’s work, which grew out of the 1980s East Village scene in New York, performs a set of operations that unmoor the term “abstract painting,” leading viewers in unexpected directions—obliging us to begin the game again.