Osman Can Yerebakan

  • Maya Lin, Ghost Forest, 2021, 49 dead Atlantic white cedar trees, dimensions variable. Photo: Andy Rome.
    interviews June 22, 2021

    Maya Lin

    On Earth Day, Maya Lin and I stood in Manhattan’s Madison Square Park surrounded by dead trees. The artist and architect had just completed Ghost Forest, an installation of fifty lifeless cedars cleared from New Jersey’s Pine Barrens, where rising sea levels and salt-water infiltration now threaten the woodland ecosystem, slowly rotting trees from the inside. Tragic figures, the cedars remain standing as they perish. A soundscape composed by Lin and the Cornell Lab of Ornithology activates their stillness with the vocalizations. of cougars, wolves, beavers, and whales once native to Manhattan

  • View of “Loie Hollowell: Sacred Contract” at König Galerie, Berlin, 2021.
    interviews May 26, 2021

    Loie Hollowell

    Loie Hollowell delivered her second child a year ago—and her new paintings at König Galerie’s nave of St. Agnes, an imposing former Catholic church in West Berlin, reflect on the experience of her three-hour home birth. Built in 1967 by architect and painter Werner Düttmann, St. Agnes was named after the patron saint of virginity and is arrayed in Brutalism’s austere, rectilinear geometry. Hollowell’s so-called Split orbs, by contrast, are carnal, wet, and radiant. Suggestive of vaginal openings and cosmological symbols, the nine large canvases on view in “Sacred Contract” visually abstract the

  • View of “Donald Moffett: The Hollow,” 2020–21. Marianne Boesky Gallery, Aspen. Photo: Tony Prikryl.
    interviews January 11, 2021

    Donald Moffett

    Since cake decorating led him to take up painting in 1994, Donald Moffett’s materially suggestive surfaces of extruded pigment and poured resin have addressed environmental collapse and political turmoil. But the artist, AIDS activist, and former Gran Fury member’s current exhibition, “The Hollow,” at Marianne Boesky Gallery’s Aspen location, circles back to pandemic time, when, once again, a virus has made touch deadly. Though our current crisis has traded the overt stigmatization of AIDS and its communities for a more collective-minded “we are in this together” spirit, the US government’s

  • View of “Jesper Just: Corporealités,” 2020 at Perrotin, New York. Photo: Jesper Just and Perrotin.
    interviews January 14, 2020

    Jesper Just

    Jesper Just distorts rituals of movement through video and performance—two media he pairs in perverse combinations to destabilize museum architecture and to create plangent moving images that echo with anticipation and longing. His multichannel video work Servitudes—shot in 2015 at One World Trade Center on the occasion of his solo exhibition at the Palais de Tokyo in Paris—brims with a restrained yet intense kineticism as its two mobility-limited protagonists internalize the skyscraper’s haunted architecture. Last autumn and with seven performers from the American Ballet Theater, just made his

  • View of “Altered Inheritances: Home Is a Foreign Place,” 2019.
    picks April 29, 2019

    Shilpa Gupta and Zarina

    “Speak, your lips are free / Speak, it is your own tongue / Speak, it is your own body / Speak, your life is still yours,” opens “Speak,” Faiz Ahmad Faiz’s 1941 poem. The Pakistani poet’s yearning for a voice amid oppression and unsettlement is felt in the works of Shilpa Gupta and Zarina in their two-person show, “Altered Inheritances: Home Is a Foreign Place.” Born four decades apart in India, the artists riff on drift and belonging; the floor plan of Zarina’s childhood home in Aligarh—before her family’s traumatic move to Pakistan after the Partition—inspired the exhibition space’s layout of