Rike Frank

  • “Like an Attali Report, But Different”

    In “Like an Attali Report, but Different,” the Romanian curator Cosmin Costinas explored one of the great themes of our time: the question of political visions. In addition to a number of subtle cross-references, the show offered a refreshingly diverse viewing experience with a small, manageable selection of works by ten artists. For example, Anatoly Osmolovsky’s Mayakovsky-Osmolovsky, 1993, a sequence of documentary photographs of the artist climbing up the Valdimir Mayakovsky statue in Moscow, was placed next to an evocative abstract wall work by Heman Chong. In Teardrop (Inversed), 2008, the

  • Wieder und Wider

    IF YOU VISITED Vienna’s Museum Moderner Kunst Stiftung Ludwig (MUMOK) in the middle of the second week of the exhibition “Wieder und Wider: Performance Appropriated” this past winter, you would have encountered seven slide projectors arranged in a row, of which three were running through a continuous cycle of images, and four were not yet operational. The projections were part of Sharon Hayes’s In the Near Future—Vienna, 2006, for which Hayes was staging seven “actions” at various locations in the Austrian capital over the course of a week, holding signs for causes specific to the city’s history