Ryan Gander


    RYAN GANDER DOESN’T COVER HIS TRACKS. To the contrary, he spins so many dazzlingly interlaced threads that he leaves us nearly lost along an Ariadnean trail run amok. In the following pages, Gander gives us the skeleton key to five new works in progress that radiate outward in the manner of the “Loose Associations” slide lectures he has been presenting since 2001. Typesetting created for the deaf is posed next to a Gander-designed font, printed onto custom Scrabble tiles left amid an unfinished game; a coin that comes from the future is left to be ruined underfoot; personal history, invented

  • Pierre Klossowski, Les barres parallèles III (The Parallel Bars III), 1975, colored pencil on paper, 79 1⁄2 x 49 5⁄8". © 2007 Artists Rights Society (ARS), New York/ADAGP, Paris.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2007. Contributions by ten of those artists have been reproduced below. For the rest, see the December issue of Artforum.


    Daniel Mendel-Black, “The Paintings Are Alive” (Mandarin Gallery, Los Angeles) The eleven paintings in this show seemed to create a place for the palette of Play-Doh to oppress acrylic and oil into some perilous graphic universe of cynical optimism. Looking is like falling in these paintings; your eyes are

  • Ryan Gander

    The thing about contemporary art is that nothing can exist in isolation. —Liam Gillick

    IN LONDON, we have never had the equivalent of an arte povera or a New York School or even a Leipzig School. All we have ever really had is that phenomenon of fifteen years ago. Don’t get me wrong: However stupid the name, there were a lot of good things to come out of Britart. But because of its sheer scale and its maddening symbiosis with the media, it has become a phantom limb of my generation of British artists. It’s a bit like being a teenager embarrassed to be seen with your parents in public: Your