Ryan Trecartin

  • video November 04, 2013

    Ryan Trecartin, CENTER JENNY, 2013

    2013, 53:15

    Ryan Trecartin's video CENTER JENNY, 2013, HD Video, 53 minutes 15 seconds. Part of Trecartin's participation in the 55th Venice Biennale.
    Ryan Trecartin, CENTER JENNY, 2013.

  • Ryan Trecartin, Roamie View: History Enhancement (Re’Search Wait’S), 2009–10, HD video, color, 28 minutes 23 seconds.
    print September 2012

    Ryan Trecartin

    PRODUCTION MAY REALLY just be a creative way to thoughtfully consume. Inserting novel code into culture—code that can expand our ideas of what can be consumed. Even without this intention or focus, consumption can generate a gain in metaphysical weight. Childbirth, which is typically seen as some weird selfless and/or selfish act of productivity, is ultimately a very complicated system of consumption and collaboration—a kind of natural prosumerism synonymous with existence. Even giving a gift is an act of consuming response and appreciation—absorbing the vibe of your own sexy

  • video November 29, 2010

    Ryan Trecartin, K-CoreaINC.K (section a), 2009.

    2009, 33:05

    Global Korea (GK): Telfar Clemens
    North America Korea (NAK)183: Veronica Gelbaum
    Mexico Korea (MK): Raul de Nieves
    USA Korea (USAK): Ryan Trecartin
    British Korea (BK): Laura Walpole
    General South AmeriK (GSAK): Xavier Cha

    Argentinian Korea: Solomon Chase
    Iran@-itzerland Korea: Samuel Cormier
    Non-Localized Korea: Mary Ann Heagerty
    Hungary Korea: Sarah Ball
    French adaptation Korea: Lizzie Fitch
    BRAZILIAN SPACE
    Public Process Korea: Adrian Samuel Massey 3rd
    Morocco Korea: Sergio Pastor
    Post-Canadian Retriever Korea: Daniel Spann
    Israel Korea: Leilah Weinraub
    Another Greek Korea: Liz Zacharia
    Armenia



  • print December 2006

    THEIR FAVORITE EXHIBITIONS OF THE YEAR

    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 2006.

    AMY SILLMAN

    “Edvard Munch: The Modern Life of the Soul” (Museum of Modern Art, New York) In a rather cynical mode, I trudged uptown one day last spring to see the Munch show at MoMA for what I thought would be a cliché-ridden overview of Nordic gloom-goth. What I got instead was a hard punch to the gut: powerful color, radical ideas about the depiction of memory as space, paintings with emotional vanishing points rather than rational optical