Sabeth Buchmann

  • Lucy McKenzie, Quodlibet XIII (Janette Murray), 2010, oil on canvas, 31 1⁄2 × 21 5⁄8".

    Lucy McKenzie

    I WAS NOT SURPRISED to discover that Lucy McKenzie’s retrospective prevails over the Museum Brandhorst’s difficult basement level. The Glasgow-born, Brussels-based artist’s work, with its intense focus on interior design, set decor, and wall decoration, lends itself to the space’s idiosyncratic oversize atrium and narrow, tunnel-like galleries. Spanning the years 1997 to 2019, the works gathered in “Prime Suspect” are presented as docu-fictional “case studies” of twentieth-century artistic and cultural phenomena. The bulletin boards, mood boards, quodlibets, maps, murals,

  • Thierry Geoffroy during the filming of his work Artist Colonialist Investigating for TV: Is There a Dialogue with the Spanish and You Northern African?, 2010, Murcia, Spain, 2010. Photo: Rian Lozano.

    Manifesta 8

    THE EIGHTH EDITION OF MANIFESTA, the peripatetic pan-European biennial, was held in Cartegena and Murcia, two cities on the southeastern coast of Spain. In her introduction to the catalogue, the biennial’s founder, Hedwig Fijen, speaks of the locale as providing an opportunity to explore “issues of migration, immigration, refugee status and diaspora,” a sentiment in keeping with the exhibition’s aim to engage (per its subtitle) in a “dialogue with Northern Africa.” But Pedro Alberto Cruz, minister of culture and tourism for the region of Murcia, expresses a different view of the relationship

  • Ree Morton, To Each Concrete Man, 1974, wood, canvas, PVC flooring, lightbulbs, electric fixtures, stretched rawhide, colored paper, pencil, paint. Installation view, Generali Foundation, Vienna, 2008.

    Ree Morton

    ONE OF THE EARLIEST WORKS in the Generali Foundation’s “Ree Morton: The Deities Must Be Made to Laugh: Works 1971–1977”—the first major institutional survey of the artist’s oeuvre in almost thirty years—was Untitled, 1971–73, a humble-looking assemblage consisting of pastel-painted wooden branches arranged in a kind of post-and-lintel structure. In the composition, a drawing on canvas has been stretched across the segment of wall defined by this structure, and on it, the Y shape of the weight-bearing vertical branches is repeated twice. Though certainly unassuming, Untitled was a

  • the Generali Foundation

    AT A SEPTEMBER 2007 press conference announcing the merger of the Generali Foundation and the Bawag Foundation, representatives of the two Vienna art institutions stood smiling beneath the neon script of Cerith Wyn Evans’s 2003 sculpture Scenes from a Marriage—apparently unaware that the piece alludes to Ingmar Bergman’s oppressive portrait of a union in crisis. This particular art-world betrothal should perhaps not have been a surprise, since the corporations that respectively own and fund the foundations had themselves merged earlier in the year, when financial-services conglomerate