Shigeo Anzai

  • WHAT WILL BECOME . . . : THE 44th VENICE BIENNALE

    THE 44TH BIENNALE has left many visitors with mixed feelings. Director Giovanni Carandente had the laudable goal of returning the institution to the artists, and imposed no central theme for them to conform to as the exhibition’s core. But though it’s true that the prepackaged themes of the ’80s Biennales were realized all too predictably, in this version one misses a critical idea, if only as something to disagree with. In the Central Pavilion, in the place of a strong critical or historical subject, is the “Ambiente Berlino”show, a display of (West and East) Berlin artists. Unfortunately this

  • THE CRITICS’ WAY

    MÜNSTER RHINELAND—WESTPHALIA Pop. 266,000 Alt. 62m. 13C restored cathedral, 14C town hall, 18C palaces, Landesmuseum “Skulptur Projekte in Munster 1987” June 14–October 4. Hannover 186 km—Cologne 152 km—Osnabrück 57 km.

    CRITICS

    Donald Kuspit ????

    Max Wechsler ????

    Dan Cameron ????

    Pier Luigi Tazzi ????

    Ingrid Rein ????

    TEN YEARS AGO IN MÜNSTER, Klaus Bussmann curated a large outdoor sculpture exhibition under the title “Skulptur 77.” And now Bussmann and Kasper König have organized a second such show, “Skulptur Projekte in Münster 1987.” The works, by a total of 53 artists from Europe and North

  • ALBRECHT DÜRER WOULD HAVE COME TOO

    THE PATRON SAINT OF GEEL, where Jan Hoet, the director of Gent’s Museum von Hedendaagse Kunst, grew up, is Saint Dymphna, and, in the name of that mysterious protectress, this Belgian village preserves a medieval tradition that has passed unscathed through the Renaissance and into the modern era: to honor Saint Dymphna, a family offers hospitality to a lunatic. With the waning of the Middle Ages, the idea of the Narrenschiff, the ship of fools, made its disturbing appearance, condemning the insane to a state of aterritoriality; during the centuries when what Edmund Husserl called “European