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  • Birgir Andrésson, Blackest Night, 2006, wall paint, dimensions variable.

    Birgir Andrésson

    The title of the recent Birgir Andrésson retrospective, “As Far as the Eye Can See,” takes on a bittersweet resonance when one considers that the renowned Icelandic artist was raised by blind parents. This fact puts Andrésson’s recourse to language-based work and his heavy use of color in a different light. If Sol LeWitt, in his “Paragraphs on Conceptual Art” (1967), observed that such art should be “mentally interesting” and “emotionally dry,” Andrésson’s oeuvre proves that there is space for humor, beauty, and sentiment within it.

    Curated by Robert Hobbs, “As Far as the Eye Can See” surveyed

  • Baptiste Debombourg, Untitled, 2021, windshields, wood, dimensions variable. From: “Chronicles of the Future Superheroes.”

    “Chronicles of the Future Superheroes”

    The starting point for the group exhibition “Chronicles of the Future Superheroes” is Danielle: Chronicles of a Superheroine, a 2019 novel by American inventor Ray Kurzweil that follows a young woman’s efforts to use technology to solve global problems. The exhibition, which includes seventeen works by twelve artists and collectives and features accompanying performances and workshops, raises questions about how to face the pressing challenges of contemporary society, among them global warming, migration, and a changing economic order, as well as more intimate issues such as emotional transformation

  • Ulay with Thomas McEvilley, Eric Orr, and James Lee Byars, ca. mid-1990s. © Ulay.
    passages April 06, 2020

    Ulay (1943–2020)

    IT IS PROBABLY THE FIRST PHOTOGRAPH OF HIS I ever encountered. I saw it during my initial visit with Ulay, in 2009 in Amsterdam, where we were beginning to prepare the exhibition “Become,” at Škuc Gallery, in Ljubljana. At that time I recognized only James Lee Byars (that telltale cylinder hat) but eventually learned that Thomas McEvilley and Eric Orr, all close friends of Ulay’s, are also in the photo. And hiding behind the slab of wood is Ulay himself.

    I would see this image on several other occasions, all in Ulay’s company. The last time was less than a year ago, when he was reminiscing about