Yuki Higashino

  • View of “The 31st Ljubljana Biennial of Graphic Arts,” 2015.
    picks October 01, 2015

    “The 31st Ljubljana Biennial of Graphic Arts”

    At Moderna Galerija, one of two institutional venues, two architectural gestures by Luca Frei elegantly frame the exhibition. Frei has filled the grooves that run around every wall in the space with white pebbles commonly found in gardens. Moreover, he painted a bright-pink frieze around the top perimeter of the central exhibition room, conceptually lowering the ceiling to

  • Larry Johnson, Untitled (Achievement: SW Corner, Glendale + Silverlake BLVDS.), 2009, color photograph, 28 x 40".
    picks July 09, 2015

    Larry Johnson

    Modulation of desire, in particular the desire Larry Johnson chronicles in and for Los Angeles, is the artist’s principal operation. Thus, it is pertinent that “On Location,”—Larry Johnson’s first major solo show in Europe, curated by Bruce Hainley along with Antony Hudek—starts with Untitled (Achievement: SW Corner, Glendale + Silverlake Blvds), 2009. The piece depicts an Emmy sitting on a windowsill from the point of view of the street, subtly emphasizing the tantalizing if actually impossible nature of the success the statuette embodies, placed at the nose of pedestrian experience.

  • View of “Josef Strau,” 2015.
    picks May 29, 2015

    Josef Strau

    Elusive and opaque, Josef Strau’s art is guided by an internal logic felt throughout his exhibitions. In his first institutional solo show in his native Austria, Strau presents an expansive and intricately layered installation collectively titled “A Turtle Dreaming (. . . Echoes from an Encapsulated Space Exiled Sounds of Letters Requiring Symphonic Treatment),” and framed by a series of eighty posters featuring the artist’s signature arrangements of text—often interrupted by photographs of a snowy New York. Four pavilions are positioned throughout the space, made of modest materials such as

  • View of “Genpei Akasegawa,” 2015.
    picks April 20, 2015

    Genpei Akasegawa

    Rigorously researched, this retrospective celebrating the late artist Genpei Akasegawa offers an unexpected breadth of material beyond his renowned works. A leading artist of the Japanese postwar avant-garde, Akasegawa was a founding member of both the Neo-Dadaism Organizers collective (in 1960) and the Fluxus-informed group Hi-Red Center (in 1963). His more than fifty-year career pursued a diverse array of artistic languages beyond the 1960s experimentation that brought him early success. As documented in the show, this includes his political cartoons in publications such as Sakura gaho (from