MEETINGS, CONTRACTS, REGULATIONS, the intricacies of official protocols, and the arcane workings of government agencies: Maria Eichhorn deploys the components of the administrative everyday in radical and counterintuive ways, using whatever resources are available to her—an exhibition budget, say, or access to a building or site—to create works that perversely elude easy definition and anarchically tilt at the impossible. Her projects are often the result of lengthy negotiations that reveal and trouble systems of value and redirect flows of power and capital. The effects of these

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  • Anne Teresa De Keersmaeker

    Choreographer Anne Teresa De Keersmaeker has staged dance in museums before, including at the Museum of Modern Art in New York in 2011 and the Tate Modern’s Tanks in London in 2012. With Work/Travail/Arbeid, 2015, which premiered at the Wiels Contemporary Art Centre in Brussels, and then traveled to the Centre Pompidou in Paris and to Tate Modern’s Turbine Hall in London, she has created a piece that is presented differently in each exhibition space. For six hours a day, March 29 through April 2, 2017, her dance company Rosas and the musicians from the ensemble Ictus will be performing the

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  • Heide Hinrichs

    Heide Hinrichs is a Brussels-based artist whose work will be featured in the debut Kathmandu Triennale, “The City, My Studio / The City, My Life,” curated by Philippe van Cauteren. For On Some of the Birds of Nepal (Parting the Animal Kingdom of the East), 2017, Hinrichs is bringing a volume of original drawings commissioned by Brian Hodgson between 1825 and 1857 from the Natural History Museum in London back to the place of its origin. The triennial is on view from March 24 through April 9, 2017.

    THE IDEA OF CONFINEMENT in Brian Hodgson’s twenty-three years of being enclosed within the Kathmandu

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  • Porpentine Charity Heartscape

    Porpentine Charity Heartscape is a writer, game designer, and self-described dead swamp milf. In addition, she is a 2016 Creative Capital Emerging Fields and 2016 Sundance Institute’s New Frontier Story Lab fellow, a 2017 Prix Net Art awardee, and a 2017 Whitney Biennial participant. Here she speaks about her work on view at the Whitney, and discusses the origins of her hypertext narratives.

    THERE’S SORT OF A MINIRETROSPECTIVE of my Twine stories in the Whitney Biennial. With Those We Love Alive is projected on one wall of a room. People can play it on a computer and they can draw their responses

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  • Cary Leibowitz

    There’s a ceramic piece by Cary Leibowitz from 1993 that reads: FUCKED UP HOMO BAR-MITZVAH GAY BOY WORRIES TOO MUCH ABOUT WHAT HIS MOTHER WILL WEAR. “Museum Show,” which runs through June 25, 2017, at the Contemporary Jewish Museum in San Francisco, is Leibowitz’s first-ever solo museum exhibition and midcareer survey, covering nearly thirty years of the artist’s identity-centric, bummer-rich comedy via paintings, drawings, sculptures, texts, and more. Here, Leibowitz talks about his work, organizing his show, and Fran Drescher.


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  • Becca Albee

    In her slyly personal, obsessively researched work, Brooklyn-based artist Becca Albee uses photography, video, sculpture, and scent to evoke overlooked historical figures and cultural moments. Her current solo show, “prismataria,” curated by Jeanne Gerrity, employs a custom rotating light fixture to bathe an enigmatic suite of photographs, many depicting feminist books, in cyan, magenta, and yellow while an energizing blend of essential oils is diffused in the space. The show is on view at Et al. in San Francisco through March 11, 2017.


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  • Jamie Stewart

    Across thirteen albums and a handful of EPs, Xiu Xiu have remained a prickly, relentless force, inspiring loyalty, love, annoyance, and disgust in equal measure. Some people never get over their music, and some you couldn’t pay to even approach it. On the occasion of the release of their latest album, FORGET, the band’s mainstay Jamie Stewart discusses how he met Vaginal Davis (who performs on its last track), the band’s collaborations with Danh Vō, and the concept behind the record’s title. Polyvinyl will release FORGET on February 24, 2017.

    HOW I MET VAGINAL DAVIS is actually a long story and

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  • Peter Nadin

    British artist Peter Nadin arrived in New York in the late 1970s as a painter, and he then went on to undertake a series of key conceptual collaborations with other artists, including the Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince, and Winters. By the 1990s, he had begun to merge his farming practice in upstate New York with his artwork. Here, he discusses The Delivery, 2017, a twenty-minute film premiering in his exhibition “Third Mark,” which is scheduled to travel around Cuba for two years, giving rise to collaborations with local artists, cooks, and farmers along the way. The show’s

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  • Francis Alÿs

    Following an invitation from the Ruya Foundation, artist Francis Alÿs spent nine days in October and November 2016 embedded with the Kurdish Army, or Peshmerga, on the Mosul front line during their campaign to liberate the second-largest city of Iraq from ISIS. Here, Alÿs shares some of the notes he took during his embedment, as he grappled with questions of the artist’s role in war and the reality of nomadism and terror. The paintings produced in Mosul will be on view at the Iraqi pavilion at the 2017 Venice Biennale, as part of the show “Archaic,” which runs from May 13 through November 26,

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  • Raúl de Nieves and Colin Self

    Scored for a chorus and string ensemble, Raúl de Nieves and Colin Self’s chamber opera The Fool rises up with an ethos that feels equally majestic and DIY. After a 2014 premiere at ISSUE Project Room, The Fool returns with an elevated production at the Kitchen from February 9 through 11, 2017. Here, de Nieves and Self discuss the piece’s catharsis and community.

    IN EARLY IMAGININGS FOR THE FOOL, we both started identifying with the trickster archetype, a cultural figure that often uses magic or some kind of transformation to reveal or teach something. The trickster or jester is a character that

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  • Tom Burr

    For nearly three decades, Tom Burr’s sculptures, writings, collages, and photographs have tended to focus on access, site-specificity, the confluence of public and private environments, and the constructed persona. Here, he discusses his yearlong project “Tom Burr / New Haven”—conceived as part of Bortolami Gallery’s “Artist / City” initiative—for which Burr will occupy and activate the ground floor of the IKEA-owned, Marcel Breuer–designed Pirelli building in New Haven, beginning in March 2017. Also in New Haven, Burr will participate in a talk about the project on February 22 at 5:30 PM at

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  • Luisa Lambri

    For nearly twenty years, the artist Luisa Lambri has lingered in the twentieth century’s most hallowed interiors, using the doors, corners, and mood-altering apertures of modernist buildings by Aalto, Bo Bardi, Corbusier, and others as prompts for photographs that convey phenomenological experience rather than reliable documentation. On the occasion of “Breuer Revisited: New Photographs by Luisa Lambri and Bas Princen,” the artist reflects on her encounter with the work of Marcel Breuer and her tentative, arms-length relationship to architecture. The show runs February 1 through May 21, 2017,

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