TABLE OF CONTENTS

February 2020

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February 2020, Vol. 58, No. 6

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COLUMNS

Still from Kantemir Balagov’s Beanpole, 2019, 2K video, color, sound, 137 minutes. Iya (Viktoria Miroshnichenko) and Masha (Vasilisa Perelygina).

film

James Quandt on Kantemir Balagov’s Beanpole

Thomas Ostermeier, History of Violence, 2019. Rehearsal views, St. Ann’s Warehouse, New York, November 12, 2019. Édouard (Laurenz Laufenberg) and Reda (Renato Schuch).

performance

Jennifer Krasinski on the theatrical adaptation of Édouard Louis’s History of Violence

Michelle Stuart, Every Wave Book (for Melville), 1979, earth, sand, and sea pebbles from North Shore of Long Island, linen, muslin-mounted rag paper, 8 × 14 × 3 1⁄2".

LANGUAGE

Mira Dayal on Michelle Stuart’s books

Jean-Jacques Lequeu, Il tire la langue (He Sticks Out His Tongue), 1777–1825, pen, ink, and wash on paper, 13 5⁄8 × 9 1⁄4".

architecture

Meredith Martin on Jean-Jacques Lequeu

COUM Transmissions poster (detail), 1973. Genesis Breyer P-Orridge and Cosey Fanni Tutti.

slant

FT on a true icon, Genesis Breyer P-Orridge

Kareem Risan, Al Mutanabbi Street, 2007, mixed media on paper mounted on board; closed: 16 1⁄2 × 16 1⁄2 × 3 1⁄2".

ON SITE

Tausif Noor on “Theater of Operations: The Gulf Wars 1991–2011”

Promotional poster (detail) for Paul Terry’s cartoon Mighty Mouse, ca. 1940s.

topten

Annie Dorsen

columns features reviews

1943 catalogue card of Neo-Hittite orthostats from Tell Halaf, Syria, 10th–9th century BCE, Metropolitan Museum of Art, New York.

LET THE RECORD SHOW

KAELEN WILSON-GOLDIE ON RAYYANE TABET

Pope.L, Choir, 2019, one-thousand-gallon plastic water-storage tank, water, drinking fountain, copper pipes, solenoid valves, pumps, MIDI controllers, electronic-timer module, level-detection probe, flow meters, programmable logic controller, wood, scrim, vinyl letters, graphite, microphones, speakers, wires, sound. Installation view, Whitney Museum of American Art, New York. Photo: Ron Amstutz. © Pope.L.

POPE.L

Pope.L, Choir (detail), 2019. Photo: Ron Amstutz. © Pope.L.

POPE.L WALKS INTO A ROOM

SIMONE WHITE ON THE ART OF POPE.L

Pope.L, Package Received but Never Opened # 21, 2017, Maisie’s Savory snack mix, The Popcorn Factory caramel popcorn, Emilie Roux Pretzel snacks, Walker’s Belgian chocolate cookies, Ghirardelli dark chocolate blueberry squares, ceramic bowl, clear plastic, silk ribbon. Installation view, Museum of Modern Art, New York, 2019. Photo: Chandra Glick. © Pope.L.

MEMBERS ONLY

CIARÁN FINLAYSON ON THE ART OF POPE.L

JOHN GIORNO (1936–2019)

John Giorno, I Want to Cum in Your Heart, 2017, ink-jet print, 26 × 26".

Laura Hoptman

on John Giorno

Dodrupchen Rinpoche at John Giorno’s Bunker, New York, June 24, 1989.

Fanny Howe

on John Giorno

John Giorno, Just Say No to Family Values, 1997, silk screen on paper, 22 × 22". © Durham Press/John Giorno.

Anne Waldman

on John Giorno

Film strip from Andy Warhol’s Sleep, 1963, 16 mm, black-and-white, silent, 321 minutes. John Giorno. © The Andy Warhol Foundation forthe Visual Arts, Inc./Artists Rights Society (ARS), New York; CNAC/MNAM/Dist. RMN-Grand Palais/Art Resource, NY.

Joan Jonas

on John Giorno

Ugo Rondinone, Thanx 4 Nothing (detail), 2015, still from the 2K video component (black-and-white, sound, 24 minutes 14 seconds) of a mixed-media installation additionally comprising four screens, sixteen monitors, and a carpet.

Ugo Rondinone

on John Giorno

Still from Eileen Myles’s The Trip, 2019, Super 8, color, sound, 17 minutes 9 seconds.

NEVER TOO LATE

RACHEL CHURNER ON THE LATE STYLE OF EILEEN MYLES AND YVONNE RAINER

Christine Sun Kim, Yo Momma So Heavy-Deaf, 2019, charcoal and oil pastel on paper, 16 1⁄2 × 16 1⁄2".

PROJECT: CHRISTINE SUN KIM

Malik Gaines presents new drawings by the artist

Tianzhuo Chen, Trance, 2019. Performance view, M Woods, Beijing, October 31, 2019. Photos: Peiyu Shen.

OPENINGS: TIANZHUO CHEN

Travis Jeppesen on Tianzhuo Chen

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Charlotte Perriand, Le Corbusier, and Pierre Jeanneret, Chaise longue basculante B 306 (Adjustable reclining chaise longue B 306), 1928, lacquered sheet steel, chromium-plated tube, rubber, fabric, steel springs, 26 3⁄8 × 63 5⁄8 × 22 5⁄8". Charlotte Perriand, 1929. © F.L.C./ADAGP, Paris; © ADAGP, Paris; © AChP.

Daniel Marcus on Charlotte Perriand

Julie Mehretu, Hineni (E. 3:4), 2018, ink and acrylic on canvas, 8 × 10'.

Julia Bryan-Wilson on Julie Mehretu

Paul P., Untitled, 2019, oil on linen, 10 5⁄8 × 8 3⁄4".

New York

Zalika Azim, Until these calamities be overpast, 2018, digital C-print, 20 × 30". From “In Conversation: Visual Meditations on Black Masculinity.”

Philadelphia

Simone White on “In Conversation: Visual Meditations on Black Masculinity”

View of “Rotimi Fani-Kayode,” 2019. Top: Maternal Milk, ca. 1986. Bottom, from left: Nothing to Lose XII (Bodies of Experience), 1989; The Golden Phallus, 1989.

Chicago

lauren woods, Archive I, 2018–, mixed media. Installation view.

Irvine

Kavior Moon on lauren woods

Liz Magic Laser, In Real Life, 2019, five-channel HD video, color, sound, 112 minutes.

Los Angeles

Danh Vo, Untitled, 2019, mixed media. Installation view.

Mexico City

Gaby Cepeda on Danh Vo

Sonia Andrade, Naufrágio (Shipwreck) (detail), 2019, mixed media, 70 7⁄8 × 47 5⁄8 × 24".

Rio de Janeiro

Javier Montes on Sonia Andrade

Yeguas del Apocalipsis (Mares of the Apocalypse), Las dos Fridas (The Two Fridas), 1989, ink-jet print, 53 1⁄8 × 47 1⁄4".

Buenos Aires

Kerry Doran on Yeguas del Apocalipsis

Lisa Brice, Untitled, 2019, oil on tracing paper, 16 1⁄2 × 11 5⁄8".

London

Zineb Sedira, Don’t do to her what you did to me, 1998–2001, video, color, sound, 8 minutes.

Paris

Emily LaBarge on Zineb Sedira

Delphine Seyrig, Sois belle et tais-toi! (Be Pretty and Shut Up!), 1976, video, black-and-white, sound, 115 minutes. From “Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s.”

Madrid

Kaira M. Cabañas on “Defiant Muses”

Dasha Shishkin, small sharp weapons and a hunk of kick-ass cheese, 2019, acrylic and sanguine on cloth, 29 1⁄2 × 51 1⁄8".

Palma de Mallorca, Spain

Jens Asthoff on Dasha Shishkin

Olu Oguibe, Composition with Blue, Red and Yellow, 2019, mixed media, dimensions variable.

Milan

Giorgio Verzotti on Olu Oguibe

Berlinde De Bruyckere, Aletheia, on-vergeten (Aletheia, Unforgotten), 2019, mixed media. Installation view.

Turin

Veronica Santi on Berlinde De Bruyckere

Adrian Paci, Prova (Test), 2019, HD video, color, sound, 10 minutes 16 seconds.

Tirana

Nuit Banai on Adrian Paci

Michael Williams, Cow in Computer Lab, 2019, oil on canvas, 100 1⁄4 × 78 1⁄8".

Zurich

Pamela Kort on Michael Williams

View of “Thea Djordjaze,” 2019.

Winterthur, CH

Jacob Proctor on Thea Djordjadze

Michaela Meise, Goodnight, Seattle, and good mental health, 2019, mixed media, 27 1⁄2 × 39 3⁄8".

Berlin

Kristian Vistrup Madsen on Michaela Meise

Anna Gaskell, Fixed Prey, 2019, vinyl paint and pencil on paper, 22 1⁄2 × 29 7⁄8".

Cologne

Noemi Smolik on Anna Gaskell

View of “Dénes Farkas,” 2019.

Tallinn

Neringa Cerniauskaite on Dénes Farkas

Hulda Guzmán, Selfportrait, 2019, watercolor and acrylic gouache on cedar plywood, 39 × 24 1⁄8".

Athens

Cathryn Drake on Hulda Guzmán

Tala Madani, Mr. Time, 2018, video animation, color, sound, 7 minutes 9 seconds. From the 5th Ural Industrial Biennial of Contemporary Art.

Yekaterinburg, Russia

Kate Sutton on 5th Ural Industrial Biennial of Contemporary Art

David Koloane, Under The Bridge II, 2008, acrylic on canvas, 63 × 63".

Johannesburg

Athi Mongezeleli Joja on David Koloane

Nalini Malani, George Orwell Once Said, 2018, iPad animation, color, sound, 30 seconds.

Mumbai

Meera Menezes on Nalini Malani

Tong Wenmin, Branch, 2019, 4K video, color, sound, 53 minutes 8 seconds.

Beijing

Qing Zhang on Tong Wenmin

Zheng Bo, Pteridophilia 1–4, 2016–19, 4K video, color, sound, 68 minutes.

Shanghai

Travis Jeppesen on Zheng Bo

Seeun Kim, Pothole Calling to, 2018, water-mixable oil on canvas, 78 3⁄4 × 70 7⁄8".

Seoul

Hiji Nam on Seeun Kim

Paul Yore, (Soft) Hard Brexit, 2018, mixed media, 73 1⁄4 × 15 3⁄8 × 19 1⁄4".

Ararat, Australia

Helen Hughes on Paul Yore