PRINT December 2003

Kate Bush


1 “The Air Is Blue” (Casa Luis Barragán, Mexico City) Compared with the clutter and chaos of “Utopia Station” at the Venice Biennale, this Hans-Ulrich Obrist curatorial vehicle at architect Luis Barragán’s exquisite home in Mexico City was the epitome of restraint. Twenty-seven artists, local and foreign, were invited to respond to the man and his manse. Their interventions in the house were often as intangible as Barragán’s own subtle fusions of light, form, and color. Rirkrit Tiravanija got his green Cadillac running, and Cerith Wyn Evans played his record collection on old phonographs. But Lygia Pape’s ethereal web of golden threads strung across the light-flooded studio and Anri Sala’s photograph of a white horse impaled on a shiny steel column best apotheosized Barragán’s visionary conjunctions of nature and modernism.

2 “Cruel and Tender” (Tate Modern, London) Tate’s first-ever

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