TABLE OF CONTENTS

September 2013

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Cover: Camille Henrot, Grosse Fatigue (detail), 2013, video, color, sound, 13 minutes.

September 2013, Vol. 52, No. 1

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COLUMNS

Channa Horwitz, Moiré 8 different angles #9, 1983, ink on Mylar, 22 x 30 3/8".

PASSAGES

Chris Kraus on Channa Horwitz

Joseph Wright, Arkwright’s Cotton Mills by Night, ca. 1782, oil on canvas, 39 1/4 x 49 1/2".

BOOKS

Michael Hardt on Jonathan Crary’s 24/7

Pablo Helguera during road trip for School of Panamerican Unrest, 2003–, Tok, Alaska, May 19, 2006.

BOOKS

Chus Martínez on trans-American modernism

Still from Penny Lane’s Our Nixon, 2013, Super 8 mm, color, sound, 84 minutes.

FILM

J. Hoberman on Penny Lane’s Our Nixon

Jorge Pardo, Tecoh, 2012, Tecoh, Mexico. Photos: Jody Asano.

ON SITE

Jan Tumlir on Jorge Pardo’s Tecoh

Carlito Carvalhosa, Sala de Espera (Waiting Room), 2013, telephone poles, steel bolts. Installation view, Museu de Arte Contemporânea, São Paulo.

ON SITE

Carol Armstrong on Carlito Carvalhosa’s Waiting Room

The Museum of Non Participation’s performance of Bertolt Brecht’s The Exception and the Rule, 1929. Walker Art Center, Minneapolis, April 18, 2013. From left: Susy Bielak, David Kim, Rigoberto Lara Guzmán, Karen Mirza, Alejandra Tobar, and Aaron Rosenblum. Photo: Olga Ivanova.

ON SITE

Julia Bryan-Wilson on the Museum of Non Participation

SLANT

Alison M. Gingeras on Jeff Koons

MOS Architects, Krabbesholm Studios, 2012, Skive, Denmark. Photo: Per Andersen and Kurt Finsten.

ARCHITECTURE

Hilary Sample and Michael Meredith on the Krabbesholm studios

top ten

Mark Aerial Waller

columns previews features reviews

Gilda Mantilla and Raimond Chaves, Isla (Island), 2009, video, color, silent, 5 minutes 49 seconds. From the 9th Mercosul Biennial.

Fall Exhibitions

50 shows worldwide

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Stones from Roger Caillois’s collection on display at the 55th Venice Biennale, Central Pavilion, Venice, 2013. From “The Encyclopedic Palace.” Photo: Kate Lacey.

VENICE 2013

Marino Auriti, Il palazzo enciclopedico del mondo (The Encyclopedic Palace of the World), ca. 1950s, wood, plastic, glass, metal, hair combs, model kit parts. Installation view, Arsenale, Venice, 2013. From “The Encyclopedic Palace.” Photo: Kate Lacey.

Lynne Cooke

Camille Henrot, Grosse Fatigue, 2013, video, color, sound, 13 minutes.

Pamela M. Lee

Dieter Roth, Solo Szenen (Solo Scenes), 1997–98, 131 video monitors, media players, shelving. Installation view, Arsenale, Venice, 2013. From “The Encyclopedic Palace.” Photo: Kate Lacey. © Dieter Roth Estate.

Benjamin H. D. Buchloh

View of “Oo,” 2013, Lithuania/Cyprus pavilion, Venice. Foreground: Maria Hassabi,Intermission, 2013; Gabriel Lester, Cousins, 2013. Background: Dexter Sinister,Work in Progress, 2013–. Photo: Robertas Narkus.

Claire Bishop

View of “When Attitudes Become Form: Bern 1969/Venice 2013,” 2013, Fondazione Prada, Ca’ Corner della Regina, Venice. Foreground, from left: Gary B. Kuehn, Untitled, 1968; Gary B. Kuehn, Untitled (Wedge Piece), 1968; Walter De Maria, Art by Telephone, 1967; Alan Saret, Zinc Fire, 1968; Aldo Walker, Kleines Kreuz no.128 (Small Cross no.128), 1969; Reiner Ruthenbeck, Aschenhaufen III (Ash Heap III), 1968; Richard Tuttle, Canvas Dark Blue, 1967. Background, from left: Bill Bollinger, Pipe Piece, 1968; Eva Hesse, Augment, 1968; Reiner Ruthenbeck, Möbel I (Furniture I), 1968. Photo: Kate Lacey. © Artists Rights Society (ARS), New York.

Thomas Crow

Steve McQueen, Once  upon a Time, 2002, 116 35-mm slides digitized for projection, sound, 70 minutes. From “The Encyclopedic Palace.”

Okwui Enwezor

View of Jeremy Deller’s “English Magic,” 2013, British pavilion, Venice. Foreground: I searched for form and land for years and years I roamed, 2013. Background: A Good Day for Cyclists, 2013. Photo: Cristano Corte.

Daniel Birnbaum

View of “Welcome to Iraq,” 2013, Iraqi pavilion, Venice. On left wall: Kadhim Nwir, Untitled, 2011. On right wall: Kadhim Nwir, Untitled, 2011. Photo: Kate Lacey.

Negar Azimi

Microscopic view of debris from the September 11, 2001, collapse of the World Trade Center in New York. Photo: David Scharf/Science Faction/Corbis.

HIGH RISK: ART, ENVIRONMENT, CRISIS

Aerial view of destruction caused by tsunami, coast of Sumatra, January 2, 2005. Photo: Philip A. McDaniel/US Navy.

RIVER’S EDGE: CLIMATE CHANGE AND RISK ASSESSMENT

Guy Nordenson and Catherine Seavitt

Toyo Ito & Associates, Sendai Mediatheque, 2001, Sendai, Miyagi, Japan. Photo: Tomio Ohashi.

THE BUILDING AFTER

Toyo Ito interviewed by Julian Rose

Still from Willie Doherty’s Secretion, 2012, HD video, color, sound, 20 minutes.

CLOSE-UP: SWAMP THING

David Frankel on Willie Doherty’s Secretion, 2012

Random International, Rain Room, 2012, water, injection-molded tiles, solenoid valves, pressure regulators, custom software, 3-D tracking cameras, steel beams, water-management system, grated floor. Installation view, Museum of Modern Art, New York, 2013.

LIMITS OF CONTROL: RAIN ROOM AND IMMERSIVE ENVIRONMENTS

Felicity Scott

Still from Rosa Barba’s Outwardly from Earth’s Center, 2007, 16 mm transferred to video, color and black-and-white, sound, 22 minutes.

CLOSE-UP: UNMOORED FUTURE

Henriette Huldisch on Rosa Barba’s Outwardly from Earth’s Center (2007)

Atomic bomb test explosion, Nevada Proving Grounds, ca. 1952. Photo: Harold Edgerton/MIT Museum.

SECOND NATURE

Michel Serres interviewed by Paul Galvez

TWO ANTITHETICAL ARCHIVES CAUGHT IN A CRUEL DIALECTIC

A project by Nils Norman

Liz Larner, Orchid, Buttermilk, Penny, 1987, Cibachrome print, 15 1/2 x 19 1/2".

CLOSE-UP: DOOM AND BLOOM

Beau Rutland on Liz Larner’s Orchid, Buttermilk, Penny, 1987

Cow-milking-machine demonstration, ca. 1946. Photo: Kirn Vintage/Corbis.

COWS

Vilém Flusser, Geoffrey Winthrop-Young, introduction

Still from Frank Gillette’s Symptomatic Syntax, 1981, video, color, sound, 27 minutes 20 seconds. Photo: Electronic Arts Intermix (EAI), New York.

CLOSE-UP: WEATHER CHANNEL

Ina Blom on Frank Gillette’s Symptomatic Syntax, 1981, and Paul Ryan’s Earthscore Notational System, 1971–

Iwan Baan, Untitled, 2011, digital photograph.

ATMOSPHERIC PRESSURE

A portfolio by Iwan Baan

Still from Martin Beck’s The Environmental Witch-Hunt, 2008, HD digital video, color, sound, 10 minutes 2 seconds.

CLOSE-UP: UNSUSTAINABLE DESIGN

Jeannine Tang on Martin Beck’s The Environmental Witch-Hunt, 2008

Joan Semmel, Knees Together, 2003, oil on canvas, 60 x 48". From the series “With Camera,” 2001–2006.

CAMERA EYE: THE ART OF JOAN SEMMEL

Richard Meyer

Still from Jean Rouch and Edgar Morin’s Chronique d’un été (Chronicle of a Summer), 1961, 16 mm and 35 mm transferred to 35 mm, black-and-white, sound, 90 minutes. Photo: The Criterion Collection.

CLOSE-UP: IN KINO VERITAS

Amy Taubin on Jean Rouch and Edgar Morin’s Chronique d’un été (1961) and Chris Marker and Pierre Lhomme’s Le Joli Mai (1963)

One of fifty images from projection sequence by Justin Barton and Mark Fisher in collaboration with Andy Sharp accompanying Barton and Fisher’s On Vanishing Land, 2013, sound, 45 minutes.

OPENINGS: JUSTIN BARTON AND MARK FISHER

T. J. Demos

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Molly Warnock on Simon Hantaï

View of “Pavilionesque,” 2013. Foreground, from left: Pavilionesque, 2013; Toda-miracle in children’s language, 2013; Chatka, Children’s Imagination, a Box, 2013. Background, from left: Groteska I, 2013; Krajské Bábkové divadlo v Rabce-Zdrój, 2013; The Foyer, Rabcio Puppet Theater, Rabka-Zdrój, Poland, 2013; Shadows Madly Alive I.–V., 2012. Photo: Serge Hasenböhler.

Quinn Latimer on Paulina Olowska

View of “Katja Mater,” 2013.

Amsterdam

Hans den Hartog Jager on Katja Mater

View of “William Powhida,” 2013.

Los Angeles

View of “Jutta Koether,” 2013.

Bristol, UK/London

Sherman Sam on Jutta Koether

Aaron Flint Jamison, Funnel Horn, 2013, acrylic, fiberglass, plastic hoses, spray foam, jets, 82 5/8 x 82 5/8 x 39 3/8".

London

Alexander Scrimgeour on Aaron Flint Jamison

Aleana Egan, Meanwhile, 2013, steel, fabric, 9' 10 1/8“ x 11' 6” x 4' 11 1/8".

Dublin

Declan Long on Aleana Egan

Prajakta Potnis, room full of rooms, 2013, slide projection, photographs, drawings, lace, embroidery, dimensions variable. From “L’exigence de la saudade.”

Paris

Daniel Firman, Nasutamanus, 2012, fiberglass, polymer, 7' 2 3/4“ x 17' 7/8” x 3' 8".

Lyon, France

Mara Hoberman on Daniel Firman

Page 96 from Henri Chopin’s La Crevette Amoureuse (The Shrimp in Love), 1967–75, typescript and collage on paper, 11 1/2 x 8 1/4".

Berlin

Gillian Carnegie, Prince, 2011, oil on canvas, 27 1/2 x 35 1/2".

Cologne

Noemi Smolik on Gillian Carnegie

Manfred Kuttner, Pair-Impair, 1963, tempera, fluorescent paint on decorative fabric, 71 x 45 1/4".

Esslingen, Germany

Luke Smythe on Manfred Kuttner

Loredana Di Lillo, Tyrant, 2013, six framed C-prints on aluminum, each 35 1/4 x 28".

Milan

Alessandra Pioselli on Loredana Di Lillo

Gabriel Kuri, .)(., 2013, Dumpster, powder-coated metal plate, stones, 7' 6 1/2“ x 17' 5/8” x 5' 5".

Turin

Marco Tagliafierro on Gabriel Kuri

Pierre-Olivier Arnaud, Untitled (abstract), 2013, silk screen on paper, 68 7/8 x 47 1/4". Skopia.

Geneva

Hans Rudolf Reust on Pierre-Olivier Arnaud

Fernando García, Alacena (detail), 2013, wood, string, mixed media, 10' 10“ x 3' 3 3/8” x 11 7/8".

Madrid

Julião Sarmento, First Easy Piece, 2013, 3-D printed sculpture, ABS plastic, wood, chipboard, water-based enamel on glass, ink-jet prints on aluminum, frames, water-based enamel and acrylic on paper, dimensions variable.

Lisbon

Filipa Oliveira on Julião Sarmento

Olivia Plender, Self-direction Lounge, 2013, mixed media, dimensions variable. From “Arbeidstid” (Work Time).

Høvikodden, Norway

Johanne Nordby Wernø on “Arbeidstid”

Leung Chi Wo, Bright Light Has Much the Same Effect as Ice (detail), 2012, albumen prints, engraved Plexiglas, LED light boxes, steel frames, each 32 x 49 1/4 x 2 3/8", one element of a mixed-media installation.

Hong Kong

Stephanie Bailey on Leung Chi Wo

Arne Svenson, The Neighbors #1, 2012, pigment print, 26 x 63".

New York

View of “Tony Feher,” 2013.

Lincoln, MA

Gregory Williams on Tony Feher

Lynda Benglis, Toyopet Crown, 1989, stainless steel mesh, aluminum, 66 x 59 x 13".

Philadelphia

Bibiana Obler on Lynda Benglis

Thomas Demand, Marina Fine Arts #37, 2011, pigment print, 42 x 63". © Thomas Demand, VG Bild-Kunst, Bonn/ARS, New York.

Chicago

Daniel Quiles on Thomas Demand

View of “Abraham Cruzvillegas,” 2013.

Minneapolis

Julia Bryan-Wilson on Abraham Cruzvillegas

Mathew Hale, Page 71 of MIRIAM’S BODY (detail), 2013, mixed media, 61 x 41 x 7". From the series “MIRIAM,” 2001–.

San Francisco

Gwen Allen on Mathew Hale