TABLE OF CONTENTS

May 2015

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Cover: Hito Steyerl, How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013, HD video projection (color, sound, 14 minutes), architectural environment, dimensions variable.

May 2015, Vol. 53, No. 9

columns previews features reviews

COLUMNS

William Pope.L, Eating the Wall Street Journal (street version), 1991. Performance view, New York, summer 1991.

LETTERS

Exemplary Discussion

Lilian Novo Isioro for Invisible Borders’ Trans-African Project, Yaounde, Camaroun, 2012, digital C-print, 23 5/8 × 31 1/2".

NEWS

Okwui Enwezor on Okwui Enwezor talks with Michelle Kuo about the upcoming 56th Venice Biennale

View of “Frank Bowling: Map Paintings,” 2015, Dallas Museum of Art. From left: Texas Louise, 1971; Marcia H Travels, 1970.

ON SITE

Mark Godfrey on Melvin Edwards and Frank Bowling in Dallas

Portrait of Sanford Friedman in Richard Howard’s library, New York. Photo: David Alexander.

BOOKS

Joseph Grigely on Sanford Friedman’s Conversations with Beethoven

Bertrand Bonello, Saint Laurent, 2014, 35 mm, color, sound, 150 minutes. Loulou de la Falaise (Léa Seydoux), Yves Saint Laurent (Gaspard Ulliel), and Betty Catroux (Aymeline Valade). Photo: Carole Bethuel.

FILM

Melissa Anderson on Bertrand Bonello’s Saint Laurent

Crystal Moselle, The Wolfpack, 2015, digital video, color, sound, 84 minutes. From left: Krsna, Jagadisa, Bhagavan, Mukunda, Narayana, and Govinda Angulo.

FILM

Amy Taubin on Crystal Moselle’s The Wolfpack

Still from Jack Smith’s Hamlet in the Rented World (A Fragment), 1970–73, 16 mm, color, sound, 27 minutes. Hamlet (Jack Smith). © Jack Smith Archive.

FILM

J. Hoberman on Jack Smith’s Hamlet in the Rented World

Dee Rees, Bessie, 2015, HD video, color, sound, 112 minutes. Bessie Smith (Queen Latifah). Photo: Frank Masi/HBO.

TV

Farah Jasmine Griffin on Dee Rees’s Bessie

top ten

Cally Spooner

columns previews features reviews

Gustave Caillebotte, Luncheon, 1876, oil on canvas, 20 1⁄/2 × 29 1/2". © Comité Caillebotte

Vault

Gustave Caillebotte

View of “America Is Hard to See,” Whitney Museum of American Art, 2015. Wallpaper: Donald Moffett, He Kills Me, 1987. On wall: David Salle, Splinter Man, 1982. © David Salle/ Licensed by VAGA, New York, NY. Photo: Chandra Glick.

Focus Preview

“America Is Hard to See”

Summer Exhibitions

45 shows worldwide

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BEYOND BELIEF: THE ARCHITECTURE OF LACATON & VASSAL

David Huber

Satyajit Ray, Aparajito (The Unvanquished), 1957, 35 mm, black-and-white, sound, 109 minutes. Adolescent Apu (Smaran Ghosal).

SONGS OF SORROW: SATYAJIT RAY’S APU TRILOGY

James Quandt

Satyajit Ray, Pather Panchali (Song of the Little Road), 1955, 35 mm, black-and-white, sound, 125 minutes. Apu’s father, Harihar (Kanu Banerjee), and mother, Sarbajaya (Karuna Banerjee).

ART OF THE UNSPOKEN: ANTHONY KORNER TALKS WITH SATYAJIT RAY

Monira Al Qadiri, Travel Prayer, 2014, digital video, color, sound, 2 minutes 40 seconds.

OPENINGS: MONIRA AL QADIRI

Stephanie Bailey

Hito Steyerl, How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013, HD video projection (color, sound, 14 minutes), architectural environment, dimensions variable.

TECHNIQUES OF THE OBSERVER: HITO STEYERL AND LAURA POITRAS IN CONVERSATION

1000 WORDS: SIMON DENNY

Jacob Proctor

Jalal Toufic’s How to Read a Text Past a Surpassing Disaster?, translated from English to Ottoman by Selim S. Kuru (Forthcoming Books, 2010).

Jalal Toufic

Marwa Arsanios, After Doxiadis, a proposal for a new social housing project (detail), 2013–, concrete models, publication, sound, archival ink-jet prints, cardboard model, film, dimensions variable.

Marwa Arsanios

Hashim Sarkis Studios, Balloon Landing Park, 2005, Beirut. Photo: Joumana Jamhouri.

Hashim Sarkis

Ezzedine Kalak and Palestine Liberation Organization officials at “International Art Exhibition for Palestine,” 1978, Beirut Arab University, March 21, 1978. Photo: Claude Lazar.

Rasha Salti and Kristine Khouri

Fouad Elkoury, The Picnic, 1979, ink-jet print, 15 3/4 × 25 5/8". From the series “Civil War,” 1977–86.

Kaelen Wilson-Goldie

Joana Hadjithomas and Khalil Joreige, Latent Images, Drawer of Films (Extracts), Films from 4/11/98 to 11/04/99 (#809-956), 1997–2006, C-print, 18 1/2 × 22 7/8". From “Wonder Beirut,” 1997–2006.

Joana Hadjithomas and Khalil Joreige

Joana Hadjithomas and Khalil Joreige, Wonder Beirut #6, Rivoli Square, 1997–2006, C-print mounted on aluminum, 27 3/4 × 41 1/2". From the series “Wonder Beirut,” 1997–2006.

DISPATCH METROPOLIS NOW: CONTEMPORARY ART AND CULTURE IN BEIRUT

Joe Namy, Automobile, 2013. Performance view, street in front of Ashkal Alwan, Beirut, May 13, 2013. Photo: Omar Nasser.

Christine Tohme

Rayyane Tabet, Colosse aux pieds d’argile (Colossus with Feet of Clay), 2015, sixteen marble and sandstone columns, nineteen marble and sandstone bases, 292 concrete core samples. Installation view, Sfeir-Semler Gallery, Hamburg, 2015.

Rayyane Tabet

Image from Mounira al Solh’s The Sea Is a Stereo, 2008–.

Mounira Al Solh

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Lynn Hershman Leeson, America’s Finest, 1994, M16 rifle, webcam, original software. Installation view.

Diedrich Diederichsen on Lynn Hershman Leeson

DIS, The Island (KEN), 2015, mixed media. Installation view. Photo: Heji Shin.

Sam Pulitzer on the 2015 New Museum Triennial

Barbara Kasten at her exhibition “Centric 2: Barbara Kasten, Installation/Photographs,” 1982, Art Museum and Galleries, California State University, Long Beach.

Charlotte Cotton on Barbara Kasten

Spread from Francesca Woodman’s Some Disordered Interior Geometries, 1981, photolithographic prints on paper, 9 × 13".

Brian Dillon on “Pliure: Prologue (La part du Feu)”

View of “Florian Meisenberg,” 2015.

New York

View of “Michael Kaysen,” 2015.

Chicago

Michelle Grabner on Michael Kaysen

Elizabeth Jaeger, Black Leather Bench and Pink Bean Bag, 2015, leather, metal, dried peas, 25 × 74 × 40".

Dallas

Andy Campbell on Elizabeth Jaeger

View of “K.r.m. Mooney,” 2014–15. Background: Joan Green, Bimetal I, 2014. Foreground, from left: Bimetal, Plurals, 2014; Joan Green, Bimetal II, 2014.

Los Angeles

Suzy Lake, Beauty at a Proper Distance/In Song, 2001–2002, three color transparencies in light boxes, each 55 × 48".

Toronto

Sylwia Serafinowicz on Suzy Lake

View of “Anna Betbeze,” 2015. From left: Tangle, 2014; Sludge, 2014; Naples, 2014.

London

Gyan Panchal, La face (The Face), 2014, polyurethane, rust, 33 × 22 3/4 × 10 3/4".

Paris

View of “Harm van den Dorpel,” 2015. Left: Very Beta Still (scrum), 2015. Right: Chrysalis (mint) Mark II, 2015.

Berlin

Vlassis Caniaris, Interieur, 1974, mixed media, 6' 6“ × 17' × 4' 7”.

Karlsruhe

Stephanie Bailey on Vlassis Caniaris

View of “Marie Lund,” 2015.

Karlsruhe, Germany

Jurriaan Benschop on Marie Lund

Amelie von Wulffen, Untitled, 2013, oil on canvas, 78 3/4 × 55 1/8".

Vienna

Jens Asthoff on Amelie von Wulffen

Andrea Bowers, Radical Hospitality, 2015, stainless steel, aluminum tubes, wood, chain, neon signs, cable, 118 × 39 × 39".

Milan

Paola Nicolin on Andrea Bowers

View of “Mélanie Matranga,” 2015.

Zurich

Daniel Horn on Mélanie Matranga

Lisa Tan, Waves, 2014–15, HD video, color, sound, 19 minutes 12 seconds.

Stockholm

Ronald Jones on Lisa Tan

Fouad Elkoury, Oum Koulthoum Café in Luxor, 1990, ink-jet print, 23 3/4 × 35 1/2".

Beirut

Kaelen Wilson-Goldie on Fouad Elkoury

Liang Shuo, The Grand Topology (detail), 2015, particleboard, self-adhesive PVC, dimensions variable.

Beijing

Qianxi Liu on Liang Shuo

Matthew Barney, Boat of Ra, 2014, wood, resin-bonded sand, steel, furniture, cast bronze, gold-plated bronze, 11 × 50 × 24'.

Hobart, Australia

Anthony Byrt on Matthew Barney

Luiz Zerbini, Serra do luar (Moonlight Mountains), 2014, acrylic on canvas, 94 1/2 × 94 1/2".

São Paulo

Camila Belchior on Luiz Zerbini