PRINT December 2015

Lynne Cooke

Joan Jonas, They Come to Us Without a Word (Mirrors), 2015, mirrors, wood, lead crystals, iron, HD-video projection (color, sound, 2 minutes 11 seconds). Installation view, US pavilion, Venice. From the 56th Venice Biennale. Photo: Kate Lacey.

1 JOAN JONAS (US PAVILION, 56TH VENICE BIENNALE; CURATED BY PAUL C. HA AND UTE META BAUER) The extraordinary richness of Jonas’s imagery has never been more evident or labile in its interweaving of performance and installation. Ghosts of the physically departed yet psychically present mingled with mute species at risk of extinction, and youth was counterpointed with age in hauntingly elliptical pictures and stories—makeshift mnemonic talismans constructed in the face of ineluctable change.

2 GREER LANKTON (PARTICIPANT INC, NEW YORK) Extensively researched, this landmark show recuperated a singular artist who’d been on the brink of disappearing. Exquisitely tailored life-size dolls, tender photographs of a stylish Lankton posing with these sculptural companions, and searing drawings of her sex change were juxtaposed with extensive documentary material and works by the artist’s

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