TABLE OF CONTENTS

May 2017

list view

Cover: Allora & Calzadilla, Puerto Rican Light (Cueva Vientos), 2015, solar-powered batteries and charger, plywood crate, Dan Flavin’s Puerto Rican light (to Jeanie Blake) 2, 1965. Installation view, El Convento Natural Protected Area, Puerto Rico, 2015–17. Photo: Allora & Calzadilla.

May 2017, Vol. 55, No. 9

columns previews features reviews

COLUMNS

Dawn Kasper, & sun & or THE SHAPE OF TIME, 2014. Performance view, David Lewis Gallery, New York, April 29, 2014. Dawn Kasper. Photo: Adam Reich.

NEWS

Christine Macel talks with Michelle Kuo on the 57th Venice Biennale

Marcel Broodthaers, Monsieur Teste, 1975, mechanical figure, wicker chair, magazine. Installation view, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2016–17. Photo: Joaquín Cortés/Román Lores. © Estate of Marcel Broodthaers/Artists Rights Society (ARS), New York/SABAM, Brussels.

SLANT

Eric C. H. de Bruyn on Marcel Broodthaers

Frank Heath, The Hollow Coin, 2016, HD video, color, sound,12 minutes 25 seconds.

SLANT

Robert Slifkin on Frank Heath

Tod Browning, Freaks, 1932, 35 mm, black-and-white, sound, 64 minutes. Production still.

BOOKS

Nico Baumbach on Jean Louis Schefer’s Ordinary Man of Cinema

Cover of Lisa Robertson’s 3 Summers (Coach House Books, 2016). Design and illustration by Hadley+Maxwell.

BOOKS

Mia You on Lisa Robertson’s 3 Summers

Still from Paz Encina’s Ejercicios de memoria (Memory Exercises), 2016, digital video, color, sound, 70 minutes.

FILM

J. Hoberman on Paz Encina

FASHION

David Lieske on the fall collections

top ten

Ivana Bašić

columns previews features reviews

Summer Exhibitions

45 shows worldwide

Mika Rottenberg, Cosmic Generator (Yiwu) (work in progress), still from the video component of a mixed-media installation. From Skulptur Projekte Münster.

Focus Preview

the Venice Biennale, Documenta 14, and Skulptur Projekte Münster

columns previews features reviews

DISPATCH: ART IN WARSAW

“Black Monday” abortion-ban protest, Warsaw, October 3, 2016. Photo: Janek Skarzynski/Getty Images.

Joanna Mytkowska

View of “Piotr Łakomy: Tomorrow Will Be Smaller,” 2014, House of Polish Words, Warsaw.

Piotr Łakomy

Elżbieta Janicka and Wojciech Wilczyk, Małe getto. Widok z Królewskiej 45 w kierunku południowo-zachodnim—10 marca 2011 (Small Ghetto: View from 45 Królewska Street Toward the Southwest—March 10, 2011), C-print, 43 1/4 × 52 1/8". From the series “Inne Miasto” (Other City), 2011–12.

Natalia Sielewicz

View of “Bread and Roses: Artists and the Class Divide,” 2016, Museum of Modern Art, Warsaw. Photo: Bartosz Stawiarski.

Agnieszka Kurant

Artur Żmijewski, Collection (detail), 2016, 16 mm transferred to ten-channel digital video projection, black-and-white, silent, indefinite duration. Jaroslaw, 4 minutes 57 seconds.

Artur Żmijewski

Monika Sosnowska, Untitled, 2015, concrete, painted steel. Installation view, Foksal Gallery, Warsaw, 2016. Photo: Bartosz Górka.

Monika Sosnowska

Central Warsaw, February 1945. Photo: Images Group/Rex/Shutterstock.

Anna Kats

Piotr Uklański, Untitled (The Auschwitz-Birkenau State Museum, Oświęcim), 2015, C-print, 7 1/4 × 11".

Piotr Uklański

Allora & Calzadilla, Puerto Rican Light (Cueva Vientos), 2015, solar-powered batteries and charger, plywood crate, Dan Flavin’s Puerto Rican light (to Jeanie Blake) 2, 1965. Installation view, El Convento Natural Protected Area, Puerto Rico, 2015–17. Photos: Allora & Calzadilla.

CLOSE UP: ON AND OFF ART

Irene V. Small on Allora & Calzadilla’s Puerto Rican Light (Cueva Vientos), 2015

An-My Lê, November 5, Sugar Cane Field, Houma, Louisiana, 2016, ink-jet print, 40 × 56".

Johanna Fateman

Cauleen Smith, I’m So Black That I Blind You, 2017, satin, poly-satin, wool felt, wool velvet, indigo-dyed silk-rayon velvet, indigo-dyed silk satin, embroidery floss, acrylic fabric paint, polyester fringe, poly-silk tassels, sequins, 67 × 50". From the series “In The Wake,” 2017. Installation view, Whitney Museum of American Art, New York, 2017. Photo: Chandra Glick.

Tobi Haslett

Rainer Werner Fassbinder, Angst essen Seele auf (Ali: Fear Eats the Soul), 1974, 35 mm, color, sound, 93 minutes. Eugen (Rainer Werner Fassbinder) and Emmi Kurowski (Brigitte Mira). Photo: the Criterion Collection.

SONS, MOTHERS, AND LOVERS:

Ara Osterweil on ANDY WARHOL’S AND RAINER WERNER FASSBINDER’S QUEER HOME MOVIES

Lantian Xie, Woodland Fern No. 4, 2014, paint, fluorescent tube light, ashtray, lighter, cigarette butts. Installation view, Grey Noise, Dubai, 2014–15. Photo: Musthafa Aboobacker.

OPENINGS: LANTIAN XIE

Melissa Gronlund

columns previews features reviews

View of “Cercle d’Art des Travailleurs de Plantation Congolaise” (Congolese Plantation Workers Art League), 2017. Photo: Kyle Knodell.

Chika Okeke-Agulu on Cercle d’Art des Travailleurs de Plantation Congolaise

Artists from Cercle d’Art des Travailleurs de Plantation Congolaise (Congolese Plantation Workers Art League) meet with Institute for Human Activities staff members Laurens Otto (second from left) and Nicolas Jolly (right), Lusanga, Democratic Republic of the Congo, September 22, 2016. Photo: Léonardo Pongo.

Claire Bishop on Cercle d’Art des Travailleurs de Plantation Congolaise

View of “Jimmie Durham: At the Center of the World,” 2017. Photo: Brian Forrest.

Michael Ned Holte on Jimmie Durham

View of “Merce Cunningham: Common Time,” 2017. Background: Mark Lancaster, decor for Sounddance, 1975. Foreground: Jasper Johns, set elements from Walkaround Time, 1968. Photo: Gene Pittman.

Julia Bryan-Wilson on Merce Cunningham

Nancy Lupo, AAA (detail), 2016, mixed media, dimensions variable.

Los Angeles

Mahmoud Bakhshi, The Unity of Time and Place (detail), 2017, vintage cinema chairs, found objects, carpet, ink-jet prints, two HD video projections (black-and-white, sound, 2 minutes 23 seconds; color, sound, 4 minutes 15 seconds). Installation view.

London

Lubaina Himid, Le Rodeur: Exchange, 2016, acrylic on canvas, 72 × 96".

Oxford/Bristol/Nottingham, UK

Lauren Dyer Amazeen on Lubaina Himid

Phillip Allen, Bombay Soutin, 2016, oil on board, 10 1/4 × 11 3/4".

Dublin

Declan Long on Phillip Allen

Mel O’Callaghan, En Masse (blue and black iridescent pull), 2017, acrylic on glass, 63 × 47 1/4". From the series “En Masse,” 2017–.

Paris

Stijn Ank, Fresco (01.2017), 2017, pigmented plaster. Installation view, Künstlerhaus Bethanien. Photo: Gunter Lepkowski.

Berlin

Wolfgang Plöger, Weißabgleich (White Balance), 2016, paper in nine different shades of white; ink-jet print, silk screen, spray paint on paper, 6' 10 5/8“ × 15' 9”.

Düsseldorf

Noemi Smolik on Wolfgang Plöger

Koenraad Dedobbeleer, Considered Unrepresentative, 2016, powder-coated steel and galvanized metal, 51 1/8 × 23 5/8 × 17 3/4". Photo: Peter Baracchi.

Zurich

Hans Rudolf Reust on Koenraad Dedobbeleer

View of “Mario Nigro,” 2017. On wall, from left: Dal tempo totale: traliccio a rombi progressivi in rosso (From Total Time, Lattice of Progressive Rhombi in Red), 1967; Dallo spazio totale 1954: serie di 12 rombi continui a progressioni ritmiche simultanee alternate opposte (From Total Space of 1954: Series of 12 Continuous Rhombi in Simultaneous Alternate Opposing Rhythmic Progressions), 1965. Floor: Dal tempo totale: passeggiata ritmica progressiva con variazione cromatica (il corso della vita: le stagioni) (From Total Time: Progressive Rhythmic Perspective Walk with Color Variations [Lifetime: Seasons]), 1967–68. Photo: Bruno Bani.

Milan

Giorgio Verzotti on Mario Nigro

Anna Uddenberg, Savage #9 (bea ride), 2017, aqua-resin, fiberglass, suitcase, puffy jacket, synthetic hair, acrylic nails, cozy socks, mesh, vinyl, rubber string, flip flops, 42 1/2 × 41 3/8 × 29 1/2". From “Homo Mundus Minor.” Photo: Roberto Apa.

Rome

Mike Watson on “Homo Mundus Minor”

Jacolby Satterwhite, En Plein Air: Music of Objective Romance, 2016–, HD video, color, sound, 10 minutes. From “Myths of the Marble.”

Høvikodden, Norway

Maria Moseng on “Myths of the Marble”

View of “Leylâ Gediz,” 2017. Photo: Hasan Deniz.

Istanbul

Mine Haydaroglu on Leylâ Gediz

View of “Song Dong,” 2017. Foreground: Policemen, 2000–2004. Background: Mirror Hall, 2016–17.

Shanghai

Hanlu Zhang on Song Dong

Wong Ping, Who’s the Daddy, 2017, HD video, color, sound, 9 minutes.

Hong Kong

Stephanie Bailey on Wong Ping

Pannaphan Yodmanee, Aftermath, 2016, mixed-media installation with found objects, concrete, and paint. From the Singapore Biennale.

Singapore

Murtaza Vali on Singapore Biennale

Yoshua Okón, Miasma, 2016, eight ink-jet prints mounted on MDF. Installation view. Photo: Ramiro Cháves.

Mexico City

Gabriela Jauregui on Yoshua Okón

Lydia Okumura, Untitled I, Installation at Pratt Institute Gallery, Brooklyn, NY 1980; SP 2017, 1980/2017, acrylic and cord, 7' 6 1/2“ × 14' 5 1/4” × 5' 10 7/8".

São Paulo

Camila Belchior on Lydia Okumura

Abraham Palatnik, Objeto Cinético KK - 9ª (Kinetic Object KK - 9ª), 1966/2009, wood, Formica, steel, motor, 24 × 38 5/8 × 6 5/8". From the series “Objetos Cinéticos” (Kinetic Objects), 1964–.

Rio de Janeiro

Sérgio B. Martins on Abraham Palatnik

Priya Ravish Mehra, Making the Invisible Visible (detail), 2012/2017, wood, darned textiles, sound. Installation view. From “Evidence Room.”

New Delhi

Jyoti Dhar on “Evidence Room”

Patricia Piccinini, Teenage Metamorphosis, 2016, silicone,
fiberglass, human hair, found objects, 9 7/8 × 53 7/8 × 29 1/2".

Melbourne

Charles Green on Patricia Piccinini

Dara Friedman, Mother Drum, 2016, HD video, color, sound, 14 minutes 33 seconds.

New York

View of “Painters Sculpting/Sculptors Painting,” 2017. Photo: Claire Iltis.

Philadelphia

Becky Huff Hunter on “Painters Sculpting/Sculptors Painting”

Richard Diebenkorn, Ocean Park #54, 1972, oil and charcoal on canvas, 100 x 81". © The Richard Diebenkorn Foundation.

Baltimore

Ara Osterweil on “Matisse/Diebenkorn”

Thomas Struth, Figure, Charité, Berlin, 2012, ink-jet print, 54 5/8 × 74 5/8". From the series “Nature & Politics,” 2007–.

Houston

Phyllis Tuchman on Thomas Struth