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PRINT February 2020

POPE.L

Pope.L, Choir, 2019, one-thousand-gallon plastic water-storage tank, water, drinking fountain, copper pipes, solenoid valves, pumps, MIDI controllers, electronic-timer module, level-detection probe, flow meters, programmable logic controller, wood, scrim, vinyl letters, graphite, microphones, speakers, wires, sound. Installation view, Whitney Museum of American Art, New York. Photo: Ron Amstutz. © Pope.L.

THIS PAST FALL, three of New York’s most prominent institutions launched “Pope.L: Instigation, Aspiration, Perspiration,” a polycentric staging of the artist’s catalytic work. On September 21, 2019, Public Art Fund presented Conquest, a collective event inspired by Pope.L’s trailblazing “Crawl” pieces, in which more than 140 participants dragged themselves through New York’s public parks and along its sidewalks for a mile and a half. Shortly after, the Whitney Museum of American Art debuted Choir, a crystallization of the artist’s investigations of water, contamination, and circulation (on view through March 8), and the Museum of Modern Art opened “member: Pope.L, 1978–2001,” a survey of his often disquieting performances (closing February 1). To mark and measure this exceptional occasion, Artforum invited poet SIMONE WHITE and writer CIARÁN FINLAYSON to respond to the exhibitions’

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