TABLE OF CONTENTS

February 2022

list view

Iiu Susiraja, Lucia, 2010, C-print, dimensions variable. From the series “Good Behavior,” 2008–10.

February 2022, Vol. 60, No. 6

columns features reviews

COLUMNS

Etel Adnan, Turkey, ca. 1973–74. Photo: Simone Fattal.

passages

Kaelen Wilson-Goldie on Etel Adnan

Céline Sciamma, Petite maman, 2021, 4K video, color, sound, 72 minutes. Nelly (Joséphine Sanz) and Marion (Gabrielle Sanz).

film

Zack Hatfield on Céline Sciamma’s Petite maman

Tracey Emin, Why I Never Became a Dancer, 1995, Super 8 transferred to video, color, sound, 6 minutes 40 seconds.

video

Audrey Wollen on Tracey Emin’s Why I Never Became A Dancer

Inventing Anna, 2022, production still from a TV show on Netflix. Episode 2, “The Devil Wore Anna.” Anna Delvey (Julia Garner). Photo: Aaron Epstein.

television

Chloe Wyma on Shonda Rhimes’s Inventing Anna

noma, Copenhagen, Fall 2020. Photo: Ditte Isager.

food

Bruce Hainley and Christine Pichini at noma

Tarsem Singh, The Cell, 2000, 35 mm, color, sound, 107 minutes. Carl Stargher (Vincent D’Onofrio).

top ten

Liam Benzvi shares his Top Ten

columns features reviews

Sylvère Lotringer, Los Angeles, April 2016. Photo: Mark Seliger.

SYLVÈRE LOTRINGER (1938–2021)

Tim Griffin, Hedi El Kholti and Chris Kraus, and John Kelsey on Sylvère Lotringer

Diego Cortez and Jimmy DeSana, advertisement for Semiotext(e)’s “Schizo-Culture” issue.

TIM GRIFFIN

Tim Griffin on Sylvère Lotringer

Sylvère Lotringer, ca. 1990.

HEDI EL KHOLTI AND CHRIS KRAUS

Hedi El Kholti and Chris Kraus on Sylvère Lotringer

Cover of Sylvère Lotringer’s Overexposed: Treating Sexual Perversion in America (Pantheon Books, 1988).

JOHN KELSEY

John Kelsey on Sylvère Lotringer

Toyen, Na zámku La Coste (At La Coste Castle), 1943, oil on canvas, 25 5⁄8 × 34 1⁄4". © Artists Rights Society (ARS), New York/ADAGP, Paris.

MYTHIC BEING

Lucy Ives on the art of Toyen

Liz Larner, Bird in Space, 1989, nylon cord, silk, stainless-steel blocks. Installation view, Los Angeles Municipal Art Gallery, 1991.

1000 WORDS: LIZ LARNER

Liz Larner talks about “Don’t put it back like it was”

Albrecht Dürer, Two Livonian Women, 1521, pen, ink, and watercolor on paper, 7 1⁄4 × 7 5⁄8".

ONE PLACE AFTER ANOTHER

Christopher P. Heuer and Julien Nguyen on Albrecht Dürer

Albrecht Dürer, Hand with Book (study for Christ Among the Doctors), ca. 1506, watercolor and gouache on blue paper, 7 1⁄2 × 9 7⁄8".

ONE PLACE AFTER ANOTHER

Christopher P. Heuer reflects on Albrecht Dürer’s revolutionary post-studio practice

Julien Nguyen, Vision of a Cloudburst, 2021–22, digital drawing.

ONE PLACE AFTER ANOTHER

Julien Nguyen contributes a portfolio of new drawings

Iiu Susiraja, Broom, 2010, C-print, dimensions variable. From the series “Good Behavior,” 2008–10.

OPENINGS: IIU SUSIRAJA

Alex Jovanovich on Iiu Susiraja

columns features reviews

View of “Pierre Bismuth: Everybody is an artist but only the artist knows it,” 2021–22. Background: Works from the series “Variations on the Theme of Nations,” 2019 21. Foreground: Liquids and Gels, 2013/2021. Photo: Helene Mauri.

Molly Warnock on Pierre Bismuth

David Medalla, Cloud Canyon, 2020–21, wood, acrylic. Installation view. Photo: Mareike Tocha. From the series “Cloud Canyons,” 1963–2021.

Gregor Quack on David Medalla

Peter Berlin, Double Self-Portrait with Glowing Pink Background, ca. 1970s, acrylic and masking medium on gelatin silver print, 24 × 20".

New York

Forrest Bess, untitled, date unknown, oil on canvas, 4 1⁄2 × 6".

Montauk

Barry Schwabsky on Forrest Bess

View of “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse,” 2021–22. Photo: Sean Flemming.

Houston

Natilee Harren on “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse”

Sarah McKenzie, Sentinel (Thyssen-Bornemisza Museum), 2021, oil and acrylic on canvas, 54 × 72".

Denver

Dan Beachy-Quick on Sarah McKenzie

Helen O’Leary, Cost #18, 2018–21, egg tempera, linen, eggshell chalk, and pigments on wood, 13 × 21 1⁄2 × 5".

San Francisco

Maria Porges on Helen O’Leary

Francesco Clemente, Two Trees, 2001, fresco (traditional pigments on honey comb panel plastered with fresh lime), 9' 10'' × 19' 8''.

Los Angeles

Sylvia Palacios Whitman, Slingshot, 1975. Performance view, Idea Warehouse, New York, 1975. Sylvia Palacios Whitman.

Santiago

Mariairis Flores Leiva on Sylvia Palacios Whitman

Hannah Quinlan and Rosie Hastings, The whole world may, perhaps, be rather a large country house, 2021, colored pencil on paper, 59 × 43 1⁄4".

London

Christine Safa, Le lac de deux visages (The Lake of Two Faces), 2021, oil on canvas, 76 3⁄4 × 67 3⁄8".

Paris

Lillian Davies on Christine Safa

Jimmy Robert, Untitled (Plié V), 2020, ink-jet print on paper, birch pedestal. Installation view.

Sète

Anya Harrison on Jimmy Robert

Manoel de Oliveira, Untitled, 1950, ink-jet print from a negative, 6 × 8 7⁄8".

Lisbon

Felipe Scovino on Manoel de Oliveira

Bob Law, Drawing 29.4.59, 1959, pencil on handmade paper, embossed, 10 × 14".

Naples

Kristian Vistrup Madsen on Bob Law

Otobong Nkanga, Lined with shivers sprouting from the rock, 2021, wool carpet, hand-knotted cotton ropes, weeping-beech wood, handblown glass, clay, metal, video, organic materials, various oils, dimensions variable.

Turin

Ana Vukadin on Otobong Nkanga

View of “Vanessa Billy,” 2021. From left: Vertebrae, 2021; Ouroboros, 2020; Centipedes, 2020. Villa Bernasconi. Photo: Dylan Perrenoud.

Geneva and Biel/Bienne, Switzerland

Adam Jasper on Vanessa Billy

View of “Becky Beasley,” 2021–22. Photo: Trevor Good.

Berlin

Martin Herbert on Becky Beasley

Cao Fei, Asia One, 2018, HD video, color, sound, 63 minutes 21 seconds. From “Post-Capital: Art and the Economics of the Digital Age.”

Luxembourg City

Noemi Smolik on “Post-Capital: Art and the Economics of the Digital Age”

View of “Gabriele Beveridge and Marge Monko,” 2021. From left: Gabriele Beveridge, Downpour, 2021; works from Marge Monko’s series “Show Windows,” 2014–21. Photo: Mari Volens.

Tallinn

Jeppe Ugelvig on Gabriele Beveridge and Marge Monko

Baptiste Debombourg, Untitled, 2021, windshields, wood, dimensions variable. From: “Chronicles of the Future Superheroes.”

Timişoara

Tevž Logar on “Chronicles of the Future Superheroes”

View of “Pacita Abad,” 2021–22. From left: Filipinas in Hong Kong, 1995; The Village Where I Came From, 1991. Photo: Daniela Baptista.

Dubai

Rahel Aima on Pacita Abad

Olu Amoda, Ruga I, 2021, welded mild steel rods, mesh, stainless steel, dry leaves, dimensions variable.

Lagos

Ayodeji Rotinwa on Olu Amoda

Li Ming, Inspired by transliteration—Chapter Five: One Day, 2021, 4K video, color, sound, 13 minutes 43 seconds.

Shanghai

Du Keke on Li Ming

View of “Kwon Jin Kyu and Mok Jungwook,” 2021. Photo: Choi Yong Joon.

Seoul

Andrew Russeth on Kwon Jin Kyu and Mok Jungwook

Apichatpong Weerasethakul, A Minor History (detail), 2021, still from the three-channel video component (color, sound, 17 minutes 11 seconds) of a mixed-media installation additionally comprising sound, lightbulb, and ink-jet wall print.

Bangkok

Abhijan Toto on Apichatpong Weerasethakul

Brook Andrew, seeing time I, 2021, mixed media on linen, 92 1⁄2 × 92 1⁄2".

Melbourne

Helen Hughes on Brook Andrew