• Cow (Lust), 2002, Oil on linen, 28 x 24 in. (71.4 x 61 cm)

    Sean Landers

    Kunsthalle Zurich
    Limmatstrasse 270
    July 17, 2013–October 31, 2004

    Sean Landers was one of the avatars of early-’90s “abject” or “loser” art. His handwritten “diary” titled [sic], penned in 1995, remains a cult classic, standing out for its humor and a quality of honesty that was truly cringe inducing. In the decade since, he has continued to explore the ups and downs of artistic success. This show includes about eighty paintings, works on paper, videos, and sculptures. Although the catalogue is the first monograph on Landers, it’s rather more like an artist’s book: Landers has selected the images and made a collage of his own texts. It also includes a conversation between the artist, Kunsthalle director Beatrix Ruf, and critic Caoimhín Mac Giolla Léith, as well as an essay by Alex Farquharson.

  • Bernhard Martin, Single Disco (Whisperclub), 1999, mixed media, 220 x 95 x 95 cm

    The Future Has a Silver Lining: Genealogies of Glamour

    Migros Museum

    August 28–October 31, 2004

    If Benjamin’s “aura” has an equivalent in today’s capitalist empire, it may well be glamour. Etymologically, the word is linked to casting spells, which stands to reason since glamour is that mercurial “it-ness” that sells clothes as lifestyles and celebrities as icons. Tackling the ambitious task of tracing glamour’s various genealogies, this show deals less with representations that propel the market than with the ways artists have demystified or subverted glamour’s potency. The twenty-one samplings run from Meret Oppenheim’s fetishistic underwear to a number of contemporary works, like T.J. Wilcox’s film reenvisioning of Marlene Dietrich’s funeral. Even Zurich gets its glamour quotient checked in citywide events and parties.