reviews

  • Reece Auguiste, Twilight City, 1989, 16 mm transferred to digital video, color, sound, 52 minutes.

    Grace Wales Bonner

    Serpentine Galleries

    LONDON-BASED FASHION DESIGNER Grace Wales Bonner’s show “A Time for New Dreams” operated as a mood board for her Autumn/Winter 2019 collection “Mumbo Jumbo,” unveiled during the final weeks of the exhibition. Driven by the concept of “Neo-Hoodooism,” Ishmael Reed’s name for an absorptive, spiritual, political, and aesthetic blackness that’s both indigenous and internationalist, the exhibition was framed as a “research shrine” comprising sculptural arrangements of image, text, textile, sound, and performance by a host of black artists and writers. As a curator, Wales Bonner is interested in work

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  • Linder, Magnitudes of Performance VII, 2012, photomontage, 11 × 17 1⁄8".

    Linder

    Modern Art Helmet Row

    Having crossed from the Manchester, UK, punk scene in the 1970s to major public commissions, such as for London’s Art on the Underground series, Linder has turned into a widely embraced icon of British art and feminism, celebrated for photomontages that dissect glamour, gender, and sex with surgical precision. “Ever Standing Apart from Everything,” spanning more than seventy works from the past decade, gave viewers a close-up look at Linder’s continued efforts to subvert commercially manufactured desires via her transformation of fashion and porn spreads from her unorthodox archive, one page at

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  • Behrang Karimi, Air, 2017–19, oil on canvas, 41 3⁄8 × 70 7⁄8".

    Alastair Mackinven and Behrang Karimi

    Maureen Paley

    Initially, Maureen Paley’s website presented little information about this exhibition of new paintings by Alastair Mackinven and Behrang Karimi: only an image of an ornate twin-spouted vinaigrette vessel—a nod, perhaps, to the artists’ shared love of enigma. A few days later, a fragmented press text reinforced this notion. In it, Mackinven wrote, “Red pink and purple . . . from the comedian the audience wants new material, from the touring band the audience wants old material and from the artist . . .” Raising questions of artistic consistency and gregarious eclecticism, Mackinven’s text continued:

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  • Annie Ratti, White Bird’s Hat, 2018, fabric, styrene rubber, metal mesh, wooden block, metal stand, 81 1⁄8 × 29 1⁄8 × 9 7⁄8".

    Annie Ratti

    Amanda Wilkinson Gallery

    Wilhelm Reich spent a lifetime dodging persecutors—first the Nazis, then the FBI, then the American Immigration and Naturalization Service—but it was finally the US Food and Drug Administration that managed to capture and imprison him. The discredited German psycho-analyst believed he could heal the world by harnessing “orgone,” the life energy he believed was released in orgasm, whose suppression Reich claimed caused all mental and physical illness. Officially accused mostly of medical fraud—little more than quackery—Reich disproportionately infuriated both the international scientific

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