Issue 38 £5.

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‘Disneyland. A man with pigs. Intoxication. Eye-contact with pig. Mistaken identity. White platform. Celebrities…’ – Pig Island

January & February 2010 Kiki Smith’ s domestic politics: ‘ I’m not someone living in serial monogamy’ Maurizio Cattelan: Where Disney meets the Devil nina Canell: Weird science & mysterious machines Copenhagen: Why the city’ s climate for art means you should keep watching long after the Summit

a t w en t y- f i r s t- c en t u ry H o m er Plus: free witH tHis issue, His ver sion of ‘ tHe odyssey ’, an exclusive 164-Page artist P u b lic atio n

Paul mcc artHy

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2010 www.org Kyiv. Block A . Chervonoarmiyska / Baseyna Street 1.UKRAINE Sergey Bratkov PinchukArtCentre January 23 – March 21.pinchukartcentre.3/2.

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KEES GOUDZWAARD Fragments and gaps 21 January .com +32 3 216 38 88 .zeno-x.com info@zeno-x.27 February. 2010 ZENO X GALLERY Zeno X Gallery Leopold De Waelplaats 16 2000 Antwerp Belgium www.

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Com Carl andre Chris Burden Tom Burr Koenraad dedoBBeleer dan Graham donald Judd Thomas KieseweTTer sol lewiTT naTe lowman John mCCraCKen andrei molodKin anselm reyle FranK sTella KaTJa sTrunz James Turrell aaron younG 13 – 30 Kris marTin maTThieu ronsse 25 – 22 BRUSSElS aBdiJsTraaT 20 rue de l’aBBaye Brussel 1050 Bruxelles +32 (0)2 648 56 84 ConTaCT.paris@alminereCh.Com PARIS 09 – 06 WAll & FlooR BRUSSElS 14 – 12 GreGor hildeBrandT daniel lerGon 18 – 20 PARIS 19 rue de sainTonGe F .Brussels@alminereCh.alminereCh.www.Com Franz wesT 23 – 22 sophie Von hellermann project space TsuruKo yamazaKi Beyond Gutaï 1957-2009 .75003 paris +33 (0)1 45 83 71 90 ConTaCT.

JANUARY & FEBRUARY 2010

ConTEnTS
DISPATCHES 23

on the cover: PAUL MCCARTHY photographed by LEIGH LEDARE

Snapshot: Adam Broomberg & Oliver Chanarin Now See This: Raul Guerrero; Hernan Bas; Annelies Strba; Utopia Matters; Tabaimo; Karla Black; William Daniels; BAROCK – Art, Faith, Science and Technology in the Contemporary Age; Gillian Ayres; Nick Cave Columns: Paul Gravett discusses the work of Barron Storey; Joshua Mack despairs over US budget allotments for the arts; Aoife Rosenmeyer examines Zurich’s changing landscape; Marie Darrieussecq praises France’s 1% culturel policy The Free Lance: Christian Viveros-Fauné on the hullabaloo surrounding the New Museum’s latest show London Calling: J.J. Charlesworth predicts Richard Wright’s Turner Prize win Top Five: The pick of shows to see in the next two months, as selected by Alex Farquharson Design: Hettie Judah gets to grips with the Serpentine’s latest show Consumed: Fiona Tan limited edition; Bits and Bobs from Established & Sons; Bob and Roberta Smith etching; Bauhaus building blocks; Karin Sander scores; Sarah Lucas wallpaper; T-shirts by Dan Attoe and David Blandy; David Shrigley multiple An Oral History of Western Art: Matthew Collings chillaxes with Courbet On View: Jonathan Romney discusses Iranian artist Shirin Neshat’s Silver Lion-winning Women Without Men; Mark Rappolt sizes up the Collezione Maramotti; Christopher Mooney talks to Aaron Young about his penchant for wreaking havoc; Andreas Leventis charts the productive role of laughter in the paintings of Ansel Krut Manifesto: Greg Bogin

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JANUARY & FEBRUARY 2010

ConTEnTS
FEATURES PAUl MCCARTHy 60 KIKI SMITH 68
Is the LA enfant terrible and creator of ArtReview’s latest artist publication a Homer for our age? Mark Rappolt

Vincent Katz meets Kiki Smith as she prepares for a major show at the Brooklyn Museum

CHRISTIAn BolTAnSKI 76

REAR vIEw REvIEwS 99

Charles Darwent talks to the French artist about the bet he has placed on his own life, and why the contents of a Tasmanian cave will be his last work

nInA CAnEll 79

Chris Sharp enjoys the weird science at work in Nina Canell’s experimental art practice

Bridget Riley; Exhibition #1; Duncan Campbell; Catherine Story; Anne Hardy; David Hockney/Frances Stark; Lyon Biennial; Olaf Breuning; Emily Jacir; Futurist Life Redux; Guido van der Werve; Dianna Molzan; Richard Mosse; Feedforward; Gianfranco Baruchello; Sequences; Deadline; Aaron Curry/Thomas Houseago; Stefano Arienti; Istanbul Biennial

60 108

MAURIzIo CATTElAn 82

BooK REvIEwS 122 THE STRIP 126
Barron Storey

As a show of work by the artworld’s clown prince goes up at the Menil Collection in Houston, Brian Dillon delves into the oeuvre of contemporary art’s most entertaining and unsettling practitioner

Painting Abstraction; Juan Muñoz: Writings/Escritos; The Emancipated Spectator; The Banham Lectures

ART PIlGRIMAGE 86

on THE Town 128

68 122

Jennifer Thatcher checks out the art scene in Copenhagen

Rolex Gala Dinner, London X-Initiative closing party, New York

oFF THE RECoRD 130

Gallery Girl gives her six trusty tips for gaining artworld success (or at least entrance into the ArtReview Power 100)

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Correction: In the November 2009 issue of ArtReview we mistakenly attributed On Curating: Interviews with Ten International Curators, 2009, to Hans Ulrich Obrist. Though he was involved in the project, it was as writer of the foreword, whereas the bulk of the effort was made by the book’s author, Carolee Thea.

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He has curated an exhibition on Black Mountain College for the Reina Sofía in Madrid. Berlin. in Manchester. Jennifer Bartlett. and Unosunove. She recently moved to Folkestone and now has a cliff at the end of her street. He writes frequently on contemporary art and has published essays or articles on the work of Ghada Amer and Reza Farkhondeh. sacha maric Sacha Maric’s portrait. who photographed Paul McCarthy for this issue’s cover and feature story. Tommy Hartung.JANUARY & FeBRUARY 2010 contriButors leigh ledare Leigh Ledare. With his wife. he directed the documentary film Kiki Smith: Squatting the Palace (2007). exploring motifs emerging around representation. and will shortly be contributing a solo exhibition to the Copenhagen Photo Festival. He shot images of the Copenhagen art scene for this issue’s Art Pilgrimage. Upcoming shows include Greene Naftali Gallery in New York. the Lowry. Jim Dine. jennifer thatcher conrad ventur 20 ArtReview Vincent Katz photo: Vivien Bittencourt Jennifer Thatcher is a regular contributor to ArtReview and Art Monthly. He has participated in shows at the Deutsche Guggenheim. who photographed the X-Initiative closing party in New York for ArtReview’s On the Town this issue. fashion and documentary work has appeared in publications including Arena. Kilimanjaro and Missbehave. a freelance curator and writer based in London. Guido Costa Projects in Turin and Pilar Corrias in London. In recent years he has independently curated exhibitions with artists including Dan Attoe. New York. Merlin James. the Swiss Institute. Dazed & Confused. interviewing the artist as she prepares for her show at the Brooklyn Museum. Philip Taaffe and Cy Twombly. Recent solo shows of his expanded cinematic installations and photography include the Andy Warhol Museum. andreas leventis Andreas Leventis. desire and valences of exchange. His first book. Sara Mackillop. Francesco Clemente. works primarily in photography and video. She is about to start a new job as project coordinator of the 2011 Folkestone Triennial. His photographs have been exhibited in London’s National Portrait Gallery. New York. was recently published by PPP editions. Vivien Bittencourt. authorship. critic and curator. Alex Pollard and Neal Tait. Pittsburgh. American artist Conrad Ventur. His work can be seen at London’s Rokeby Gallery from 13 January to 19 February. and teaches on the MA in Contemporary Art at Sotheby’s. London. which is handy for putting life’s troubles in perspective. contributes a profile of painter Ansel Krut to this issue of ArtReview. Rome. He has previously contributed features and reviews to magazines including Modern Painters. Pretend You’re Actually Alive. received his MFA in Art Practice from Goldsmiths in 2008. Barcelona. the Prague Biennale and Les Rencontres d’Arles. Paul Housley. . Robert Rauschenberg. Dazed & Confused and Turps Banana. and for this issue revisits Smith’s work. vincent katz Vincent Katz is a New Yorkbased poet. and Still Light.

foto originale .

abigail reynolds. 65 x 33cm. patrick Hamilton. 2008.co. Jota castro and christian Viveros-Fauné) 15 January – 27 FeBruary 2010 Jota castro. S. 26 MC5 Songs. Simona Homorodean. andres Bedoya. ciprian Homorodean.25.k.com Ceri Hand Gallery 12 Cotton Street. Goldiechiari. Graham Dolphin.uk Opening hours Wednesday – Saturday 10am – 6pm or by appointment AR_adTemp_0.indd 1 17:01:36 Graham Dolphin. Image courtesy of the artist and SevenTeen TOUCHED International 10 Exhibition 18 Sept–28 Nov 2010 SpaSticuS artiSticuS curated by Bureau des Visceralists 4/12/09 14:59:04 . Liverpool L3 7DY T: +44 (0)151 207 0899 info@cerihand. Mauro Vignando. Kate Gilmore. charlie Woolley www. rebecca Lennon.co.uk www. C O M CAN YOU AFFORD TO BE TOUCHED? (a. Guy richards Smit. alban Muja.A K D O LV E N A N NA BA R R IBA LL AU G U S T I N A VO N N AG E L B R I G I T T E WA L DAC H DA N I E L R I C H T E R EL INA MER EN MIES ER I K STEF F E NSE N E RW I N W U R M E VA S C H L E G E L EV E SUSSM A N G E ORG B A S E L I T Z H E L M U T F E DE R L E I VA N A N DE R S E N J A N N I S KOU N E L L I S J O N AT H A N M E E S E M A RC E L VA N E E DE N NA N NA H Ä N N INEN N I N A RO O S PER BA K J E NSE N PER K I R K EBY P OU L G E R N E S SIGM A R P OL K E S T E P H A N B A L K E N HO L F L Æ S K E TO R V E T 8 5 A D K – 1 7 1 1 KØ B E N H AV N V TEL 4 5 33 93 42 2 1 W W W. B J E R G G A A R D.indd 1 16/12/09 CER_Advert_Spasticus_AW. the Bruce High Quality Foundation.cerihand.biennial. ink on record cover. rainer Ganahl. Mark Gubb.a.

2008 ArtReview 23 . Untitled.DISPATCHES JAnuAry/FEbruAry Snapshot Now See This The Free Lance / London Calling Top Five Design Consumed An Oral History of Western Art 23 24 26/32 34 36 38 42 snapshot adam broomberg & oliver chanarin An ongoing series by artists whose work we are interested in.

galerieperrotin. Hernan Bas.DISPATCHES words MArtiN hErBErt a California cult artist’s California cult artist: the sixty-something San Diegan’s first New York exhibition since the 1990s is curated by Allen Ruppersberg. 9 January – 13 March. 2009. and a genuinely screwy eye for composition and surreal detail. Bas. prints and photographs.com). 2009. courtesy Galerie Eigen+Art. rises above such abject comparisons via a constantly apparent self-awareness that his tremulous hormonal setups threaten to tip into bathos. Madonna 31. One might prospectively lasso his mercurial effusions – postminimalist installations involving inverted pyramids.com). courtesy Galerie Emmanuel Perrotin. The Signalmen. courtesy Stephen and Gary Phillips. who colours his work with 24 ArtReview Hernan Bas (Emmanuel Perrotin. edition of 6. Religion: After. and the spiritual bankruptcies of our era. it’s because he has stubbornly and changeably followed his own lights since the 1970s. and her recent tweaked photographs have found her inserting her girls into Annelies Strba (Eigen+Art. acrylic on canvas. 1985. It still fits. Leipzig & Berlin now SEE THIS . heartfelt practice tends to wriggle loose. sand-flocked busts of Beethoven. eigen-art. however. 21 January – 20 March. New York. Paris. Even so. his Jung-influenced. ‘Guerrero: Beguiling. clockwise from left: Raul Guerrero. 27 x 20 cm. An odd consonance exists between Bas’s work and that of medium. The photographer and filmmaker has long used her own daughters (and lately her granddaughters) in her work. Annelies Strba. Raul Guerrero (CUE Art Foundation. If Guerrero is under-known. might come off as contemporary art’s equivalent to the Twilight movie saga: amped-up dramatisations of adolescents suspended on the cusp of maturity or selfknowledge. variously obstreperous and dreamy oil paintings that often consider North America’s relation to South America – as exploring art’s ritual and mythic functions. pigment print on canvas. 244 x 183 cm. though. typically featuring single figures adrift in dramatic.cueartfoundation. www. though. as witness the fragrant flights of The young Floridian’s canvases. despite the divergence in That said. Baffling’ was the title of a Los Angeles Times article on him two decades ago. www. 21 January – 13 March. Berlin. fulsomely allegorical landscapes/mindscapes. Paris. oil on canvas. hypnagogic figurative painting has swung back into style this past decade.org) is clearly purplish hints of nineteenth-century decadence. gold paint. and more recently. www. 107 x 89 cm.

Key to Storey’s influence have been the journals he began keeping around 1976. it can seem we already inhabit.yaf. Now. 22 January – 11 April. his heartfelt strip for this issue recalls how he painted a giant rainforest scene for the American Museum of Natural History. the timeframe: working back to the German Nazarenes of the early 1800s and ending with the closure of the Bauhaus in 1933. but they cannot replace my missing life – and they cannot restore the joy [the woman I loved] gave me. Switzerland. It feels like a fantasy of steady-state rapture delivered in life. Here Japanese commuters hang themselves . beech. one which. Charlotte Corday. the God Delusion (2006): “By that measure. five or six of these journals were remixed in 1993 to form the Marat/Sade Journals.deutsche-guggenheim. such as Bill Sienkiewicz. animation-based installations of PAUL GrAvEtt on tube trains. but the tone is anything but nostalgic. www. He reveals that it was the candour of his journals which first attracted his lover to him. and forecasts a dystopian. affirming his touch and presence on every hand-drawn. plywood. The stormy end of this affair rumbles through the King Lear-inspired journal no. from memory and love – what she branded his ‘fuckin’ porno’ – which helped drive her away. salarymen slave away inside housewives’ refrigerators (prior to being beheaded) and young girls shit on the Japanese flag.de).. it promises an alternating current of hope and stymieing – and repeat to fade. By snatching dialogue from Marat/Sade (Peter Weiss’s 1963 play-within-a-play concerning a theatrical event staged by the Marquis de Sade in the Charenton asylum). donation 1959. in Belgium. the transfiguring is less sentimental than wishful.” His collisions and collusions between fractured. to 3 March.jp). The history of comparable earthly urges is covered by which seems like it might aptly. in 2009 via Graphic Novel Art. Storey’s lover blurs with Marat’s murderer. I am deluded. in New York. David Mack and Dave McKean. Tabaimo (Yokohama Museum of Art. She asks how Japanese identity is sustainable in a transforming world. Its theme grew out of a discussion with Dave McKean about Richard Dawkins’s atheist bestseller. The thirty-five-year-old artist may borrow the classical aesthetics of Ukiyo-e. his autobiographical voice unaffected and raw: “They must be a therapy of some kind. entirely feminine. in the wraparound spaces that Tabaimo constructs from multiple projections. Never intended for the public gaze.com words a soft-focus. something of photography’s cloudy. completed in November 1992 and published in 2007 as Life After Black.Barron Storey Gerrit Rietveld. Berlin. remastered. and yet it was his sometimes-explicit nudes of her. Bonnard. say. accumulated imagery and woven words result in an intense intimacy of innermost thoughts and feelings. pastel-toned forests around their home in Melide. Far from the usual sketchbook exercises or preparations for larger works. in San Francisco. he found resonances with his own mental states and “that magic theatre of the self ”. In his journals. Storey teaches a sequential art class at the California College of the Arts. But this ‘international sequence of case studies’ expands Utopia Matters (Deutsche Guggenheim. Red/Blue Chair (Rood-Blauwe Leunstoel). For him they are a way to “break through habits of thought and perception with practice” and find “a lens to something true”. Bonn 2009.graphicnovelart. and by the end he draws himself as the “new inmate at the bars with stained hand”. No barren story. 1918. as she progressively unmoors her imagery. and my trying to testify to my own faith may well be a delusion as well. but one might equally compare Strba’s art to the Intimism of. courtesy Centraal Museum. As a measure of distance (temporal and cultural): the very contemporary. if somewhat indelicately. Here Storey exposed a private outlet where he could vent his passion and pain while falling madly in and out of love. or.. and from much-loved movies. which returned to print. notably of iconic covers for time magazine and the 1980 paperback reissue of William Golding’s Lord of the Flies (1954). these are his work. cap a decade of modernist aspirations reconsidered by young artists. Kent Williams. paint. © VG Bild-Kunst. handwritten page that follows. fairytale world of white nightdresses and glowing. He has inspired more than a generation of graphic-novel innovators.” The Marat/Sade Journals and Life After Black are published by www. 88 x 60 x 84 cm. auratic origins adheres to these works. crumbling future. Utrecht Barron Storey’s left hand spans the opening page in both of his major published books. 45. An award-winning American illustrator. Strba’s photographs formerly resembled snapshots and cross-referenced keen parental memorialising with conceptualist rigour. www.

a bushel of bad reviews and a conflict-of-interest shitstorm later – concerning the public museum’s planned exhibition of gems from trustee dakis Joannou’s private deste Foundation collection – an ugly if expected backlash has kicked in. What they’ve turned into. that distinction is. like most bile. nothing except received ideas. the new museum arrived at its Bowery Street location (the old digs were more jewel-box premises in Soho) clad in flattering Sejima+nishizawa steel and concrete. essentially. the principals at that institution are not AiG or Bank of America executives. New York. meanwhile. the truth is. eventually. Just as American Idol alumnus Adam lambert’s swishing on the American music Awards proves that community standards are mutable and vague. straight into the mouthpiece of record: the front page of The New York Times. its late founder. Balloon Dog. he won’t (the new museum clearly stands to benefit here. the folks brandishing torches and pitchforks over ‘the Joannou affair’ wrongly believe that the collector will benefit financially from bringing his blue-chip stuff Stateside. whose stable has provided the work of artists elizabeth Peyton. just as it fell prey to its curators’ regurgitations of yesterday’s news. has an institution amassed such a fast store of goodwill to squander it just as quickly. courteously and consensually. 1994-2000. As the recession took hold and the party at the new museum swanned on. Steven Shearer and urs Fischer to the museum) is gone. for picking the moment to parrot. featuring the Dakis Joannou Collection and curated by Jeff Koons. the ensuing free-for-all of opinionslinging merits a succinct single-word description: clusterfuck. instead. a skill that may be defined as a savvy for keeping one’s ears pricked and one’s memory sharp – and. is a popular distinction cutting enough to rip through the colourful camouflage provided by the customs and rites of our weird little clan. less focused and more intractable. as visitor figures to this kind of show are bound to . stuck in a time warp of its own making. largely egotripping mosh pit that is the blogosphere (which has also turned on yours truly for being an art critic with previously competing briefs) says virtually nothing about the real source of the new museum’s troubles. not the other way around. Jeremy deller. Well. most people’s bullish expectations. and bullish expectations vanished with them. helmed presently by director lisa Phillips and featuring star curators richard Flood. rarely. But seasoned arguments do little to quell a species of outrage that is. boasting renewed fealty from fat-pocketed trustees and popular support from an art public drunk on Gatsby-esque bubbles yet still 26 ArtReview be high). at once. Athens Business as usual at the new museum prods the angry beast nostalgic for the edgy legacy of marcia tucker. is something both guilty and naive: artworld players who – like many of their haughty curatorial fellows – have long relied on ‘a good ear’ that has just turned tin.the free lance new? not exactly Buried in the middle of Sarah thornton’s Seven Days in the Art World (2008). so it is that the artworld rarely sees a conflict of interest until someone else raises the alarm – especially if. And up it went. new ideas’ came up short on both counts. and words ChrISTIAN vIveroS-fAuNe ‘a good ear’. the new museum’s stated brief of ‘new art. A couple of dozen mediocre shows. 320 x 378 x 119 cm. that anger tends to travel upwards. it must be said. the new museum is. high chromium stainless steel (with transparent colour coating). the mythical tastemaker’s talent for finding impeccable art and artists. like the new museum’s dakis issue. as good an impression of marie Antoinette as the new museum has managed. laura hoptman and massimiliano Gioni. thornton’s observation came to mind recently in connection with the current debates surrounding new York’s new museum. leaving nasty outsider-ish resentment in its place. Of course. simply. the difference between ‘a good eye’. that clever ethnography of contemporary art and its joiner-ish subcultures. that purported conflict has been hiding in plain sight. is on view at the New Museum. reopened little more than two years ago to great fanfare. the imaginary museum. Courtesy the Dakis Joannou Collection. times changed. it didn’t take a genius to realise that something was bound to give. 3 March – 6 June Jeff Koons. What was yesterday’s popular patience for chicken-hawk surveys (2009’s The Generational: Younger than Jesus) and cliquey shows of artists from the same gallery (Gavin Brown. the fact that this mugging of the new museum has both its origins and principal arena in the complex.

February 20th 2010 TOBIAS LEHNER “Pluton” February 22nd .FARZAN SADJADI “Between A Rock And A Hard Place” January 18th .CARBON12DUBAI.COM .March 23rd 2010 WWW.

Karla Black (inverleith house. 20 x 531 x 345 cm. Bush’s shoot-from-the-hip style. 2009. photo: Ruth Clark © Royal Botanic Garden Edinburgh. that under Mayor Michael Bloomberg large swathes of New York have been rezoned for high-end residential development.uk) has turned to sculpture more recently. The Whitney is going ahead with a space (granted. Cologne. www.rbge. spray paint. powder paint. simply more of what we’ve seen. 33 x 33 cm. reflecting a sense that spoken . our domestic policies sacrificed. a substitution of form for content. crumpled silver foil) and William Daniels (Luhring Augustine. like cutting taxes. courtesy the artist. less than was spent at the Sotheby’s New York Impressionist & Modern Art evening sale in November. carefully inchoate piles of plaster powder – belies a larger mission: foregrounding a direct experience of materiality. London President Obama has finally decided to deploy additional troops to Afghanistan. What appears. and despite hesitations one might feel about the decision taken. and the outsourcing of culture to the private sector. and Gisela Capitain. as Obama’s 2010 budget puts it.com) has been and written language are blunt instruments and arguing for a form of precise articulacy in which the interplay of forms. New York. 9 January – 6 February. will be bogged down chasing failed policies. suggesting that increasing physical size rather than fostering curatorial innovation – ie. 2009. plaster powder. If these expansions prove the equivalent of jobless recoveries. Edinburgh. William Daniels. new thinking – remains the standard of institutional management. dirt.DISPATCHES New York Bring on the (relative) optimists.050foot-tall tower by Jean Nouvel which will allow MoMA to increase its exhibition space by 30 percent.1b to education. words JOShUA MACK 28 ArtReview from top: Karla Black. www. to 14 February. the Whitney and MoMA have instituted staff cuts and hiring freezes. Glasgow. Luhring Augustine. then our museums. health care. more recently. The National Endowment for the Arts will receive $161. Initially working in performance. Untitled. quietly polemical fashion. Obama’s budget allots $680 billion to the military and only $81. And while the economic downturn has slowed the pace of building. much needed) in the Meatpacking District. What’s failing is not a military intervention. and Vilma Gold.luhringaugustine. 2009 (installation view.3 million. As our media. It’s an initially vertiginous but. Nor has the idea that bigger is better necessarily disappeared from the museum lexicon. with limited public attention to the long-term consequences for social diversity or the strain on the city’s infrastructure. it’s no surprise. ‘prudent investments in education. But Obama’s challenge is less about arms and even less about Afghanistan. And despite the terse précis quoted above. at first. textures and colours might speak sharply and poetically for itself. New York. oil on board. like our army. our elected representatives and the majority of our people embraced a model of democratic reform by armed imposition. but the entire American model of nation building. At the same time. Since the mid-2000s. Sending in the troops is.org. it’s reassuring to see deliberation reenter the process of governing after the disasters visited upon the nation by eight years of George W. to be a retread of 1970s antiform aesthetics – suspended sheets of delicately tinted plastic. it has not brought a rethink of the underlying urban policy. Inverleith House). and infrastructure… for huge tax cuts for the wealthy and well-connected’. but at home. Dia has announced plans to build in Chelsea. given time. Mary Mary. clean energy. courtesy the artist. one-size-fits-all solution. for example. a soundbite. of platitudes for analysis. Left Right Left Right. though in a conditional. exhibiting versions of art-historical classics remade in low materials (carefully torn cardboard or. Plus ça change. Given our predilection to read flash as substance. Not just abroad. richly rewarding proposal. and in October the city approved plans for a 1.

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to 5 April. for example. A shortlist of artists with an understanding of the dynamic of Balkan communities abroad were invited to propose projects. It’s an island that is proud to commission major contemporary artworks from foreigners. culminating – if the project receives fresh funding – in a crane stationed quayside for the summer of 2014. the heights reached by Morandi. London. though.000-square-metre David Chipperfield-designed extension by 2015. Caravaggio or Cézanne while asserting a kind of hushed painterly showmanship that feels a long way from despondency. it’s one of two projects for Hardaupark. erm. and Kosovar Xhafa’s selected work will make the community’s presence felt. courtesy Galleria Fonti. since last year. but when the dust clears. a backdrop of bloody religious fundamentalism and a sensation-craving artworld. the city will possess several noteworthy new contemporary artworks.com) is about to turn eighty – 30 ArtReview from top: Giulia Piscitelli. but they plan to open a 15.museomadre. Meanwhile. Naples. the British painter at once marks his distance from. the raised dual carriageway that bypasses the city’s industrial northwest. Julian Opie and Ugo Rondinone. Jeff Koons. whether this enticing comparison is more than an excuse to roll out – and attach an Italianate legacy to – work by 28 international artists who are mostly heavy hitters. it may seem calm at the Kunsthaus Zurich. not to mention architecture by iconic Brits. will see the upper storey of the Thomas Demand work Nagelhaus. Though skylines across Europe have been cleared of cranes. Further proof of the city’s engagement is Sislej Xhafa’s Ypsilon: a 14-metre-high catapult that will light up when people sit on the bench formed by its sling. www. and which Demand is building with Caruso St John architects. it) aims to underscore the parallels: a bounding this selection of new paintings and works on paper marks her birthday – but her work doesn’t show it. Gillian Ayres (Alan Cristea Gallery. The Löwenbrauareal. oil on canvas. alancristea. Martin Senn and Fariba Sepehrnia. Equally centrally. Operaio.DISPATCHES Zurich Zurich is a left-wing island in a right-wing sea – being. the brick building on Limmatstrasse adorned with works from Jenny Holzer. was temporarily left standing amid a construction site in Chongquing. The extravagantly entitled painted in meticulous trompe l’oeil. Naples. London . courtesy the artist and Alan Cristea Gallery. As such. 2009. China. a park alongside residential developments to be completed in 2012. and where commercial galleries cluster. Science and Technology in the Contemporary Age (MADRE. the Zurich construction industry seems more. the search for a curator to manage a public art budget of CHF2 million in the Europaallee development is now under way. It remains to be seen. a replica of the famous ‘nail house’ that. say. 2006. scientific culture rewiring our sense of our selves. while the Migros Museum für Gegenwartskunst and the Kunsthalle Zurich are only programming onsite till mid-2010. www. Gillian Ayres. in 2007. De Pury & Luxembourg jumped rather than waiting for the wrecking ball. words AoiFE RosENMEYER BAROCK – Art. ‘industrious’ than ever. their attention to the subject is praiseworthy at a time when other cities’ urban art still seems commissioned on a whim. drivers along Hardbrücke. 199 x 275 cm. including Cindy Sherman. and will create uncertainty for galleries that are victims of their own success in revivifying the site. is also to be transformed. In Naples an argument is being made that Caravaggio’s time and ours aren’t so different. The work is one consequence of lengthy research by the city of Zurich and the ZHdK art school to formulate a policy for public art. Matthew Barney and Maurizio Cattelan. 3 February – 13 March. The city’s residents grumble at endless diversions and chewed-up streets. From 2012. elements of nautical furniture have been appearing alongside a stretch of the shallow Limmat River no container ship could navigate. one of the few districts to vote against the recent ban on minarets in Switzerland. Damien Hirst. The drive behind an extension more than a dozen storeys skywards is commercial. even if at a recent conference theorist Bazon Brock obstreperously noted the irony of razing a site to rebuild a protest against development. High Summer World of Light. Barbara Roth. Faith. Then there’s the temporary Zurich Transit Maritim project from Jan Morgenthaler.

the artist told me. The line starts at the Pont du Garigliano. textiles and modern dance? Swap ‘textiles’ for ‘economics’ and you have Tino Sehgal. I have to go!’” Proof that art is less in the street than in the gutter? Farther along the line. ‘Ah. Parisians aren’t that surprised: “The first call I made”. with a telephone booth designed by Frank Gehry in the shape of a large flower. What else could it be? fowler. since 1951. Less ‘decorative’ than at my school. you’re Sophie Calle. just opposite my place. Afghanistan. It reflects. Photo: James Prinz. a good old public park bench. underground. it suggests that mysteriously autonomous and acidbright arrays of circles and totems keep one young. for superheated colouration. says the potty-mouthed pensioner in a video interview on Alan Cristea’s website. 10 January – 30 May. but covered. words MAriE DArriEUSSECq If anyone on this page is going to approach Ayres Nick Cave (Fowler Museum at UCLA. Jack Shainman Gallery. Don’t. and you have the Chicagoan Cave. I enjoy Claude Lévêque’s meditation on the Vanne Aqueduct. People smile sometimes when they’re sitting on the bench. using materials including twigs. New York. Boltanski’s bench whispers declarations of love recorded in different languages by students staying at the international centre opposite. There’s a lot of water in this neighbourhood. a little. Is it art? Come. and it’s amusing to see all the kids à la Gus Van Sant take over the hollow sculpture so naturally. spoken from Ukraine. 2009. In the mineral landscape of nearby social housing. This is how my old secondary school came to be embellished with a trio of lifesize handball players in reinforced concrete. China.Rather. going on to say that she nevertheless paints because “one can’t bloody help it”. The passerby who picks up the ringing phone will hear Sophie Calle. essentially. Christian Boltanski’s work is so discreet that you can’t even see it. that’ll make noise and look grininducingly carnivalesque. kitsch ornaments. Thankfully so. and which bears a dismal name translatable as Postern of the Poplars. he might as well make a skate park of it. They evoke a nostalgia for trees and warm countries in an area which has nothing to do with oases. Nick Cave. metal. and you think they’re hearing the words in their native tongues. too. vivid application and unlikely composure like Ayres. the passing trams. who has agreed to call several times a week. The framework of rusted metal appeared in their hands. Los Angeles. hair – anything. it’s whose latterly lionised ‘soundsuits’ are the answer to that familiar question: what work do you make if you have a background in art. nine works punctuating the route of Paris’s T3 tram also participate in the 1% culturel tradition. www. The bench is very popular. Bertrand Lavier has created a mirage: palm trees in extremely green resin. “People can live without any fucking art”. Peter Kogler thought that since his work was going to be squatted regardless. among other things. but you can hear it. 54 years into her exhibiting career. painted in red (the players were in blue and white). Los Angeles Paris The 1% culturel in France refers to the obligation. to set aside 1 percent of public building construction budgets for art commissions. To finish. that’s nice. on the Square Barjac. but I have a date. The work is called tchaikovsky. but don’t ask me why. in the service of decoration. Untitled. because virtually no living painter balances compositional intricacy. It’s a bench. Many fall asleep. which succeed in looking fake without being kitsch. Courtesy the artist. framed inkjet print. Lévêque brings it out in the form of a metal wave covering the aqueduct. whose loud (in every sense) and wearable costumes are his effusive leveraging of his faceted CV: frequently rainbow-toned full-body outfits that reference African and Caribbean ceremonial costumes. sitting among other city benches beneath the venerable trees of the Parc Montsouris.ucla. “a woman said. and the ball looked like a bulbous excrescence. come. and Fowler Museum at UCLA.edu) . 126 x 96 cm.

but nor was richard wright’s almost inversely opulent and intoxicating No Title (2009). richard wright. If the Hiorns/wright opposition makes sense. artworld languages – and the last thing turner prize juries want is to be viewed as foisting unintelligible contemporary art on a supposedly sceptical public.J. Photo: Sam Drake and Gabrielle Johnson. the tricky bit. while his competitors presented works that operated within various specialist. is working out what goes on inside the heads of the turner prize jury. Gagosian Gallery. but this year’s showdown was different: the favourite. Courtesy the artist. the prize went to the outsider.. you’re down to picking between two. roger Hiorns. or offer complicated conceptual puzzles. and perhaps it was that. while fellow jury member and Guardian critic Jonathan Jones. and looks for a contender who offers stronger. but on the night. Glasgow. could make wacky associations between the ‘genius’ of wright and that of leonardo da Vinci. insider interests of the artworld. absorbing the spectator. but a blind chicken pecking at the numbers 1 to 4 has a 25 percent chance of picking the winner. by contrast. in their scribbled contributions to the ‘comments wall’ that is always words J. . after so many years of contemporary art as shock-celebrity-spectacle. but Hiorns was the more radical. Berlin Okay. © the artist. and why. offering a strange spectacle of a world stripped of human presence: postapocalyptic beauty fit for a culture that is afraid of its own future. sure. but this must be about the tenth time in a row that I’ve predicted the winner of the turner prize. that scared the jury. or shock and annoy. which is even easier. if current. Hiorns’s austere Untitled (2008). in the end. however. an abandoned modernist flat in south london encrusted floor to ceiling with blue crystals.. somehow out of scale with the gallery. last year. mark leckey was a strong winner. wright’s work reached towards an immersive ideal of the sublime. sO I’m nOt One tO blOw my Own trumpet. and yet looked like a desert viewed from space. and I’ll admit that once you’ve figured out which two nominees are the close-but-no-cigar contestants. you can see why people might be anxious for a return to aesthetic value. had been hotly tipped from the outset. it’s because wright’s work could be seen as a welcome celebration of beauty. It might seem odd that the bookies (and many pundits) could have got it so wrong. CharleSworTh something that can be reconciled with what it thinks are the public’s tastes rather than just the narrower. while Hiorns’s dust-scape offered the almost impossible effect of distancing: it lay there at your feet. It wasn’t there to explain itself. perhaps because he embodied the figure of the artist caught up in popular culture. No Title. putting the human spectator at its heart. but in a way it had always been a contest between the two. after his hugely popular artangel project. you’re saying. declared one card. 2009. If one thing links Hiorns and wright. so what was at stake between Hiorns and wright was a desire to reinstate the value of aesthetic experience in contemporary art. writing on his blog.London caLLing it’s so PredictabLe the secret to working out who’s going to win the next turner prize Richard Wright. Seizure (2008). while Hiorns’s work was the 32 ArtReview installed at the exhibition’s exit. which seem hotwired to catastrophe. the then tate britain director and jury chairman stephen Deuchar. it’s that each artist’s work presented itself as an aesthetic spectacle. wright makes more sense as a winner if you consider how the two artists reflect the mood of the times we’re living in. even to the point of merging the two: ‘richard Hiorns to win’. seduction and craftsmanship. for example. the Modern Institute/Toby Webster Ltd. a wall-size design of exquisite complexity made from applied gold leaf. In these anxious and pessimistic times. Tate Photography. institutions like tate might be keen to big-up conservative notions such as beauty and tradition. was a sort of chilly moonscape of dead metal – grey dust. speaking on the Guardian’s video blog after the announcement. and BQ. visitors were clearly wowed by both Hiorns and wright. London. the atomised remains of the components of a passenger-jet engine. spelled it out: their choice of wright was driven by its quality as “a beautiful work of art… rooted in tradition and history”. my general rule is that the jury is preoccupied with what it thinks the ‘general public’ might think of the work on show.

2010 The Armory Show New Art by Living Artists The Armory Show–Modern Art of the 20th Century March 4–7. white sapphire. Courtesy of seVeNteeN. onyx.com armoryartsweek.com SUSAN COLLIS As good As it gets (detail). 2010 New York City thearmoryshow. 18-carat white gold (hallmarked). turquoise. London Piers 92 and 94 . 2008.

set of 15 photocopies.kunsthalle-berlin. London until 31 January www. and the unease those create. worth following. screening mainstream movies as well as art videos while the audience sits in a fleet of second-hand cars parked in the gallery. shortly after his Documenta 7. The Graz show will likely continue Trouvé’s investigations into spaces that are actual and physical as well as imagined. including a large installation called 350 Points Towards Eternity (2009): what look like 350 floor-to-ceiling plumb lines. Antwerp 22 January – 7 March www. Peter Fischli & David Weiss.be The third in a sequence of exhibitions at MuHKA from Viktor Misiano. photo: Hans Biezen. From Ordung und Reinlichkeit (Order and Cleanliness. so the experience obviously affected his programming there as director at the time. and we don’t question that. but that can’t be said when the subject is Central Asia. instead it seems to be more about multiplying epistemological uncertainties.uk Curated by Anthony Huberman. artistically and sociopolitically. It’s typical of Collins to have one foot in the artworld. This seems indicative. New York What to see this month by alex farquharson Director of Nottingham Contemporary 2 lonely at the top # 3 MuHKA. this is a group show whose premise is that the knowledge its selections generate is speculative rather than to do with decoding. 1983 (installation view.ica. one foot out. One could think of it as reviving a pre-Enlightenment way of thinking.nl Part of an 18-month series of projects called Play Van Abbe. economic and physical contexts. collapsing different forms of film and their social. remembered. Migros Museum. Turkmenistan. it featured some of the same artists he’d shown in Kassel. Van Abbemuseum. and the historical specificity and contingency of the original curatorial framework. feel evocative of domestic or institutional environments we’ve experienced .com This show . all at angles. One might expect. Her sculptural installations.muhka. Berlin 5 February – 14 March www. This is an expanded cinema. curator of the Central Asia pavilion at the 2005 Venice Biennale – one of that year’s big surprises.at The Zurich exhibition is a major solo show. of a strategy at the Van Abbemuseum: their displays make you think as much about the institutional context and the museum’s history as about the internal relations between objects. And ranging from Morandi to Marcel Broodthaers to Fischli/Weiss. 4 for the blind man… ICA. More directly architectural installations include scaled-down doors which are both reflective and transparent.vanabbemuseum.org. but what happens when you repeat a whole exhibition in a different epoch? It highlights everything that has changed around it. Now.ch Kunsthaus Graz 6 February – 16 May www. it’s a nice intergenerational mix of artists. Nationally or regionally defined shows may seem played out. I gather. with work by Rustam Khalfin and Almagul Menlibayeva.museum-joanneum. felt. 2003–9. an impression created. courtesy the artists and Matthew Marks Gallery. by magnetic fields. etc) are so under-known. artworks are ‘repeated’ every time they’re shown again. 30 x 42 cm each. this is a repeat – down to the audioguide – of an exhibition curated here in 1983 by Rudi Fuchs.but can’t name.top five from left: Zomeropstelling van de Eigen Collectie (Summer Display of the Museum’s Collection).pointedly scheduled during the Berlinale Film Festival – is basically a drive-in cinema. detail). too. Zurich until 21 February www. Eindhoven until 28 February www. 34 ArtReview . MuHKA are buying the whole project – an exhibition in time. since the ‘stans’ (Kazakhstan. Eindhoven).migrosmuseum. 3 tatiana trouve 1 repetition: summer display 1983 Van Abbemuseum. or the antiEnlightenment outlook ushered in by a lot of poststructuralists. subtle despite their scale. 5 phil Collins: auto-Kino! Temporäre Kunsthalle. highlighting the genre distinctions between art video and other film. So it flies in the face of the idea that there is some kind of meaning that we need to unlock. a continuation of that show’s layering of histories: of ancient and continuing tradition alongside the aftermath of the USSR’s collapse.

Vienna and the Galleria nazionale d’arte moderna. Rome.at .sammlung. 1976. 2009 / Sammlung Verbund. www. Roma Duration of Exhibition 19 February – 16 May 2010 Curators Gabriele Schor and Angelandreina Rorro Artists Helena Almeida / Eleanor Antin / Renate Bertlmann / Valie Export / Nan Goldin Birgit Jürgenssen / Ketty La Rocca / Leslie Labowitz / Suzanne Lacy / Suzy Lake Ana Mendieta / Martha Rosler / Cindy Sherman / Annegret Soltau Hannah Wilke / Francesca Woodman / Nil Yalter The exhibition is a collaboration between the art collection Sammlung Verbund. b&w photograph © Estate of Birgit Jürgenssen / VBK. Vienna. Ich möchte hier raus! / I want out of here!.Birgit Jürgenssen. Vienna 200 works by 17 artists Galleria nazionale d’arte moderna.verbund. Vienna DONNA: Feminist Avant-garde of the 1970s from Sammlung Verbund.

the exhibition he’s curated at London’s serpentine Gallery. Welcome to the world of the industrial design exhibition. and Design Real. over in design world. Grcic’s show had the lean. clear gallery space. not the name attached to it. the show is a curiosity rather than a revelation – something that for me sat rather awkwardly with the gallery’s reputation for tautly executed exhibitions and rigorous yearly marathons. where objects lack hidden meaning. is about as functional as they come. For a specialist audience. but that’s likely an illusion created by Grcic’s uncluttered scenography. of course. through 7 February. the bin from the shop. ergonomics real design is at the Design Museum. it takes real guts to exhibit the fruits of true mass-production without even a veneer of conceptual significance. the kind of guts hitherto only attached to more educational institutions. it would be entirely different at the design Museum. the design Museum. beating within the ribs of a visitor: the one that got away. there’s an empty bell jar that was intended to hold an artificial heart.” as i travelled across town to catch the new shows at the design Museum later that day. such as MoMa.design CheCk it out. there are no design/art jokes here: the double takes come instead from a selection of exhibits so militantly quotidian that a good 30 percent could have been sourced from the gallery building itself: a chair from the directors’ office. and it is a compliment to both sides that the most surprising elements in Grcic’s selection would have sat happily within it. it’s an intelligent but only very occasionally surprising overview of recent industrial design. London. © 2009 Babybjörn . but those pavilions have been original works by starchitects. utilitarian elegance of a wellmade. design commentators can – and no doubt will – argue themselves lean over the merits of Grcic’s selection. designer konstantin Grcic last appeared in this column after producing an injectionmoulded chair using a fast-moving new plastic developed by BasF. Design Real is its first public recognition of what many people consider one of the nobler creative arts (and for those of us who think that way: damn it’s hard to resist pimping up the title to the more satisfyingly regal Design Reál). i realised with regret that i had not asked obrist or fellow director Julia Peyton-Jones whether their zeal for design had made them regular visitors to the design Museum. Yet the fact that no curator’s name is splashed across the wall beside the title points up the major reason why Design Real couldn’t have occupied the same space as Real Design. i’m not sure it’s quite ready for the cult of the celebrity curator. design real is on view at the Serpentine Gallery. the museum seems to have less space than the serpentine. sure. Babybjörn. serpentine co-director hans ulrich obrist clearly found this the name game The Serpentine Gallery’s first design show: the exhibits may be anonymous. which Grcic had selected but could not show. after the formally omnivorous serpentine’s recent love-in with the world of performance poetry. Design Real really does come with a king – Peyton-Jones and obrist say they consider Grcic “a great genius” – but although the design world is full of stars and personal brands. the V&a and. it surely lacks the serpentine’s healthy visitor figures. through 7 March Babybjörn Baby Carrier Synergy. London. But in a rather bitter coincidence. very expensive thing. the gallery has collaborated with architects on annual big-budget commissions. art kids: sometimes a urinal is just a urinal. and notions of good and bad are linked simply to functional success. a water carafe from the front desk. one imagines the heart moving through the light. i crossed the museum threshold to the big question: could Design Real have been a design Museum exhibition? Yes and no. Whether you’ve seen the objects before is not so much the point – it’s more to do with the fact that it’s konstantin and it’s here. “how could i talk about design in depth and be understood by the public at large?” Grcic said recently. designed by Ergonomidesign. 36 ArtReview the design Museum had opened an ergonomics show called Real Design the week before. but the curator certainly isn’t words Hettie JudaH objection rather trite: “You can have the same subject curated by a wide variety of people and it will always look different. destined for a nonspecialist audience. My suspicion was perhaps not. curators spend months on end covered in dust and nursing paper cuts: the draw of their shows is the subject or manifesto.

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04

£1,150
01 Artist Fiona Tan, who represented the Netherlands last year at the Venice Biennale, creates film and photography work that probes the nature of selfrepresentation. In 2000 she made a film entitled Lift that involved the artist being hoisted into the Amsterdam sky by a cluster of red balloons in a dramatic and lyrical instance of exhibitionism. A limited-edition print from the crucial moment of elevation is currently available to purchase from London’s Frith Street Gallery in an edition of 100. www.frithstreetgallery.com 38 ArtReview 02 To commemorate the website relaunch and new partnership with online retailers YOOX, Established & Sons will be showcasing Bits and Bobs, created by acclaimed design duo Committee. Available only online, this limited edition of 24 comes in solid silver (from £8,400) or solid silver gold plated (from £10,500). Bits and Bobs unites everyday objects whose initial lack of obvious connection becomes a curio with references to ornaments of the past and a narrative on twenty-first-century decoration. www.establishedandsons.com 03 British artist Bob and Roberta Smith celebrates the opening of his exhibition Factory Outlet at London’s Beaconsfield by producing his firstever hand-printed etchings. Inspired by the building’s mission statement and architecture, and by the artist’s own tremendous artistic output during his one-year residency, the etching is a tonguein-cheek portrayal of Beaconsfield as an art factory. A limited edition of 100 (£175 now or £250 after the exhibition ends on 21 February), each is signed by the artist. www.beaconsfield.ltd.uk 04 To coincide with MoMA’s critically acclaimed Bauhaus exhibition, the museum shop is stocking a plethora of Bauhausrelated merchandise. Alongside furniture, a chessboard, prints and a special edition replicating Josef Albers’s exercises in understanding colour, the shop is also stocking a building game originally devised by Alma SiedhoffBuscher in 1924. It’s suitable for children aged six and up, but its elegant wood design and bright colours will make this a must for some adults, too. www.moma.org

CUrrent exhibitiOnS

> January 30th / March 28th, 2010
Laboratorio 987

Yorgos Sapountzis
Pre-Bellevue
Showcase Project

Loud FLash British Punk on paper The Mott Collection
Activity related to exhibition:

Punk Aesthetics seminar
> March 27th, 2010

MUSAC OFF

Augusto Alves da Silva
Iberia
Schedule:
> Project launch: January 30th > Quarantine: February 8th / March 20th > Opening of the exhibition: April 10th
www.primerproforma2010.org
Collaboration project between MUSAC and the Serralves Foundation (Porto, Portugal)

UPCOMing exhibitiOnS
> Opening: April 10 , 2010
th

Laboratorio 987 & Museo de León

Showcase Project

Bringing up Knowledge

archive of Creators from Castilla y León
Designed by un Mundo Feliz

www.musac.es

Fore more information about our Educational and Culture Programme: publications, seminars, symposiums, lectures, workshops, grants, audiovisuals, visit our site www.musac.es; suscribe to our bimonthly newsletter. Free entrance. Avda Reyes Leoneses, 24. 24008. León, Spain.

once again plays with the exaggerated scale of everyday objects. www. To coincide with the show. decorative and political associations. Each work was ‘translated’ from physical form into sound. some even for purchase in the Whitworth shop. and Berlin’s Temporäre Kunsthalle is currently paying homage to all things audio with a show curated by conceptual artist Karin Sander.Consumed €600 05 £90 07 £195 05 06 $1. Brass Tooth. Martin Boyce and Damien Hirst. his current multiple on offer at Philadelphia’s Cereal Art.com .kunsthalle-berlin. and features.com 40 ArtReview 06 In February the Whitworth Art Gallery in Manchester is mounting a show of artists’ wallpaper. each sold with a unique hand drawing on the box. Sarah Lucas’s roll (pictured) is entitled Tits in Space. Rosemarie Trockel.com 08 Scottish artist David Shrigley has made a career of creating offbeat and witty sculptures. unsurprisingly. including an outsize eagle and a dinosaur.manchester. exploring the role it plays in contemporary art. offering a solid polished brass molar sculpture of eccentric proportions. On view will be designs by the likes of Thomas Demand. Sander has produced four audio scores in an edition of 50. look no further than London’s 176 project space. and the result is a medley of sung. who has brought together works by more than 500 Berlinbased artists. which is currently stocking limited-edition T-shirts designed by artists Dan Attoe and David Blandy for an affordable £90 and £30 respectively.whitworth. www. and looking at its historical. The sculpture is available to purchase in an edition of 80. while Blandy’s silk-screened tee depicts the various circles of hell. drawings and handwritten texts. www. recited and instrumental compositions.uk 07 For a slice of wearable art.projectspace176. Attoe’s hand screen-printed American Apparel T-shirt (pictured) features various cartoonish beasts.200 08 05 Sound art is an increasingly significant aspect of contemporary art practice.cerealart. www. breastshaped objects floating on a dark background. ac.

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Courbet was imprisoned for his part in the destruction of the Vendôme column. held in 1855 in a specially erected building opposite the annual official Salon exhibition. Paris . which directly inspired the art of Manet and the Impressionists. a Real Allegory. was the high point of a new movement of Realism in French painting. © RMN (Musée d’Orsay)/Hervé Lewandowski. during the 1871 Commune. and thus can be seen as one of the founding moments of Modernism. Born in rural France in 1819.AN ORAL HISTORY OF WESTERN ART In this ongoing series. the real people who created the historic styles give their eyewitness testimony NO 14: GUSTAVE COURBET Courbet’s notorious self-designed retrospective. in Paris. interview by matthew collings 42 ArtReview Gustave Courbet. The Painter’s Studio. He died in exile in Switzerland in 1877. 1854–5.

hairy animals. people working. It’s an expression of a certain kind of life that seems to come truly from within that life. Maybe I thought reality is always how you perceive it. not an ideal. lovely evening clouds. and they had to get used to new ways: entertainment. superb. believable pictorial structure that comes from Rembrandt and Caravaggio. which was my social background. no. Bohemianism. Ar Tell me about the old days. There was the 1848 revolutionary attempt all over Europe. people at a funeral: very big paintings. my allegory. . playing music. amusement. discovering modern art? GC Great. I saw this handling in sketchy landscapes by other artists in the Salon.” Ar That’s a good line. GC Thank you. The administrator of the Salon summons me and says. “You speak in the name of the government. and after that everyone was scared. I’m my own commissioner. Ar What’s going on in the studio? GC There was a long title. all done with thick white paint put on with a knife. I captured it on an epic scale. after all. Ar What was it like. Before that. the free-spirit gypsy – I put a new substantial slant on it. and I identified with them all. woodcuts of the Wandering Jew or peasants at work. rough textures. as it were. a lot of Caravaggio-esque and Rembrandt-esque chiaroscuro. things that are dead now. Ar Seen any shows? GC Yes.” So I said. in the house. if you like. Ar What kinds of subjects? GC People in the dark round a fire. You could say painting itself was another one: the painter. black stuffy clothes. which also hadn’t been done. shadows and poor people. and a new rough handling. and this is my perception. Tone down the peasants-r-us stuff a bit maybe. the chalk cliffs in the bit of France near Switzerland where I come from. more like that. people coming home from work. this figure connected to Romanticism. they all arrived at once. it was the mood of my time. and another was the big studio painting. plenty of art – and an iron-hard control operating beneath the surface. I mean. Glenn Brown. Ar How did you know where to put people and what gestures they should be doing? GC A little bit from folk art. but 2009 is a very different era. Ar And everyone was impressed? GC You wouldn’t believe how fast it all moved. but a reality. “Here. and fear led to a big political coup in France in 1851. a lot of things were new then. Solidifying. I see the dollar signs – that’s how I tell if something’s good. GC Oh. And I went off and formed my own art system. but otherwise show as much as you like. you know. and their parliament was a brick building I paid to have erected opposite the palace where the Salon was on show. which the Salon rejected. In fact they were frameworks through which I created an artistic identity. inspiring and exciting. and a sense of a powerful. Ar What are you doing now? GC Chillaxin’. but the rural petite bourgeoisie. not the peasants so much. and the whole political angle. I’d done self-portraits looking crazy and poetic. Fat bottoms. it’s not Bruegel mocking peasant life for the amusement of the aristocrat who’s commissioned peasant scenes from Bruegel. But it’s not all that clear either what it is I am positively doing – commemorating. I can’t remember it all now. And the mood I got from the zeitgeist. I put that with handling and scale that basically came from the Old Masters but was exaggerated by me. popular prints. and then a few more things where I captured the look of the country worker. So compared to Bruegel. yes. but of course it could not in reality come from there. thick paint. or been out making one of your TV programmes. show your paintings in the annual all-important Salon by all means – it’s the Emperor’s Salon. and then everyone was not scared any more but just totally repressed. and in it I hung a few dozen paintings I’d done over the previous seven years. and solid drawing. I loved it. everything in it makes him look like a good guy. solidifying something elusive. One was this big burial painting I mentioned. It was a new idea: the outcast or outsider. heroicising? Not really. culture. a reality I have known and which now has a political urgency. which was suppressed. even a force. which I’d already shown in the Salon a few years previously. which hadn’t been done before. because to be a painter you have to leave that life behind and become something higher and more socially refined. and I called this building the Pavilion of the Real. and with no clear guide about how to get what you were looking at morally. socialism and anarchism. but it seems to me that I am a kind of government myself. but totally leaving out their handed-down religious narratives. nineteenth-century costume. a new frankness of paint and canvas. and I’m not mocking. and I expanded it and made it harsher and heavier and kind of more delicious at the same time in my own work. where you’ve probably been on holiday yourself. Ar Surely you didn’t used to think like that? GC In the 1850s. and broad brush marks. and it is exactly that – urgency and force – that goes into my aesthetic expression of it. Courbet.Artreview What are you wearing? COUrBet Oh. a system made of paintings. ‘Real’ and ‘allegory’ were in it. Matthew.

trout. the studio is not a revolution. what I started off was a new culture of painting in which reality and roughness seem very important. GC I did. Myself in the middle. and a little kid looking. In your time they still say something. while everyone else is in the shadows. Manet. Roughness and finesse are always misunderstood in painting. It killed me. In fact. But also I did lesbians. and that approach allegorises the painter’s revolutionary programme. solid powerful formal structure. the Impressionists. “Down with childishness”. they all go with a new radical carelessness about important narratives. And baskets of flowers – all these say “Down with the repressive regime” just as much as paintings of workers. He’s a poacher. And the rest of the space filled with people. it’s just a big studio. Thick paint. Ar What does last? GC I like the great expanse of nothingness above everybody. But you did paint some great images of work and workers. too: existence. or a muse. You put these things together. and how it connects to a personal reality. painting a landscape – a nude model looking on. Waves that look as powerfully structured as buildings. and baskets of flowers – all these say ‘Down with the repressive regime’ woman is an allegory of beauty. I wouldn’t say this sort of idea is what lasts. while at the same time there’s always an overall coherence. They cause the flicker or the glimpse to become something authoritative. or barricades. it’s the drink. I’m looking forward to when you interview one of them to see how they explain it. still lifes: apples. Ar Is it what you meant? GC Sure. very bad landscapes done very quickly and often by assistants. They were great. different understandings of what reality is and how existence should be ordered. of course. I mean. that’s what something cubist by Braque or Léger is. You make something have real importance in painting by making it have a feeling of constant shifting registers. She’s a working mum. One of them’s maybe the Emperor. how things are. the Postimpressionists. I don’t know. even when it’s not actually directly illustrated. In fact. In your age childishness dominates so much. Poets. too. and for bringing down the powerful. that kind of thing. trout. And I painted magnificent scenes of stags and hunting dogs. can be right there in a painting.AN ORAL HISTORY OF WESTERN ART or I wanted to emphasise robustness but I wanted to contextualise it too. Or Manet. they say. but in any case. and finesse and finish are a matter of how you contextualise roughness or carelessness or spontaneity. like in Velázquez’s las meninas: it’s a beautiful strong absence that makes everything else work. the surroundings of Ornans. and you’ve lined up an audience for the statement. It’s a relief you think like that. Ar The landscape you’re painting in the studio is your own home region. Ar You’re rambling. you have an idea at the time. and the 44 ArtReview i painted stags and hunting dogs. He’s poaching the empire. where they make picnics political. they represent conflicting priorities. Ar You sound very abstract when you talk like that – what about “Down with the repressive regime! Up with freedom!” GC That kind of thing is childish in art. kitschy fat nudes. yes. And then I also wanted the title to suggest how a political or social attitude that is against the powerful. He’s not working yet. and still lifes that are among the greatest things in the genre: apples. where artists give to sheer spontaneity a very elevated place: they monumentalise artistic decisionmaking. so a tough-seeming surface is both real and a proposal about reality. waves. thinkers. that’s my illegitimate kid in the picture. and the light’s all on that depicted painting. It’s the centre of the picture. art collectors and so on: my support group – they’re all on one side. GC Yes. Now I see the importance of the move. I’m reluctant to encourage it. but not labourers: cultural workers and maybe allegorical politicians. At the time I never liked them much. It used to be a lot of other paintings by me hung high on the wall. or an allegory by painting methods of the real thing. the real thing. The excellence is the revolutionary thing. maybe – at least that’s an interpretation that’s settled in. On the other side it’s a group of allegorical figures. Ar I know what you mean. GC Yes. next month: Berthe morisot raises the chick count of this series . but the painting as a whole worked better when I obliterated them. the studio too is an image of workers. You’re making a statement about art. as classicism had once been full of authority. that kind of thing. rough handling. actually. or truth. though. they’re all inspired by it: this holiday art of the Impressionists. as well as the woman I lived with. but it has to come out of a new approach.

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But most challenging of all is the question of how much an artist is able. flattened compositions centred on single figures. even in the relatively liberal environment of arthouse cinema. the geometric arrangements of male and female groups. the monochrome islamic imagery. that is largely because it so wholeheartedly adopts mainstream norms that there is no discernible artistic – or indeed directorial – identity visible in what comes across as. or willing. if Nowhere Boy stands to be a modestly healthy commercial success. the resounding horror of last September’s Venice Film Festival. at the same time. this one an object lesson in achieving a fit between signature style and the requirements of art-house cinema.On view wOrld Of wOmen Winner of the Silver Lion at last September’s Venice Film Festival for her film Women Without Men. whose Hunger (2008) was an exemplary case of how cogently an artist can adapt to narrative cinema. it was Shirin Neshat’s Women Without Men (2009). to import his or her own signature into film – and indeed. a lot is at stake. given that the UK Film Council has announced its intention to invest in features by gallery artists as a way to invigorate British cinema: 46 ArtReview gillian Wearing and Jake & Dinos Chapman are among the first in line. whether that personality might best be downplayed rather than highlighted. Look at practically any still from the film and you instantly know this is a Neshat piece: you recognise the stark. following in the path of Steve McQueen. a competent British realist narrative in the Stephen Frears tradition. Women Without Men sees Neshat expanding the scale of her stylised miniatures. it may have been 100 percent rist. and it deservedly won the Silver Lion for best director. the dangers in artists bringing too much of themselves to the screen can be seen in projects such as Pipilotti rist’s Pepperminta (2009). . the way ahead is probably not indicated by Sam taylor-Wood’s Nowhere Boy (2009). a lurid fantasia in which the child-woman heroine skips merrily through a lysergically-hued landscape. Conversely. but it came across like an episode of The Magic Roundabout guest-directed by Björk. Shirin Neshat is the latest contemporary artist to move into feature filmmaking without compromising her artistic signature WheN gaLLery artiStS make the transition to feature film. there is the question of whether an artist can adapt to the long form and sustain a coherent visual discourse over 90 minutes or more. about the early life of John Lennon. the question is a somewhat pressing one. there is nearly always the requirement to tell a story – a demand that can be oppressive. where narrative is sometimes (but not always) permitted to be stretched beyond mainstream norms. at best. Venice also premiered another artist’s debut feature. that said. dressing her chums in Sgt Pepper costumes and turning uptight Swiss burghers onto the subversive joys of colour. in Britain.

there runs an unapologetic magic-realist thread. and Faezeh (Pegah Ferydoni). Shooting in Morocco. Striking as both a personal and political statement. Neshat boldly tackles the language of modern historical drama. or a remarkable shot of white-shirted demonstrators rushing diagonally across the screen. Zarin. when a British-backed coup d’état brought down the democratically elected prime minister. highly choreographed reimaginings of modern greek history (Days of ’36. a set of standalone installations devoted to the individual women in the story. then makes an ‘impossible’ transition through a hole in the wall. Munis (Shabnam toloui). as associated with Bertolucci. at other moments it appears as an altogether realistic territory subject to invasion by the outside world. the story interweaves the fates of four women: Fakhri (arita Shahrzad). and to the faded. New York & Brussels among them Turbulent (1998) and Rapture (1999). but no sooner is she hastily buried by her distraught brother than she is exhumed and miraculously restored to life. a tormented and martyr-like young prostitute (played with frightening physical intensity by hungarian actress Orsolya tóth). But alongside the historical reconstruction.words JoNaTHaN RoMNey above and facing page: Shirin Neshat. The Travelling Players. the camera snakes at ground level along a brook. Courtesy Gladstone Gallery. Women Without Men. nearsepia palette mustered by cameraman Martin gschlacht. suggestive of a dream or folktale. say. the time is 1953. Women Without Men is a fascinating hybrid: a realistic historical narrative evoking early 1950s political turmoil in iran. feature film stills. the middle-aged wife of a general who leaves her husband to rediscover the intellectual bohemia of her youth. held in Park City. staged in an idiosyncratically stylised manner: scenes in which marching groups collide at crossroads. Women Without Men is a fascinating extension of Neshat’s long-running project as an artist: and it may be that the transition has been so successful because the feature itself evolved out of a series of approaches to the material. 1972. the leitmotif of a wooded garden ostensibly suggests a separate female haven. with an army in pursuit. but while at times the garden seems to occupy the realm of pure symbol. the film’s densely evocative tenor owes much to such eerie manipulations of space. or taiwan’s hou hsiao-hsien. Neshat’s film is proof that gallery artists can move into cinema without having to entertain the more mundane and mainstream assumptions associated with narrative film. yet also integrating elements of magical realism and myth that amply mobilise the symbolic aspects of Neshat’s distinctive iconography. the film often approaches the more overtly theatrical. whose own position and identity fluctuate in relation to the other three. Mohammed Mossadegh. a young woman whose political awakening brings her into conflict with her traditionalist brother. into a complex. 21-30 January . an auteur piece in the true sense. © the artist. of demonstrations and public unrest. the story begins with Munis’s suicide. and to political activism. adapted by Neshat and Shoja azari from a novel by Shahrnush Parsipur. tantalising narrative form. Brechtian style of theo angelopoulos in his philosophical. she musters vivid medium-scale rather than spectacular evocations of 1950s tehran. it is in the garden that the film is at its most impressionistic: in a quietly breathtaking tour de force at the start. to crane up above the trees. 2009. Women Without Men is screening at the Sundance Film Festival. at the same time. 1975).

1983 (foreground). MaxMara has also partnered up with the Whitechapel Gallery in London to introduce the biennial MaxMara Art Prize for Women. for 2005–7. Bill Viola’s Catherine’s Vow (2002) (although the freestanding LcD flat panel is. hannah Rickards won the 2007–9 edition. like Vito Acconci’s labyrinthine installation Due o tre strutture che s’aggancino a una stanza per sostenere un boomerang politico (1978). the artworld in general – is dominated by male artists. in fact. which is then acquired by the collection. with a definite focus on painting. And the fact that the brand is aimed squarely at women suggests that while his collection’s evolution has made a seemingly unlikely jump. The fact that the Maramotti collection – like. Man of Sorrow (The King). Due o tre strutture che s’aggancino a una stanza per sostenere un boomerang politico. Alongside these are a few works that refuse to fit the pattern (such as it is). You’d think that Achille Maramotti’s death. Tom Sachs’s The Choice (Ghetto Sculpture Park) (2001–2). in fact. videowork and soundwork. above: Collezione Maramotti. provides an intriguing riposte to the Maramotti art aesthetic. Ursula. The fact that visits to the collection must be booked in advance and that. ranging through italian movements such as the Roman School. collezione Maramotti was put together by MaxMara’s founder. and it’s a remarkable fusion of twentieth-century art history and one man’s personal taste. Reggio Emilia 48 ArtReview . comprising a residency and funding to realise an art project. and that the award has gone to female artists best known for filmwork. Eric Fischl.org facing page. in 2005. 1983. you might not necessarily think of Reggio emilia.collezionemaramotti.000 inhabitants) of the emiliaRomagna region of northern italy. seems to be a theme of art interventions in Reggio: the city’s Invito a… programme allows contemporary artists to choose a site for a permanent public artwork within the city. ‘count Max’. 1978. as a stronghold of contemporary art. Arte Povera and Transavanguardia before switching (quite dramatically) to 1980s neo-Geo from new York and ending with a selection of works from the final years of the last century and the very first years of the current one. went to Margaret Salmon. the late fashion great might have appreciated it. Don’t look up in the public reading room of the Panizzi Library and you’ll never notice LeWitt’s Wall Drawing #1126 Whirls and Twirls 1 (Reggio Emilia) (2004) on the ceiling. Alex Katz. the fact that the MaxMara brand name apparently derives from combining the name of a celebrated local drunk. Birthday Boy. even then. a moving painting). So far the series has led to works by Robert Morris. eliseo Mattiacci. it’s best known for the development of an eponymous. But you’d be wrong. Reggio Emilia. and one of its overall standouts. Farewell to Crete. All images: © the artists. with a fragment of Achille Maramotti’s surname suggests that the great man had both a sense of humour and a far-from-overwhelming ego. the institution only admits up to 25 people at any one time allows this to be that rare private collection that can really live up to that definition by being viewed in relative privacy. Among these are the collection’s one videowork. Courtesy Collezione Maramotti. it features postwar art. The first award. 1988 (left. which should ultimately create the most open of contemporary art museums. A Cut AbOve added (albeit not to the display of the permanent collection). Malcolm Morley. Achille Maramotti. the capital (boasting a little under 200. But tucked away in the former factory of the MaxMara fashion house is one of the most rewarding private european collections of postwar art you could visit. would have marked the completion of his collection. 1984 (right). clockwise from top: Vito Acconci. background). Luciano fabro and Sol LeWitt. Perhaps that absence of hullabaloo is part of Reggio’s charm. to all intents and purposes. Discretion. www. Julian Schnabel. On the other hand. widely adopted preschool educational philosophy.On view On The fAce Of iT. without going all Jerry Saltz. Aside from the fact that contemporary works continue to be The discreet charms of MaxMara founder Achille Maramotti’s art collection.

words maRk RaPPolT .

aggressively crafting a macho artist persona that attempts to square up to those of the Abstract expressionists. I play with the ideas. We took a cast of my arm and the photographed it. I guess I’m right in the middle of it right now. now you’re looking for dirt. or is it a one-off ? AY We’ll see. As with a lot of my work. I’ve never been here before. It just has to be that same kind of aggression. or are you right in there living it? AY I think I’ve calmed down. So. like. I’m sure if you know anything about me. It doesn’t necessarily have to be biker. with all my blood flowing through it. I guess. AR This [Untitled (Arm). We’ll see where it goes. AR Have you always had a fascination with badboy rebellion culture? Is it distanced a bit. ArtReview shared a beer with the artist among the painted tyre tracks. which are just empty shouts [scrawled into the surface of the plinths]. tattoo artists and helicopter pilots. violence and sex to the quieter precincts of a Brussels gallery With the help of pit bulls. coming through the wall. and what you will. So. and I think that’s more about living up to something. AR OK. but it’s not really part of your world. box them up and then install them. I haven’t made up my mind. it’s my arm. is it? AY No. Aaron Young makes shrewd use of the margins of American pop culture. quotes and text in here. but at crotch level. brought it into a 3D program and enlarged it to the exact dimensions of the arm of Michelangelo’s David. and exporting. no. David was the first underdog. which is supposed to take you out. AY It’s my most explicit. It’s a Hells Angels tattoo and a death’s-head ring. burned-rubber glass paintings and graffiti-covered plinths at the opening of his show Semper Idem. are you? You’ve got the coat. AR And how long have you been here? 50 ArtReview kind of legend that you don’t emulate but. you know. AR Is this an idea you’ve been playing with for a while? Will other pieces follow. AR Which you’re now exporting to Brussels? AY Why not. that same kind of live-by-your-own-terms sensibility. AY They’re riffs on early minimalism. yes. just like anything in art. And the quote – ‘I’m bound to go to heaven because I’ve already served my time in hell’ – is from an original Oakland Hells Angel. and propagandising. in Almine Rech’s newly renovated gallery space in Brussels. having to live up to this persona or this creation? AY Ah. skateboarders. but they’re also like the zero exit of that kind of purity. but actually captures you. Whether recreating a colossal Jackson pollock painting in New York’s Seventh Regiment Armory with motorcycles or kicking a video camera to death across Red Square in Moscow. Let’s talk about the untitled plinths that are in the show. AR Has it got you into trouble? I mean. Then there’s its hyperchrome finish. 2009] doesn’t look like any work of yours we’ve seen before. that you almost have to live up to. this piece [i’m bound to go to heaven because i have already served my time in hell. delinquency. you’ve probably heard everything there is to tell. Especially empty with these tyre tracks everywhere. 2009] I made after I got here. The . AR But you’re not really part of biker culture. and I didn’t know this space was so gigantic. You try to push it on to a different direction. but it’s something that’s kind of bred in you. right? We’re crossing borders all the time.On view hellraiser AY Two days. but completely flexed and engorged. I mean. Or the ‘Go home’ or ‘Kill your idols’. no. It’s like the ‘LSD’ [plinth]. try to expand. the thirtyseven-year-old New Yorker by way of San francisco and the Yale MfA programme is embracing an alternative form of American outsider art. and its positioning. you know? There’s a lot of kill-youridols kind of stuff. I like it because. I see. It’s just something that is so American. you know. something I’m so obsessed with. and conquering it. I just walked into a bookstore and opened up a Hells Angels book and grabbed this stuff. and hypnotising. So you have this Aaron Young imports his distinctly American brand of hard-living artist enthralled by biker culture. my father was crazy and all over the place.

I find the quote ties this work together nicely. you know. so they do have an aggression and a rebelliousness to them. 2009 (installation view. It’s just all surface. you know? Like it’s more this kind of monolithic gathering spot. right? AY Right. kids in LA. you know? It’s like the Hells Angels quote. basically it’s just sex and violence. They just became these smashed-up things. it can go from orgy to. right). and the entire time I’m getting hit with hot rubber from the tyre. Brussels. AR The glass pieces [Gang Bang. AR So you’re heaven bound? AY Well. The floor painting has an emptiness to it because there’s not that weight. but I have never done text before. I don’t know about that. It doesn’t pull anything out. burning out. where Cage was driving the car and Rauschenberg was painting the tyre and laying down eight-by-ten pieces of paper under it. New York. So picking up on the detail. concrete. I mean. It’s different than the motorcycle paintings. 114 x 37 x 37 cm. 1951). and Galerie Almine Rech. Brussels spray paint and painted tyre tracks on the floor [of the exhibition space] are a reference to the Cage/ Rauschenberg piece (Automobile tire print. So I’ve done one other piece on glass. It was a nice reference to pull everything together. ‘gang bang’. New York. and I think it is kind of hopeful. The park plinths never served the function that they were supposed to. I like the phrase itself because I think that it can kind of just go for anything. laminated glass with shredded tyre rubber. Art is about everything. I don’t like anything to serve its original function. AR Right. Bortolami Gallery. Some of the plinths are pedestals that should have something on them. where I stood against the wall and I had the motorcycle rider just kind of move his tyre back and forth. Galerie Almine Rech. We made an outline of my body. Brussels Untitled. and the same kind of bravado that a lot of the action pieces have. Courtesy the artist. Courtesy the artist. which have so much depth and weight. with Untitled (Arm). The first one that I made was actually in art school at the San Francisco Art Institute. I just thought there was a time to actually say something. like the city parks we used to hang around in when we were kids. and all of this hot rubber is going around my body. life and death. Bortolami Gallery. you know. New York. giving directions to the person that’s burning out on the bike. And I’ve always liked this statement. 2009. edition 10 of 40. I was walking around a motorcycle piece in my studio. Brussels Semper Idem. 213 x 152 cm. but trying to pull it to a point where it’s more orientated for. .interview by ChRiStopheR MooNeY Gang Bang. 2009. two rival gangs. 2009] are also bike-related. They’re about being pushed down into the paint and bringing something up to the surface. 2009. Some are knocked down as well. AY Yes. Courtesy the artist. Bortolami Gallery. Put something down. vinyl letters and epoxy resin. and Galerie Almine Rech. like… a click [snapping his fingers]. spray paint. and in the end. we made these rubber pieces. foam. They’re very much a reference to early minimalism. and Galerie Almine Rech.

that the artist arrives at. using a native restlessness to keep thought from getting in the way of good work. and simultaneously suggests a set of eyes. vortices and whirlpools. moving to london in 1982. london. Krut demonstrates a Surrealist’s facility for perceiving links between the most disparate commonplace objects and having them perform dual functions. but is kept in check by a low boredom threshold that prevents the artist repeating himself. Krut was heavily influenced by Guston. he. Krut cites the futurist poet Vladimir mayakovsky and his skill for anthropomorphism and breathing life into inanimate objects as being particularly pertinent to his own project. Citizen Bottle (2009) began life as a loose sketch before being turned into one of these drawings. in Hackney. So how does he know he’s on the right track? When the painting makes him laugh. or discovers. to join in a chorus. which also resembles a pair of buttocks. which is repeated and blurred to approximate drunken double vision. a wine-bottle motif is set down upon the corner of a table within an indeterminate field of nicotine-ochre. It is literature. however. when he enrolled in a fine art degree course at University of the Witwatersrand. Hovering above this head is a comical brown ten-gallon hat. de Kooning and others featured in that show. He continues this quest for the unexpected and marvellous from one work to the next. or arsehole. is leaving his mark on younger painters. This bon viveur’s face is furnished with a Dalí-esque waxed moustache. It is by attending to the logic that an initial motif triggers. which immediately lends it a human personality. and going on to study at the Royal College of Art. and as a tutor at the Royal College for some years now. perhaps. he felt the full impact of currents emanating from the Royal Academy’s seminal 1981 New Spirit in Painting exhibition. like many of his fellow students. it only ever functions as a point of departure for formal experimentation. a painting. RoWS of SmAll carefully resolved colour drawings line much of the available wall space of Ansel Krut’s Dalston studio. and allowing a character to reveal itself. The vessel’s bulging sides convey a large intake of breath. especially the horror and morbidity he witnessed in Goya. Stuffed onto the neck of the bottle-body is a half-apple shape. but earlier European painting. The two raised green wings that grow out and up from the centre of the body rouse his audience. Krut took up painting 30 years ago. more than anything else that fuels his imagination these days. He paints them fast and loose. Rather than providing a subject or narrative. mythological tales of violence 52 ArtReview . the viewer. Those early influences have since been synthesised and distilled. at the centre of which is situated a singing mouth. soon became as vital to his development. in his native Johannesburg. In the finished oil painting. in turn.On view the cOmic artist Ansel Krut is fond of spirals.

London . The artist has been using the whirlpool words ANdreAS LeVeNTiS form in his paintings for several years. With this newfound freedom. Here the head and face are conjured via a simply stencilled thin white line. all of which are described with graphic black brushstrokes and filled with apparently arbitrary shades of orange. and the emotions and associations they evoke are correspondingly unsettling. counter to the supposed practices of this imaginary procrastinating genius.are another source of inspiration. The colour and line of the comics Krut read as a child inform his practice more than ever. He recalled and borrowed the spiral motif from publications in which it often served as shorthand for an elbow or knee. yellow and lilac. oil on canvas (framed). negative and positive space. these pranksters appear complicit in a joke that concerns the haphazard nature of life. Courtesy Stuart Shave/Modern Art. Vortex Man (2009) has an unmistakable superhero dynamism about him. giant fungus dandies dressed in single trouser legs and clown boots stride confidently into one another. when considered in conjunction with the patina of the blackboard ground. and provides an unexpected mechanical interlude. the artist has composed a pontificating figure. 110 x 80 cm. In the small painting Giants of Modernism #1 (Vortex Head with Pipe) (2009). The figure lunges towards us with voluminous tubular limbs from a matt grey-green background that has the look of a worn schoolroom blackboard. Krut’s paintings reassert the primacy of the bodily and organic over interpretation and meaning. whom he describes as a ‘chinless wonder’. evinces a nostalgic impulse. its pitfalls and our inevitable demise. Krut claims to now know when a painting is headed in the right direction: it makes him laugh. oil on canvas (framed). An exhibition of work by Ansel Krut is on view at Stuart Shave/Modern Art. The instances of transformation described in ovid’s Metamorphoses (1 AD) go some way towards explaining Krut’s desire to mutate human beings into fantastical hybrid animals or flowers. eyes. however. © the artist. Krut. London. His amputated and spliced protagonists are often difficult to decipher visually. This alien glyph floats free of the body. arms and legs. but of late it has proved a particularly productive device. inside and exterior space. The tornado from The Wizard of Oz (1939) provides another plausible source for these writhing appendages. Krut engenders these innocuous beige vegetables with a menacing air and a hint of arrogance. The optical effects of the spiral generate a confusion between beginning and end. In Mushroom (2009) a number of blind. in many ways encapsulating and symbolising much of what painters have explored and attempted to articulate throughout history. London facing page: Giants of Modernism #1 (Vortex Head with Pipe). and began working in the singular manner for which he is known today. so as to curtail potentially debilitating decision-making processes and resist overworking an image. executed in a sombre palette. which. 15 January – 13 February above: Tulip & Lily. prefers to execute his paintings rapidly. 2009. Nine years ago Krut abandoned a more illustrative style of figuration. bookended with perfect circles. Indeed. The head. the artist’s sense of colour and humour was allowed to surface. ears and mouth – which holds an exaggerated pipe – ludicrously dwarf the body. Signifying both fecundity and decay. creating a central tangle of primary colour. 2009. Courtesy Stuart Shave/Modern Art. By limiting himself to this single visual element. 76 x 61 cm. entirely from vortical forms. © the artist. and vice versa. its various formal ambiguities become infinitely appealing.

www. 11 am – 6 pm / New opening hours to begin in January 2010: Tue – Sun.kunsthalle-duesseldorf. 2007 / © VG Bild-Kunst.indd 1 18/11/09 18:17:49 Thomas Rentmeister. Bonn 2009 . without title. noon – 7 pm / Sundays and public holidays.de Tue – Sat. D-40213 Düsseldorf.The Kunsthalle Düsseldorf is supported by The exhibition is funded by Eating the Food in Art 20 0 ovember 28 N le Kunsthal 10 r u a r y 20 9 – 28 Feb f With the kind support of Universe Düsseldor Kunsthalle Düsseldorf. Grabbeplatz 4. 11 am – 6 pm AR_adTemp_Half.

Manifesto by GreG BoGin .

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within view of the New York World’s Fair.Greg Bogin was born in 1965 in Flushing. in Greenwich Village and works in Brooklyn. supermarket signage. Bogin’s work is informed by the mundane and the ordinary that surrounds us and infiltrates our subconscious. Logos on the sides of trucks. He lives with his wife. Queens. and vaguely familiar. He has exhibited extensively in the United States and abroad. when the promise of a happy. Bogin creates from the everyday detritus of our collective peripheral vision the inverse of the commonplace. . receiving a bachelor’s degree in fine arts. Kyrie. He later attended New York’s Cooper Union for the Advancement of Science and Art. IKEA catalogues and highway markers are all sifted through and distilled into the emblematic. modern future was in the air.

ristrutturazione Studio BBPR. Foto: Armin Linke . 2010 Leonardo da Vinci. Milano. Sala delle Asse. 1956.Fiera Internazionale d’Arte Moderna e Contemporanea 26/29 Marzo 2010 International Modern and Contemporary Art Fair March 26/29. Castello Sforzesco.

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Paul McCar thy’s installations, videos, sculptures and drawings picture contemporar y America as a hysterical themepark , controlling its citizens by indulging appetites for violence, infantilism, sex and fast food. Here, to coincide with the unveiling of its newest attraction, ‘ Pig Island ’, we explore a world awash with ketchup gore and brimful of butt plugs. wo rds : M a r k r a P P o lt PH otog r APHy: l eig h l eda r e

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The wildlife. and to ‘discover what makes our lemurs so lovable and our penguins so cool’. the most common sexual or cloacal ones. fuses mediated experiences (in McCarthy’s case. and drops it of f in a sanitised gallery dogs jump in movies) – in his installations McCarthy deploys this advice to the literal and metaphorical letter – to James Cameron’s Avatar (2009). (The counterpoint to this being that in official or ‘real’ life. The barriers we normally think of as separating ‘us’ from ‘them’ are erased. he writes. in some ways they both provide a chronicle of sorts of the rise of the modern movietainment industry: from Walt Disney’s dictum about every street in Disneyland needing to have an eye-catching ‘weenie’ (a reference to the sausages dangled off-camera in order to make McCarthy takes the themepark . every visitor becomes a Doctor Dolittle and every animal a personality capable of answering back. d i sCov er Yo u r W i l d s i d e There are obvious relationships between a number of McCarthy’s recent productions – perhaps most explicitly the enormous multimedia installation (made in collaboration with son Damon McCarthy) Caribbean Pirates (2001–5) – and themeparks. butt plugs. Beyond the sauces. is anthropomorphised into a series of ‘characters’ with the kind of qualities – lovability. somehow I found myself on Parrot Jungle Trail. building on an evident fondness for DIY culture and household sauces. the reason I was standing outside Jungle Island in the first place was related to an art fair. In this respect the themepark utilises a trait that the Russian literary critic Mikhail Bakhtin recognised (in his analysis of the work of Rabelais) as a fundamental base of the riotous medieval carnivals. just outside the Jungle Island gates. I’d accidentally grabbed the Jungle Island brochure instead. ‘Carnival does not know footlights’. M ee t t h e n ati v e s Back in Jungle Island. On leaving the NADA extravaganza at the Deauville Beach Resort in Miami Beach and reaching for a fair guide by the exit. ArtReview 63 . I was standing outside Jungle Island. ‘home to such animal wonders as a 900-pound liger [a lion crossed with a tiger] and our famous twin orangutans’ (would anyone but their mother know?). If Jungle Island sanitises the rainforest. and a plot that mirrors and references the fabrication of the film itself (soon-to-be-digitised actors operating in a ‘set’ of absent digital effects). exaggerates it with cocks. And between the invitation to ‘discover my wild side’. 1976). Jungle Island proudly boasts that it’s a ‘lush tropical jungle’. because soon we could also be having a close encounter with ‘the planet’s most lethal bird’ or a run-in with a bunch of ‘feisty baboons’. imagery derived from themeparks. and Hollywood productions) with lived experiences – often. complete with the anxiety caused by protagonists (both the ‘characters’ in the sculptures and the artist in the process of making them) who seem to enjoy being in McCarthy’s scenarios. in short. role reversal and laughter. for example a homespun take on Hollywood pugilism featuring a boxing-gloved McCarthy repeatedly punching himself (the video Rocky.) At Jungle Island. It’s popular culture consumed (as. But there’s no time to be worrying about these creatures. butt plugs. the action taking place beneath a canopy of palm trees whose foliage is represented by a series of dinner plates. and the fact that animal islands were on my mind at the time. Aside from the fact that many of McCarthy’s installations seem to have grown out of the detritus and production debris of his studio floor. to ‘gasp as a trainer dives into the water where alligators await’. consider works like the sculpture included in LaLa Land Parody Paradise (2005). McCarthy seems to bring the carnivalesque atmosphere of the themepark into a domestic setting. which features miniature pirate-pixies fucking contented pigs. Indeed. sociability – that might make them a winner on American Idol. Indeed. it’s intended to be) and shat out – a return of the repressed in high art. ‘carnival does not acknowledge any distinction between actors and spectators’. coolness or. that was on view at Miami Beach’s Bass Museum during last December’s art fair/funfair. let’s face it. magazine and Internet editorials. in the case of the artist’s output. like Cameron. implicit violence and kitchen condiments. status is always on display. there’s a sense in which he. just off the MacArthur Causeway in Miami’s Biscayne Bay. we’re invited to admire cockatoos riding miniature bicycles. implicit violence and kitchen condiments. cuteness. while the generally rancid atmospheres of those installations provoke an equal and opposite reaction in the viewer: disgust. in the case of the alligators. then there’s a sense in which McCarthy enacts an inverted parallel: he takes the themepark. adds a few penguins and vultures. and drops it off in a sanitised gallery space. exaggerates it with cocks.feature: paul mccarthy W elCo M e to t h e J u n g l e At approximately the same time as Paul McCarthy was completing the final pages of his Pig Island publication in Los Angeles. with its narrative about a life lived via prosthesis and proxy (a soldier infiltrating the enemy camp via an avatar). Despite its proximity to six lanes of pretty much constant highway traffic. or the untitled photograph of a grimy bottle of Daddies Tomato Ketchup. which were powered by the levelling forces of sexual innuendo. from the artist’s Props series. Weirdly. and drops the whole thing off in an urban motorway lay-by.

for a further year of feasting. particularly Leopold Bloom’s adventures in Dublin’s red-light district. Jungle Island isn’t that bad. Angelina Jolie. the conflation and flow between forms is particularly explicit. advertising and general consumerism). it ’ s s h oW ti M e When I arrived back in England. but then natural in its infantilism – at wallowing in it. fucking human beings are raised to the status of kings and queens. Perhaps. policing and moral control.and Bush offcuts. like the medieval carnival. where various wild animals (lions. Snow White. It’s easy to see parallels between the tale of Circe and the way in which McCarthy documents both the horror of man’s (and. of what genders that unholy trinity had been comprised. fucking human beings. drinking and romping with Circe. (In the case of Static (Pink). and also his delight – at first perverse. James Joyce’s reimagining of The Odyssey in Ulysses. t h e J u n g l e a n d B e Yo n d He highlights a certain joy in being a willing – as opposed to unwitting – victim of modern swinehood. whether or not he was gay. consumer culture. Odysseus eventually rescued them. 2004–9. and if so. presidents. he had apparently been required to submit to an interview with a private detective. wallowing in a mess of marketing. Having made it through to the last 40 contestants. and if so. which ones. created over an extended period of time. together with his crew. Santa Claus. wallowing in a mess of marketing. And what’s so wrong with pigs? After all. (In this respect. McCarthy’s apparently anarchic fantasies actually highlight their opposite – social conformity. who turned out to be OK. generally. Bush copulating with a pig in the midst of a pile of pig. wolves. exhibited this summer at Hauser & Wirth Zurich and featuring a piggy-pink George W. and there’s many a tale of how the smell of cooked human flesh is comparable to the smell of roast pork. in being a willing – as opposed to unwitting – victim of modern swinehood. ordinary shitting. an interview with an American Idol auditionee was being broadcast on the radio. one might say that.) If it seems that everything can worm its way into McCarthy’s work. forms an interesting bridge between the Greek epic and McCarthy’s work. frequent pig-related vocabulary and descriptions of pork-product consumption. And like in the medieval carnival or themepark. while kings and queens are demoted to that of ordinary shitting. too. whether or not he had ever taken drugs. but then stayed. then there’s a suggestion that everyone can too. etc) hung out in a strangely tame state. to something as simple as a ‘theme’. it’s very much man’s rather than woman’s) descent to the level of swine. and last but not least.feature: paul mccarthy In McCarthy’s work. Odysseus’s crew arrived and were wined and dined by Circe. 1922. foodstuffs. during the course of which he was asked to reveal whether or not he had ever had a threesome. they’re all prospective organ donors. pigs and representations of the artist himself are mashed up to similar effect.) What McCarthy also highlights is the fact that there’s a certain joy. and in the process drugged and then transformed into pigs. advertising and general consumerism 64 ArtReview It’s almost impossible to think of Pig Island without recalling the adventures of Odysseus and the witch-goddess Circe recounted in Homer’s Odyssey: Circe lived on an island not unlike Jungle Island. . if it’s possible to reduce a vast volume of interconnected work.

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entrails and bodily fluids were favourite subjects. “I’m very attracted to recombining images”. Kiki Smith: Prints. were considered by men analogous to the earth that nurtures life and. Sackler Center for Feminist Art. however. women. and fragmented limbs. she cuts strips off a sheet of black-printed paper. etc. pus. her latest offers a very different way of conceiving of exhibitions and artmaking. like set design. using more subtle forms of transgression and sometimes challenging accepted feminist views. and Things was seen at MoMA Queens in 2003–4. semen. shows a naked woman on all fours with a long trail of shit (or maybe a bloody intestine) hanging from her anus. but I am amazed to observe the procedures she can undertake while giving her full attention to her verbal responses. More recently. As she speaks. For centuries.feature: As the tribulations k i k i sm i t h d o e s n o t st o p w o r k i n g . opening in February at the Brooklyn Museum’s Elizabeth A. or a story. in giving birth. At precise stages in this pasting process. was transgressive – an untitled piece from 1987–90 (now in the MoMA collection) features a row of large silvered-glass containers with Gothic lettering purporting to indicate the contents of each: blood. Then she rips the strips and begins pasting them down onto a white sheet.” Daily enterprise has become an important subject in Smith’s recent work. So when I go to interview her in the Lower East Side townhouse where she lives and works. when created in bronze or terracotta. I am not surprised to see her at work while answering my questions. sweat. vomit. Much of Smith’s work of this time was based on her study of Gray’s Anatomy. rather than repulsion. Unlike those exhibitions. her choice of materials transformed these shocking images: what was considered ugly or unspeakable. not only the harsher ones that artists such as Karen Finley and Andres Serrano attacked or played with in the Reagan–Bush years. she explains. Another sculpture. “cutting them up and reconfiguring them. and she had a travelling retrospective that finished at the Whitney in 2006–7. Gradually I see she is making a collage of a bird in a cage. For many artists such a show would be a major event. Smith’s early work. attained the status and communicative force of a substantial work of art. created during the late 1980s. and it forms one theme of Kiki Smith: Sojourn. Tale (1992). The digestive tract fascinated her. She has often worked with taboos. I’m also very interested in contingency – that things have a temporal relationship to one another. Kiki Smith ’s latest work turns to subtler taboos wo rds : v i n cen t K at z 68 ArtReview . Books. To see art being made in the midst of lived life is revelatory. she adds three blue stars and a bird. at least during waking hours. Smith’s choice of materials and handmade facture generated empathy for her subjects. Smith has found ways to reinterpret women’s issues in aesthetic terms. But from the beginning. but Smith is on a roll: this is her third museum show in New York during the last six years. of age replace those of youth.

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who was becoming more and more interested in lived-in space: how people construct the spaces they inhabit. in Krefeld. the particular objects and decorations they use. the Museum Haus Esters.feature: kiki smith accordingly. Smith has constructed rooms that fill the boxlike Sackler main gallery. in Smith’s words. as the . marginal figures: “There were these camp-followers in wars. Smith joked that she thinks of herself as a spinster. and how much of that is decided by women. not constructed. and both the look on her face and her body’s floating quality spark an atmosphere of expectation: a prelude to love perhaps but also to further results on life’s path. taking pride in that perceived relationship in works such as My Blue Lake (1995). The rooms have a similarity to rooms in a home. she recreated objects from daily life. She agreed. In Through a Hole (1995) she made bronze casts of tea doilies. but a spinster who receives visitors. The third floor had been stripped bare to become. a photogravure of the artist’s head. The colonial and postcolonial period of North America became a source of interest for her. seen simultaneously from all angles. Smith has often been attracted by underdog. bureaux. but Smith also speaks of artistic inspiration as a kind of annunciation. She is in her underwear. invited Smith to perform a similar intervention within a Bauhausstyle brick residence designed by Mies van der Rohe in 1928. To do this she worked for months. an elaboration of her concept for Krefeld. surrounded by suspended birds that seem to be simultaneously flying and trapped within meshes of small slats. It begins with a work titled Annunciation (2008). which is why she prefers the Lower East Side to Chelsea. life (a woman drawing at a table) and death (a coffin) serve as an allegory for the plain and difficult life of a woman artist. which took over a building in Times Square in 1980 for the famed Times Square Show. Feminist and poststructuralist writers and artists in recent years have attempted to dismantle this concept in order to reveal it as an apparatus of economic and political oppression. She brought a crew and spent weeks painting large-scale wall decorations. one floor would become a library and a second would display Sèvres porcelain and paintings by Pietro Longhi. a figure of uncertain gender in cast aluminium.” In the 1990s Smith became obsessed with domesticity. At a recent talk in Brooklyn. She lived in a communal house for a while in San Francisco and was part of Collaborative Projects. whose colours and elongated indentations of flesh engender the feeling of the body turned into landscape. This disturbed Smith. An element of potential violence remained in the combinations of little girls and animals. Smith. in contrast. They’re incongruous things that come together for a given moment. For the Brooklyn exhibition. scribes… Maybe like a refugee camp. Never literal. in particular women’s lives – things that women have made or lived among over the centuries. and she introduced associated objects and imagery into her work. and designing the curtains of a four-poster bed. or it tragically stays together. tables and artworks. so the pieces are like characters in a play. and then it disperses and moves on. the correlation is abstract and the progression metaphysical. Search (2008) features a coquettish young woman. chairs. It depicts a room in which images of childhood (a cradle). entitled Homespun Tales. Some of Smith’s figures are more overtly erotic. 70 ArtReview In 2008. there is a sequential flow to Smith’s exhibition. Germany. when she agreed to do an installation. and they would make these very temporary. barbers. at the Querini Stampalia foundation in Venice. The Annunciation to the Virgin Mary is referenced. made of cast aluminium with a patina of white and yellow gold leaf. has embraced an identification of woman with nature. or Colab. The family who owned the palazzo had decided to open it to the public. A seismic shift in Smith’s work took place in 2005. “someone’s fantasy of a contemporary art space”. I like constructing shows like that. seated on a bench with one hand raised. As in Punderson’s needlepoint. so the Virgin Mary here can be seen as standing in for the artist. Smith’s works combined elements from American colonial history within an imagined eighteenth-century European context. creating pieces that could serve as beds. “I am not someone living in serial monogamy”. However. their duties were to be limited to childbearing and family. Using rough materials found in her house or on the street. using a silk needlepoint embroidery produced in 1783 by a Connecticut woman named Prudence Punderson as a narrative model. which she saw as “cosmic mandalas under your teacup”. Smith resolved to turn the Querini Stampalia exhibition space into her own take on domestic space. prostitutes. She is seated on a bench. using stencils. “so to have a community to be in relationship to is not a bad version!” The communities that appeal to Smith are organic. The proliferation of materials was a statement in itself: materiality as an aesthetic. Community and collaboration have been essential for Smith. while insisting on a completely contemporary energy in digital animations and her slightly-smaller-than-lifesize nude women covered in silver glitter. she explains. You have this very temporary society. with a bird perched on her outstretched hand. makeshift villages – as tailors.

Smith is reinterpreting women’s issues in aesthetic terms. sometimes challenging accepted feminist views .

that’s freely given. The name resonates with Smith because Sojourner was a complex woman who renamed herself poetically. courtesy PaceWildenstein. ink on nepal paper with palladium leaf. This is difficult work. new York . difficult to pin down. 2008. © the artist. © the artist. Photo: G. It’s like the annunciation: you’re sitting around. nearby. ink on nepal paper with lithographic crayon. of recognising that. 183 x 178 cm. Photo: Joerg Lohse. two large drawings depict ominous black coffins. thinking of Smith’s women. courtesy PaceWildenstein. and you accept it. I pass a woman sitting on the concrete in front of a church. courtesy PaceWildenstein. courtesy PaceWildenstein. only then it was the difficulty of being young. she replies. courtesy PaceWildenstein.” The site-specific installation Kiki Smith: Sojourn is on view at the Brooklyn Museum’s Elizabeth A. © the artist. mica. after all is said and done. new York Tree with Bird. 2008. 2006. Is Smith trying to tell us that she is an angel? I would certainly believe it. a figure is seen mashed inside one of the coffins. litho crayon. the heroic former American slave. 2009. What is intriguing in these personages is how they bend definitions. Photo: Vincent Katz Silver Bird. and a little bird comes to you and tells you what to do. the self-given name of Isabella Baumfree. now it’s the difficulty of becoming old. her face devoid of expression. 244 x 266 cm. cast aluminium. abolitionist and women’s rights activist. Photo: Joerg Lohse. Smith says her favourite name of all time is Sojourner Truth. © the artist. courtesy PaceWildenstein. © the artist. christmas. Circumstance (2008) depicts a young. When asked about the title of the exhibition. It takes on hard topics. 184 x 148 cm. choosing words that allude to a lifelong quest. 156 x 81 x 48 cm. The coffin from Punderson’s needlepoint becomes a sculptural presence in Smith’s installation. new York Annunciation (detail). © the artist. Photo: Kerry ryan Mcfate. graphite and glass glitter. graphite. I give it to her and walk back to the corner.r. 2008. Photo: Kerry ryan Mcfate. 2008. new York Walking Puppet. The exhibition continues with a series of large-scale figure drawings on nepal paper in ink. © the artist. new York Open Coffin (on table). 2008. but they are going somewhere else. somewhat androgynous. 203 x 76 x 102 cm overall. Photo: Volker dohne. glitter. Sackler Center for Feminist Art from 12 February through 12 September IMAGES (In ordEr of APPEArAncE) Kiki Smith’s worktable. Why did I decide to go back? Maybe Smith’s work has made me more aware of people I would not usually notice. there is only silence. In one drawing. but in terms of what comes to your mind or becomes evident to pay attention to. What makes anyone decide to do anything? I remember something Smith said about artwork that day while she was cutting and pasting: “You put your energy [into] doing the work part that’s necessary to manifest it into the world.feature: kiki smith to love perhaps but also to further results on life’s path. courtesy PaceWildenstein. I continue to the corner and wait for the light. as the exhibition makes clear. 2009. I walk back to her and ask if she would like a banana. seated figure. they are ethereal in effect. In the final room. left to remind us of the person just gone. of facing death. as Smith’s work always has. 80 x 108 x 107 cm. ink on nepal paper with silver gouache. Later. The light changes. new York Messenger III (detail). The human figures reference the stories of this world. white gold and gold leaf. There are flowers on a chair. Photo: Kerry ryan Mcfate. Glass dandelions are visible inside the wooden coffin. a small unpainted wooden coffin rests on a drop-leaf table. cast aluminium. white gold and gold leaf. and another chair is empty but for a pair of eyeglasses. as I walk home from the Integral Yoga market on West 72 ArtReview 13th Street. 80 x 108 x 107 cm. cast aluminium. of kicking against the pricks. closed and open. papier mâché with muslin. new York Messenger III (detail). The exhibition comes to a quiet end. “Please”.

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Chicago WITH T H E I N V I TAT I O N A L E X H I B I T I O N O F E M E R G I N G A R T C H I C AG O ’ S C E LE B R AT I O N O F A R T. UNTITLED / photo: Audia . A N T I Q U E S & C U LT U R E PA B LO P I C AS S O.PRIVATE PREVIEW FIRST FOCUS APRIL 29 Benefiting the Museum of Contemporary Art.

4pm Royal Pump Rooms.5pm Thursday 1. Friday. SUBMISSION DEADLINE 1 FEBRUARY 2010 isendyouthis craig@isendyouthis. WWW.. 2010. Wednesday.uk/royalpumprooms ROYAL PUMP ROOMS L E A M I N G TO N S PA Ar t Galler y & Museum technology for art artists websites what's on cultural exchange art hub gallery INVITING UK ARTISTS TO SUBMIT WORK FOR A UNIQUE & INNOVATIVE ART PLATFORM LAUNCHING IN LONDON. Saturday 10.indd 1 17/12/09 14:39:35 .com SUBMISSIONS@LALAEVENTS.isendyouthis. Sunday 11am .30am .warwickdc. The Parade.Below the waterline © Edmund de Waal i sendyou this water-shed New work by Edmund de Waal 22 January – 11 April 2010 Leamington Spa Art Gallery & Museum Opening times: Tuesday.gov.LALAEVENTS.25.8pm.COM AR_adTemp_0.30pm . Monday closed (except Bank Holidays) Leamington Spa. Tel: 01926 742700 Admission Free www.com 01803 722220 WANT TO KNOW MORE? CONTACT US..COM www. CV32 4AA.

“He believes I will die before eight years. living and dead. You yourself. rather he will be spectrally projected via a bank of four video cameras installed in his atelier in the dingy Paris suburb of Malakoff. If Boltanski’s work has been concerned with dipoles for 40 years now. and. he is the devil. then it is Boltanski.feature: Christian Boltanski on gambling with his life and getting an The Closerie des Lilas is a surprising place to be handed a death sentence. Of course. then it is not altogether surprising. gold – what do you call them? – gold discs. “It is simple”. the man who cuts off her head: ‘One more minute. this idea that tomorrow you do not survive. He lives alone in this huge garden. Boltanski will not be there in the mirthful flesh. And so. It is very interesting. One more minute!” Morbid? Well. leaning back on the plush banquette of this haunt of Breton and Cézanne. From the beginning of January and for (maybe) the next eight years. and I do not. and is itself something of a gamble. it seems. objects and shadows. chortles Boltanski. by the time of the artistto-be’s birth. who will clean up. French and not-French: these things have appeared in his art as dark and light. The man in Tasmania. sixty-five last September. thanks. 12 kilometres by eight.” Gee. the artist Annette Messager. Above and below. with an evasive wave of the hand – has offered to pay it in 96 monthly instalments until Boltanski’s death. if after. but morbid with a point. Boltanski’s life began as a game of chance: the son of a Catholic Corsican mother and a Jewish father who. the stranger. perhaps a tad. you cannot be preserved. And now Christian Boltanski!” Boltanski rocks with silent laughter. pouf! All my life. the Tasmanian will have had himself a bargain. Nobody! You will disappear. France’s most famous living artist says with a shrug. eh? He told me he has never lost. maybe. in September 1944. I’ve tried to stop this happening. “but in two generations. Jewish and Christian. visitors to this cave will be able to watch Boltanski going about his daily studio business. The work. “You are unique”. If Boltanski’s death comes before January 2018. Having hit on a price. truth and fiction (or as Boltanski prefers to audience to feel his pain wo rds : Ch a r l e s Da rw en t 76 ArtReview . the collector – “I do not remember his name”. says Boltanski. inevitably. chuckling and unstoppably happy – is an unlikely man to do the handing. you know? Saying to her bourreau. which is why my art is a failure: you can’t stop people disappearing. had spent four years hidden under the floorboards of the family flat in Occupied Paris. which apparently mostly consists of watching daytime TV and reading back copies of Marie Claire filched from his wife. outside and in. this idea of chance. was the result of a meeting with an Australian Internet gambling magnate. please’. nobody will remember you. and Christian Boltanski – plump. “I feel like Marie Antoinette. preeminently. no? The older you get. Christian. to a Tasmanian cave. as yet unnamed. he collects Egyptian mummies.

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” In the meantime. “I tell little stories without words”. “I will die in Tasmania. not to say its logical conclusion. Monumenta’s last two takers were Anselm kiefer and richard Serra. Although Boltanski speaks airily of this – “It is like a photoalbum. like the collection of seeds bunkered down on Spitzbergen against nuclear war. I said. Boltanski’s approach will. Jean kalman. For me. old clothes – it will be very. Bertrand? Our time. Given his distaste for the monumental.’” If the impulse is overwhelming. Leeds). And then there is Monumenta 2010. both apostles of the big: kiefer stuffed the space with his trademark crumbling towers. Boltanski says. Serra with vast slabs of oxidised steel. Frank krawczyk. when we were starting out. thus variously undermining the work’s monumentalism. Photo: M. Markul. and Boltanski waves to him. Paris.’” Monumenta 2010 is at the Grand Palais. Henry Moore Foundation. none of them heroic. Pleins Jours. now it’s rich people.” His friend. it is so beautiful”. “My first idea was to put nothing in the space at all. he says. it was clever people who ran art. Speaking of his 2002 installation at the South London Gallery. Photo: Marc domage/Tutti. mixed media. © AdAGP. Survival takes many forms in Boltanski’s world. 1995 (installation view. Théâtre du Châtelet. I want to escape. a collection of the recorded heartbeats of 20. there is work to be done. cheerily. to the MAC/VAL contemporary art museum. Next July. Halifax Projects. “but I want to destroy what I’ve written. Les Abonnés du Téléphone. it’s in January. as you’d think. It is possible to imagine a space less like the Grand Palais. Fragility is very important. the cave will be my last work”. I want people to say: there’s a lot of dead people in his work. I didn’t want people to take the metro to Franklin roosevelt and then say. Les archives du coeur. very cold. “In [19]68. robert and A. 2004–5. will open on the Japanese island of Ejima. no? ‘Tonight I’ll listen to the heartbeat of my uncle’” – there is an apocalyptic feel to Archives. but not easy. 2000. coeval and fellow artist Bertrand Lavier walks by. It’s important for people not just to stand in front of my work but to be inside it. I said to Bertrand at lunch. from 13 January to 21 February WOrkS (IN OrdEr OF APPEArANCE) Christian Boltanski. be different from these. Here Boltanski will install a contrapuntal second part to Monumenta. “Whoever wins. © AdAGP Christian Boltanski. it is over. Les abonnés du téléphone – an encyclopaedic collection of the world’s telephone directories – the artist says he was pleased to find that there was a pizzeria on St Helena. ‘This is terrible. ‘Ouf! These artists are so stupid!’ So I’m going to use clothes. Boltanski’s chilly audience can take itself off to the dowdy exurb of Vitry-sur-Seine. ‘You know. New York & Paris . though. Heads and tails seems a logical extension of this tendency. and I’m going to refuse to let them have heat. truth and lies).feature: Christian Boltanski put it. called Après la mort. dimensions variable. All rights reserved Christian Boltanski. I think. Courtesy the artist and Marian Goodman Gallery. “But the public at the Grand Palais is different from the public at Beaubourg.N. I want them to say. Boltanski says.000 members of the public. handing Boltanski a commission to fill the main aisle of Paris’s Grand Palais seems brave. Paris.

as existing ‘somewhere between object and event’. Take Five Kinds of Water. starred water both as a material – or rather substance – and as agent of transformation. Maybe it has something to do with how unstable.feature: Obscured in Nina Canell ’s weird science is a metaphor for the pleasures of beholding art wO rds : Ch r i s s h a r p It seems to be an unwritten rule that any work of art featuring water is bound to enchant. vita brevis. and consequently how consummately it contradicts the old Latin aphorism ars longa. Perpetuum Mobile (2400 KG) (2009). the process is periodically amplified and broadcast throughout the space by loudspeakers. sonic nature of the work. ArtReview 79 . Perpetuum Mobile… bears out a claim often made about Canell’s work. As if to underline the hidden. the liquid contained in a round tin tub is made to disperse throughout the air by way of ultrasound: a mechanism vibrates so rapidly that it turns the water into a mist. The work of Berlin-based Swedish artist Nina Canell is certainly no exception to the water/enchantment axiom – especially given that it is preoccupied with precisely the quality that generally does make water so captivating: its constant transformation. Canell’s recent solo exhibition at the Hamburg Kunstverein: one work. fleeting and formless a substance it is. and the mist in turn gradually permeates and hardens a nearby collection of cement bags into concrete. In this work.

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as neither should her sculptural. WORKS (IN ORdeR OF APPeARANCe) Perpetuum Mobile (2400 KG). demonstrated in Canell’s use of waveforms (those within or outside human perception) as a sculptural material in her prizewinning Art Statement at last summer’s Art Basel. or demonstrations of an obscure. without. mist-machine. and which interests Canell for just that reason – to various kinds of electric. experimental musician Robin Watkins. pipes. inspired by such démodé ideas as Sir William Crookes’s conception of radiation as a state of matter. earthbound constellations. amplifier. human warmth. 2009. or her medleys of amorphous neon and various and sundry objects. Any mystification with regard to meaning is eclipsed by the initial mystification of what this piece is actually doing. 2008) should not look natural. While there is a mood of playful. everything she touches tends to take on a weirdly organic allure. 2008. That said. to conductors such as bones and water. Also featuring water. From the recurrent. Vincenza ArtReview 81 . the teleological unfolding of Fischli & Weiss’s The Way Things Go (1987) – a not-so-distant relative of Canell’s beguiling concoctions – is a joy to behold and puzzle through. small-fry machinery. And while there’s much to be said about the ungainly and highly textured beauty of these works. Berlin Winter Work. Private collection. If Beuys or any Arte Povera artists ever cast a shadow over Canell’s practice. this bit of weird science. cable. speaker. the motivation for this piece. if not mystical. plastic bag. Take for instance Anatomy of Dirt in Quiet Water (2008). something inhuman. wood. But this is not to say the work doesn’t court such charmed ambiguity – which. say. the sculptures blur into a kind of scientific or materialistic shamanism. 23 x 92 x 26 cm. stick. the way that. they do so from a healthy distance. Of the optical order of composed invocations. nonlinguistic use of neon – a gas contained in glass tubing. largely limiting their penumbral presence to a series of visual cues. the eccentric or the certifiably mad In fact. cords and a ramshackle wooden armature. along with other things (see above). And yet her work betrays none of the chilly remoteness often known to dog the use of technology in art. and finally to sound. then through a bowl of water and finally through transformation into flickering light. however. 2009. Berlin & düsseldorf Sleep Machine. neon. It is marked by a tactile and. function generator. sometimes just figuring out how they function or what they are doing can become a metaphor for the joy of looking at art. Courtesy the artist and Galerie Barbara Wien. let’s-see-if-this-works experimentation to what Canell does – comparable to the dry and understated glee of Roman Signer’s often explosive let’s-seewhat-happens sculptures – such playfulness is coherently unified by a very individual formal vocabulary. along an axis of a specific set of interests which are informed by the materials she uses. questionable nature. which is arrayed along the floor in the form of speakers. many of the artist’s pieces seem to be less sculptures than eccentric science experiments conducted with flea market dreck and spare parts.feature: nina canell The motivation for the piece seems to belong to the private logic typically reserved for the truly driven. 130 x 45 x 15 cm. would seem to be astir in Canell’s inspired tinkerings. I am tempted to say that a common trope is the conjunction of the organic with the inorganic. bucket. or ritualistic arrangement. 2009. seems to belong to the private logic typically reserved for the truly driven. the materials have a way of coming back time and again. sublimated watermelon. water. composed of pots overflowing with mists. manages successfully to draw and keep many a bewitched viewer under Canell’s spell. which is harnessed and manifested in any number of ways with her regular collaborator. replete with certain motifs. A torn scrap of green plastic bag held against a wall by the air blown from a small black electric fan atop a plunger (Sleep Machine. inevitably. 2000 V. electric fan. cement. cable. But the wherefore. Courtesy the artist and Mother’s Tankstation. steel. presents three different ways to amplify the sound of a small piece of wood. amplifier. which turns via an electric motor atop a piece of vertical plumbing: first directly. dublin To Be Hidden and So Invisible (21000 Hz). broom handle. but given Canell’s oddly earthy sensibility and her penchant for analogue artefact. the eccentric or the certifiably mad. hydrophone. aside from discreetly enacting a series of phenomenological transformations. stone. getting bogged down in heavy symbolism. or somehow wholesome. Courtesy the artist and Konrad Fischer Galerie.

leaping.feature: Horror stalks humour in Maurizio Cat telan’s fair y taleinf lected imaginings of warped kidulthood wo rds : B r i a n d i l lo n In Carlo Collodi’s 1883 novel. His Untitled (2004). Cattelan’s kids have been among his most controversial inventions. the protean trickster or the heroic subversive.’) Perhaps he is best viewed as a figure from a fable – his Pinocchio is one more Cattelan avatar that bears a strong resemblance to the long-nosed artist – or the author of slyly contrived fairytales that (like most fairytales) conjure pathos and cruelty in equal measure. But if Daddy Daddy is the latest of Cattelan’s comic adversions to the anxiety of influence – previous works have invoked Lucio Fontana and Joseph Beuys – the ultimate suspicion must be that Pinocchio has drowned himself in passive-aggressive fury at the father’s historical priority. I’m only trying to find a degree of freedom. to kill the annoying cricket with a hammer) – the hero travels through the night on a talking donkey and arrives at dawn in Playland. early on. the magician. The Adventures of Pinocchio – a somewhat darker tale than the 1940 Disney movie allows (for one thing. Pinocchio manages. The most recent of his works to return to his long-standing interest in piteous animals and warped infants suggest he is something like a postconceptual Collodi. the jester. Collodi’s wooden protagonist is only able to experience such liberation because he has been hewn into being by the carver Geppetto. history vanishes in a ‘bedlam’ populated by sentient objects and chatty animals rather than humans – in the world of the fable all ontological categories may be scandalously upended. the lifesize. Floating facedown in the pool at the bottom of the Guggenheim’s spiral ramp. In a universe where play is held to have the highest (in fact. I’m neither that ambitious nor that naïve. a trio of wide-eyed prepubescents 82 ArtReview . Guggenheim Museum in autumn 2008. (In an interview with Alma Ruiz in 2002. hoop-trundling. Of course. In this puerile utopian republic. the only) value. time is said to accelerate as life is given over entirely to such pastimes as singing. The little timber innocent turns out to be a monster of ego and resentment. he demurred: ‘I’m not trying to overthrow an institution or to question a structure of power. It was this nagging debt to the creative father that Maurizio Cattelan had in mind when he titled his version of Pinocchio Daddy Daddy (2008): the piece was first shown as part of theanyspacewhatever at the Solomon R. Critics have a hard time deciding exactly how to describe Cattelan’s own combination of candour and guile. The conceptual personae by which an artist of such playfulness and spite is usually known don’t seem to fit: he is not quite the clown. brightly painted figure might have been pushed over the edge by its jealous progenitor or strayed too far in search of adventure and pitched to a precipitous end. riding wooden horses and clucking like a hen that has just laid an egg. populated entirely by boys aged between eight and fourteen.

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based on a tale of the Brothers Grimm in which a rooster. stone. no doubt turning gleefully on his forefathers. hairs. he knows too that complete freedom might be its own punishment: regarding Charlie. is just the most well known: the figure of Pope John Paul II felled by a meteorite. 30 x 100 x 200 each.feature: maurizio cattelan hanging from a tree in Milan’s Piazza XXIV Maggio. carpet. dimensions variable Charlie Don’t Surf. accessories. resin. varnished. Photo: Markus Tretter / kunsthaus Bregenz Untitled. Photo: Attilio Maranzano Charlie. 1999. dimensions variable Untitled. 2nd floor). Frankfurt. famously attracted the ire of an athletic citizen. who fell from the tree while trying to dismantle the work. from 12 February to 15 August wORkS (In ORDeR OF APPeARAnCe) Him. Or was she just another character out of a familiar fairytale: Mary Poppins tricked up in the pose of an airborne Virgin? The scurrilous miracle of Cattelan’s art is to have left the question up in the air. 1997. natural gum. explicitly broached by the artist in early works such as Love Saves Life (1995). dog and donkey band together to escape their cruel owner. with Cattelan’s face. in Charlie Don’t Surf (1997). his freedom’s been taken away in either case. while the donkey in Untitled (2002) has been upended by the weight of its load. stone. edition 2 of 3 + AP All. natural hairs. he says: ‘even if he’s playing. Cattelan’s animal communities are inevitably shadowed by horror. Paris & Miami ArtReview 85 . what all of this play with the twisted figures of fable amounts to is a strain in Cattelan’s art that explores the ambiguities of enchantment. Houston. carpet. group of nine sculptures in white Carrara marble. Cattelan mocked up a female crucifixion on the wall of the Old St Martin’s Church. cat. wax. the previous year. he’s being forced to play. 2004. natural hairs. tragicomic donkey. who trundled his tricycle round the 50th Venice Biennale – he had already appeared. 2003. it was the figure of a levitating woman atop a tree. But fairytale animism also promises a sort of creaturely utopia. 101 x 41 x 53 cm. fiberglass. waxwork Hitler in boyish garb – provoked uneasy thoughts about prior forgiveness for future crimes.) Cattelan’s several taxidermied donkeys and horses have something of the fable’s most dismally down-to-earth animal: the legs of the suspended horse in his Novecento (1997) have been elongated by gravity. kunsthaus Bregenz). (The hapless ass is also an allegory of holy innocence: as witness Robert Bresson’s 1966 film Au hasard Balthazar. The sculpture Him (2001) – a kneeling.) For his intervention at the Synagogue Stommeln Art Project in Pulheim-Stommeln. Cattelan’s upcoming show at the Menil Collection. 2007 (installation view. fabric. garments. But the show also promises a series of sculptural responses to the museum’s surrealist collection: Cattelan. (La Nona Ora. 1999. silicone. hands outstretched in pious assumption. a succession of miraculous or unfortunate incidents of obscure and hilarious import. If Cattelan’s art is a kind of sanctioned fidgeting or play. accessories. And at Portikus. however: at the kunsthaus Bregenz in 2008. kunsthaus Bregenz. height 115 cm each. polyester resin. will include his Untitled (2007) – another of his pitiful horses: this one strung up with its head buried in the gallery wall – and the most outré of his recent pieces: a row of saluting arms extending from the wall and teasingly titled Ave Maria (2007). 2001. 80 x 85 x 56 cm. he showed two kindly stuffed Labradors guarding a tiny yellow chick. hair. Germany.’ Readers of Pinocchio will recall that the proper punishment for a boy who shirks work for play is to be turned into a donkey: the favoured fairytale image of pure drudgery and dolour. Its more contentious aspect is the way he presents the iconography of religion as something out of Grimm or Collodi. Photo: Zeno Zotti All images Courtesy the artist and Galerie emmanuel Perrotin. fabrics. for example. in Houston. Work by Maurizio Cattelan is on view at the Menil Collection. Photo: kunsthaus Bregenz La Nona Ora. with his hands nailed to a school desk. two taxidermied dogs and one chick. gazing out a window of the Museo d’Arte Contemporanea in Turin. steel. But the most comically unnerving of these diminutive horrors is surely Charlie (2003). the boyish late protégé of Surrealism. so it doesn’t make much difference. 2007 (installation view. with its doomed. the motorised boy. polyester resin. polyester resin. resin. in 2008. tricycle. or possibly about to devour it.

there are reasons to keep watching the Danish capital long af ter the summit: it’s a cit y that’s fostering a number of intriguing new platforms for contemporar y ar t. As its galleries populate the big international ar t fairs in ever greater numbers and its ar tists increasingly make their presence felt in museum exhibition schedules. wonder fully free of many other cit y’s ar tworld ‘at titude’ problems.Art PilgrimAge: Copenhagen When it comes to climate change. Wo rDs : J en n i fer T h aTCh er ph otog r Aphy: s aCh a m a r i C 86 ArtReview . Copenhagen. is an impor tant place to obser ve – and visit.

Galleri Bo Bjerggaard. at Galleri Bo Bjerggaard. main image: Daniel Richter: Love Parade. installation view. 2009. Clockwise from top left: Marcel van Eeden: Gruenewald Drawings. Untitled. the view of Copenhagen’s meatpacking district from the terrace of Galleri Bo Bjerggaard facing page: artist Helmut Stallaerts at Baronian Francey ArtReview 73 . Daniel Richter. 2009. 2008. installation view.feAture: facing page: main entrance to the freetown of Christiania this page. Galleri Bo Bjerggaard.

where Wallner and Stærk (whose equally stellar artists include Torbjørn Rødland. psychologically unnerving artwork. David Shrigley. including a Dan Graham sculpture outside. however. creating a new arts centre for the city that reflects the entire spectrum of artistic development from the cradle of university to um… well… commercial success. represents people ranging from homegrown stars such as Elmgreen & Dragset. it seems a desolate spot for a night out. and so it’s not surprising that the story of Copenhagen’s art scene is also one of migrations and homecomings. to international artists such as Dan Graham. for the bar is located in the middle of Flæsketorvet. Wallner. By the standards of other metropolises. It’s not where you’d expect to find a complex. by the way. He paved the way for other spaces to join him in founding a new arts district on the site. is one of the coolest drinking spots in town. Jonathan Monk and Douglas Gordon. 2009. installation view. social issues. IMO. the Cocktail-style neon sign designed by Elmgreen & Dragset (and which gave the bar its name). is still where meat gets packed. and BKS Garage. 2009. Gardar Eide Einarsson. and the intimate pubs of Copenhagen are chokingly smoky for citizens of countries where such pleasures are banned. recession – while negotiating the difficulty of maintaining the once-proud Scandinavian model of social democracy. Galleri Nicolai Wallner. at Nils Stærk. Jonathan Monk: Book and Poster. the rather starkly functional meatpacking district of Copenhagen. Karriere is also at the centre of a thriving arts scene. Denmark’s main port city). Joachim Koester and Jeppe Hein. or because Hein also curated State of the Art. their father often working the bar). unlike its New York equivalent. Carlsberg is one of the oldest and biggest sponsors of art in Denmark. neon sign by Michael Elmgreen & Ingar Dragset and lights by Olafur Eliasson facing page. IMO. Karriere (a family affair – run with the artist’s sister Lærke Hein. Danish-born Olafur Eliasson’s sci-fi artichoke lampshades. artist Maiken Bent. The commercial galleries have been joined in the 2. haughtier Sweden. Lost Money (detail). which. installation view. at almost the same time. Not just because the bar publishes its own tabloid-format art magazine and uses a percentage of its profits to fund an arts grant. developed a travelling circus in the style of Alexander Calder and installed a retrospective at the ARoS museum in Arhus. 2009. Talking of commerce. main image: Superflex. a show of emerging artists at last year’s Art Copenhagen (he’s a busy boy. and was brewing beer for 161 years in the Valby area on the outskirts of Copenhagen before moving to new premises in 2008. which is now home to leading commercial galleries Nicolai Wallner and Nils Stærk. For the visitor to Scandinavia. having. Denmark feels like it has to deal more with the tensions and consequences that come with the flux of living in a globalised economy – immigration. Beginning. but also because the meatpacking district is home as well to 88 ArtReview . That might not be your first impression. This is what makes Copenhagen the gateway between Scandinavia and mainland Europe. 2009. Clockwise from top left: Maiken Bent: Every Room Has a Smell.000-squaremetre former garage by a new artist-run space.Art PilgrimAge: CoPenhAgen this page: Karriere bar. but the real reason to go is the site-specific work by more than 30 artists. drinking is big business in Denmark. unless you know your way… Like the galleries in the Carlsberg building. a gently moving bartop by Hein himself and a cheeky intervention in the toilets by Danish duo Aslak Vibæk and Peter Døssing (AVPD). for Jeppe Hein’s bar. artists Superflex. Smoking is big too. Superflex and Miriam Bäckström) benefit from large exhibition spaces and a pioneering spirit of cooperation. Copenhagen is the last-chance saloon before the weird teetotalism of the other Nordic countries. a pioneer of the contemporary gallery scene during the early 1990s. It has since supported the transformation of the old site into a new cultural and residential quarter. but the best word of advice is: don’t be in a rush to get to the loo. Middle and End. And in this too art plays a central role. at Galleri Nicolai Wallner i n c o n t r ast t o w e alt h i e r . a showcase for the Royal Danish Academy of Fine Arts.

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V1 Gallery’s Jesper Elg and Mikkel Grønnebæk . Wes Lang: Going All the Way for the USA. installation view. installation view. 2009. gallerist Mikael Andersen. V1 Gallery. Group Show. Group Show. clockwise from top: V1 Gallery interior. 2009. in The Mask.this page. Clockwise from top: The Mask. Sailing Off. at Galerie Mikael Andersen. Galerie Mikael Andersen’s Christian Rud Andersen facing page. main image: Christina Hamre. Galerie Mikael Andersen.

A couple of doors down. V1 Gallery has a more grungy vibe. U-Turn. Sigmar Polke. migrating from Vyner Street in London’s Bethnal Green to Bredgade in April 2009. Faile and Shepard Fairey. has reservations about the Danish art market. sure to give even Grayson Perry > ArtReview 91 . people are more relaxed here. the Danish painter Asger Jorn. She echoed many gallerists’ concerns when she suggested that Danish collectors have a relatively modest budget. Bjerggaard represents Denmark’s most celebrated painter. 23. a long-established gallery that has been in this spot since 1989. This street in central Copenhagen underwent a revival recently when Martin Asbæk set up his own space as an extension of his parents’ gallery at no. echoing the shift from East to West End seen in London over the past couple of years. It’s Raining Men. Alongside the slightly younger Kirkeby. Down Bredgade. Christina Wilson. further up Bredgade. who may well have been off-limits in the proprietary British capital. She doesn’t hate male artists. though – she also represents the increasingly popular filmmaker Jesper Just. among others). we meet Christian Rud Andersen from Mikael Andersen. Mette Vangsgaard’s current show features some disturbing ceramic vignettes. Now the big boom in new Danish art – especially painting. contemporary art galleries nestle between mid-century antique shops. whose theatrical multimedia collages were included in the first Copenhagen quadrennial. one of CoBrA’s founding fathers (and later a bankroller of the Situationists). Jannis Kounellis. who has built an international reputation for his portraits of musicians) and a commitment to street art (having been the first gallery in Scandinavia to show work by Banksy.000 – not high when compared internationally. Risley says. that turn-of-the1950s European movement of avantgardists that stretched from Copenhagen via Amsterdam to Brussels. with a focus on emerging artists (among them the excellent Mads Lynnerup and photographer Søren Solkær Starbird. which allows him to show artists Dexter Dalwood and Ryan Gander.Art PilgrimAge: CoPenhAgen the Bo Bjerggaard and V1 galleries. and the collectors committed and interested. and galleries like Mogadishni moved here from more remote areas. Risley. although the gallery continues its German connection. there’s a sense here that opposites attract. The younger galleries and project spaces are vehemently indisposed towards painting and good taste – desperate to shake off the enduring historic legacy of the CoBrA group. which allowed it to show Martin Kippenberger and Albert Oehlen. The gallery had a reciprocal relationship with Berlin’s Max Hetzler gallery in the 1990s. Many of the artists showing at Beaver Projects display a nostalgic love of craft – a product of fondly remembered free afterschool clubs. or just under £5. buying works up to a limit of around kr40. And as at Carlsberg. Wilson believes that young female artists find it harder to get shown than their male counterparts in Denmark – which might explain the tongue-in-cheek title of her recent group show.000. seems contented with the move. having opened a Berlin branch in September 2007. Her stable includes important women artists. like Sophie Calle and Kirstine Roepstorff. whose programme mixes local artists (among them the much admired Ann Lislegaard) with a number of stalwarts from the gallery’s London incarnation. Erwin Wurm and Jonathan Meese. David Risley went one further. with international exports like Tal R and John Kørner – has been good for its mostly painting-based stable of artists. in 2008. Per Kirkeby (now seventy-one and the subject of a recent retrospective at Tate Modern) as well as international heavy-hitters like Georg Baselitz. casts a long shadow over Danish modernist art.

.

installation view. Galleri Christina Wilson. Clockwise from lower left: Paul McDevitt: Bile and Manias. Galleri Christina Wilson this page. main image: artist John Kørner. 2006. Martin Asbæk Gallery. Inset: gallerist David Risley Art PilgrimAge: CoPenhAgen ArtReview 93 94 ArtReview . 2009. installation view. two installation views of Christmas Group Show. Bänder (detail). 2009. 2009. Martin Asbæk Gallery.facing page. in Christmas Group Show. main image: Paul McDevitt: Bile and Manias. the storeroom at Galleri Christina Wilson. Ulla von Brandenburg.

apparently enjoyed as much by the staff. located in a former church. that perhaps it’s reassuring. The Copenhagen art scene seems to be going through an important period of expansion. who opened the gallery while still working on her MA. behind the Royal Academy.Art PilgrimAge: CoPenhAgen clockwise from top: Chiharu Shiota. and prompting gang-related violence across the city. often hold swim-meetings in summer. in The World Is Yours. With the London and New York art markets suffering. Neither the Kunsthal Charlottenborg. as they stroll around the sculpture garden or load up trays of herring and salad from the best buffet of our trip. as more artist-run spaces open. It’s little wonder that the ever-ambitious Nicolai Wallner is currently talking up plans to found a kunsthalle in the city. 2008. the critics’ choice is likely to be Malmö Konsthall. Ein Ort (A Place). who draws viewers deeper and deeper into economic disaster. . but now they love it again. with its stunning 1950s architecture and seafront location. Copenhagen lags behind. installation view. Over the past few years. Flapboard. and arguably the most open to concept-based work (the others are the Royal Academy of Fine Arts in Copenhagen and Jutland Art Academy in Aarhus). has established a strong international reputation. the great art school in Malmö and the fact that cool galleries are moving there from Stockholm – all of which should provide some healthy competition for Copenhagen. claiming there had recently been daylight shootings on that street. Kold says that artists used to hate the rustic brick floor and wooden ceilings. Fabricius sings the praises of the Swedish attitude to contemporary art. In Denmark. it takes on new meaning in the context of Copenhagen’s climate-change summit. Louisiana Museum of Modern Art. the best-known museum remains the Louisiana Museum of Modern Art. Owner Marie Dufresne. moving dealing away from its safe and locally managed distribution network. Back in Copenhagen. who. It’s an ironic set of references for a shoebox gallery in an immigrant area that is also undergoing regeneration. but also cheap curry houses. but run by a Dane – Jacob Fabricius. 2009. in trendy Vesterbro. previously a freelance writer and curator. But in terms of what exists right now. upgrade to huge spaces in the 94 ArtReview old Carlsberg brewery or set up in cheap areas like the meatpacking district or out in the docks. Originally screened as part of Frieze Projects in London last autumn and now on show at Nils Stærk. Copenhagen’s humbler attitude hides the fact that it is quietly becoming a serious contemporary art capital. Shilpa Gupta. one of three art schools in Denmark. Louisiana Museum of Modern Art. and an unbeatable destination. and Berlin feeling more and more like the overspill from Shoreditch. Faith. too. Visitors look happy. before it became a hash club and then a studio. and galleries relocate to fancier areas like Bredgade. and the name conjures up an era of colonial opulence. Superflex’s anticapitalist film The Financial Crisis (Session I-V) (2009) satirises the language of trauma used by media commentators via a hypnotist. government attempts to crack down on drugs have had the reverse effect. Louisiana Museum of Modern Art the creeps. curator Anders Kold boasts. in The World Is Yours. members of artist-run space Koh-i-noor also seem proud of its seedy past: before becoming a gallery the venue was a brothel. On the other side of town. a private foundation a half-hour away by train. Hope and Love – Jacob Holdt’s America. The group met at Funen Art Academy in Odense. across the bridge in Sweden. Koh-i-noor was once the world’s largest diamond. Yet when it comes to contemporary art institutions. as has Andersen’s Contemporary. The artists claim to be the only ones in the area not to paint over the graffiti across their storefront (the locals are not always fans of the avant-garde). offers a complex explanation of the gallery name – something about the work ethic of beavers – but giggles at the punning potential of a site that once housed Scandinavia’s largest porn publishers. our taxi driver refused to take us all the way to Danish art collective Superflex’s studio in the working-class district of Nørrebro. nor the experimental Kunsthallen Nikolaj.

org.com pacemacgill.org. Bridport.com dooSan GaLLerY 533 West 25th Street NewYork.10 Apr United StateS art LoS anGeLeS ContemPorarY 7176 W. London E1 T +44 (0)20 7680 2080 thewappingproject.uk Bureau des Visceralists : Spasticus Artisticus 15 Jan . London W1 T +44 (0)20 7629 0090 alexiagoethegallery.org CaSS SCULPtUre FoUndation Goodwood.com 28 .com Lionel Scoccimaro: Photographs 22 Jan .jp PaCewiLdenStein and PaCe/maCGiLL 534 West 25th Street New York T +1 212 929 7000 pacewildenstein. New York.com United kinGdom aXiS Round Foundry Media Centre Foundry Street.12 Mar BLaCk rat PreSS 83 Rivington Street London EC2 T +44 (0)20 7613 7200 blackratpress. NY 10075 T +1 212 734 6300 Open Mon– Sat 10-5 info@acquavellagalleries.com Jean-Luc Moerman 14 Jan .uk Vered Lahav: Sleepless to 23 Jan tate LiVerPooL Albert Dock.27 Feb iSendYoUthiS.19 Mar edward tYLer nahem Fine art 37 West 57th Street New York.13 Mar kaikai kiki new York 5-17 46th Road Long Island City. NY 11101 T +1 718 706 2213 english. Matthieu Ronsse 18 Feb .20 Feb PaCewiLdenStein 545 West 22nd Street New York T +1 212 989 4258 pacewildenstein.co.com Zhang Huan: Neither Coming Nor Going To January 30 Sterling Ruby: 2TRAPS 5 Feb .com artlosangelesfair. London aLeXia Goethe GaLLerY 7 Dover Street. 1010 Wien sammlung. London W11 ltbfoundation.20 Feb . Los Angeles.6 Mar BeLGiUm GaLerie aLmine reCh 20 Rue de l’Abbaye B-1050 Brussels T +32 26 485 684 alminerech.org Ceri hand GaLLerY 12 Cotton Street. new York aCQUaVeLLa GaLLerieS 18 East 79th Street. Liverpool T +44 (0)1512 070 899 cerihand.com Roy Pickering.verbund. CV32 4AA T +44 (0)1926 742 700 Edmund de Waal: water-shed 22 Jan . Leeds T +44 (0)8453 628 230 axisweb. artist portfolio gallery guide.16 May GaLerie hUBert winter Breite Gasse 17 A-1070 Wien T +43 (0)1524 09 76 galeriewinter.uk CYnthia CorBett GaLLerY An offsite exhibition at Sphinx Fine Art 125 Kensington Church Street London W8 T +44 (0)20 8947 6782 thecynthiacorbettgallery.at Brigit Jürgenssen: Body Projections from the 1980s 14 Jan . rue de Livourne 1050 Brussels T +32 2 538 0818 galerierodolphejanssen.uk Corner hoUSe 70 Oxford Street Manchester T +44 (0) 161 228 7621 cornerhouse. Lemington Spa.org The online resource for contemporary art BridPort art SCene St Michael’s Studios.com acquavellagalleries.com the waPPinG ProJeCt Wapping Hydraulic Power Station Wapping Wall.11 Apr woLVerhamPton art GaLLerY Lichfield Street Wolverhampton T +44 (0) 1902 552 055 wolverhamptonart. Conworthy. NY 10001 doosangalleryny@gmail. Totnes T +44 (0)1364 653 208 Art slideshow.com Richard Misrach 15 Jan .27 Feb LoUiSe BLoUin FoUndation 3 Olaf Street.at GaLerie thaddaeUS roPaC Mirabellplatz 2 5020 Salzburg T +43 662 881 393 ropac.at DONNA: Feminist Avant-garde of the 1970s 19 Feb . Charles Hustwick: A New Landscape 22 .31 Jan United kinGdom.com GaLerie krinzinGer Seilerstaette 16 1010 Wien Kader Attia: Po(l)etical galerie-krinzinger.co.22 May Sophie Von Hellermann: Project Space 23 Apr .16 Feb SammLUnG VerBUnd Am Hof 6a.20 Mar PaCewiLdenStein 534 West 25th Street T+1 (212) 929-7000 open Tue . Dorset T +44 (0)1308 424582 bridport. NY 10019 T +1 212 517 2453 etnahem. Daniel Lergon 14 Jan .com Gregor Hilderrandt.uk/britain GaLLerY in Cork Street 28 Cork Street London W1 T +44 (0)20 7287 8408 galleryincorkstreet. The Parade.com Joseph Beuys: Make the Secrets Productive 5 Mar .com Open Tue-Sat 10-6 Tulbulent O’Clock 11 Feb . exhibition guide & artist directory LeminGton SPa art GaLLerY & mUSeUm Royal Pump Rooms.Listings Museums and Galleries United StateS.org.org.co.com James Rosenquist: The Hole in the Center of Time and The Hole in the Wallpaper 18 Feb .Com Lamper Head.uk/liverpool aUStria ChriStine koeniG GaLerie Schleifmuehlgasse 1A A-1040 Wien christinekoeniggalerie.20 Mar Franz West 25 Mar .net Elger Esser 22 Jan . CA 90046 T +1 323 851 7530 fairgroundsllc. Chichester West Sussex T +44 (0)1243 538 449 sculpture. Sunset Blvd. Liverpool T +44 (0)1517 027 400 tate.org maddoX artS 52 Brook’s Mews London W1 T +44 (0)20 7495 3101 maddoxarts.22 May GaLerie BaronianFranCeY 2 rue Isidore Verheyden 1050 Brussels T +32 25 12 9295 baronianfrancey.com tate Britain Millbank London SW1 T +44 (0)20 7887 8888 tate.com GaLerie rodoLPhe JanSSen 35.Sat 10 – 6 pacewildenstein.kaikaikiki.12 Feb Kris Martin.

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com PortUGaL CriStina GUerra Rua Santo Antonio à Estrela 1350-291 Lisbon T +351 (0)21 395 95 59 cristinaguerra.com eSLite GaLLerY 5F. 798 Art Zone.13 Mar LaBoraL Centro de arte Y CreaCion indUStriaL Los Prados. China. 238061 T +65 9099 3965 Open Thu–Sun 12–6 galerieeve. Taipei 11073.com GaLLeria ContinUa Le Moulin (Paris) 46. 24 24008 León T +34 987 09 00 00 musac. No.com info@ carbon12dubai. Karmelicka 28 31–128 Kraków fait. rue de Saintonge 75003 Paris T +33 1 42 72 99 00 ropac.com denmark GaLLeri niCoLai waLLner Ny Carlsberg Vej 68 OG 1760 Copenhagen nicolaiwallner. s/n 29001-Málaga T +34 952 12 00 55 cacmalaga. Winzavod T +7 495 7758373 Open Tue–Sun. ul. 1. Songgao Rd.com ArtReview 97 . rue de Saintonge 75003 Paris Tel +33 1 45 83 71 90 galeriealminerech.com Jeppe Hein 29 Jan .ae Disorientation II to 20 Feb taiwan Soka art Center taiPei 2F.pl rUSSia XL GaLLerY 105120 Moscow.29 Mar Sweden moderna mUSeet Slupskjulsvägen 7–9 Stockholm Dalí Dalí Featuring Francesco Vezzoli to 17 Jan PoLand GaLLerY F.com Open Sun–Thu 12–7 Farzan Sadjadi: “Between a rock and a hard place” 18 Jan .com Ettore Spalletti/Marcel Dzama 14 Jan .R. 290 70 50 info@beyazart. rue de Téhéran 75008 Paris T +33 1 45 63 13 19 Open Tues–Fri 10:30–6 Sat 2–6:30 galerie-lelong.com korea Gaain GaLLerY 512-2 Pyungchang-dong. Abu Dhabi T +971 2 406 1501 Open Sun–Thu 8:30–5 artsabudhabi.com Sven t’Jolle/Michael PattersonCarver to Feb 6 GaLerie LeLonG PariS 13. 10557. rue du Grenier St Lazare 75003 Paris T +33 1 42 71 10 66 laurentgodin.28 Mar maLta JaSon LU Portobello Court St. Jongno-gu. rue de Turenne 75003 Paris T +33 1 42 16 79 79 galerieperrotin. 121 33394 Gijón T +34 985 133 431 Open Wed-Mon 12-8 laboralcentrodearte. Taiwan T +886 2 2570 0390 Open Tue– Sun 11–9 soka-art. Teresa Square Marsascala T +356 7933 3338 jasonlu.org GaLeria eLBa Benitez San Lorenzo 11 28004 Madrid T+34 91 308 0468 elbabenitez.co.org mUSaC – mUSeo de arte ContemPoraneo CaStiLLa Y Leon Avenida de los Reyes Leoneses. rue de la Ferté Gaucher 77169 Boissy-le-Châtel Seine-et-Marne T +33 1 64 20 39 50 galleriacontinua. 57. PO Box 8503.com. Warehouse d37 Dubai T +971 50 464 4 392 carbon12dubai.com beyazart.ru JaPan kaikai kiki GaLLerY Motoazabu Crest Bldg. 13–19 xlgallery.com Hernan Bas/Johan Cretin to 13 Mar GaLerie aLmine reCh 19.20 Feb Tobias Lehner: “Pluton” 25 Feb . Taito-ku Tokyo 110-0001 T +813 3821 1144 scaithebathhouse. Taipei..com China artSide GaLLerY P. Seoul 110-848 T +82 2 394 3631 gaainart.com Cai Guo Qiang to 21 Feb tUrkeY BeYaz art İz Plaza Giz.21Mar toUriSm deVeLoPment & inVeStment ComPanY P. No.tw eslitegallery.es Yorgos Sapountzis 30 Jan .com GaLeria heLGa de aLVear c/ Doctor Fourquet 12 28012 Madrid T +34 91 468 0506 helgadealvear. Maslak İstanbul – TURKEY T +90212.com Wall & Floor – Group show to 13 Feb GaLerie thaddaeUS roPaC 7. 11. 4 Siromiatnichesky per 1.com to 30 May GaLerie LaUrent Godin 5. Box 126888. 1588 Open Tue–Sun 11–7 gallery@eslite.org oV GaLLerY 19C Shaoxing lu Shanghai 20002 T+ 862 15 465 7768 ovgallery.i.net Marcin Maciejowski/Sandra Vasquez de la Horra to 9 Feb SPain CaC maLaGa C/ Alemania.com SinGaPore GaLerie eVe No 5 Tank Road Nagarathar Building #04-03. Taiwan T+886 2 8789 3388 ext. B1F 2-3-30 Motoazabu Minato-ku Tokyo 106-0046 T +816 823 6038 Open Tues-Sat 11-19 kaikaikiki. Dunhua South Road Sec.t.O.jp SCai the BathhoUSe Kashiwayu-Ato 6-1-23 Yanaka. Gallery Artside.com United araB emirateS CarBon 12 dUBai A1 Quoz 1.4 Jiu Xianqiao Road.cartier. Street 8 Alserkal Avenue.com Ryan Mendoza to 30 Jan GaLerie emmanUeL Perrotin 76. No.listings: museums and galleries FranCe Fondation Cartier 261 Boulevard Raspail 75014 Paris T +33 1 42 18 56 50 fondation. Kat:19 D:70.a. Chaoyang district T + 86 10 5978 9192 artisde.

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Rear View January/ February Reviews Books The Strip On the Town Off the Record ArtReview 99 .

‘orchestration’. To evoke such an archaic desire means pointing towards a world unbound by representational thinking. I’m inclined to say that this is work which is confident of drawing upon combinations of formality and sensuality. even in advance of its appearance. In this regard the paintings assemble their resolve out of a complex series of gestures which defy overhasty generalisation. in ways that produce an art confident of its own persuasive presence – and a truly eventful exhibition. you can’t have a feast for the eyes without the trace of pathos. such reception. and as such is not dominated by the principle of identity that would anchor it firmly in place. and always with rhetoric pushed aside. seeing with excess and missing sense. private and singular. thus assuming a risk. What I find myself dwelling upon is the idea of painting embodying the principle of pulsation. perhaps the pathos that is born out of talking too much. the cutouts of Matisse. but there is also a relation to the (invisible) reserve contained in the art of painting. And from there I start to feel in Riley’s paintings the possible distillation of these sensations. whether the work manifests any sense of a late style. Finally. even frontal states of reception: ‘dazzle’. Simply put. seeking what is wild or untamed difference instead. © the artist 2009. the chromatic passages of Cézanne. it does not.REVIEWS: UK Bridget Riley Timothy Taylor Gallery. but they also contain the memory of forces that might diminish. It’s not that we might look at one or other particular work in order to appropriate qualities. Wall Paintings and Gouaches 7 November – 19 December As you enter the space of the paintings (two canvases and two murals). Riley’s art has instead assumed a more complex posture. ‘pulsation’. one could use the structure of such a thought to claim that Bridget Riley has cut the general out of painting. something which is far from being solely a modernist preoccupation. London. and Karsten Schubert. London 100 ArtReview . which emphasise a counter-rhythm or even ‘counter-inhalation’. a gesture of violence against what is assumed to be known. If I think of the words employed to designate the principal sensations of her work. ‘constellation’. or render slight. distinctly within Riley’s style. and with it. rather than being seen. So yes. step by step. Painting announces. Not that this is a sign of weakening powers: quite the contrary. It might be tempting to wonder. release and refrain. then what kind of sense precedes common sense? This pursuit of sense has invariably been at the foundation of painting because of the way it evades the grids and networks of intelligible reduction and representation. it is a language often given over to singular. 2009. Perhaps it is possible to suggest that these paintings face an archaic desire contained within a vision outside of a solely modernist programme. Even though we can say she is a methodical painter. Courtesy Timothy Taylor Gallery. Jonathan Miles Changing Places. structural clarity and intuitive insight. 166 x 210 cm. it is possible to detect a distinct mood or tone embedded in the works. but rather to allow such works to assume a force within the making of Riley’s work. brooding vibrational intensities of late Titian. On a simple level. confident in their powers. of such an exacting practice developed over 50 years. But what can be detected in these recent works is a concern with more complex passages of reception. as opposed to the general. Perhaps I should say both distinct and yet curiously in-between. Riley is both discreet and exacting as an artist. All rights reserved. a world that. I think of the Sung painter Mi Fei and the extraordinary feeling of (breath) resonance within his landscape paintings. Painting resides within what is peculiar. her thinking is not conditioned by method but rather is evidence of the formation of vision. the desire to find the measure of this reserve. ‘throb’. is instead intuited and invested by ‘what is’ (the meaning of being). Sartre once said that Giacometti’s sculpture cut the fat out of space. plural or common. these are paintings of great singularity. London New Paintings. careful to deliberate on that which can be indicated. painting asks that we suspend our position in front of its self-exhibition. there are distinct traces of Matisse and Cézanne in circulation here. in order to draw evidence for that which is other to our common sense. If we can claim that the emergence of representational thinking coincides with the ascendance of common sense. set aside our preoccupations. oil on linen. drawn from the process of sustained engagement with such predecessors. the dark. ‘rhythm’. ‘tone’.

ArtReview 101 .

London 102 ArtReview . The exhibition makes clear the debt contemporary artists owe to their outsider counterparts. the works speak for themselves. Yet even without these recommendations. However much is lost in a high-ceilinged exhibition room. a laundry worker who painted the inhabitants of South Carolina’s St Helena Island. 31 x 20 cm. implicit in which is a broad and inclusive brief. DIY aesthetic and hand-painted graphics. the Museum of Everything suggests multiple meanings for the term ‘outsider art’ and questions the notion of the museum as a space dedicated to a strictly defined type of cultural heritage. for example. Laura Allsop Henry Darger. born in the US in 1909.REVIEWS: uk Exhibition #1 Museum of Everything. Jean Dubuffet protégé Vicens Gironella) and some by the less well known (twenty-seven-year-old Austrian Leonhard Fink). The prevalence of found objects is not dissimilar in practice from that of thousands of artists working within the official realms of art production. as this is a Museum of Everything. pencil. and a sequence from Darger’s masterwork. The artists whose work is on show are positioned outside the parameters of official culture. or alternate and frequently – in the cases of Darger. In the Realms of the Unreal – get their own rooms. collage. happened to open during the Frieze Art Fair. Tracing the influence of Morton Bartlett’s family of dolls to Grayson Perry’s work. and each work is accompanied by a text from a range of creative professionals. it is precisely this approach that makes the space such a welcome antidote to the ‘official’ artworld. However. Bartlett. In its treasure trove of work. One criticism of the exhibition is that there is not enough space to give justice to such complex and intricate works. Some exhibits – such as the fantastical figures by Indian artist Nek Chand. such as folk art’s ties to outsider art. ordinary domestic items buried under layers and layers of knotted threads. including artists and curators. 1940-60s. Ultimately. William Scott’s painting of a sprawling metropolis almost entirely populated by spindly skyscrapers indicates skill as well as a highly developed imagination (countless works in this exhibition picture imaginary cities. Its grotto-like rooms. because what they produce is created without a market in mind. partly because they are unschooled. for example. was obsessed (much like Darger) with little girls. his private world. enthralled by ideas of femininity. Untitled (Mascot Girl Scout 35th Grade). a cheerfully lo-fi space dedicated to so-called outsider art just north of Regent’s Park. but these could be further explored. some by well-known outsider artists (Henry Darger. is fascinating. and the work it contains could not have been more different from the art fair in full swing at the other end of the park. the result of an internal necessity. Courtesy Museum of Everything. part of a huge project in Chandigarh. Meanwhile Judith Scott’s hanging sculptures. carbon tracing. and created dolls he would lovingly personalise with hand-stitched clothes. it seems. the criticism is a minor one. Bartlett and Calvin and Ruby Black – diminutive communities). Ed Ruscha writes touchingly of the work of Sam Doyle. watercolour on paper. London 14 October – 23 December The Museum of Everything. indicate a meticulous and thorough process. Intriguing subthemes emerge from the show. partly because of their afflictions. closely resembles Perry’s relationship to alter ego Claire. with many works simply hung too high up the wall to be fully appreciated. but mostly.

The car’s low-slung. Those familiar with Campbell’s work will also be familiar with his method of collaging diverse archival material to construct narratives riddled with doubt and ambiguity. we travel back to the late 1970s. The visiting British dignitaries. Sligo. until just one remains. the interviewees gradually excuse themselves. shifting awkwardly in his seat. perhaps representing the young John DeLorean. in the final passage of the film. Photo: Andy Keate I might as well park it out front: to most people. the car was reportedly very heavy and handled like a pig. and each ultimately failing to ‘make it new’. Tramway. As we shift to colour advertising footage. Images of gas-station signs then give way to maps of the Gulf and soldiers languishing in the desert. Jonathan Griffin ArtReview 103 . In Duncan Campbell’s film Make It New John (2009). DeLorean was abandoned by Margaret Thatcher’s government. laughing young people surf and toss Frisbees. from the start. with varying degrees of innocence or mendacity. Commissioned by Film & Video Umbrella. his touch is relatively light: we might almost be watching a 1980s documentary about the establishment and subsequent collapse of the DeLorean company. 2009 (installation view). when flamboyant American motor industry supremo John DeLorean elected to manufacture his new company’s only car – the DMC-12 – in West Belfast. London. the shift at first seems incongruous. Make It New John repeatedly describes impossible aspirations and frustrated expectations. which refused to bail out the failing company. for instance. and the story of the sweetheart who changed her mind. But we have been watching lies. As the film winds to a close. promised effortless speed and elegance to “horny bachelors” (as one character says in the film). The female interviewer clumsily elicits a confession of loneliness. in his suburban home. Clichés of narrative and class representation begin to creak at the sides. For much of the middle section of this film. The film effectively plays out in three acts. the American salesmen boasting about the car’s popularity and the aggrieved workers leaving the factory: all are performing for the camera. Campbell’s film ends as a tale of two Johns. though “that was all many years ago”. even misguidedly deceptive. When. The first of these sketches a social and political context for the development of DeLorean Motor Company: black-and-white footage seemingly borrowed from a 1950s feature film shows a bored boy. Glasgow. London 13 November – 20 December Make It New John. each equally implausible. we realise that the five workers being interviewed are in fact actors shot on specially graded 16mm film.reviews: UK Duncan Campbell Chisenhale Gallery. His name is John. DeLorean increasingly looks like a man tired of lying about the health of his company. In fact. the name DeLorean will forever be linked to time travel – specifically to the car modified for that purpose by ‘Doc’ Brown in the Back to the Future films (1985–1990). and the Model. while a Beach Boys-pastiche soundtrack extols the virtues of the Pontiac GTO. or fictions. Initially backed by a Labour government hopeful of integrating a Protestant and Catholic workforce. in clips that Campbell must have taken from news sources. London. As Make It New John progresses. Chisenhale Gallery. brushed stainless steel body and iconic gull-wing doors.

made of concrete… J. and their paradox lies in how their muted. not embryos about to develop into something more complex. Story’s subjects are of weirdly degraded shapes that have little to offer. at the same time as failing to represent. though these are too detailed to really anchor the titles to their subjects. but as rudimentary approximations of the main volumes that make up a pylon’s basic shape – a tapered pyramid joining an inverted triangular frame. little plaster and clay ‘models’ of what appear in the paintings are dotted around. of distanced subjects rendered in colours that themselves deny painting’s more voluptuous tones. and as part of a pair in Arrowhead. sitting quietly on a shelf nearby. But this is Story’s point. some shadow. perhaps. As if to guarantee that her pictures are indeed of something. and reassert the claim of matter over illusion. oil on paper. Story’s attenuated forms become densely there. or a bunker – it’s hard to decide – with a sightless aperture in its corner. Story’s paintings. a few arid. then. one discovers. In the absence of anything else to look at. Story adds little notes of explanation to the titles. sandy tones. are attempts to represent the minimal conditions of making a representation of an object – a ground. facing you blankly. Bluebird (IV) is a view of 8. are representations of things that themselves are partly lacking in identity. a vague echo of overlapping feathers. They’re like ghosts of shapes. London 14 October – 5 December There is nothing lush or welcoming in Catherine Story’s paintings and objects. some barely formed shapes. but relics in which the detail has been stripped out. 69 x 48 cm. art deco corner cabinet. Courtesy the artist and Carl Freedman Gallery. a bit of modelling. with odd prongs at the top corners. London 104 ArtReview . The spherical lump that appears in Planet X is present on the floor before it. In many of the paintings the paint has been mixed with a bit of sand or sawdust. Story’s subjects. coming from the wearing away of more distinct materials. But Story’s quiet and austere paintings on paper are stranger than current fashion.J. not as the intricate lattice of metal you might expect. Someone in a hurry might pass over them as another addition to the Tuymansesque school of bleak and brown. Cinema is a sort of brown. 2009. by using matter which is itself formless. as if worn away by history. in Sweetwater III (all works 2009). Charlesworth Dire Wolf.reviews: UK Catherine Story Pylon Carl Freedman Gallery. stunted subjects generate a sense of closeness and presence. however vague and lacking in detail they at first appear. The ‘pylon’ of the show’s title turns up twice. dusty. however. as if to deliberately wrong-foot the possibility of representation. or objects that barely look like anything at all. themselves representations of other objects arrested in mid-fabrication. of course: to make painting about what it means to represent. its surface contoured with stepped ridges. Bluebird (IV) is a little blue chunk standing on a sort of blunt foot. Ghosts. once on its own.

where the killing ground. the rebirth of 3D cinema – has at its root the very nature of our perception of reality. cavelike weight-lifting dens. control of the imagery which informs the finished work. déclassé telephone booths in cheap hotels and balloon-strewn party aftermaths appear to be the subject of the artist’s compelling large-format photographs. the fact that although the world we perceive is generated from sensory information. The Silence of the Lambs (1991) – stands in for the stage-set carnage that is the twenty-first-century legacy of a derailed Western foreign policy as much as the confused. But these wholly invented and constructed spaces are anything but realistic portrayals of actual environments. it appears ultracontemporary but in fact engages in sophisticated game-play with the history of painting – Wall’s room was directly inspired by Eugène Maureen Paley. Richard Dyer ArtReview 105 . 133 x 166 cm.reviews: UK Incidence. Seven (1995). chalky snooker hall backrooms. CGI. 2009. with its cluttered and filthy interior – The Texas Chainsaw Massacre (1974/2003). In recent decades artists such as Gregory Crewdson and Thomas Demand (photography). her subterranean shooting ranges. and Hardy first studied painting at Cheltenham before her MA in photography at the Royal College of Art. what we actually experience is a constantly updated cerebral model. like the apartment of an OCD sufferer who is unable to throw anything away or an obsessive collector of ephemera that others would class as rubbish. Our enduring fascination with artificial worlds. constructing intensely elaborate ‘photo sets’ over several months before carefully photographing them with a medium-format camera and wide-angle lens. London Anne Hardy There is a recognisable contemporary-art genre which has its beginnings in Nicolas Poussin’s practice of fashioning precise clay figures then carefully lighting them before rendering them in paint. multilayered and fragmented environment of the contemporary. There is a disturbing allusion in many of the works to the hidden inner sanctum of the serial killer as it might be found in a whole subgenre of Hollywood films. though not as overtly disclosed. Hardy’s images are so compelling because they remind us of the uncanny artificiality of reality. The set design for these lugubrious interiors has become a trope of the contemporary cinematic. London. cloying and sinister. The genre’s contemporary manifestation is practised by a number of artists who validate artificially created worlds by their transcription into another medium. There is as much artifice here. London 9 October – 22 November Delacroix’s Death of Sardanapalus (1827). Anne Hardy has been working for a number of years within this genre. Saskia Olde Wolbers (video) and Neil Gall (painting) have deployed this strategy in their art in order to exercise precise. and indeed there is a close resonance between Hardy’s and Wall’s practices. Diasec mounted c-type print. Courtesy Maureen Paley. and at times obsessional. Hardy’s interiors are claustrophobic. as one finds in Jeff Wall’s iconic work The Destroyed Room (1978). Constructed from the detritus of the skip and the secondhand shop. derealised psyche. as if the act of ‘mapping’ one medium onto another confers authenticity on the subject. from the nineteenthcentury popularity of the diorama to the current obsession with virtual reality – The Matrix (1999).

1967. or take solid form. experimental exhibition full of Hockney’s vision and voice. then Emily is Frances. Laura McLean-Ferris 106 ArtReview . Hockney borrows the words of Walt Whitman to enwrap the two clinging boys in a protective blanket. we see several images of Stark doing the same for herself. © the artist For me David Hockney’s A Bigger Splash (1967) will be forever associated with the house of my school friend Amy (a clip-framed poster print hung on pale aqua walls. as an artist and as a gay man. in one delicately complex move. which provides the crescendo to 1960–1968: A Marriage of Styles. for. as Stark often is. Henry Miller and Witold Gombrowicz appear in these paper works. As the exhibition continues through Hockney’s move to LA. Nottingham Contemporary. Texts lifted from the likes of Emily Dickinson. some musical notes. bare as a ghost to whom one would like to lend a sheet? is an exhibition also delicately focused. a personality related to the ‘I’. she has created a new collage work in relation to Hockney for this exhibition. In a generous. It’s a British image of a particular LA fantasy that hangs in a suburban house. but Dickinson’s ‘I’ is less personal. 96 x 96 cm. Stark’s work is mainly composed of collage works. silver paper and a photocopied text on American literature explaining the difference between Walt Whitman’s ‘I’ and that of Emily Dickinson. London 2009. she is hiding. lick and smile with longing. a naked name. as a character. surrounded with black-and-chrome furniture). It’s a startlingly fresh. Those reproductions. yet aggrandising move. such as Modestly Becoming (2007). browns and maroons are populated by figures with huge plaintively pink heads and mouths that gape. Knocking all four of the artists into new light. standing by itself. the painting is full frozen movement: a highly charged moment of disappearance. But what of Frances Stark. Though we are always aware of Stark. Remembering Hockney’s protective covering of his subjects. bodies are covered in streams of water or in modestly draped bedsheets. more universal. like many. no matter who claims to be hiding.reviews: UK David Hockney Frances Stark 1960–1968: A Marriage of Styles But What of Frances Stark… Nottingham Contemporary 14 November – 24 January David Hockney. however. are startlingly different to the painting. and the texts often appear to fly away like birds. on the difficulties of asserting the self. smudgy painted landscapes of pinks. A hand holds a pair of legs. Photo: © Tate. I’m more familiar with reproductions of that image than I am with the painting. Cavafy (1966). in which a line-drawn figure resembling the artist hides behind butterfly wings that are decorated with glossy private-view cards. We are always aware of Walt. A Bigger Splash. the writer explains. one of two opening exhibitions at Britain’s newest regional art gallery. such as We Two Boys Together Clinging (1961). In the expressionism of Hockney’s early paintings. While the poster is flat and still. the words ‘corps humain’. acrylic on canvas. following a period in which Hockney strongly asserted himself. though they also seem like safety blankets for the artist.P. Stark’s work permits one to see that the bodies of the artists are all present. as in Hockney’s etchings illustrating the poems of C. If Walt is David.

is there anything commonplace? Adrian Paci’s film of romantic pastoral scenes. Oliver Basciano Michael Lin. Yet simultaneously Hanru places this refutation within the critical framework of Bourriaud’s maligned Altermodern experiment. 2001–8). 2008. Cold Morning (2009). Alan Bulfin’s Killing Hur (2007) depicts extreme violence mediated through the pixelated blur of his sister’s videophone. the tenure of which the Frenchman prolonged via Höller and Eliasson. a reflected boy takes out a catapult and smashes the mirror. in his own curation of Lyon’s 2005 edition. At a basic level Hanru’s theoretical debt explains the presence of a great many politicised art collectives in the show: Société Réaliste’s fake website and resulting installation EU Green Card Lottery (2009). from the politics of shock and awe to the sublime of international economic systems. Debord’s claim that we have become passive accumulators of merchandise – ‘the total occupation of social life’ – is passé in recent theory.reviews: UK Lyon Biennial The Spectacle of the Everyday Various venues. In doing so. Just when the viewer begins to make fairytale connections. A group of children are reflected in a large freestanding mirror set up in the landscape. What a Difference a Day Made. familiar names on the biennial circuit. Per Speculum (2006). or the autonomous city created by Xijing Men. Courtesy the artist and Shanghai Gallery of Art. the central thesis proposes that we live in a world now defined and motivated by spectacle. As the spectacular is everyday. With the support of Council for Cultural Affairs. revelling in their elevated status. Shanghai ArtReview 107 . Yet Hanru eschews the bombastic interactive installation of recent biennials for works much more in keeping with the original Situationist claim. he seems to be formulating a poised refutation of Bourriaud’s claim. make a frequent appearance: Michael Lin’s What a Difference a Day Made (2008) features the entire contents of a Shanghai hardware store. and in the international familiarity they convey. displayed museologically in exposed packing cases. is a catalyst for spiralling thoughts on social exclusion and the falsity of recognised metropolitan motifs. pavilions and telecom towers (Sculptures. both in terms of how far they have travelled in their transit cases. for example. Lyon 16 September – 3 January Hou Hanru. nowhere more clearly than in Nicolas Bourriaud’s ‘society of extras’ in Relational Aesthetics (1998). is a key work. Takahiro Iwasaki creates mountainous landscapes from piles of towels and wires them up with a minute infrastructure of pylons. The work allows the audience to consider the globalised nature of the objects. Our understanding of spectacle as ‘otherworldly’ is false and needs to be broken. and Mark Lewis’s understated video portrait of a New York street scene. Readymades. Taiwan and the Taiwan Cultural Center in Paris. invoking the geo-economic networks that surround cheap. the internationalism of media to the advent of spectacular art events such as the biennial itself. despite some expected duffs in a show of this scale. In a similar juxtaposition. 17 crates. Yet it goes further. It seems analogous to the spell that biennials try to weave and that Hanru seeks to break. Oxymoronic semantics aside. has staged Lyon’s tenth biennial under the banner of The Spectacle of the Everyday. from inception to shop to gallery. it implies in this setting. the Lyon Biennial proves an enjoyable international curatorial tit-for-tat. replica of a Shanghainese store. a man with a reputation for strongly authored biennials (his previous outing was in Istanbul two years ago). As such. mass-produced buckets or brushes. Hanru makes obvious use of Guy Debord’s conception of spectacle. at Tate Britain’s triennial exhibition earlier in 2009. Photo: Blaise Adilon. 5-channel DVD projection.

introspective artist making things for himself in his humble workshop. New York 29 October – 5 December Small Brain Big Stomach. the overall grouping succeeds on a purely formal level. when audacious ceramic and mixed-media sculptures.reviews: USA The humorous. effect on floating soap bubbles. The cohesiveness of the installation seems a bit cautious compared to his previous show at the same gallery. with thick pours of yellow. generally made of small pieces that are fastened together and painted black. wall drawings and photographs. provocative art of Olaf Breuning is tough to define. brings to mind the chequerboard lines of Mondrian’s Broadway Boogie Woogie (1942–3). Similar to David Shrigley’s and Dan Perjovschi’s drawings. smaller gallery. 2009 (installation view). Chris Bors Olaf Breuning Small Brain Big Stomach Metro Pictures. projected from small originals and painted with black paint are essentially crudely drawn cartoons. The framed c-print Bridget features a voluptuous female model painted black and lying on her side. visual impact and relationship to art history take up the third. using simple but effective methods to emphasise its intense materiality. though more delicate. their charm is in their simplicity. blue and red paint dripping down her body. whose walls are painted black to contrast with the first two rooms. Breuning revels in the optical qualities of pure colour. Filling the first two rooms of Metro Pictures are sculptures and wall drawings that are essentially enlargements of small pencil drawings the artist made while spending five days alone in his room aboard the Queen Mary II. and Life Is a Rollercoaster are downright grim. Grid Drip. Recalling Yves Klein. although it is clear the artist is also dealing with issues of self-doubt. but for an artist with a startling number of solo shows per year. since he has fearlessly used just about all possible media in his work. Courtesy the artist and Metro Pictures. drawings and photographs coexisted in the same room. Investigations into paint’s physicality. The wood sculptures. The wall drawings. have a playful quality. failure and depression. green. seems less reliant on the outrageous tackiness of his previous work and more like a sad-sack. The drop-dead gorgeous Colour Bubbles relies on lighting rather than paint to achieve a similar. Yes/No is the most overtly comical and sexual. it is obvious this guy is in overdrive. presenting the possible ages of someone’s lifespan in the form of a vertical roulette wheel. stain painting and the canvases Niki de Saint Phalle shot with a . Although both rooms are full of hit-and-miss pieces. a painted sculpture that was then photographed. in 2008. London 108 ArtReview . The sardonic Wheel of Death (all works 2009).22 calibre rifle back in the 1960s. with the word ‘no’ written on a man’s face while the word ‘yes’ rests along the length of his erect penis. This newest grouping of sculptures. and allowing the lights themselves to be clearly visible at the top of the composition is comparable to other Breuning photos in which the staging is revealed. however. Nothing in Small Brain Big Stomach is as memorable as Breuning’s dark and surreal narrative video Home (2004). while Color Drip I is essentially the same work with thinner paint stripes and no model.

who never arrived. which is based on images of the original architectural model of Lydda – a plan for an airport which would further the Palestinian drive for statehood. but the Venetian authorities cancelled the project abruptly. And these themes are stressed in an accompanying sculpture. when the territory was under the British Mandate. She proposed to provide a series of Arabic signs to translate the names of prominent vaporetto stops. in an age so weary of world travel. and it supplies the inspiration for a new film by the Palestinian-American artist Emily Jacir. Courtesy Alexander and Bonin. not to solidify it. It is no feat to expose Islamophobia in the West: the goal should be to frustrate it. Lydda Airport (2009) has been largely furnished from archival images to create a period drama with a spare narrative that takes us back to the time when the airport was under construction. urethane and epoxy. failed arrivals at Lydda: the disappearance of a plane over the Gulf of Oman. Indeed. and without explanation. 77 x 156 x 33 cm. Very different in tone is Stazione (2009). after Israel’s first prime minister.reviews: Usa Lydda Airport. with the Arabic in place. of wartime love and loss on the margins of Europe. Art so rarely gives political offence nowadays that one is tempted to commend Stazione for that alone. pewter. Morgan Falconer ArtReview 109 . a project Jacir devised for last summer’s Venice Biennale. New York 28 October – 28 November It’s hard. to recall the pride and prestige that once attached to airports. Photo: Jason Mandella. and another occasion when a woman was deputised to welcome aviator Amelia Earhart. but the film remains a success by virtue of its atmosphere of stalled movement and interrupted history. New York Emily Jacir Dispatch Alexander and Bonin. But unfortunately one doubts. These references don’t really come through. one is so accustomed to art which. that Stazione is refreshing. 2009. a dewy-eyed woman awaits an arrival with a bouquet of flowers. and presents it here principally through a series of altered photographs of the floating stops. The mood evokes the faded glory days of early air travel. both of which have come to nought. like Lydda Airport. it was captured by the Israelis in 1948 and renamed Lod. So Jacir has reconstructed it. in 1974 it became Ben Gurion International Airport. that her purpose was to highlight the Arab heritage of the city: there were surely many other ways of doing this which would not have antagonised the authorities. The loss of Lydda not only stripped the Palestinians of prestige but also prefigured many other losses. Aircraft manoeuvre on the tarmac before a nascent terminal. The case of Lydda Airport should remind us: built in Palestine in 1936. as Jacir disingenuously claims. turns wispy and romantic when it inclines towards politics and history. Jacir says that further inspiration came from some real. ash and grey – it’s a five-minute Casablanca (1942). all of which is made more romantic by a palette of silver.

2009. After assigning. of speed. the videos are funny and slapstick. Smith and Haddad superimpose a colour Santa Claus over black-and-white images of smokestacks. gravestones and hungry street children.T. Playing with descriptions like ‘the dance of geometric splendor’ and ‘how the Futurist sleeps’. curators Lana Wilson from Performa and Andrew Lampert from Anthology Film Archives attempt a contemporary reconstruction of the long-lost Futurist film Vita Futurista (Futurist Life. awash in geeky digital special effects. that many of the shorts in Futurist Life Redux revel in the quotidian — the ungainly reality of the Futurists’ future. the resulting 11 short films tease a movement drunk on its own hubris. In tandem with Performa’s appropriation of F. abstraction and sensations.’ It is ironic. Subject to the throes of modernisation. historicising Italian theatre. Ben Coonley substitutes a lethargic. whose disembodied. Railing against early cinema’s imitation of sentimental. For his video Why Cecco Beppe Does Not Die (all videos 2009). ‘Futurist cinema… will become the best school for boys: a school of joy. Hinting at the repercussions of ‘factories suspended from the clouds by the thread of their smoke’ that Marinetti spoke of so ecstatically in ‘The Futurist Manifesto’. It renders technological radicalism — used by the Futurists to attack bourgeois culture — humorously bourgeois itself. which describes how several young Futurists mock the old-fashioned way an elderly bearded man eats lunch. New York 16 November Futurist Life Redux obviates the compelling paradoxes of Performa 09’s larger project: to playfully resuscitate a historical avant-garde’s brief yet uncompromising love affair with the ‘future’. production still. which bears a great responsibility for propagating today’s familiar Santa Claus imagery. 1916). then. but they also take a sober if fantastical look at the reality of the Futurists’ valiant ‘future’.reviews: Usa Futurist Life Redux Anthology Film Archives. For his film Futurist Lunch. Conversation with Boxing Gloves Between Chamecki and Lerner. Michael Smith reverses his Vita Futurista scene synopsis. droning vocoder voice discusses the technological innovation of a pixelated scratch-and-sniff oval floating from side to side on the movie screen. ‘The Futurist Cinema’ dictates that cinema must ‘detach itself from reality’ and abandon itself completely to dynamism. In Futurist Lunch. a segment of Futurist Life Redux. which adopted many of the tenets outlined in ‘The Futurist Cinema’ manifesto from the same year. via lottery. Partly inspired by the Coca-Cola Company. what was once a harbinger of the past becomes a harbinger of the new. A Performa commission with SFMOMA and Portland Green Cultural Projects 110 ArtReview . lo-fi camp and abject humour. Marinetti’s ‘Futurist Manifesto’ (1909) as a template for the biennial. 11 segment-synopses to 13 contemporary video artists. Wilson and Lampert gave the participants small budgets and six weeks to film. this ‘new’ is made more of the same. of courage. and heroism. David Everitt Howe Chameckilerner. the videos in Futurist Life Redux tend to render our ‘communication age’ humorously humdrum and meek. of force. one that is clearly no panacea. somewhat fat housecat for a Futurist actor.

40 min. Van der Werve’s current outing. The second part shows van der Werve wandering through the wilderness near Mount St Helens. the background so definitively white and desolate: it is a deadpan triumph of the artist over forces much bigger than himself. The actions of Nummer acht and many of the other earlier numbered pieces are those of isolated gestures: turning against the turn of the world at the North Pole. Qxc6’) on the bottom right-hand corner of the screen. rendering him tiny beside the meandering fault line in the monumental landscape. The artist. the melancholic music swells to a finale. is humanly impossible by years best measured in exponents. given his own estimations. continues the small gestures in monumental landscapes. the number of stars in the sky and why a piano can’t be tuned. 2009 (installation view). van der Werve constructing a spaceship in his living room. very little happens at all over the course of its 40 minutes. which. ‘24. as it feels in Nummer twaalf. the king’s gambit accepted. five ballerinas pirouetting out of a van after it has slammed into the saddened artist. the artist exits the shed. Los Angeles 24 October – 28 November In Guido van der Werve’s 2007 video Nummer acht: Everything is going to be alright. but this time I’m not sure everything is going to be alright. or waiting for an earthquake (2009). beautiful machinery of nature. ostensibly to reach a point where he can start counting stars. and yet we still try. Without humour. Conclusion: mankind is a small. The walk is a gentle gesture. rather unimportant cog in the big. describes the impossibility (by many millions of years) of anyone ever playing every possible chess game. or waiting for an earthquake. and the impossible gesture looks less like a delightful trick played against overwhelming forces and more like the mathematical deliberation of a predetermined chess match. Photo: Robert Wedemeyer Guido van der Werve Marc Foxx. video. They sometimes grow more complex. a video precisely titled Nummer twaalf: Variations on a theme. in fact. where van der Werve explains the impossibility of tuning a piano given a tonal hiccup called the Pythagorean comma. edition of 8 + 2AP. the black-clad artist walks slowly in front of a hulking icebreaker. the grand becomes grandiose. The third part brings us to a diminutive shed on the edge of the San Andreas Fault. A small orchestra in the back of the room where the game is being played works its way through a score written by van der Werve (a composer by training). speaking in a voiceover. Andrew Berardini ArtReview 111 . The video begins with the moves of a predetermined game played by van der Werve and the chess grand master Leonid Yudasin on a special chessboard cum piano of the artist’s devising. but their joy is in their simplicity and their very sly humour. At the end. the ship so large and ominous. one played without much joy. a helicopter pulls away. the King’s gambit accepted. the number of stars in the sky and why a piano can’t be tuned. It’s not that anything bad happens.reviews: Usa Nummer twaalf: Variations on a theme. Each move of this game with Yudasin registers in a chess notation of letters and numbers (eg. Both the notation and score carry on throughout the film.

61 x 51 cm. holes and textural pattern over pictures. for instance. The reduction of visual forces at play in any given work amplifies their effect and contributes to the condensed hardness several of the paintings convey. Its unexpected. which prioritise pale hues and often dark. furniture and Memphis Group ceramics. stretcher bars. While firmly grounded in the materials and structural format of painting — canvas. Sarah Lehrer-Graiwer Untitled. blue. but each has its own highly distinct character and is unlike the rest. one shape of colour ventures out alone around the corner of a threedimensional form. accidental or expressive gestures here. starving artist who can’t afford enough canvas to cover her stretcher. orange. considering. 2009. Los Angeles 112 ArtReview . yet each object is powerfully human and full of a handcrafted charm reminiscent of Ree Morton’s playfulness or Vincent Fecteau’s formal wit. Molzan’s objects speak as much of the countless private hours of sustained mental exertion — looking. fashion. top-heavy awkwardness is oddly riveting. linen. or a line stops short of touching a canvas’s edge. constructing literal depths and forming each work around a strange and potent interiority: strategically sited cavities. gaps. seeming to parody the romantic tropes of supposedly expressive splotches and authentic smears by cutting them off at the knees while also lampooning a mythos of the pure. 2009) in her first solo show in LA share basic rectangular dimensions and a calculated reduction of compositional activity. The eight works (all Untitled. Molzan balances contained and carefully orchestrated regions of apparent chaos – whole panels strewn with tangled strands of canvas or speckled all over by colourful sprays of paint — with sharply taped-off. one in particular having the surface appearance of countertop laminate or concrete. staining the raw wood of the frame’s bottom bar. She values thing-ness over imagery. Photo: Brian Forrest. oil on linen.reviews: Usa Dianna Molzan The Case of the Strand Overduin and Kite. sculpted after abstractions of 1980s-era textiles. oil paint. protrusions and concealed hollows give her work peculiar body. Perforating the fabric ground of several paintings. not-acting — in the studio as they do of the relatively few physical interventions evidenced on canvas. and its geometric simplicity has a bluntness and chutzpah that is characteristic of Molzan’s restrained yet striking sensibility. violet and mauve spots of oil paint have dripped from the crisply cut edge of an abbreviated abstract expressionist-style painting. subdued tones. Green. brushes and palette knife — Molzan constructs singular. Courtesy Overduin and Kite. Beginning with a medium-size stretched canvas (61 x 51 cm). There are no spontaneous. the result of a considered limitation of component parts and restricted palettes. Two turquoise lines trace the edge of this topographical shift like piping. with a bulky upper ledge of exaggerated thickness stepping down to at least half its elevation in the painting’s lower region. One of the most bizarre and captivating works looks like a blank section of segmented chocolate-brown adobe. volume. The abrupt truncation has a sly humour. sculptural questions of solidity. nonfigurative painting-objects. hard-edged graphic punctuations. she regularly cuts into or builds onto the picture plane. mass. Los Angeles 8 November – 9 January Dianna Molzan’s paintings are simply astonishing. Molzan reveals the stretcher bars’ exposed rectilinear armature as a crucial feature. Meticulously executed details generate visual tension where.

This is confirmed in what I’ll call the left panel of the triptych. 2009. can’t we enjoy ourselves?’ The gesture is directed at one of the soldiers standing at left. has his arms raised. a decapitated outbuilding. and the pool narrows. What we might call the central panel of this triptych. New York Richard Mosse The Fall Jack Shainman Gallery. Column at Uday’s. given that it bleeds off the bottom edge of the image. We see it in the photographs of airplane wreckage. blue sky. Foyer at Uday’s Palace. It would seem safe to say that with this body of work. Courtesy the artist and Jack Shainman Gallery. legs crossed. Whatever is libidinal about it comes in the embrace of death. One reclining Marine. Neil ArtReview 113 . some standing. Pool at Uday’s Palace (all works 2009). even appears rather middling. ‘Fuck it. When I say these photographs tell the whole story. The scene is worthy of Watteau. which he shot while on the first year of two-year Annenberg Fellowship. finds the camera panned to the right. And though it is not present in the photographs of the impossibly shotup wrecks of cars that Mosse captured also while embedded with the US military. helmet off. Everyone’s helmet is on. shows a team of seven marines. Two of the balcony’s denuded columns (due to shelling) are now front and centre. New York 19 November – 23 December There is a trio of photographs in Richard Mosse’s debut exhibition that would seem to tell the whole story. One marine is crouched at the parapet with rifle raised. its end accelerating out of the frame. but this is obviously no fête galante. But pull the camera back a bit. whose own slightly inclined stance betrays a stern authority and disapproval: ‘Get your fucking Kevlar back on’. Mosse opens up a new and promising chapter in the analytic of the sublime. The parapet of the pool terrace runs parallel to the top and bottom edges of the image. as Mosse has done in the other two photographs. Jonathan T. that is because they reveal the centrality of this depth-of-field distortion to Mosse’s work on the whole. The panorama behind the men is spectacular. But he’s not so much of one as to disregard a decisive moment. the third panel of the triptych. which tells us Mosse is a formalist. some reclining poolside at what is left of Uday Hussein’s onetime getaway on a hilltop in Iraq. we’re in a world without women. such as C27 Beaver Creek and 727 Santo Domingo. What about that pool? In the central panel it looks huge. 182 x 243 cm (unframed).reviews: Usa Pool at Uday’s Palace (from the Breach series). which pulls the camera back five metres and under a stone balcony. The rest is rubble. palms up and head cocked to the side as if to say. would seem to reproduce that formal trick here at the level of content. There’s rubble in the pool and not a shred of green — plus. digital c-print facemounted to Plexi.D. and the sandstorm atmospheres that envelope them. these objects’ own distortions. The empty pool rushes in at the left. some sitting. and one of the palace’s destroyed walls frames the right. The attention of five marines still in the scene is held by something down in the landscape. empty ridges.

the individual artworks on exhibit are just that – individual. a political engagement rooted less in historical theory than in current events and firsthand material – interviews. but rather in the laudable sense of intellectual rigour. well crafted and well exhibited (in the architect Angel Borrego’s diaphanous exhibition design). curators Christiane Paul and Steve Dietz have assembled 29 hefty works – a heft both physical and intellectual – by 27 different artists or artist collectives. Courtesy the artist 114 ArtReview . It is the storm that propels Benjamin’s angel of history unwillingly forward while leaving in its wake the sky-high heap of rubble. even as it continues to release its toxins. Taking Benjamin’s formulation as its point of departure. a certain degree of dryness). ‘Wreckage’ and ‘Countermeasures’. installation. Whose Utopia seems to recognise not only the difficulties but also the inherent self-respect and dignity of the workers portrayed – very potent propaganda indeed. an intense and vivid spirit of political engagement pervades the majority of the work exhibited.reviews: eUrope LABoral Centro de Arte y Creación Industrial. ‘progress’ (in the historical materialist sense of the term) is conceived of as a violent storm blowing out of a bygone Paradise. Gijón Feedforward – The Angel of History 22 October – 5 April In Walter Benjamin’s poetic formulation. 1798–2006 (2009) consists of a large transparent polycarbonate sheet onto which a map of the world had been etched. thoroughness and accomplishment (and yes. Pinpointing on the map the 330 acknowledged sites around the world where the US government has intervened with military force since the nation’s inception. Storm from Paradise. through the debris-ridden present and into an unforeseeable future. It is a storm that presumably has not yet run its course. within the exhibition’s overarching structure. Internet archives and wartime video footage from cameras attached to soldiers’ helmets. sound. the vast. and works of art – well chosen. Hasan Elahi’s Instances of Use of United States Armed Forces Abroad. Finally. And Cao Fei’s 20-minute. sprawling and thesis-driven group exhibition Feedforward – The Angel of History positions itself as nothing less than an examination of the state of the world in the aftermath of the twentieth century – a toxic waste-like aftermath that the twenty-first century must somehow deal with.22 calibre bullets at each. distributing them throughout the cavernous chambers of LABoral into sections with portentous labels such as ‘Symbolic Language’. Elahi enlisted marksmen to fire . George Stolz Margot Lovejoy. 1999. single-channel video projection. This is exhibition as essay. For instance. say. To carry out this examination. interspersing images of workers at their workstations and assemblyline positions with sequences of angel-like dancers and musicians in those same spaces with those same workers. single-channel video Whose Utopia (2006) follows the processes of manufacture within a lightbulb factory in the Pearl River region of China. thereby visualising a type of information that the notoriously secretive camps make such great efforts to hide. At the same time. wreckage and catastrophe that is the collective past. and as essay. It is a storm that blew Benjamin himself to smithereens not long after he wrote such words in the spring of 1940. Benjamin’s On the Concept of History) tends towards the academic – yet this qualification need not be understood in the negative sense as usually applied to fine art. ultimately. literally and symbolically embedding the subject matter within the artefact. The blend of documentation and fantasy yields an element of protest that is even greater for remaining implicit. Nonny de la Peña and Peggy Weil’s ongoing Gone Gitmo (2007–) uses Second Life technology to immerse spectators/participants in a simulation of the Guantánamo Bay detention camp. open-source information. Feedforward (unlike.

it may follow spontaneous intuition or planned manner. traced. some of which are linked by diagrammatic arrows or bear multilingual comments on a particular landscape or on art. paintings and collages. Baruchello draws a world map that morphs into vacuum cleaners. Courtesy Galerie Michael Janssen. The installation is completed by a series of drawings loosely elaborating on these plants. Astrid Mania ArtReview 115 . two men carry a stretcher with a giant Galerie Michael Janssen. Berlin Gianfranco Baruchello La Formule Gianfranco Baruchello is a gardener. brain structures or all of these together. After all. deciphered. aesthetic or pragmatic or even ethical considerations: a garden is the product of many acts of selection and combination. And maybe the practice of gardening. Even though Baruchello’s paintings may reach the respectable dimensions of 200 x 200 cm. even though there is no safe passage through them. animals and furniture. his work repeatedly recalls Oyvind Fahlström’s practice. they are visually incredibly appealing.reviews: eUrope Fire Island Story. One cannot ‘look’ at these works: they need to be read. 2009). As conceptual as these works may seem. when intestine-like shapes turn into maps. In fact. combined with scenes of labour and production. maps. The arrangement of flowers and bushes requires knowledge and experience. His works are cerebral gardens in the sense that they assemble writing. channel systems. a work created for this show. garden art is governed by rules and conventions. but they are by no means less intoxicating. some clues. even of some of his films. Then there are these almost surrealist little moments when. glyphlike representations of objects. 2009. by ideology even. their icons and words are tiny. let alone an entry point. And then there is the actual garden. 50 x 70 x 16 cm. cutouts. There are traces of Baruchello’s interest in geopolitics. mixed media. for example. It is never translated into a ‘theory of everything’ that would satisfy the curiosity of the viewer. On the contrary. depicting body parts. There are. All of this could also be said of the eighty-five-year-old Roman artist’s drawings. seen through the artist’s mindset or subconscious filter. But what a pleasure getting lost in them! Take Incertezza del Possibile (2006). nonetheless. owing to their minute detail and the sheer abundance of imagery and language. a pencil drawing on cloddy Hanji paper. Gefahr (2009) consists of two flowerbeds with poisonous plants – some of which also have medical or hallucinogenic properties. or the creation of a garden. These works ignite the intellectual pleasure of exploring a universe that is just beyond understanding. it’s time for a Baruchello binge. their ambiguous beauty and their cultural value. Baruchello’s other works may be less dangerous. In Aïcha (2004). tiny objets trouvés – all selected and combined in an associative manner. one that reveals its inner logic: Giftplanzen. Even though Baruchello claims to have found ‘the formula’ that explains and links all of his works – hence the title of the show – he is far from revealing it. isn’t so far from his approach as a visual artist. for instance. And then there are references to and images of Baruchello’s own working method. Berlin 13 November – 20 February fish through a landscape of words and body parts (Fire Island Story. After decades when this work was only available in small doses.

Others sought to occupy the service-sector vacuum. the Sirkus venue hasn’t quite yet been condemned. Little Tales of Misogyny. performance. Neil Mulholland 116 ArtReview . Finnish performance group Oblivia’s Entertainment Island 1 slithered between modern dance. The Mind plays nonsense games with mind/body monisms and dualisms – extending the video animation of Sæbjörnsson’s solo show Spirit of Place and Narrative in the Reykjavik Art Museum into the realms of live cabaret. Feminism. At the theatre end of the spectrum. or on Oprah). A number of projects extended this critique. Auðvitað! Bjarni Massi’s documentary Sirkus featured performances and events staged at the downtown bar reconstructed by Kling & Bang during the 2008 Frieze Art Fair. by the Spartacus Chetwynd Mime Troupe. While still closed. such as www.reviews: eUrope Sequences Various venues. with its echoes of settlement myths and related folk etymologies. and the Icelandic Love Corporation’s Vitaskuld. sound and theatre-based rituals – parading an international ensemble of mummers and dumbshows intent on turning the world upside down. Incorporating animated doppelgängers. which hovered around an accident in the West Fjords. including the PPPTPC Institute’s satires on investment-led millenarian mania. for the audience to piece together. a lesson on the magical power of images reminiscent of Bruce Haack’s proto-electro children’s music. The palaeographic orientation of Pálsson’s work. related to the unlikely phenomenon in its title. actions. The American Meat LCC set up a free burger stand to help festival revellers say ‘farewell to the flesh’ (carne vale). This casts a different light on postcrash Reykjavik. Loosely based on the Burning of Njáll saga. generating a drama featuring actors based in different countries. They are reportedly still on the run from the Communication Workers Union. Parfyme’s One Letter Delivery Show offered to deliver giant postcards anywhere in Iceland. speak with the recipients and return with their response. There’s a political dimension to many of these vaudeville acts. Pálsson’s Taðskegglingar used a simple score comprising onomatopoeia and mnemonics to create a rich synaesthetic dramaturgy.icelandtrain. Little Tales of Misogyny. Magnús Pálsson is celebrated as a master of this approach in Iceland. The short play involved an improvised interview with two police inspectors. 2009. is a key ingredient of much contemporary Icelandic art. Reykjavik Now in its fourth year. It entertains live art. generative music and motivational speaking (think Tom Cruise in Magnolia. Andrew Burgess’s Movie Material was projected directly onto the mothballed Tónlistarhús (Concert & Conference Centre) – a ‘destination icon’ white elephant that is the most potent symbol of developers’ cultural and economic folly. taking it back into public service. Other performances were more notational. with pageant and masque. at the Kling & Bang gallery. most notably Feminism. Courtesy the artist and Sequences. Performed by the Icelandic Sound Poetry Choir. taking their cues from musical composition. Sequences 2009 equates liveness with the pan-European festival of Carnival. Sequences marries the busy schedules of Reykjavik’s many arts organisations. Hrafnhildur Hagalín and Steinunn Knútsdóttir’s Room 408 (all works 2009) used Internet telephony to blend online and live performance. an idiosyncratic lecture on manifestation. a monument to the fortitude and ingenuity of the city’s creative community against the insipid myopia of speculators. one played by an actor based in Helsinki. and transnational institutions such as Nordic House. it managed to combine the visual and sonic into a sculptural liturgy.com or Reykjavíkurvasakver. performance. the other in Reykjavik – leaving much of the narrative. all for a measly six krona. a critical regionalism echoed in Sigurður Guðjónsson’s performance relating to the Icelandic death metal scene as much as in Icelandic Love Corporation’s Black Swans installation of sculpture and video. Increasingly liveness is valued in art festivals – it’s what lends a sensation of authenticity to an experience and binds it with place. Egill Sæbjörnsson and Marcia Moraes performed The Mind. Reykjavik 30 October – 7 November Spartacus Chetwynd. encompassing local artists’ initiatives such as Gallery Dwarf and Lost Horse.

wrote Rainer Maria Rilke in a poem included in this show. simply those that marked the end of the line. each fought back in his own way. at times rendering poignant Musée d’Art Moderne de la Ville de Paris the works that one would have otherwise quickly dismissed. gelatin silver print. 12 bodies of work full of the sense of imminent departure. he literally stepped into Picasso’s shoes by picturing the Spanish master’s widow. in his series Jacqueline: The Paintings Pablo Couldn’t Paint Anymore (1996). repeatedly shot marble ephebes. relentlessly representing himself as a castaway. male beauty triumphant. This spectacular display has been recreated for Deadline. too weak to work with models. ran and masturbated frenetically. His approach was radically different in the series which opens this exhibition. In three videos displayed alongside one of his celebrated Cellules. Das Floß der Medusa (The Raft of the Medusa) (1996). eternal. Deadline gathers the late production of 12 artists struggling with the unknown. a gold-clad Byers lay still in a space entirely lined with gold leaves. New York ArtReview 117 . who clumsily represented flocks of birds with his one good arm. but it is instead infused with a genuine sense of profundity. renowned for his images of captive animals. It’s a golden nook. If still challenging the old masters – in this case Géricault – Kippenberger had gone from death-dodger to victim (the artist was to die of cancer a year later). chose at the end of his life to give them the sky as their only limit. 1988. Hans Hartung’s large abstract paintings 16 October – 10 January may not be particularly thrilling. nor the works the artists will be remembered for. but they are seen in a different light when one learns that the painter used a transformed agricultural pump to apply the paint from his wheelchair. The last works: maybe not the best works. Deadline could have been gimmicky or contrived. The painter. The artist embraced death in all its sublime absurdity. It throws light on unfamiliar facets of several well-known artists and opens up a space for the viewers to momentarily confront their own impermanence – a potent and much-needed experience in a society so disposed to hiding death. ‘it never shares with us’.reviews: eUrope Deadline ‘We don’t know anything about this passing on’. He had heard of Egyptian ‘goldblowers’ able to fashion the precious metal like glass and wanted them to blow a sphere the size of his heart. 50 x 60 cm. Gold was a way to the infinite. James Lee Byars died in Cairo in 1997. a kitsch. before leaving five diamonds – one stone for each of his body’s extremities – on a sarcophagus as the trace of the event. In his performance The Death of James Lee Byars (1994) at the gallery Marie-Puck Broodthaers in Brussels. Absalon shouted. When faced with death. Coline Milliard Hermes. © Robert Mapplethorpe Foundation. Such a position in an artist’s chronology gives to any piece a pathetic undertone that inevitably shapes its reception. likewise the contributions of Gilles Aillaud. proclaiming one last time his right to live. Robert Mapplethorpe. theatre prop-like door to the afterlife. his body uncannily twisted. Martin Kippenberger chose to confront his heroes.

280 x 210 cm. at the same time. bringing together harmoniously a selection of perfectly executed works. Twofacetwo is a small. However. Another totemically carved redwood gateway. graffiti-like marks that characterised some of Curry’s earlier work. The lines on Untitled remind us of the raw. The opening sculpture by Houseago immediately forces the visitor to duck. our entrance into a room that for the first time brings colour into the exhibition. on the other side stands a larger-than-life dark brown bronze sculpture. On one wall. here in Berlin they inaugurate this revamped fiveroom gallery space. The heavy metal figure looks as though it is buckling under its own weight. which. luring him through the low arch of Plaster Gate I (all works 2009). Photo: Roman Maerz. Giacometti. an exhibition concurrently presented at Ballroom Marfa by two of the institution’s recent one-month residents: American Aaron Curry and UK-born Thomas Houseago (both live in Los Angeles). Flanagan and numerous others. Berlin. Picasso and the human form. they profess nothing new. Giacometti. many of them essentially viewable in the Modernism sections of our museums. The artists met in 2005 on a plane ride across the US and discovered common interests that included popular music. This precision. unique silkscreen and collage on paper. David Ulrichs Aaron Curry. who senses that a step through the archway marks a passage into an enchanted land. Berlin 118 ArtReview . which was formerly (and rather laxly) run by Michael Werner’s son. Courtesy Veneklasen/Werner. well-curated exhibition. also by Houseago and reminiscent of a cross between one of J. stands at the end of the large room. about to slouch and shuffle across the floor. It marks our exit out of the wonderland and. à la Matisse or Picasso. Although it is always impressive to be confronted with an eight-foot anthropomorphic figure. Immediately. Surrealism and rock album covers. These works are living-room friendly. Wood Gate I. 2009. the gaze is drawn towards the red paint in the abstract-surrealist drawings by Houseago which line the gallery walls: a suitable backdrop for Curry’s large semiabstract yet strangely figurative sculptures fashioned from sheets of wood or steel slotted into one another. although both artists are only thirty-seven. their work already seems to belong to the canon. comes at the price of innovation. however. married with abstract cubist shapes. point to a decisive shift away from anything like an unmediated expressiveness. Untitled. These seem to laugh and grimace at the viewer. being greeted by a giant seems almost unsurprising in this enchanted setting. Thomas Houseago Twofacetwo Veneklasen/Werner. Untitled (Lumpy Man or Milan Bronze).R.reviews: eUrope Aaron Curry. a massive chunk of redwood endowed with primitively fashioned carvings of human figures. The line and the smooth surface of the works. a primitive mask-shaped canvas in black and white. In fact. Facing it is Large Standing Figure. here the artist seems more ‘in control’. with its white gypsum covering and rickety industrial wiring. Berlin 9 October – 19 December Twofacetwo is a continuation of Two Face. along with two sculptures of faces on raised supports. where they bear the names of Ernst. Fittingly. remind us of Houseago’s artistic influences: Picasso. Tolkien’s Ents and Roald Dahl’s BFG. lends a welcome contrast to the well-grounded bronze. Julius.R.

all crowned with Corinthian capitals. 1991): two reproductions of signature works by Manet and Monet that Arienti brings down from their elevated position by ‘reframing’ and ‘repainting’ them using zippers and coloured Plasticine. glasses. engaging the viewer in a less rhetorical and passive relationship with his works. it echoes the slender profiles of the courtyard’s columns. a tour de force of Renaissance perspective reaching its climax in the famed ceiling oculus. By choosing to act like an undetectable. Ailanto Oro (2009) marks the entrance and sets the pace of the show. conical sculptures obtained by neatly folding. which houses Turbine (1987–2009). rubber balls. Combining a brick-built castle with the historic residence of the noble Gonzaga family. 1987–2009. Rubens. made of cobblestones. no matter how commodified by mass tourism. Arienti debunks the myth of art history and its compulsive worshipping. 7 parts. Stefano Arienti (born in 1961 on a farmstead in Asola. Photo: Ferdinando Scianna. Stendhal’s syndrome. the giant. common in vacant lots throughout the world and also known as ‘ghetto palm’ or ‘poverty tree’. for example. à la Koons in Versailles. their art-historical imagery carved in large sheets of white polystyrene foam that are graced with the elegance of Japanese screens. posters. corridors and inner courtyards) and works Arte In-percettibile by Pisanello. books. the pages of a set of art. Or the Sala dello Specchio. 2009). seven small. Hanging on a wall of the Cortile di Santa Croce. ailanthus is a very different. Seen from a distance. with courtesans and winged cherubs looking down on viewers.7 (Water Lily: Detail N. subtly ironic strategy. blue sky above. location of Corda di Carta da Giornali (Rope of Newspapers. spray paint. apparently deferential ‘space invader’. Courtesy the artist ArtReview 119 . But despite the assonance. 1986–2004). Or the forgotten Galleria dei Fauni. His Cartoline (Postcards. all of which are employed here) are deliberately cheap and poor – Arte Povera being just around the corner when he started working as an artist. it’s a 16-metre-high painting (in black ink and gold acrylic on white scaffolding fabric) of an ailanthus tree – the ornamental Chinese ‘tree of heaven’.reviews: eUrope Mantua’s Ducal Palace is a perfect place for a touch of that dizzying response to beauty. All the materials and supports Arienti commonly uses (paper. an invasive weed almost impossible to eradicate. self-taught. where Monteverdi used to play for the dukes every Friday night and which now contains Tenda di Manet (Manet’s Curtain. origami-like. The rococo Kaffeehaus. Giulio Romano. Asked by the cultural heritage soprintendente and curator Filippo Trevisani to install a series of older and new works in the palace. fashion and architecture magazines. and to reactivate the magic of this place. decorated with leaves of acanthus. art and architecture magazines). plus the magnificent frescoes of Andrea Mantegna in the Camera degli Sposi. it boasts more than 500 rooms (alongside loggias. dimensions variable. By camouflaging his works within and around the palazzo – the thin and multicoloured Corde Sospese (Hanging Ropes. 2004) and Ninfea: Dettaglio N. 2009) inscribe the perimeter of the charming Giardino Pensile. becomes visible only from the windows on the first floor – Arienti guides the viewers to the rediscovery of lesser-known architectural wonders. turn an inventory of ostensibly sublime masterpieces into what they are often reduced to: souvenir reproductions for tourists to bring distractedly home. Zen garden-like Lucertola in Cortile (Lizard in the Courtyard. a small town a few kilometres away) has characteristically chosen to downplay all expectations of bombastic arm-wrestling with the Old Masters. contemporary plant. 1990). folded printed paper (from fashion. Mantua 9 September – 6 January Turbine. plastic snakes. Instead he adopts a deflating. Barbara Casavecchia Stefano Arienti Ducal Palace. Plasticine.7. in Milan in the mid-1980s. a hide-and-seek approach that allows him both to playfully challenge the iconic power of High Art.

1979 (film still). Courtesy the artist and Istanbul Biennial 120 ArtReview .reviews: eUrope Mohammed Ossama. Step by Step.

050. Worse. or parallel. in answering the question the biennial’s title poses (it is taken from The Threepenny Opera. which includes video of antigay violence during Pride celebrations in Zagreb as a demonstration of the ways homophobia has become ‘a substitute for the seemingly suppressed hatred against ethnic minorities in post-war Yugoslavia’. In the catalogue. mechanical actions and the ideas which should give their work meaning reveals how the system reduced people to automatons rather than empowered them. This latter figure probably reflects the curators’ stated suspicion of commercially successful artists. Joshua Mack ArtReview 121 . shot between 1973 and 75 in Budapest. and that inherited dogma risks being as presumptuous. as the new world order the biennial intends to critique. The most nuanced work. and as a counter. If a healthy dose of Marxist critique informs the curators’ understanding. Such assertions simply prove that the left has its pieties. It also indicates that only 1 percent of the show’s budget of €2. it’s no surprise that Bertolt Brecht’s commitment to art as revolutionary tool serves as a countervailing model of cultural engagement. it charts the ages. the Israeli occupation of Palestine – situate the biennial in a region where the abuse of power and the failure of neoliberal reforms are matters of daily urgency. as the curators see it. not at apology. to more standard understandings of Modernism. These works. In revealing the impasse. The liberal state. Mohammed Ossama’s 1977 movie. in its efforts to protect the rights of all parties. suggesting new ways in which the exhibition. who work in Zagreb as the curatorial cooperative What. risks paralysis. Nataša Ilić and Sabina Sabolović. socialist) revolution. Ana Dević. among the many other inclusions which catalogue a litany of disasters – human trafficking.299 was contributed by commercial galleries and that only 22 of the 70 participants enjoy dealer representation. Artur Zmijewski’s Democracies (2009). however. is an ideal failing as it is put into practice and an ideal that has remained wholly in the realm of the theoretical.11th International Istanbul Biennial What Keeps Mankind Alive Various venues. both in the criticism of neoliberalism and in the positioning of Brecht as a counterweight to it. That the work of these artists rarely appears on the international survey scene suggests. a multiscreen installation of video shot at public demonstrations from across the political spectrum. How and for Whom?) – is a challenge to the big-budget. Bureau d’Etudes’s diagrams charting oppressive ‘hidden structures of finance and world governance’ posit a conspiracy between the Jews and the Masons. an old saw beloved of the Nazis. In this context. would encourage (in his thinking. just how much commerce determines what passes for cultural information these days. organised crime. and the relationships between economics and culture. the curators describe Igor Grubić’s East Side Story (2006–8). and Eurocentric. the piece suggests a solution in forgoing selfish interest and pursuing higher moral common-denominators. an ‘all-encompassing system of cultural industry’. too. portrays its subjects as cacophonies of conflicting voices that threaten to drown each other out. this analysis simply theorises away the clear animus the piece documents. But what is being compared. his 1928 play). but at revealing the moral inconsistencies and equivocations that seem inevitable when ideals are applied to life. genders and nationalities of the participating artists and offers comparisons of the GDP of their countries of origin. examines the relationship between poverty and paternalism in a rural Syrian village and the governing ideology of repressive Pan-Arab socialism. can be understood. While many of the slurs recorded in the footage link antigay and ultranationalist sentiments. The Russian collective What Is to Be Done? skewers post-Soviet Russia as a tragic farce of cynical alliances between starry-eyed idealists and self-serving profiteers. These reflect. for all their revelations. where the commercial art market remains nascent. A model of transparency. the biennial catalogue functions as a manifesto. Brecht believed that art must constantly question existing power structures and. in part. including that cited above. for example. workers in factories and passengers on public transport appear to discuss the uses of labour and theory in oppression. In Tamás St. Much in the show. probes the disconnect between theory and its realisation in an effort. simply rehashes new left orthodoxies. It is also low because more than 60 percent of the artists included come from countries in Eastern Europe and the Middle East. too-similar exhibitions which have passed for innovation on the biennial circuit of late. the biennial points to a history of conceptual and political engagement from the 1950s forward in these regions. Auby’s film Centaur. Step by Step. itself a manifestation of how the now-ascendant neoliberal model engenders a ‘facistoid system’ in which conformity driven by consumption and profit has become the ruling ethos. The disconnect between their dull. Istanbul 12 September – 8 November The 11th Istanbul Biennial (organised by Ivet Curlin. among other conspiracy theorists.

who here provides a ‘definitive survey of the new wave of innovation in abstract painting’. and conceptual paintings we routinely encounter today’. interviews. Laura McLean-Ferris By Bob Nickas Phaidon. and Nickas is right when he suggests in the introduction that discussions of ‘pure’ abstraction and representation do not make sense when speaking about the ‘hybridized. £45/$75 (hardcover) 122 ArtReview .REVIEWS: Books p h i li p g u st o n . Malevich. even you leave. On the other hand. Wade Guyton. to Charles Burchfield (in the cases of Chuck Webster and Lisa Beck). your friends. suggests that the ‘history of no other form of painting may have weighed as heavily on its practitioners as that of abstraction’. and the artists. It goes without saying that the past weighs more heavily on painting than it does on other artforms. featuring 80 of the ‘most vital painters’ worldwide. Reinhardt. everybody is in your studio – the past. painting about painting. Then. the painters included in Bob Nickas’s Painting Abstraction survey are those for whom the artists of the past never leave. abstraction as found object. as well as a host of less well known artists and those who have lately become touchstones for a younger generation. Thus there is much art about art. there is an intimacy about the writing. above all. if you’re lucky. the artworld and. among a jumble of references that veer from Peter Saville’s record designs for New Order and Joy Division (in the cases of Philippe Decrauzat and Francis Baudevin). and takes seriously the responsibility of addressing this ‘heavy’ history. i n an o f t . several times: the slalom that most negotiate is marked by the poles of Stella. Philip Taaffe and Tomma Abts. And perhaps this is the element that lifts the book beyond a standard survey: Nickas knows that these paintings. and finding a place for artists within it. they start leaving one by one. eating in a restaurant near Deitch Projects with Xylor Jane or watching Mark Grotjahn pausing in bright sunlight to talk about his grandfather’s drawings of flowers and the Golden Gate Bridge. Riley. such as Mary Heilmann and Alex Hay. The essays are also heavily based on studio visits. The artists whom you would expect are here: Christopher Wool. Ghosts are more likely to stick around on the canvas. Albers. self-aware. This survey devotes roughly three large images of paintings made within the last five years and a page of text to each of the 80 artists selected. however. The same names appear. essays and studio visits are both a record of a new generation of painters and an evocation of a specific time. but Nickas.r e p e at e d q u o t e (itself borrowed from John Cage). your own ideas… But as you continue.’ For the most part. enemies. and the upshot of this is that the book is often New York-centric: New York artists haunted by New York ghosts. heavy hardback ‘index’. Nickas is stepping over landslides of books and papers in Richard Aldrich’s studio. that one does not expect from a large. Painting Abstraction: New Elements in Abstract Painting Each of the essays accompanying the artists is thoughtful. and you are left completely alone. advised that ‘when you start working.

Perhaps most surprising is how many of the texts – and how many of the most delightful – were previously unpublished. and in what directions – Muñoz might have developed as a writer. statements. are relatively few. such as ‘Hypnotising Time’. or whether he existed as Muñoz describes him as having existed. a place to experiment and invent. a place where the boundary between fact and fiction can be productively blurred. peppered with erudition and kept piquant by Muñoz’s constant ‘fabulations’. Yet while curious. a place where uncertainty can be admitted and even fostered.’ The image is a striking one. Muñoz’s marvellous description of a Spanish bullfighter who masqueraded as a statue in the bullring. €29 (softcover) . Juan Muñoz: Writings – judiciously edited by Adrian Searle. It is impossible not to wonder how – how far. who also provides an insightful introductory essay – is not overlong. the cumulative effect on the reader of the variegated texts in Juan Muñoz: Writings is that. dramatic dialogues and notebook fragments.i n t h e o p e n i n g pag e s o f j uan mu n o z : w r it i n g s /e sc r it o s a fragment from one of the artist’s notebooks appears: ‘One would like to think that one carried/sculptures inside oneself. sometimes little more than flourishes – but carefully constructed flourishes. while impressive. to the sculptural installations that so often conjoin motifs of the human body and human voice (albeit usually in a way that sabotaged any notion of genuine human communication). poems. spanning nearly 20 years and including essays. had he lived longer. The majority of the texts are short essays. and at the same time transform that vignette into a weird sort of credo about Muñoz’s thinking on sculpture and public space. the above-cited fragment is presented in this book almost as if it were a drawing – undated. George Stolz Edited by Adrian Searle Ediciones de La Central. is moot: the scant three pages of Muñoz’s text create a strange and memorable vignette. a composite of references. writing seems to have functioned in relation to his larger programme much as a sculptor’s drawing is usually held to function in relation to their sculpture: a place to test and develop ideas that will be executed elsewhere in different media. on a certain level this presentation is quite apt and even illuminating as a point of entry to the whole. Juan Muñoz: Writings/Escritos Curiously. lectures. just like/ Enrico Caruso with his voice. a sort of map of Muñoz’s thoughts about space’ – might equally well apply to the entirety of this valuable book. hiding in plain sight from the raging bull. Whether the bullfighter indeed existed. floating on the page with the original line breaks respected. a tentative place. and is particularly germane to much of Muñoz’s work: for instance. or to the sound and radio pieces that employed the peculiar qualities of disembodied speech issuing from unseen speakers as a means towards exploring the hidden facets of sculptural space. laced with ambiguity and obliquity. For indeed. But the writings range widely. The poetic interjections are arresting in their delicacy and technique. for Muñoz. such as ‘Segments’ and ‘Isabella Steward Gardner Museum Lecture’. The extended pieces of writing. Searle’s comments with regard to one of the longer essays – that it is ‘an intersection of ideas. with Muñoz’s writings totalling only about 125 pages (in both English and Spanish). included neither in the table of contents nor in the list of writings.

by their nature. rather than actual. especially those that promise to mobilise the viewer to action. proposes that society can be remade. The problem for Rancière throughout The Emancipated Spectator is renegotiating aesthetic agency and potential political agency in artworks at a time when there is no substantial political narrative to act as ‘guarantor’ of political meaning. On the contrary. Rancière writes mockingly of the fact that while radical post-1968. In the interim. who are the ‘imbeciles’.J. Rancière remains an illuminating philosopher of the politics of aesthetics. in human subjectivity. In ‘The Misadventures of Critical Thought’. Art. J. with more focus on specific contemporary artists and artworks. Those VIP biennial invitations are paying off.99 (hardcover) 124 ArtReview . present what is possible. in short. The Emancipated Spectator A fresh approach. and while the book could do without the rather weak and inconclusive opening essay. He argues that ‘the intolerable image in fact derived its power from the obviousness of theoretical scenarios making it possible to identify its content and from the strength of political movements that translate them into practice’. Rancière implies. In ‘The Intolerable Image’ Rancière considers how the intolerable experiences of political violence and war can no longer be assumed to be adequately ‘representable’ by accusatory images. Charlesworth By Jacques Rancière Verso. say. because art shows that subjectivity can be remade. more public mode of address that comes of rehearsing your ideas with an enthusiastic public rather than pondering them studiously in the university. Rancière’s approach is to insist that artworks. it’s clear that he has become the latest French thinker to make the crossover from the academy to the artworld. waiting for a new politics to come. so judging by the list of international arts institutions and universities at which Rancière has presented previous versions of these essays. then. Rancière is at his best when confronting the dead end that now affects ‘critical’ artistic strategies. it nevertheless allows Rancière to pursue his critical attack on postmodernism’s vulgar and simplistic understanding of how art relates to politics. be assumed to do the work of politics on their own. without a political culture. critical science made us laugh at the imbeciles who took images for realities and let themselves be seduced by their hidden messages. This latest collection of essays betrays the looser.’ It is we. it has not led to an upsurge in political action from those who encounter such art. £12. postSituationist artists have sought to reveal our implication in. but he is only that – a philosopher. to art’s political capacity needs to rethink what political space is in a period when old reference points no longer function. ‘Forty years ago. But this leads to a recurrent motif in The Emancipated Spectator: untethered from the responsibilities and duties of an overbearing political critique. cultivated spectators are supposedly capable of recognising the messages secreted in the seductive images of the capitalist spectacle.reviews: books j ac q u e s r an c i e r e isn’t short a dinner invitation or two right now. we have ended up with a culture that has largely assimilated such strategies. It’s not every day that the artworld decides to adopt a new philosophical leading-light. the “imbeciles” have been educated in the art of recognising the reality behind appearances and the messages concealed in images. Rancière hammers home the point that the postmodern approaches to consumer culture assume that other people are the dupes and ‘we’ are the ones who have ‘seen through’ the illusion. Images cannot. art today can rediscover the aesthetic ‘potentiality’ that human beings possess – the stress consistently falling on this potential and not on its realisation. the Vietnam War in the juxtaposition of images of atrocity and consumerist decadence. then. reorienting his output from social theory towards questions of art and aesthetics.

appropriately. Mary Banham. medallion and shades. a regular contributor to this magazine during the early 1950s. a review of an exhibition of Old Masters or first impressions on the futuristic Skylon tensegrity structure at the 1951 Festival of Britain. indicating a slide order. in 1988. He was also. purple-haired mutant Turanga Leela as they speed round a thirty-first-century city on a jetpowered hover Vespa. Fry from the animated TV series Futurama (an illustration. The Banham Lectures: Essays on Designing the Future Edited by Jeremy Aynsley & Harriet Atkinson Berg. architecture and design historian and critic (as you’ll see. a terror-stricken Philip J. an engineer and his crash-test dummies. then. So here’s a slideshow taken from the book’s colour plates: Banham wearing a cloth cap and a dinner suit. acts as the Festschrift that Banham never had: he died. therefore being in the kind of inbetween state – when it came to the institutional responsibility for putting together an academic tribute – that Banham himself might have enjoyed writing about. ‘validating the popular’ and expanding the reach and potential impact of architecture and design. at any rate. Banham wearing a cowboy hat. would have appreciated that sentiment. It’s a theme picked up by fellow architecture historian Beatriz Colomina as she recalls the aftermath of a Banham lecture in New York: she picked up the lecturer’s notes to find that they consisted of nothing more than a list. Nikita Khrushchev and Richard Nixon’s ‘kitchen debate’. When it comes to the lowlight of this book. that awkwardness could be avoided and his greatness acknowledged in one fell swoop). Santa Cruz and prior to taking up a new post at New York University. is that the easiest way to summarise this book is as a collection of 19 essays haunted by Banham’s ghost – a kind of Casper the Friendly Ghost.95 (hardcover) So who was this Banham guy? Well. Mark Rappolt . although he might not have been so quick to exclude the not-so-clever people and not-so-advanced society from those he should be ‘hip’ to. as his widow. that a similarly wide range of subjects have wormed their way into this collection. ‘calculated uncertainty’. and working on’. the influence of Flash Gordon on American car design.t h e b an h am lec t u r e s c e le b r at e s 20 y e ar s of annual lectures given in memory of the art. Price writes. having retired from the University of California. you feel. and promoted an acceptance of technology and consumer culture as part of ‘high culture’ – consequently. It also. Among the highlights of the collection is the late. and how it lives on. It’s appropriate. riding a Moulton folding bicycle through London in 1960. when his offerings might range from a review of the latest show at London’s Gimpel Fils gallery or an article on Courage-brand beer paraphernalia to yet another homage to Le Corbusier. although there is the very odd occasion – notably a slideshow by Archigram’s Peter Cook – where he pops up as more of a poltergeist. £27. the point. it’s difficult to summarise the full range of his operations in anything other than an awkward turn of phrase) Peter Reyner Banham (although if we started calling people who operated with a similarly open portfolio ‘a Banham’. from Price’s essay) clutching the waist of the one-eyed. for the most part. the dissemination of the built form through postcards and the female ‘characteristics’ of vacuum cleaner design. among them the graphic design and movie work of Saul Bass. as anyone who read the last issue of ArtReview will know. Perhaps it’s more proper to talk about a Gedenkschrift. the fact that ‘Peter Would Enjoy This’ – Cook’s flimsy collection of images plus captions (mainly of his own current work at the time of giving the lecture) – comes across as some way short of stunning is perhaps due to Tim Benton’s preceding account of the brilliance of the image combinations deployed by Le Corbusier and Banham in their lectures. What this book really documents is how Banham’s retrofuturist-hippy-chic-experimentalist approach has expanded and mutated. great architect Cedric Price berating Daniel Libeskind for wanting his buildings to last forever when instead he should be embracing doubt. riding through an arid landscape near Death Valley on a collapsible chopper bicycle in 1980.99/$49. explains in her foreword to the book. contemporary astrophysics and string theory: ‘I am always interested in reducing the intellectual gap between what I am doing as an architect and what the general run of clever people and advanced society in general is concerned with. headed ‘left’ and ‘right’. then. for many he ‘invented’ design history and criticism as a discipline. as the editors of this book put it. Banham.

the strip: by barron storey 126 ArtReview .

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Royal Opera House. New York Rolex Mentor and Protégé Arts Initiative gala dinner. London photography cONRAd veNtuR and IAN PIeRce 1 A 3 4 B C 6 5 E D 7 F 9 8 128 ArtReview . X-Initiative.on the town: 28 November 6 December. 2 X-Initative closing party.

film director celina Murga and writer tara June Winch 11 Musician Gilberto Gil 12 Whitechapel Gallery director Iwona Blazwick and gallerist Maureen Paley 13 tate director Sir Nicholas Serota 14 the Ambassador of Honduras and his wife (far right). Friedrich Petzel Gallery’s vera Alemani and Peter Blum Gallery’s Simone Subal C X-Initiative advisors Howard and Barbara Morse D Artists Space director Stefan Kalmar and Light Industry’s thomas Beard E Gallerist Paula cooper with gallery director Steve Henry F Artist Hans Haacke and gallerist elizabeth dee G Foxy Production’s Michael Gillespie and John thompson. and former elizabeth dee director Jenny Moore H critic claire Bishop and cuNY Graduate center director & curator Linda Norden i Artists John Lovett and Alessandro codagnone J Artist emily Roysdon and curator cecilia Alemani K Artist Mika tajima and Artforum’s Alex Scrimgeour L X-Initative’s david Shull ROLEx 1 Writer Wole Soyinka 2 Film directors Stephen Frears and Mira Nair 3 Artist Rebecca Horn and Rolex Protégé in visual Arts Masanori Handa 4 Writer Hanif Kureishi 5 Rolex ceO Bruno Meier 6 Writer A S Byatt 7 choreographer and dancer Astad deboo 8 choreographer trisha Brown 9 composer Michael Nyman 10 dramatist Kate valk with actor Nahuel Pérez Biscayart.x-initiAtivE A Rhizome/New Museum’s Lauren cornell and Le tigre’s Jd Samson B curator Massimiliano Gioni. with musician Aurelio Martinez and his mother 15 Film director Joel coen 16 Musician Rufus Wainwright 12 17 Actor Frances Mcdormand 10 H 11 G 13 i 15 14 K 16 17 J L .

6. The aforementioned academic art journal Scene & Herd magazine said that ‘it was the cool lunch table of the art world celebrating itself’. 2009 11:12 Subject: off the record Date: Thursday. there’s the inevitable weeping in the Red Lion pub on the shoulder of a welcoming older dealer. could at least break off from shouting at the young hopefuls to eat quail at the cool lunch table of the artworld celebrating itself (oh do keep up). Candida Gertler. 4. my artist and curator friends who didn’t make it onto any power list have been hankering after my advice these past few weeks on how to climb the greasy pole of the artworld to its summit. It’s all a bit tawdry. Make sure to do lots of celebrating and high-fiving between the courses of raw carrot and quail. Make a participatory artwork that is sort of ironic but more importantly involves the whole of the New York artworld congratulating themselves on how great they are and by extension how great you are. This worked for dear Ryan Gander with his We Are Constant project at Frieze. The real question I want to leave you with is: can we at home carry off Balenciaga’s daring move of unveiling black dotted-net tights of the type last fashionable in 1987? I don’t know. It’s everywhere. Cay Sophie Rabinowitz.com To: <office@artreview. ed?). but more importantly involves the whole of the London artworld looking clever and intelligent. tel +44 207 729 5667. as no one has any idea what they really look like. the legendary academic art journal Scene & Herd (apparently this used to be called something really dull. art lovers. 5. She may have only lasted a few months in the cauldron of Basel. isn’t it. frankly. through listing all the great and the good in New York.Thursday. Back in the 1990s.com> Conversation: Climbing the greasy pole Power. But now he’s everyone’s darling. a moving group portrait that featured Sir Nicholas Serota. Thea Westreich and many more good ordinary denizens of the artworld. Make a participatory artwork that is knowing and reflexive. Throw out the cool lunch tables of the artworld celebrating themselves and turn the Rochelle School into an X Factor-style studio to make a television programme that’s cheekily named after yourself. and Gallery Girl is more interested in the H&M/Jimmy Choo collaboration and working out how many pairs of Gap tweed winter shorts one really needs. but I’m sure as hell willing to find out! GG Page 1 of 1 130 ArtReview . with his marvellous ‘Rob Pruitt’ Guggenheim awards. such as Matt Collings and Tracey Emin. Anyway. Book a table at the cool lunch table of the artworld celebrating itself: Rochelle School. and there’s a good chance you’ll chart at number 97 in our next Power 100 (before dropping into obscurity for a couple of decades): 1. there’s the jostling to get those special dinner invites. Then exhibit it in the entrance of a major art fair so they can marvel at how clever and intelligent they look and by extension how clever and intelligent you are. my art-honeys? There’s the ArtReview Power 100. Sarah Thornton. but featuring in Gander’s installation and being pictured on the red carpet of Pruitt’s work surely means that she is the most important person in the art universe. December 10. Gatecrash the Frieze/Tate/Outset dinner on 21 January at Tate – can there be a more powerful holy trinity of art power chowing down at the same time? Best bet for crashing is to go as a staff member from the Warsaw Museum of Modern Art. So I’ve put together some top tips: follow these. power. like Forum – or is that a swingers magazine. there’s the mauling to get the last warm beer in Hoxton Square. 3. there are the slavish imitators in the popular press. Be Cay Sophie Rabinowitz. This worked for dear Rob Pruitt. However. Adrian Searle. 2. School of Saatchi was filmed largely in Rochelle School so that its art-power mentors. December 10. 2009 03:03 From: gallerygirl@artreview. saying how they all deserve awards in an ironic way and then giving them those awards in a nonironic way to make it seem superclever. Pruitt was somewhat unfairly ostracised by the New York artworld for a collaborative installation at Castelli that made some ironic points about people of colour. that’s enough tips for now. power.

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