Anuradha Vikram

From this Author

#Hashtags: In Defense of the Middle-Class Artist

Jeremy Deller. English Magic, 2013. 55th Venice Biennale.

#art #class #wealth #access #innovation #middleclass Writing for Artnet in January, Ben Davis’s “Do You Have to Be Rich to Make It as an Artist?” raised an important question about the relationship between privilege and access to a life in the arts. Examining the upbringings of a number of artists currently or recently on view at museums in New York, Davis drew the conclusion that if[…..]

#Hashtags: Dominion

Diana Thater. Life is a Time-Based Medium, 2015. Three video projectors, three lenses, player and Watchout system; dimensions variable. Installation view at Hauser & Wirth, London, 2015. ©Diana Thater; photo by Alex Delfanne, courtesy Hauser & Wirth.

#museums #empathy #posthuman #Anthropocene #environment Recent headlines demonstrate that human beings are consistently terrible to one another, and it can be tempting to reject the human altogether. Drained by a year of public and private deaths, numb with exhaustion after having a child and returning to work, I entered Diana Thater’s mid-career retrospective at LACMA and found that those worldly concerns quickly fell away. Thater’s[…..]

#Hashtags: Learn Where the Meat Comes From

Karen Kilimnik. The Hellfire Club episode of the Avengers, 1989. Fabric, photocopies, candelabra, toy swords, mirror, gilded frames, costume jewelry, boot,
fake cobwebs, silver tankard, audio media player, and dried pea. Dimensions variable. Whitney Museum of American Art, New York; Gift of Peter M. Brant, courtesy The Brant Foundation, 2014.106. Photo by the author.

#museums #access #collections #markets #historicity #gentrification With the arrival of the new Whitney Museum on Gansevoort Street, New York’s once notorious Meatpacking District completes lower Manhattan’s transition from a no-man’s-land populated by artists and outcasts to a stomping ground for fashionable elites. Befitting of an institution that represents the American art world—which has long positioned itself within both these groups, often simultaneously—the Whitney would seem[…..]

#Hashtags: Heart of Darkness

Sammy Baloji. Essay on Urban Planning, 2013 (installation view). Twelve colour photographs, each 80 x 120 cm 320 x 360 cm Courtesy the artist and Galerie Imane Farès, Paris © Sammy Baloji © Photo: Alessandra Bello. Belgian Pavilion, 56th Venice Biennale.

#imperialism #appropriation #representation #environment #postcolonialism #revolution Throughout the 56th Venice Biennale, one finds national pavilions that have taken up the postcolonial mantle of Okwui Enwezor’s central exhibition within the contours of their own relationships to imperialist histories. Among the most successful of these are Vincent Meessen’s Belgian pavilion, Personne et les Autres, and Fiona Hall’s Australian pavilion, Wrong Way Time. Both pavilions consider how the[…..]

#Hashtags: Liveness

Jason Moran and Alicia Hall Moran, Work  songs, ARENA, Padiglione Centrale, Giardini. 56th International Art Exhibition - la Biennale di Venezia, All the World’s Futures. Photo by Isabella Balena. Courtesy: la Biennale di Venezia.

#participation #politics #capital #religion #access #inclusion At the center of All the World’s Futures—The 56th Venice Biennale is the ARENA. Designed by architect David Adjaye, it is meant to serve as a platform for “live art” throughout the exhibition’s run. The space is defined by a large, low platform, flanked by risers and backed with a projection screen. Above the stage, a mezzanine provides another vantage point. The[…..]

Halka/Haiti: The Polish Pavilion at the 56th Venice Biennale

C.T. Jasper, Joanna Malinowska. Halka/Haiti. 18°48’05”N 72°23’01”W. Polish Pavilion. 56th International Art Exhibition - la Biennale di Venezia, All the World’s Futures. Photo by Sara Sagui. Courtesy: la Biennale di Venezia.

On a dirt road surrounded by low buildings, the inhabitants of a remote village in Haiti gather for an unusual purpose. A cohort of Haitian musicians with string and brass instruments sit on folding chairs, tuning their instruments. At the center of this panoramic view are three performers, incongruous for their obvious European-ness, and for their 18th-century period dress. The orchestra commences, and the performers[…..]

#Hashtags: The Political Biennale

Padiglione Centrale 
Giardini, Venezia 
2015. 56th International Art Exhibition - la Biennale di Venezia, All the World’s Futures. Photo: Alessandra Chemollo. Courtesy: la Biennale di Venezia.

#nationalism #institutions #power #access #globalization #protest #labor #capital The 56th Venice Biennale, “All the World’s Futures,” has been hailed as the “political” Biennale both by its curator Okwui Enwezor and by the international art press. That designation has come in for significant criticism from some who feel that contemporary art either can not or should not address political concerns, given the commodity status of art objects[…..]