Conceptual

From the Archives – Whose Map Is It? New Mapping by Artists

BouchraKhalili

Today from our archives we bring you Kelly Nosari’s assessment of Whose Map Is It? at the Institute of International Visual Arts in London. Considering the wars currently being waged over land in Palestine, the Ukraine, Syria, and South Sudan (to name just a few), it is interesting to note how artists approach the representation of territory. This article was originally published on July 8,[…..]

Wojciech Kosma and Sjoerd Dijk at INTERSTATE

Wojciech Kosma and Sjoerd Dijk. Liberty is everything when it necessitates love for a human; promotional image. Courtesy of the artists and INTERSTATE projects. Image: Hayley Silverman.

As Wojciech Kosma burst into a spontaneous fit of tears on the concrete floor of INTERSTATE, his performance partner, Sjoerd Dijk, stroked the artist’s hair and waited for their performance to end. Where did these tears come from? And why didn’t I believe them? The–family, of which Kosma and Dijk are a part, is a performance collective that stages highly physical, improvised conversations that attempt[…..]

Artist Project: Mediated Morandi

Michelangelo Antonioni. La Notte, 1961 (film still); 02:02:00. Courtesy of Nepi Film and Lopert Pictures Corporation (USA).

From our partners at Art Practical, today we bring you Mediated Morandi, a project by Will Brown—the moniker of the San Francisco-based collective of Lindsey White, Jordan Stein, and David Kasprzak. This essay was commissioned by guest editor Jonn Herschend as part of Issue 5.5, Slapstick and the Sublime, and originally published on July 10, 2014. Will Brown is a collective that experiments with various modes of exhibition making while researching and manipulating histories as a part[…..]

Fan Mail: Holger Kilumets

Holger Kilumets. Trichromatic Vision Model, 2014; C-Type Print; 61 x 76 cm. Image courtesy of the artist.

Holger Kilumets is keenly aware of—and keen to explore—the conceptual and physical mechanisms of photographic representation. In a new body of work, Maps & Territories (2014), Kilumets uses visually witty vagaries to link a series of seventeen photographs that borrow tropes across subjects and structures—including art history, advertising, still life, television, theater, and film staging. Trichromatic Vision Model (2014), the second image in the series[…..]

Dawn Weleski

Dawn Weleski. Conflict Kitchen, 2010-present; Pittsburgh, PA. Courtesy of the Artists.

From our partners at Art Practical, today we bring you a profile of artist Dawn Weleski and her project Conflict Kitchen. Author Matthew Harrison Tedford notes, “…the sorry state of public knowledge about foreign cultures makes even a brief, thoughtful conversation between cashier and customer a monumental achievement…” This article was originally published on May 7, 2014. A recent poll of Americans asked a variety of foreign-policy[…..]

Marie Orensanz: Works from the ‘70s at Alejandra von Hartz Gallery

Marie Orensanz. Marie Orensanz: Works from the ‘70s, 2014; installation view, Alejandra von Hartz Gallery, Miami. Courtesy of Alejandra von Hartz Gallery.

“Fragmentism searches for the integration of a part into a whole, transformed by its multiple readings, into an unfinished and unlimited object.” So declares Argentinian artist Marie Orensanz’s Manifesto Fragmentismo, which appears on a 1978 print in her current exhibition at Alejandra von Hartz Gallery in Miami. The print exists both as a work itself and as a framework in which to view the various[…..]

The St. Petersburg Paradox at Swiss Institute

The St. Petersburg Paradox, installation view, Swiss Institute. (from left to right) Sarah Ortmeyer. SANKT PETERSBURG PARADOX, 2014: marble chessboards, copper, iron, brass and aluminum chess tables, natural (ostrich, rhea, goose, chicken, mallard, quail, emu, and duck) eggs, artificial (marble obsidian, alabaster, and onyx) eggs; dimensions variable. Courtesy of the artist and Dvir Gallery, Tel Aviv. Tabor Robak. A*, 2014; 14-channel HD video; 9:46 min. Courtesy of the artist and team (gallery, inc.). John Miller. Labyrinth I, 1999; acrylic on canvas with sound component; 54 x 70 in. Courtesy of the artist and Metro Pictures, New York. Kaspar Müller. Tropic of Cancer, 2014; laser prints on A3 paper; each 12 x 15 ½ in. Courtesy Galerie Francesca Pia, Zürich, The Green Gallery, Milwaukee, and Federico Vavassori, Milan. Cayetano Ferrer. Remnant Recomposition, 2014; carpet remnants, seam tape; 18 x 60 ft. Courtesy of the artist.

The St. Petersburg Paradox, currently on view at Swiss Institute, is a group show of refreshing intellectual rigor. The exhibition’s curatorial design is so tightly wound that it forms a kind of singular entity in which each featured artwork compels the viewer to consider the philosophy of its larger scheme: namely, the metaphysics of gambling. The title refers to a paradox of human psychology: When[…..]