Installation

From the Archives – Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza at Catharine Clark Gallery

Anthony Discenza.

Fiamma Montezemolo’s The Secret just opened at Kadist SF, and Montezemolo’s solo show has us thinking about books, selves, and Borges. Just as Montezemolo deploys redaction of and extraction from Jorge Luis Borges’ short story “The Anthropologist” to draw us into The Secret, so did Anthony Discenza create what has been described as a Borgesian universe (that leads off with a quotation from Borges) of[…..]

Kapwani Kiwanga: Ujamaa

Kapwani Kiwanga. White Gold: Morogoro, 2016; installation; 236 x 196 x 157 in. Courtesy of La Ferme du Buisson. Photo: Emile Ouroumov.

In a major solo exhibition, Ujamaa, at La Ferme du Buisson in the Parisian suburb of Noisiel, Kapwani Kiwanga addresses Tanzania’s uprisings. Known for using methodologies from the social sciences without being didactic, the artist draws on two significant moments in the history of the eastern African country to remember and question the ideals of pan-Africanism. The first is the 1905 revolt of Kinjeketile Ngwale,[…..]

A Perfect Storm

Rokni Haerizadeh. But a Storm is Blowing from Paradise. Photo: Ramin Haerizadeh. (© the artist; courtesy the Solomon R. Guggenheim Museum)

From our friends at REORIENT, today we bring you author Nur Shkembi’s thoughts on subversive practices in the Guggenheim’s exhibition of Contemporary Middle Eastern and North African Art, But a Storm Is Blowing from Paradise. Shkembi states, “This notion of art as a subversive practice is not new; however, redefining the material itself as the place from which ideas are ‘smuggled in’ is certainly compelling.” But a Storm Is Blowing[…..]

Fan Mail: Suchitra Mattai

Suchitra Mattai. Generally, I don’t think that way II, 2016; mixed media installation; dimensions variable. Courtesy of the Artist. Photo: Wes Magyar.

Suchitra Mattai’s work turns about conceptual and material inversions. It thrives on site-specificity while rejecting its basic premise—that specificity necessarily connotes place-ness. Having been raised on two separate continents and with cultural heritages tracing back to a third, Mattai is familiar with incongruities between the illusory promise of place and her lived experiences. Her practice is disjointed and dreamlike, yet throughout her uneasy landscapes runs[…..]

Alex Da Corte: A Season in He’ll at Art + Practice

Alex Da Corte, A Season in He'll, installation view. Courtesy of Art + Practice, Los Angeles. Photo by Joshua White.

There is a scene early on in Lamberto Bava’s 1986 low-budget Italo-horror schlock fest Demons 2: A sinister figure is seen limping down a hallway. He enters a room, picks up a knife that is covered in what looks like blood, and wipes it on his soiled apron. The camera then reveals the source of the gory substance: a jar of syrup that has been[…..]

Boom: The Art of Resistance at Random Parts

Amara T. Smith, Ellen Sebastian Chang & collaborators. House/Full of Black Women
2016-ongoing
Multiple sites, Oakland, CA
“Now You See Me” video documentation by Ginika Oruche
Original lantern used in performance with replica veil material

Impeccably curated by artist–organizer Leslie Dreyer at Random Parts gallery, Boom: The Art of Resistance is an exhibition that does not advertise its impact, and it could be mistaken for “scrappy” if one ignored the precision of the show and the assumptions jammed into that word. Installed in the small storefront/apartment space in Oakland, a few of the show’s works are in the well-used kitchen,[…..]

Joan Jonas: From Away at DHC ART

Installation view, Joan Jonas: From Away, 2016, DHC/ART. Joan Jonas, They Come to us Without a Word (Wind), 2015. Multimedia Installation (site-specific adaptation). Originally commissioned for the U.S. Pavilion of the 56th Venice Biennale by the MIT List Visual Arts Center, Cambridge, Massachusetts. Courtesy of The Kramlich Collection, San Francisco. © DHC/ART Foundation for Contemporary Art. Photo: Richard-Max Tremblay.

As psycho-historian, I try to diagnose the schizophrenia of Western civilization from its images, in an autobiographical reflex. (Joan Jonas, The Shape, the Scent, the Feel of Things) Joan Jonas’ retrospective exhibition From Away occupies two buildings at DHC/ART in Montreal. Arriving at the basement’s miniature cinema felt like entering a cauldron of the Jonasian universe, and moving up and down in the tightly vertical first building[…..]