Installation

Gloria Carrasco: Prófugos del Metate at the Museo de Arte Popular

Gloria Carrasco. Prófugos del Metate, 2014 (detail); object-art. Courtesy of the artist and Museo de Arte Popular, Mexico D.F. Photo: Jorge Gomez del Campo.

Even if viewers know a little about the cultural and culinary history of Mexico, Gloria Carrasco’s exhibition at the Museo de Arte Popular in Mexico City might appear to be a show dedicated to the phallus. The gallery is filled with dozens of variations on the same object—a long, tapered shape made in a multitude of materials from textiles to ceramics and colors from earthy[…..]

Galeria Piwna 20/26 Emilia and Andrzej Dłużniewski 1980–1993 at Galeria Monopol

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Galeria Piwna 20/26 Emilia and Andrzej Dłużniewski 1980–1993 at Monopol provides a rare glimpse into the history of an influential apartment gallery that operated in Warsaw for thirteen years. From the imposition of Martial Law through the collapse of the Berlin Wall and beyond, the Dłużniewskis exhibited artworks by Polish and international post-conceptual artists. The retrospective exhibition at Monopol resonates with an uneasy timeliness: Given the prevailing political[…..]

From the Archives – #Hashtags: Whose Museum Is It Anyway?

Installation view of Mike Kelley at MoMA PS1, 2013. Photo: Matthew Septimus.

Here at Daily Serving, we keep an eye on the ways an exhibition’s impact changes depending on geographical location. With a recent editorial on what 30 Americans means in Detroit and December’s protest of omitting artists of color in Art AIDS America at the Tacoma Art Museum in mind, today we bring you Anuradha Vikram’s observations on shifting context, intended audiences, and racialized access to and[…..]

Otobong Nkanga in Conversation with Clare Molloy at Kadist Paris

From our friends at Kadist Art Foundation in Paris, today we bring you a video of Clare Molloy in conversation with Nigerian artist Otobong Nkanga. They discuss Nkanga’s exhibition Comot Your Eyes Make I Borrow You Mine, which was on view from September 27 through December 20, 2015. Nkanga says, explaining the title, “In a way, traveling and going through all these places, I had only the eyes of others.” 

Janet Cardiff: The Forty Part Motet at Fort Mason Center for Arts & Culture

Janet Cardiff. The Forty Part Motet, 2001; installation view, Gallery 308, Fort Mason Center for Arts & Culture, San Francisco, 2015. Courtesy of Fort Mason Center for Arts & Culture and San Francisco Museum of Modern Art. Photo: JKA Photography.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Henry Rittenberg reviews Janet Cardiff: The Forty Part Motet at Fort Mason Center for Arts & Culture, co-presented by San Francisco Museum of Modern Art, in San Francisco. Spem in[…..]

Tony Hope: TH+ at ASHES/ASHES

Tony Hope. Untitled (Hugh), 2015; installation view. Courtesy of the artist and ASHES/ASHES.

Obsessively attuned to the use of space, Tony Hope stages deceptively spare sculptural environments within the gallery of ASHES/ASHES in his first Los Angeles solo exhibition, TH+. The two installations, which are suggestive of one another in their polarity, speak to the larger context of the show as it pertains to the value of manufactured identity. Hope displays a deep understanding of the transience found within subcultural materials that do[…..]

Como fantasmas que vienen de las sombras… y en las sombras, se van at Espacio de Arte Contemporáneo

Jazael Olguín. Paisaje molar, 2015; black marker and three paintings. Courtesy of ESPAC.

Like with mazes and haunted houses, there’s a magnetic appeal in unraveling the mysteries that fictitious places offer. We enjoy undefined atmospheres where a strange comfort assures the encounter with the unknown and is met with the thrill of discovery. Because our sense of control struggles with the powerful forces of uncertainty, we are challenged by our own idea of self-representation, despite being aware that[…..]