Performance

Antonia Wright: You Make Me Sick: I Love You at Spinello Projects

Antonia Wright. Suddenly We Jumped (2),2014 (video still); single channel video, 00:14. Courtesy the artist and Spinello Projects, Miami.

If Antonia Wright ever tires of being an artist and desires a career change, she might find success as a stuntwoman. In a number of videos in her show You Make Me Sick: I Love You at Spinello Projects in Miami, she has transformed her body into a projectile, hurling herself through glass, piles of books, and into oncoming cars. The feelings of danger and[.....]

White Hot Lamp Black at Southern Exposure

Hillary Wiedemann. Transit of Venus, 2013 (video still); color HD video; 2:50. Courtesy of the Artist.

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, Suzanne L’Heureux reviews White Hot Lamp Black at Southern Exposure in San Francisco. Southern Exposure’s group exhibition White Hot Lamp Black explores the edges of perception, featuring artists who[.....]

The Song of the Shirt: Feminist Performance Artist Wu Meng

Wu Meng, Gravity 6, 2010, image courtesy the artist and OV Gallery Shanghai

In her 2013 performance work And They Chat (also called Chat with Women), Wu Meng walked the streets of the old city of Haikou in a wedding dress made of newspaper, tying discarded domestic objects such as pots and pans, a broom, and a large mosquito net onto her body as she went. Her load became heavier and heavier as she dragged herself down the road,[.....]

Feeling Is Mutual at Chicago Artists Coalition

Latham Zearfoss, Court of Apology #1 (COPA #1), 2014. Plexiglas, wood, subwoofer, audio. Courtesy of Chicago Artists Coalition.

Steven L. Bridges’ catalog essay for Feeling Is Mutual at Chicago Artists Coalition invokes a quote by Marcel Duchamp as a mission statement for this exhibition of performance and relational art works. Duchamp’s quote reads, “The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the[.....]

Pablo Bronstein: Enlightenment Discourse on the Origins of Architecture at REDCAT

Pablo Bronstein. Enlightenment Discourse on the Origins of Architecture, 2014; Performance at REDCAT, Los Angeles. Photo: Scott Groller.

Upon entering CalArts’ REDCAT Gallery (which is in reality a large room off the foyer of the REDCAT theater), I see nine pieces of comically oversized Neoclassic furniture. Two armoires, two chairs, two dressers, a huge central cabinet, an obelisk, and what appears to be an urn face each other on pedestals. Their construction is at a level I would describe as “professional shoddy,” with[.....]

Coco Fusco: Observations of Predation in Humans at the Studio Museum in Harlem

Coco Fusco.

Critical distance can be an ambitious aspiration for an artist, particularly if her practice strives to directly engage complex economic, environmental, or social-justice issues. How can traditionally partisan discourses be avoided? Can a political viewpoint be communicated without merely contributing to a staunchly divisive cultural dialogue that is easy to tune out? There is no one strategy or formula for this challenge. Coco Fusco’s recent[.....]

U.S. Department of Illegal Superheroes (ICE DISH) at Galería de la Raza

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, Callie Humphrey reviews U.S. Department of Illegal Superheroes (ICE DISH) by Neil Rivas (a.k.a. Clavo) at Galería de la Raza in San Francisco, California. Galería de la Raza is currently[.....]