Performance

Lorena Wolffer – Expuestas: Registros Públicos at the Museum of Modern Art in Mexico City

Antimemorias: enmiendas públicas, 2011; installation view, Lorena Wolffer Expuestas: registros públicos, 2015. Courtesy of Lorena Wolffer and Museo de Arte Moderno. Photo: Jorge Gomez del Campo.

Walking into Lorena Wolffer’s Registros Públicos at the Museum of Modern Art in Mexico City is a deeply unsettling experience. The space is tiny, just a few meters across, and the ceiling height is far closer to a bedroom than a gallery. Written in large red letters along the walls are a series of insults and threats from husbands and lovers to their partners–although using[…..]

Interview with Johanna Hedva

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Johanna Hedva is a Los Angeles-based artist and writer whose recent piece She Work was performed at d e e p s l e e e p, a private apartment in Los Angeles, from July 11­–26, 2015. She Work is a queer adaptation of Euripides’ play Medea, in which Jason abandons Medea and their children, marrying a Greek princess to advance his political position. Medea[…..]

Makeover at Southern Exposure

Members of Mutant Salon, 2015. Courtesy of the Artists.

From our partners at Art Practical, today we bring you a review of Makeover at Southern Exposure in San Francisco. Author Mary Anne Kluth notes: “At a time of massive change in the demographics and urban shape of the Mission District […] the works in Makeover collectively acknowledge that life can be messy, but encourage or demonstrate ideals of exchange and openness, and emphasize approaching problems with a sense[…..]

From the Archives: Pierre Huyghe at LACMA

Pierre Huyghe. Untitled (Human Mask), 2014. Film. Courtesy of the artist; Hauser and Wirth, London; Marian Goodman Gallery, New York; Esther Schipper, Berlin; Anna Lena, Paris. © Pierre Huyghe

This month marks the opening of the first major Australian solo exhibition of Pierre Huyghe’s work at the TarraWarra Museum of Art, so today we revisit this review by Alex Bigman, who assesses the humor and mythology of Huyghe’s retrospective at the Los Angeles County Museum of Art. This article was originally published on January 21, 2015. There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and[…..]

Disguise: Masks & Global African Art at Seattle Art Museum

Brendan Fernandes. As One, 2015; HD video loop; 22:54 minutes. Courtesy of the artist.

Museums are constantly devising new platforms to present their permanent collections. Interventions and mining-the-museum have become commonplace curatorial strategies, and institutions frequently turn to contemporary artists to animate, recontextualize, and bring visibility to canonized cultural objects. Disguise: Masks and Global African Art is Seattle Art Museum’s latest attempt to draw connections across temporal, geographic, and cultural lines. Leveraging the museum’s collection of African masks, the[…..]

Evan Calder Williams: T-1 at Artists Space

Evan Calder Williams. T-1, 2015; performed at Artist Space on July 21, 2015.

Ice, compromised vision, and colonial geography: These formed the conceptual scaffolding that supported Evan Calder Williams’ live essay, T-1, performed at Artists Space on July 21, 2015.[1] Despite the three subjects’ ostensibly divergent histories, Calder Williams wove them into a complex web that expanded into several narratives that highlighted epiphanic and unexpected connections. The dynamic multimedia event—comprising video, text, and images projected on perpendicular screens,[…..]

Radical Presence: Black Performance in Contemporary Art at YBCA

Senga Nengudi. R.S.V.P., 1975–78; nylon, sand, and mixed media; dimensions variable. Courtesy of the Artist and Thomas Erben Gallery, New York.

From our partners at Art Practical, today we bring you a review of Radical Presence: Black Performance in Contemporary Art at Yerba Buena Center for the Arts in San Francisco. Author Brian Karl notes: “The urgent need to collect and re-present this work—not in a static archive but in a living arena—stems from the continuing conditions of marginalization, oppression, and worse that black people have suffered over[…..]