Sound Art

An Atlas of Mirrors: Singapore Biennale 2016

Titarubi. History Repeats Itself, 2016; Gold-plated nutmeg, copper-plated wood, nickel-plated wood, burnt wood, sampan, wood, aluminium, copper, soil, light and nutmeg perfume; Dimensions variable. Image courtesy of Singapore Art Museum.

There is no shortage of mirrors and maps in the fifth iteration of the Singapore Biennale. Glass mirrors in Harumi Yukutake’s Paracosmos (2016) curve around the main circular stairwell of the Singapore Art Museum, dazzling the eye as light hits their multiple reflective surfaces. Dozens of mirrors appear in their reflections; dozens more yet, to the power of infinity, show up in the reflections of their reflections. In[…..]

Slaying Monsters: The 2016 Kuandu Biennale, Taipei

Zhang-Xu Zhan. Inferiority Bat (Hsin Hsin Joss Paper Store Series–Room 003), 2014-2015; 6-channel video animation installation; 5 min. Courtesy of the Kuandu Museum of Fine Arts.

It sounds like the start of a fairy tale. Ten curators from nine different countries are given a task to perform: Each must choose one artist with whom to create a major show. The resulting Kuandu Biennale in Taipei, Slaying Monsters, is made up of separate “solo exhibitions” from Australia, China, Indonesia, Japan, Korea, Malaysia, Singapore, Vietnam, and Taiwan, an interesting spin on the usual[…..]

Hammer Projects: Simone Leigh

Simone Leigh. "Althea", 2016; Terra-cotta, India ink, porcelain, cobalt and epoxy. Courtesy of the Artist and the Hammer Museum. Photo: Brian Forrest.

Colony Little explores Simone Leigh’s first West Coast solo exhibition at the Hammer in Los Angeles.

Summer Session – Vipralambha (Union Through Separation)

Zahra-Jewanjee-and-Simon-Coates

This month we’re taking an in-depth look at the nexus of labor and art, and today from our friends at Guernica we bring you an excerpt from an essay by Simon Coates, who discusses a project completed with his collaborator Zahra Jewanjee: “Vipralambha didn’t start life as a paean to the Indo-Pak workforce in Dubai. The stated aim of the piece was to meld sounds from two countries that share[…..]

Summer Session – Audio Guide Stop For Fred Wilson, Guarded View, 1991, at the Whitney

Fred Wilson. Guarded View, 1991. Sculpture, dimensions variable.

Continuing our labor-themed Summer Session, today we direct you to an excerpt from Fred Wilson’s audio guide to his sculpture Guarded View for the Whitney Museum of American Art. The artist says, “When I was in college, I had been a guard for our college museum. While this was not a major experience, it was something that stayed with me a very long time. And I[…..]

The Lasting Concept at Portland Institute for Contemporary Art

Sara Greenberger Rafferty. Testing VIII, 2016 (detail); microphone stand and asparagus, dimensions variable. Courtesy of the artist and (gallery). Photo: Evan La Londe/WORKSIGHTED

The Lasting Concept at Portland Institute for Contemporary Art (PICA) is, by design, chronically unsure of its form. Initially conceptualized as a publication of the same name, the exhibition explores the nagging, process-driven revelation of being unable to excise a particular understanding from one’s thinking. With content that requires a method of digestion similar to reading, the exhibition’s connection to experimental publishing is evident. It’s[…..]

Cut-Up at Franklin Street Works

Phyllis Baldino. The Unknown Series, 1994–96 (detail); mixed media. Courtesy of the Artist.

“Everything in the world began with a yes. One molecule said yes to another molecule and life was born,” professes Clarice Lispector in the first lines of her 1977 novel, The Hour of the Star. Like the universe, art also begins with a yes. Some yeses are small: get out of bed today, put this image next to that one. Other yeses are bigger: continue[…..]