Video / Film

Pipilotti Rist: Pixel Forest at the New Museum

Pipilotti Rist. Mercy Garden, 2014; two-channel video and sound installation, color, with carpet; 10:30 min; dimensions variable. Sound by Heinz Rohrer. Courtesy of the Artist, Hauser & Wirth, Luhring Augustine, and New Museum. Photo: Maris Hutchinson / EPW Studio.

I admit that I’m late to discovering Swiss artist Pipilotti Rist. However, given that she has been producing work since the 1980s, and only in 2016 has received her first major retrospective in New York, Pixel Forest at the New Museum, I may not be the only one. The exhibition as a whole is an immersive environment, where one can easily and pleasurably lose time—an[…..]

Amy Reidel: Radar Home, 11.8.13 at the Sheldon Art Galleries

Amy Reidel. Tumor Storm, 2016; loose glitter and colored sand on printed vinyl; dimensions vary. Courtesy of the Artist. Photo: David Johnson Photography

Amy Reidel’s solo exhibition, Radar Home, 11.8.13, takes its name from the date her mother received a doctor’s call. A week later, she was diagnosed with multiple myeloma—an incurable though treatable blood cancer. Though her mother has since recovered and is now cancer-free, this decisive moment in Reidel’s personal life unifies the wide-ranging works of painting, digital prints, video, sculpture, and installation on view at[…..]

Manifesto at the Park Avenue Armory

Julian Rosefeldt. Manifesto, 2015; installation view, Park Avenue Armory, New York. Courtesy of Park Avenue Armory. Photo: James Ewing.

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, Bai Yuting reviews Julian Rosefeldt: Manifesto the Park Avenue Armory. This winter, the Park Avenue Armory presents the German cinematographer Julian Rosefeldt’s thirteen-channel video installation, Manifesto (2015).[…..]

Soulèvements (Uprisings) at the Jeu de Paume

Dennis Adams. Patriot, 2002; C-print mounted on aluminum; 40.5 x 54 in. Courtesy of Centre National des Arts Plastiques, Paris. Photo: Galerie Gabrielle Maubrie.

What if the imagination made mountains rise up? Georges Didi-Huberman poses this question in Soulèvements (Uprisings), a new exhibition at the Jeu de Paume National Gallery in Paris. Throughout the museum’s galleries, contemporary artworks, books, historical documents, and photographs present a potent survey on the theme of social rebellions in the West, ranging from Victor Hugo’s call for the abolition of the death penalty (in[…..]

La Biennale de Montréal: Le Grand Balcon at the Musée d’Art Contemporain de Montréal

Anne Imhof. Angst III, 2016; performance. Courtesy of La Biennale de Montréal. Photo: Jonas Leihener

There is admittedly a little bit of confusion when one arrives at La Biennale de Montréal’s main venue, the Musée d’Art Contemporain (MAC), for a great part of the biennale does not in fact take place at the MAC. With eighteen satellite venues beyond walking distance and inaccurate information from its front-line stewards, trekking through extreme winter conditions in the land of the tragic 19th-century[…..]

Odd Jobs: Danielle Dean

Danielle Dean. Hexafluorosilicic, 2015; installation view at Commonwealth & Council, Los Angeles. Courtesy of the artist.

Welcome back to Odd Jobs, where artists talk about their varied and nontraditional career arcs. For this installment, I spoke to Danielle Dean—born to a Nigerian father and an English mother in Alabama—whose interdisciplinary practice draws from this multinational background. Her work explores the interpellation of thoughts, feelings, and social relations by power structures working through news, advertising, political speech, and digital media. She has[…..]

Best of 2009 – Moby Dick

Moby Dick at the Wattis Institute, 2009.

We are looking back on a decade of Daily Serving’s greatest hits, and today’s selection comes from Shotgun Reviews editor Jen Stager: “‘This great white interior was empty even when it was full, because most of what was in it didn’t belong in it and would soon be purged from it. This was people, mainly, and what they brought with them from outside,’ wrote David[…..]