ANNOUNCEMENTS

Camera Austria

December 18, 2014
Luis Jacob, Show Your Wound (detail), 2010–12. Series of 26 c-prints, 9 × 6 cm each. Courtesy Galerie Max Mayer, Düsseldorf; Birch Contemporary, Toronto. Luis Jacob, Show Your Wound (detail), 2010–12. Series of 26 c-prints, 9 × 6 cm each. Courtesy Galerie Max Mayer, Düsseldorf; Birch Contemporary, Toronto.

Camera Austria International 128 out now

Playing through pictorial metaphors and aesthetic and semantic conventions, linking images in an associative-algorithmic manner based on structural characteristics, "poking" into apparent gaps, empty spaces and vulnerabilities in visual narratives—photographic strategies not connected by any clear or comprehensive context—are the main focus of interest in this issue of Camera Austria International. Viktoria Binschtok initially develops her... continue reading

Mousse

December 18, 2014
   

Mousse #46 for iPad out now

A special issue dedicated to words written by artists—essays, articles, poetry, scripts, drafts, letters, telegrams, notes and footnotes, and text-based artworks.  Etel Adnan, Vincenzo Agnetti, Richard Aldrich, Carl Andre, Ed Atkins, Lutz Bacher, Darren Bader, John Baldessari, Nanni Balestrini, Marcel Broodthaers, Harry Burke, Tom Burr, Zachary Cahill, Luis Camnitzer, Merlin Carpenter, Ian Cheng, Henri Chopin, Moyra Davey, Michael Dean,... continue reading

Campagne Première Berlin

December 17, 2014
Nikita Kadan, Limits of Responsibility, 2014. Metal, painted wood, earth and vegetables; 1.7 x 3 x 1 meters, 36 color slides, three book facsimiles, each 28.5 x 20.5 cm. Photo: Henning Moser. Courtesy Campagne Première, Berlin.
Nikita Kadan, Limits of Responsibility, 2014. Metal, painted wood, earth and vegetables; 1.7 x 3 x 1 meters, 36 color slides, three book facsimiles, each 28.5 x 20.5 cm. Photo: Henning Moser. Courtesy Campagne Première, Berlin.

Nikita Kadan at Campagne Première Berlin

Nikita Kadan was born 1982 in Kiev, Ukraine, where he lives and works today. He is a member of the artist group R.E.P. (Revolutionary Experimental Space, since 2004); and co-founder and member of the Hudrada (Artistic committee, 2008) curatorial and activist group. He often works in interdisciplinary collaborations—with architects, Human Rights Watch activists and sociologists. Kadan's work has been exhibited internationally, including... continue reading

REVIEWS

Adel Abdessemed’s “Solo” and an overview of the gallery
YVON LAMBERT, Paris
View of Adel Abdessemed, “Solo,” Yvon Lambert, Paris, 2014.

by MARA HOBERMAN

The news that Yvon Lambert is closing his Paris gallery is hardly shocking. What is remarkable, however, is how long his run lasted. Fifty-plus years spent working with contemporary artists puts Lambert in the rare position of being both an art historical footnote and a current art market player. The... continue reading

The 6th Annual Migrating Forms
BAMCINéMATEK, New York
Cory Arcangel, Freshbuzz (www.subway.com), 2014.

by GENEVIEVE YUE

“Migrating Forms” is easily New York’s most eclectic film festival. A glance at the program, now in its sixth year, can be dizzying: a half-inch videotape documentary from the seventies here, a Korean art film there, and all manner of experimental film and artists’ film in between. Instead of theme,... continue reading

Christopher Williams’s “For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 19)”
DAVID ZWIRNER, New York
View of Christopher Williams, “For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 19),” David Zwirner, New York, 2014.

by KAREN ARCHEY

Do you think any collectors were bothered by the raw, open drywall and exposed electric wiring at Christopher Williams’s newest exhibition at David Zwirner? Or did they read it as a bad-boy “fuck you” without actually feeling insulted? Did they read it as Christopher Williams probably intended, as a savant... continue reading

DOSSIER

Mean Girls: Keren Cytter and “Vengeance”

by MELISSA GRONLUND

“I’m so excited,” a young woman says, about an advertising meeting that would make your eyes water with boredom. “Don’t worry, that’ll pass,” her older colleague replies. It’s a flat cliché, and he delivers it with a withering smile of self-congratulation. The woman appears put down, but you get the feeling that’s... continue reading

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