REVIEWS

/ GIL LEUNG
Bruce Nauman, PERFECT DOOR, PERFECT RODO, PERFECT ODOR, 1973.
by

Gil Leung

Bruce Nauman’s Good Boy Bad Boy (1985) was my first love. It was that work, the one that still, however far and many times I turn, sits at the base of my vocabulary. I don’t know if I can say why, it is just that this work hit something. I’ve... continue reading
View of Gerard Byrne’s “Present Continuous Past,” Lisson Gallery, 52–54 Bell Street, London, 2013.
by

Gil Leung

To adequately reflect on the present moment requires a certain distance, some way of pulling out of the perpetual now of contemporary time and into another. This phenomenon can be evidenced in the compression of time that occurs when attempting to recall the near past; years turn into events and... continue reading
Theaster Gates, My Labor is My Protest, 2012.
by

Gil Leung

In 1973, Hollis Frampton sent a letter of protest to the curator of MoMA who had asked him about the possibility of doing a retrospective of his work, “for love and honor and no money.”(1) The working conditions of artists may not have changed much today, but perhaps there has... continue reading

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