REVIEWS

/ AILEEN BURNS AND JOHAN LUNDH
Art Basel Hong Kong

ART BASEL, Hong Kong

Outside Art Basel Hong Kong 2016.
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Aileen Burns and Johan Lundh

The maxim “less is more” hardly springs to mind when thinking about Art Basel Hong Kong. Yet Art Basel’s global director, Marc Spiegler, uttered those very words during the media reception for this year’s edition, arguing for quality over quantity and noting that all three of the franchise’s fairs in... continue reading
Ian Burn’s “London Works”

MILANI GALLERY, Brisbane

View of Ian Burn, “London Works,” Milani Gallery, Brisbane, 2015.
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Aileen Burns and Johan Lundh

Two paintings in Ian Burn’s “London Works” frame the exhibition’s two-year time span, 1965 to 1967—a transformative and immensely productive period in the practice of the Australian conceptual artist, best known as a member of the group Art & Language. Together, these paintings tell a story of oscillation and negotiation... continue reading
(Left) Rina Banerjee, She drew a premature prick, in a fluster of transgressions, abject by birth she new not what else to do with this untouchable reach, unknowable body as she was an ancient savage towed into his modern present, 2011.  (Right) Rina Banerjee, Under the wandering reach these are the parts of the world wind water lava light live, 2014.
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Aileen Burns and Johan Lundh

In Rina Banerjee’s exhibition “Migration’s Breath,” the Indian-born, New York-based artist’s sculptures are like mystical creatures borne out of an enticing mixture of natural and commercial detritus—plastic, cowry shells, brightly colored ribbons, light bulbs, doll parts, feathers, rope. Her works on paper create contexts for the gods, monsters, and mortals... continue reading
View of Gabriella Mangano & Silvana Mangano’s “Of Objects or Sound,” Anna Schwartz Gallery, Sydney, 2014.
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Aileen Burns and Johan Lundh

“The projection of the New York art world as the metropolitan center for art by every other art world is symptomatic of the provincialism of each of them.”(1) wrote in 1974 the Australian art historian Terry Smith, in the article “The Provincialism Problem,” (2) which has been contested ever since,... continue reading
View of Zin Taylor, “The Story of Stripes and Dots (Chapter 7),” Jessica Bradley Gallery, Toronto, 2014.
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Aileen Burns and Johan Lundh

“This is a dot. A dot is a sound. A dot is a sound in space. This is a dot in space…” This is the voiceover, augmented with psychedelic tonal music, which emanates from a speaker casually draped with hand-painted fabrics reminiscent of an American flag. The sonically infused gallery... continue reading
Willie Doherty’s “Unseen”

CITY FACTORY GALLERY, Derry

View of Willie Doherty’s “Unseen,” City Factory Gallery, Derry, 2013.
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Aileen Burns and Johan Lundh

“Unseen,” the title of Willie Doherty’s first retrospective in his hometown of Derry, refers to a complex set of impossibilities at the core of his photographic and video practice. The exhibition is accompanied by a substantial, three-hundred-page catalog in which Robin Klassnik, the director of Matt’s Gallery in London and... continue reading

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