Ask Cincinnati native Tony Tasset for a sculpture and you’ll get anything from a giant eyeball to a depressed Paul Bunyan to a steel-and-resin rainbow. Invited to the inaugural FRONT International Triennial in Cleveland, Ohio, he made Judy’s Hand Pavilion (2018), a mammoth silver-colored fiberglass hand modeled on that of...
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In the back of Ballroom Marfa plays Emilija Škarnulyte’s video Sirenomelia (2018)—a short apocalyptic trilogy that explores the ruins of some of our species’ most advanced achievements in physics. A camera drifts, disembodied, through the Super-Kamiokande neutrino observatory in Japan. Pieces of CERN’s giant supercollider in Switzerland peel apart as...
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Like a thesis hidden in a footnote, a small projection in one corner of an exhibition of junkyard complexity shows a loop from John Ford’s The Man Who Shot Liberty Valance (1962), starring John Wayne and James Stewart. In the scene, Stewart’s character, a lawyer in the frontier town of...
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On September 19, 2017, Mexico City was hit by one of the most destructive earthquakes in the country’s history. Gallery Weekend Mexico City was originally scheduled to open September 21, by which time everyone who could was out in the streets clearing rubble and handing out food and water. The...
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Spaces is a feature of art-agenda that proposes a thematic examination of exhibition spaces based on the analysis of their physical and spatial configurations. Every two months, art-agenda publishes a new reflection on galleries’ architecture, identity, and relation with their historical and geographical context. The latest instalment of Spaces considers...
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Where to begin? Where else but at this stage? A cotton boll embalmed in a bell jar like the Disney rose in Beauty and the Beast (1991): Aria Dean’s Dead Zone (1) (2017) gives the rose’s place to a white commodity once harvested by black people made commodities. The cotton...
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