REVIEWS

Double Take—Whitney Biennial 2017

WHITNEY MUSEUM OF AMERICAN ART, New York

View of Whitney Biennial 2017, Whitney Museum of American Art, New York, with works by Kaari Upson.
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Chris Sharp and Genevieve Yue

Double Take is a feature of art-agenda in which two authors review the same exhibition. Written independently, the two texts share the same images and are published below. —by Chris Sharp The stakes surrounding this Whitney Biennial are, to say the least, high. Indeed, it’s hard to imagine a biennial being under... continue reading
Sharjah Biennial 13: Tamawuj

SHARJAH ART FOUNDATION, Sharjah

Official Opening of Sharjah Biennial 13.
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Melissa Gronlund

Bottles of seawater sit among makeshift red flags on charred concrete breezeblocks. “It’s like a fire,” says the artist, Dineo Seshee Bopape, of her installation, +/– 1791 (monument to the haitian revolution 1791) (2017), which is scattered about the courtyard of one of Sharjah Art Foundation’s warren of spaces. Small... continue reading
Judith Bernstein, Judith, 2017.
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Sabrina Tarasoff

There is no image more prescient of modern displays of masculinity and status than Judith Bernstein’s drawing COCK IN THE BOX (1966), inspired by a history of Vietnam-era bathroom-stall graffiti. Whether those lewd sketches were made to parody politics in wartime, as comic relief for those on the john, for... continue reading
View of “Neon Paradise: Shamanism from Central Asia,” Laura Bulian Gallery, Milan, 2017.
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Ilaria Bombelli

One clean cut and—snip!—the plait of hair flops to the floor. Then comes the next braid—snip!—and the next—snip-snip! Strand by strand, all the remaining black hair of this Asian woman, dressed in traditional Kyrgyz garb, is sheared off by her own hand. It falls around her feet, leaving her neck... continue reading
View of Lynn Hershman Leeson’s “Remote Controls,” Bridget Donahue, New York, 2017.
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Alan Gilbert

One day the interface between humans and computers will be seamless. For now, it involves necks bent over smartphones, hours sitting hunched in front of a monitor, fingers and arms that still need to extend toward their devices. Despite all the talk about disembodied experiences and virtual worlds, computer technology... continue reading
Will Benedict’s “The Social Democrat” and “Fiction Is a Terrible Enemy”

GIó MARCONI AND FONDAZIONE GIULIANI, Milan and Rome

View of Will Benedict’s “The Social Democrat,” Giò Marconi, Milan, 2017.
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Barbara Casavecchia

It was only a couple of days after the opening, while sitting in the audience of a lecture by Italian playwright Romeo Castellucci at Teatro dell’Arte in Milan, that Will Benedict’s “The Social Democrat” at Giò Marconi really clicked in my head. Call it synchronicity. Castellucci delivered his speech, titled... continue reading

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