For the entirety of the year, Lili Reynaud-Dewar will only make and exhibit bedrooms. Her current exhibition at CLEARING, New York, contains the requisite furniture, though the French artist seems less inclined to follow in the theatricality of Claes Oldenburg’s Bedroom Ensemble (1964) than to meditate on the conditions necessitating...
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“Contemporary art: one, us: zero,” quipped a friend as we mistakenly toured what appeared to be the off-limits back room of Marian Goodman’s booth at Frieze New York. We were looking for Tino Sehgal’s performance Ann Lee. Aware of the nature of Sehgal’s work probing social boundaries through real life...
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The plush trappings of power, stripped down and isolated: this seems to be one of the themes and strategies of Danh Vo’s show “Mother Tongue” at Marian Goodman Gallery. The title comes from a small calligraphic drawing by the artist’s father, Phung Vo, who, while not knowing the language he...
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Much to their surprise, Joana Hadjithomas and Khalil Joreige recently came across a half-century-old Lebanese postage stamp depicting a rocket emblazoned with a cedar tree. Though enshrined in official history, this inscrutable, fantastic image—seemingly the stuff of science fiction—commemorated an event no one could remember. An enigma, it intrigued the...
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I don’t know if I’ve ever seen—and experienced—as much unadulterated glee in an art gallery or museum as I did at the opening of Gelitin’s “The Fall Show” at Greene Naftali last September. The gallery was filled with makeshift sculptures of different shapes fashioned from relatively cheap materials and placed...
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MY DEAR J—, when you did me the honor of asking for an analysis of the Armory Show, you said, “Be brief; do not write a review, but a general impression, something like the account of a rapid philosophical walk through the galleries, an overview of a century of art...
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