REVIEWS

Mike Cooter’s “The Mimic, the Model and the Dupe”

NEW WALK MUSEUM AND ART GALLERY, Leicester

View of Mike Cooter’s “The Mimic, the Model and the Dupe” at New Walk Museum and Art Gallery, Leicester, 2018.
by

Isobel Harbison

What’s the difference between a model, a mimic, and a dupe? Taxonomy? Strategy? Spin? Mike Cooter attempts to answer such questions in this exhibition. Radar—a commissioning body based at Loughborough University—have tasked him with considering Polish dramatist, director, and artist Tadeusz Kantor’s (1915–1990) interest in the latent theatricality of and... continue reading
Liu Wei’s “Shadows”

LONG MARCH SPACE, Beijing

View of Liu Wei’s “Shadows” at Long March Space, Beijing, 2018. Left: Cave No. 1, 2018. Right: Cave No. 2, 2018.
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Ming Lin

Liu Wei’s “Shadows” is a rigorous exercise in time-space travel. A series of heavily pigmented, depthless shapes hang on the walls of the gallery’s foyer (“Caves,” 2018) serving as oblique entry points into the main exhibition space, where the viewer encounters a cluster of studded and welded metallic structures (Shadows,... continue reading
“Counter Investigations: Forensic Architecture”

INSTITUTE OF CONTEMPORARY ART, London

View of "Counter Investigations: Forensic Architecture" at the Institute of Contemporary Arts, London, 2018. 
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Naomi Pearce

In his 2014 lecture “The Future of Forensic Science in Criminal Trials,” judge Thomas of Cwmgiedd, Lord Chief Justice of England and Wales, identified a communication problem. In light of the increasingly complex science used in court, he called for a set of judicial primers: standardized documents, written in “plain... continue reading
View of Sebastian Jefford’s “Procrustean Flatulence” at Gianni Manhattan, Vienna, 2018.
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Kimberly Bradley

Procrustean—what does the word even mean? In Greek mythology, Procrustes was the son of Poseidon, and a thief who tortured his victims by making them lie on an iron bed. If their bodies were too long, he’d cut off the oversized bits; too short, he’d stretch their limbs to fit.... continue reading
View of Dave Hullfish Bailey’s “Hardscrabble” at REDCAT, Los Angeles, 2018.
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Travis Diehl

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... continue reading
Matthew Angelo Harrison’s “Prototypes of Dark Silhouettes”

JESSICA SILVERMAN GALLERY, San Francisco

Matthew Angelo Harrison, Dark Silhouette: Seated, 2018.
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Jeanne Gerrity

In an early scene in the recent blockbuster hit Black Panther, the black supervillain Erik Killmonger disputes the narrative spewed to him by a supercilious white curator regarding an African artifact on view in the “Museum of Great Britain,” asserting instead that it is a spoil of war from the... continue reading

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Vitamin creative space
Camera Austria
Michael Kon
Marion
Carolina Nitsch
Brooklyn Rail
Kaleidoscope
P420
Deweer
sp-arte
Magazine Mousse
Gallery Ernst Hilger
Sprueth Magers