REVIEWS

Samson Kambalu, Snow on the Hill, 2016.
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Herb Shellenberger

“A repetitive moment becomes eternity.” This fragment of speech, ringing through Tate Modern’s Turbine Hall in Philippe Parreno’s installation Anywhen (2016), might equally describe the frustration or elation of viewers’ experiences of moving image artworks. This season’s blockbuster exhibitions of film and video—Frieze Film (October 6–9, 2016), BFI London Film... continue reading
View of Ana Jotta’s “Abans que me n’oblidi (Before I forget),” ProjecteSD, Barcelona, 2016.
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Mariana Canepa Luna

While it has been widely exhibited in her native Portugal, Ana Jotta’s work hasn’t been presented in depth to the Barcelona public since the early 1990s.(1) So this mini-survey of her production from 1980 to the present, framed as part of the Barcelona Gallery Weekend, is overdue. “Abans que me... continue reading
Haseeb Ahmed’s “Wird”

HARLAN LEVEY PROJECTS, Brussels

View of Haseeb Ahmed's "Wird," Harlan Levey Projects, Brussels, 2016.
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Mihnea Mircan

The inauguration of the European Parliament building in Brussels was marred by a defect of architectural planning: visitors approaching it were blown over by currents of air inexpertly funneled around the construction. One imagines stacks of European bureaucracy sent into elegant airborne swirls by the gusts of wind. The front... continue reading
“Homo Ludens”

GALERIA LUISA STRINA, São Paulo

View of “Homo Ludens,” Galeria Luisa Strina, São Paulo, 2016.
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Daniela Castro

The first sentences of Johan Huizinga’s Homo Ludens: A Study of the Play-Element in Culture (1944) read: “A happier age than ours once made bold to call our species by the name of Homo Sapiens. In the course of time we have come to realize that we are not so... continue reading
Marnie Weber, The Day of Forevermore, 2016.
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Andrew Berardini

During the day, Halloween masks look pretty cheesy. Hanging from the drugstore rack’s seasonal aisle under the terrible clarity of fluorescents and the afternoon sun, it’s hard to image these killer clowns and fat-cheeked Frankensteins frightening anyone. Their warped faces and weeping pustules, yellowed horns and sharpened teeth, all a... continue reading
View of Bruce Nauman's "Contrapposto Studies, i through vii," Sperone Westwater, New York, 2016.
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Kim Levin

He was considered a lightweight in the early days of post-minimalism but for decades Bruce Nauman has been praised as one of the most wildly influential artists of our time. His video performances with the sounds of their own making hover between tedium and enthrallment, banality and profundity, repetition and... continue reading

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