REVIEWS

Dan Coopey’s “Dry”

KUBIKGALLERY, Porto

View of Dan Coopey’s “Dry,” Kubikgallery, Porto, 2017.
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Matthew McLean

One origin myth of ceramics: that far back in prehistory, basket makers packed their containers with clay to form a lining, and one day dropped one of these vessels into a fire, finding, when the ashes cooled, that the clay had hardened and remained where the woven structure was destroyed.(1) Ceramics,... continue reading
Frieze New York

FRIEZE ART FAIR, New York

View of Frieze New York 2017.
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Rachel Wetzler

The first thing I saw upon entering the tent at Frieze New York was Elmgreen and Dragset’s Rite of Passage (2014) at Massimo De Carlo, a tattered sign bearing the word “MIRACLE” with a white vulture perched on top, flanked by lengths of torn chain link fence. This dismal tableau... continue reading
“Placed Someplace with Intent”

DVIR GALLERY, Tel Aviv

Lawrence Weiner, Placed Someplace with Intent, 2014.
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Keren Goldberg

The number of Tel Avivan galleries mounting consecutive group shows is a symptom of the Israeli art market’s gloomy state. While you might assume that Dvir’s latest group exhibition—its second in a row—is another driven by commercial imperatives, it does draw concrete formal and contextual ties between works by major... continue reading
Gallery Weekend Berlin

VARIOUS LOCATIONS, Berlin

Charlotte Posenenske, Series B Reliefs, 1967-2017.
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Sofia Lemos

In the wake of the events of May 1968, German Minimalist Charlotte Posenenske wrote in Art International that “it is difficult for me to come to terms with the fact that art can contribute nothing to solving urgent social problems.”(1) Posenenske’s “‘Statement’ [Manifesto],” which initially meant to examine ownership and... continue reading
View of Mounir Fatmi's "Inside the Fire Circle," Lawrie Shabibi, Dubai, 2017.
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Kevin Jones

“I don’t know what it’s like to be black in America,”(1) wrote the artist Dana Schutz in her protracted defense against calls for the removal and destruction of her painting Open Casket (2016). She was responding to mounting fervor over her rendition, included in the Whitney Biennial, of the mangled... continue reading
View of Donna Huanca’s “LENGUA DE BARTOLINA SISA,” Travesía Cuatro, Madrid, 2016.
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Juan Canela

September 5, 1782. Bartolina Sisa, Aymara leader of the indigenous uprising against the Spanish in Bolivia, is brutally tortured, publicly humiliated, and killed by hanging. Her body is dismembered and, to prevent further rebellion, her head and extremities are exhibited at several locations known for their resilience. Bartolina Sisa has... continue reading

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