REVIEWS

Louise Bourgeois’s “The Empty House”

SCHINKEL PAVILLON, Berlin

Louise Bourgeois, Peaux de Lapins, Chiffons Ferrailles à Vendre [Rabbit skins, Scrap Rags for Sale], 2006.
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Kimberly Bradley

It’s intimidating to review the work of an artist the stature of Louise Bourgeois, about whom so much has been written, to whom so much has been ascribed. Bourgeois’s life spanned nearly the entire twentieth century and helped redefine what a (feminist) artistic practice can be, how art can intertwine... continue reading
Joan Jonas

TATE MODERN, London

Joan Jonas, Reanimation, 2010/2012/2013.
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Philomena Epps

When I was a child, I received a disco ball as a birthday gift. Hung haphazardly above my bed and lit by a repurposed old desk lamp, it reflected a scintillating constellation across the ceiling. In a flick of a switch, the quotidian transformed: I had entered a secret world.... continue reading
Made in L.A. 2018

HAMMER MUSEUM, Los Angeles

View of “Made in L.A. 2018” at the Hammer Museum, Los Angeles, 2018. From Left: MPA, Faultline, 2018; MPA, Sunglasses (Left), 2018; MPA, 
Tableau, 2018.
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Jonathan Griffin

Not so much a city as an unevenly populated, multi-centered megalopolis, and not so much a year as a point in an escalating concatenation of national and global crises, there might seem to be no possible way to get “Made in L.A. 2018” right. Add to that the divisions within... continue reading
Public Art Munich “Game Changers”

VARIOUS LOCATIONS, Munich

Michaela Melián, Music from a Frontier Town, 2018.
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Orit Gat

Curator Joanna Warsza titled the 2018 edition of Public Art Munich (PAM) “Game Changers,” choosing to focus the festival on 20 live events, shifting the definition of public from sites to subjects. In lieu of outdoor sculptures there are events, and in place of a map a schedule. Conceptualizing the... continue reading
View of “Metamorphoses – Let Everything Happen to You” at Castello di Rivoli, Turin, 2018.
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Adam Kleinman

Long before we, as a species, were categorized as Homo sapiens, Plato proclaimed humans to be “featherless bipeds.” As a retort, Diogenes grabbed a chicken, plucked it, raised it aloft, and sarcastically declared “Behold: Plato’s man!” Not be outdone, Plato added “with flat nails” to his description. Aristotle later weighed... continue reading
View of the first chapter of Guy Mees's “Espace Perdu (Verloren Ruimte)” at ProjecteSD, Barcelona, 2018.
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Helena Tatay

Guy Mees (1935–2003) was a leading figure of the Belgian avant-garde whose enigmatic work combined formal diversity with conceptual rigor. A consecutive pair of exhibitions at Barcelona’s ProjecteSD—the first from March to April, the second from May to June—shed light on his career, offering carefully curated series of works alongside... continue reading

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