REVIEWS

View of Olga Chernysheva's “Algunas Canciones Lindas,” Temnikova & Kasela, Tallinn, 2017.
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Ana Teixeira Pinto

Ever since the end of the Cold War, an aesthetics of mourning has characterized contemporary art’s understanding of its own critical history. “Burdened with a sadness it cannot dispel,” several generations have been delving into these “realms of defeated utopia,” looking back rather than forward.(1) At Temnikova & Kasela, Tallinn,... continue reading
Yuko Mohri, Moré Moré [Leaky] The Falling Water Given #4-6, 2017.
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Isobel Harbison

Emma Lavigne’s “Floating Worlds” is the second in a “thematic trilogy” of Lyon Biennales exploring the “modern” (a perhaps onerous keyword issued by its artistic director, Thierry Raspail). Lavigne’s title references the Japanese idea of “the floating world” (ukiyo), a mindset originating in the seventeenth century which recognizes life as... continue reading
Daisuke Kosugi, Good Name (Bad Phrase), 2017.
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Orit Gat

You put on headphones and wander across a football field at the end of the world. There are instructions: “Go to the corner of the field, or if there is someone there, stand at the goal line at a place where you can see the entire pitch.” From an iPod... continue reading
Godfried Donkor, The First Day of the Yam Custom, 1817 (detail), 2017.
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Tessa Jackson

Copying and re-using others’ images or artworks always generates considerable debate. Just like solving a crime, it becomes necessary to establish a motive. Almost 200 years separate Thomas Bowdich’s original colored aquatint The First Day of the Yam Custom (1818) from Godfried Donkor’s large replica, which takes the same name... continue reading
Vava Dudu’s “Vertige profonde”

SALON DU SALON, Marseille

View of Vava Dudu's "Vertige Profonde," Salon du Salon, Marseille, 2017.
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Natasha Marie Llorens

Vava Dudu’s “Vertige Profonde” at Marseille’s Salon du Salon is visually balanced to the point of stillness. The solo show occupies two adjoining rooms on the third floor of a spacious old bourgeois apartment on l’Avenue du Prado, a wide boulevard radiating out of the city center towards the south... continue reading
“the silences between”

GOODMAN GALLERY, Cape Town

View of "the silences between," Goodman Gallery, Cape Town, 2017.
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Sean O Toole

The flourishing of South Africa’s commercial galleries over the last two decades has coincided with the atrophying of infrastructure, collections, and curatorial programs at the country’s major public museums. State neglect, hobbled budgets, and poor leadership at the South African National Gallery in Cape Town, as well as important municipal... continue reading

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