Summer 2019
In this issue:
Yuji Agematsu as “Primal Historian” by Chris Sharp
Yuji Agematsu is an urban flaneur who scours the landscape to collect refuse, embodying the essence of a Benjaminian “primal historian”—somebody who reminds us that history involves not only major events, but also negligible things that might escape our attention.
TO SPEAK AS IF IN CAPITAL LETTERS by James Taylor-Foster
At a time defined by tender self-obsession, the author analyzes exhibitions as places and events leading to incremental steps toward richer understandings of contemporary life.
Thin Art: Adam Gordon by Ross Simonini
“For years, I’ve been acutely aware of how people see things through their own lenses. I’m trying to get rid of my own lens. I’m trying to push against my own preferences.” Adam Gordon interviewed by Ross Simonini.
Myth Kissed and Foam-Born: Jannis Marwitz by Moritz Scheper
Jannis Marwitz stands out for his challenging visual idiom. Using a caustic palette and a painting style that combines old techniques with contemporary edge and myth-laden motifs, he stages a disturbing feast of physicality.
Critical Creative Corrective Cacophonous Comical: Closed Captions by Emily Watlington
The essay presents video art as an important site for experimenting with new forms of so-called audiovisual media that do not presume sighted and hearing audiences and do not treat access as an afterthought that can be turned on and off.
And:
Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) examine with Rahel Aima the use of food as a tool to navigate shifting political, geographic, and climatic territories.
Kaari Upson talks to herself in a stream of consciousness, disclosing some cruxes of her approach to artistic production.
“Unnervingly soft and supple, in the borderlands of the bizarre, just a little cartoonish but totally alluring, Genesis Belanger’s porcelain and stoneware ceramic scenes slyly turn things into bodies and vice versa, with a critical eye toward the suggestive sexiness of advertisements and a snicker of humor.”—Andrew Berardini
Conversing with Adam Carr, Hannah Levy reflects on her process for making work, from uses of specific materials to the relationships between bodies and modernist furniture.
Jacquelyn Ross questions what happens when you crave your favorite artworks in the same way you long for saccharine delicacies for sale at the mall.
Sara O’Keeffe converses with Sable Elyse Smith, whose works interrogate the seductive allure of the horizon, the violent colonial legacy of landscape painting, and the carceral state.
Daniel R. Quiles probes how Marie Angeletti’s reinvents the play of forces within which the artist and her work—folding within the exhibition context (as space, site, situation, and transaction)—are circumscribed and implicated.
Dawn Kasper discusses with Christina Lehnert the development of her performance series, the role of the audience, and the use of time, space, and sound as rituals to challenge an underlying hypothesis.
Dealing with references spanning A Midsummer Night’s Dream, Walden: Or, Life in the Woods, Vertigo, Annihilation, and Forests: The Shadow of Civilization, Sabrina Tarasoff walks us into a forest of shimmering signs.
Rindon Johnson speaks with Maurin Dietrich of his latest project at Julia Stoschek Collection in Düsseldorf, discussing writing as material for a kind of object-based storytelling.
Tidbits:
Candice Lin by Robert Leckie; Cameron Rowland by Michael Eby; Alex Baczynski-Jenkins by Eliel Jones; Jirí Kovanda by Guillaume Désanges; Kenneth Bergfeld by Alex Bennett; Josef Strau by Enzo Shalom; Cristina Garrido by Joshua Simon; Post-Work Society by Lou Cantor; Tetsuya Ishida by Lauren Moya Ford; Ettore Spalletti by Alessandro Bava; Haris Epaminonda by Giovanna Manzotti; Shadi Habib Allah by Allan Gardner; Cosima von Bonin by Francesco Tenaglia; Matthew Ronay by Chris Murtha.
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