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Frieze Magazine Issue 207

11 November 2019 in Magazines Comment

Frieze Magazine November / December 2019 - Issue 207 Cover

Frieze Magazine
November / December 2019 – Issue 207

“The more the activist agitates within [familiar cultural defaults], the more the noose tightens.” – Keller Easterling

The November / December issue of frieze focuses on infrastructural shifts in the arts, the environment and in activism. What is the artistic landscape like outside established global capitals? How are artists representing our now-hotter, wetter world? How can museums recover after scandals, and what should activism achieve? Featuring Pope.L, Keller Easterling, Rem Koolhaas, Chris Kraus, Marlene McCarty, Saskia Sassen, Thirteen Black Cats (Vic Brooks, Lucy Raven and Evan Calder Williams) and more.

The View from Above
“13BC are interested in land exploitation, the legacies of past conflicts and the creative deconstruction of cinematic conventions.” Kaelen Wilson-Goldie profiles 13BC, a film collective engaged in changing how we see and map landscape. A still from their 2019 film, Straight Flush, set in the barracks of a decommissioned military facility in Utah, features on the cover of the issue.

Countryside
“I began to realize that, through an accumulation of discrete individual changes, the countryside was transforming more drastically than the city.” Architect Rem Koolhaas and AMO visualize the emergence of a “new sublime” in the world’s rural zones—a change “perhaps more exciting than anything we have seen since the birth of modernism in the early 20th century.”

Also featuring:
Chris Kraus convenes a roundtable on art-making on the Mexico-US border; urbanist Keller Easterling on activism in an age of polarization and information warfare; sociologist Saskia Sassen on cultural “invisibility” in an age of global displacement; Jessica Lynne on Pope.L, an artist whose often-provocative work—spanning public performance, teaching and traditional media—has never been more urgent; Jennifer Kabat visits Silo City in Buffalo, New York, where artist Marlene McCarty is planting a garden that draws on the area’s history at the crux of capitalism and modernism; and Max Andrews pens a case study on how right-wing politics can impact museums, looking to Spain’s trailblazing Institut Valencia d’Art Modern (IVAM).

Columns and Reviews:
Mike Pepi investigates the nefarious potential of privatized digital surveillance, focusing on the company Palantir, and its ties to the US’s Immigrations and Customs Enforcement (ICE); Timotheus Vermeulen reveals links between true-crime TV and Brexit; Susanne von Falkenhausen recalls cultural frontiers on either side of the Iron Curtain 30 years after the fall of the Berlin Wall; Jonathan P. Watts finds contemporary relevance in Jeremy Millar’s 1994 ICA exhibition The Institute of Cultural Anxiety; Skye Arundhati Thomas pens a call to action for the art world surrounding the Kashmir crisis; and Nicholas Mirzoeff asks—what can mass migration teach us about museums?

Plus, 22 reviews from around the world, including Vincent Fecteau at CCA Wattis Institute for Contemporary Arts, San Francisco, and Wael Shawky at Lisson Gallery, New York.

Answering our questionnaire is legendary sci-fi author William Gibson, whose novel, Agency, is forthcoming with Berkley Books.

frieze.com

Tags art, Frieze

Cura Issue 32: The October Issue

3 October 2019 in Magazines Comment

Cura Issue 32: The October Issue

Cura Issue 32: The October Issue

Covers: Wong Ping, Stewart Uoo. Courtesy the artists.

Our iconic The October Issue 2019 is fresh off the press and brings together an incredible array of conversations with cutting edge and pioneering artists, together with recurring and brand new sections, that set the rhythm of an upcoming year filled with new and thrilling explorations.

The issue is introduced by two neon light-infused covers by artists Wong Ping and Stewart Uoo respectively.

Wong Ping engages in an in-depth conversation with curator Yung Ma about the beginnings of his career and the main themes of his work, which explores the relationship between fantasy and desire, sex and humanity.

Stewart Uoo’s work is introduced by a text by Whitney Mallett, who addresses the artist’s variegated references, which are drawn from pop culture and sci-fi, as well as New York’s queer nightlife. Alongside his manikins and hanging textiles, Uoo provides us with an unpublished photographic series reminiscent of fashion editorials.

The issue then moves to the unmissable columns by our contributors: in his Icons section Vincent Honoré engages in a long conversation with Marilyn Minter about the artist’s pioneering practice, as well as her role as an activist in today’s turbulent political landscape; in his Curator’s Diaries Massimiliano Gioni offers us a personal glimpse into Pipilotti Rist’s liquid world, where nature and culture are interwoven to form a collective organism that is carnal yet ethereal, voracious yet ascetic; and Anthony Huberman initiates a four-part column on “the percussive” as an aesthetic and political concept, investigating rhythm not only in relation to music, but as a vast area of study, from biology to politics and aesthetics.

The acclaimed artist Mohamed Bourouissa presents a four-hand visual essay together with curator Martha Kirszenbaum. That’s Just the Way It Is is configured as a ping-pong of images and songs that highlights the relationship between the sonic landscapes and the photographic series representative of the artist’s practice.

A focus on Miriam Cahn’s work brings us back to 2017 with an unpublished conversation with Hans Ulrich Obrist, where the artist talks about the main topics behind her paintings and the urgencies of her practice.

The Spotlight section focuses on LA-based artist Jasper Spicero who, in a conversation with Courtney Malick, describes the processes behind his installations and the characters of his movies—pivotal elements that give continuity to his projects.

Ingrid Luquet-Gad introduces Jesse Darling’s practice by saying that their work is stripped of any speculative or allegorical varnish: “Their sculptures are staunch and opaque, escaping art’s usual representational regime in favor of the ambiguity of things—objects and bodies alike.”

Our current Portraits series is introduced by Tom Engels who explores Nora Turato’s multi-faceted practice, that engages both with performances and a so-called ‘print renaissance’ made of words and images. The work of Elle Pérez is unfolded by Natasha Marie Llorens, who highlights their intense and visceral images that speak of the possibility of representation of notions such as gender, sexuality, love, and desire, elements that are entangled in Pérez’s bold imaginary. Margot Norton introduces the portrayal sculptures of Tau Lewis, whose motifs are informed by mnemonic materials and the artist’s keenness to invoke erased histories by stitching, carving, and assembling the latter into synergetic figures. And Rindon Johnson looks at Phoebe Collings-James’s practice, claiming that, “time and language are pushed in and out of their ideal form into something more.” Here, the London-based artist’s work is revealed through a reading of her performances and sculptures.

The HOT! selection of artists presents Giulia Cenci with a text by Daria de Beauvais, Shen Xin with a text by Alise Upitis, and Marcus Jahmal with a text by Loïc Le Gall.

CURA. 32

Tags art, Cura

Great Women Artists

9 September 2019 in Books Comment

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Great Women Artists

Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume.

The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices.

“Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started.”—The New Yorker

Format: Hardback
Size: 290 x 250 mm (11 3/8 x 9 7/8 in)
Pages: 464 pp
Illustrations: 450 illustrations
ISBN: 9780714878775

Phaidon

Tags art, female creativity, Phaidon

Cura 29

10 June 2019 in Magazines Comment

Cura 29 Cover

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Cover by Alex de Corte

Cura Magazine

Tags art, Cura

Frieze Issue 204

8 June 2019 in Magazines Comment

Frieze Issue 204

Frieze Magazine
Issue 204
June – July – August 2019

Three novelists delve into the past to unearth the present. Lucy Ives considers the 50th anniversary of the moon landing, ‘What you needed to survive in 1969 was, apparently, not the straight and narrow. What you needed was fiction. And guilt’; César Aira recalls his childhood in Coronel Pringles and his mother’s overbearing fixation on cultural refinement; and Heike Geißler pens a new work of autobiographical fiction that reflects on our exasperated age of news cycles, scandal and movement.

Plus, 32 reviews from around the world, including reports on two New York shows that chart Lincoln Kirstein’s legacy. In London, two exhibitions showcase Channa Horwitz and Emma Kunz’s play with reason and repetition, at the Lisson Gallery and Serpentine Galleries.

Cover image: Buzz Aldrin deploys Apollo 11 experiments on the surface of the moon (detail), 1969, photograph taken by Neil Armstrong with a 70mm lunar surface camera. Courtesy: NASA

frieze.com

Tags art, Frieze

SLEEK 60

7 December 2018 in Magazines Comment

SLEEK 60 Cover

SLEEK 60

The last four decades have been a rollercoaster in self-care jargon. Type “self-care” into Amazon, and hundreds of books appear with cloying names like You Are a Badass and Women Who Love Too Much. It’s easy to forget in our era of millennial self-care-as-a-badge-of-honour, that in the Seventies, it was a buzzword for the desperate. Despite self-care now being one of the most popular hashtags on Instagram, as a chaotic 2018 looms to a close, the idea of bubble baths or cancelling plans as routes to self-actualisation is beginning to look a little shallow.

In this issue of SLEEK we wanted to explore self-help. But instead of recommending the perfect perfume or the best film to watch for a night on the sofa, we’re casting a side-eye at a worrying cultural phenomenon.

FEATURING

  • Photographer and Instagram icon Nadia Lee’s portfolio looking at our contemporary obsession with the self
  • “Just Listen” an exploration of the work of human rights investigator and audio artist Lawrence Abu Hamdan
  • Man Booker prize longlisted author Sophie Mackintosh’s self-help inspired short story
  • An essay on “The Cult of Self-Care” by Kieran Yates
  • Profiles on the London artists fighting austerity and elitism in the art world
  • An interview with Los-Angeles based artist Martine Syms on her prodigious 2018 and her upcoming exhibitions in 2019
  • A profile on the religious influencer @jstlbby, beloved by the likes of Grace Wales Bonner and Naomi Campbell
  • One of SLEEK’s favourite photographers Ruth Ossai’s exclusive cabinet portfolio “9ja” shot in Lagos, Anamabra and Enugu State in Nigeria

Sleek Magazine

Tags art, culture, SLEEK 60, Sleek Magazine

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