In Art Previewed
Ten exhibitions on through October you don’t want to miss: Prospect.3, New Orleans; Mariana Castillo Deball at Hamburger Bahnhof, Berlin; Tony Conrad at Inverleith House, Edinburgh; David Altmejd at Musée d’Art Moderne de la Ville de Paris; Puddle, Pothole, Portal at SculptureCenter, New York; Martin Soto Climent at T293, Rome; Stephen Shore at 303 Gallery, New York; Korakrit Arunanondchai at Carlos/Ishikawa, London; Will Boone at Jonathan Viner, London; One Million Years – System and Symptom at Kunstmuseum Basel. By Martin Herbert.
Points of View: Our writers on what’s happening in the artworld and beyond: J.J. Charlesworth on whether artworld boycotts are turning biennials into a political battleground; Maria Lind on the case for quality rather than quantity; Sam Jacob on the cult of normality; Jonathan T.D. Neil on art’s greater good; Andrew Berardini on how LA is witnessing an evolution in collective thinking; Mike Watson on an aesthetics of emergency in Naples and Rome; Mark Sladen on the ‘alphabet soup’ of Jean-Michel Wicker; Jonathan Grossmalerman on the premiere of The Grossmalerman Show; Louise Darblay on off-space La Salle de Bains, Lyons, France.
Great Critics and Their Ideas
Philosopher G.W.F. Hegel on sploshing in painting, deconstructing mass desire and the posturing of art culture. Interview by Matthew Collings.
Other People and Their Ideas
Artist Eric Fischl discusses his life in painting. Interview by Tom Eccles.
Relations Without Relations: A Response to Graham Harman
Critic Michael Newman responds to Graham Harman’s essay on speculative realism in the September issue by making a case for the continuing relevance of human subjectivity.
In Art Featured
The Morocco-born artist and Prix Marcel Duchamp winner talks to Violaine Boutet de Monvel.
‘Known knowns, known unknowns and unknown unknowns’: fleeting permanence in the work of the artist and poet. Profiled by Sherman Sam.
Portentous, charged and enigmatic – the work of the San Francisco-born artist. By Martin Herbert.
The aerial, environmental installations of the Japanese-American artist. By Erik Morse
Art in Context: Africa
The first instalment in our yearlong survey in which artists, curators and cultural commentators explore the question of what African art (of the contemporary flavour) does or can do within various local contexts across the continent.
I. Gabi Ngcobo
Independent curator and cofounder of the Center for Historical Reenactments (CHR), Johannesburg, on Sabelo Mlangeni’s No Problem, and a visit to the site of Michelle Monareng’s Removal to Radium.
II. Bonaventure Soh Bejeng Ndikung
Cameroonian curator and critic, founder and editor-in-chief of SAVVY Journal and founder and artistic director of SAVVY Contemporary, Berlin, on the tenses in Theo Eshetu’s The Return of the Axum Obelisk.
III. Cristina De Middel
Artist project: This is what hatred did, 2014.
In Art Reviewed
Reviews from the UK, USA, Europe and the Rest of the World
Beverly Pepper: Small Sculptures at Marlborough Fine Art, London; Inventory: More Pre-War Art from Inventory! at Rob Tufnell, London; Maid in Heaven/En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem) at White Cube Masons Yard, London; Eustachy Kossakowski and Goshka Macuga: Report from the Exhibition at Kate McGarry, London; GENERATION: 25 Years of Contemporary Art in Scotland at Scottish National Gallery of Modern Art, Edinburgh; Hayley Tompkins: Digital Light Pools at the Common Guild, Glasgow; Douglas Gordon: Pretty much every film and video work from about 1992 until now, at Glasgow Museum of Modern Art; Mood Is Made/Temperature Is Taken at Glasgow Sculpture Studios.
Another, Once Again, Many Times More at Martos Gallery, East Marion, New York; Carl Andre: Sculpture as Place, 1958–2010 at Dia: Beacon, New York; Robert Melee: A Dozen Roses at Higher Pictures, New York; Here and Elsewhere, New Museum, New York; Fixed Unknowns at Taymour Grahne, New York; Morag Keil: Would You Eat Your Friends? at Real Fine Arts, New York; Daniel von Sturmer: Focus & Field at Young Projects, Los Angeles; Andrew Cameron and Emilie Halpern: Standard Candles at Samuel Freeman, Los Angeles; Allora & Calzadilla at Redcat, Los Angeles.
João Maria Gusmão and Pedro Paiva: Papagaio at Hangar Biocca, Milan; Gonçalo Pena: Viagem Macaca at Galleria Zero, Milan; Wilfredo Prieto: Speaking Badly About Stones at S.M.A.K., Ghent; Carsten Höller: Leben at TBA21–Augarten, Vienna; Le Mouvement at various venues, Biel; Paul Chan: Selected Works at Schaulager, Basel; Isla Utopia: Fragments and Moments for New Utopias at Isola Art Center with CreativeOlive, San Mauro Cilento; Bunny Rogers: Columbine Library at Société, Berlin; Roni Horn: Everything Was Sleeping as If the Universe Were a Mistake at Fundació Joan Miró, Barcelona; Damage Control: Art and Destruction Since 1950 at MUDAM, Luxembourg.
Rest of the World
Yokohama Triennale 2014/ART Fahrenheit 451: Sailing into the Sea of Oblivion at Yokohama Museum of Art, Shinko Pier Exhibition Hall and various and other venues; Defying Stability: Artistic Process in Mexico 1952–1967 at MUAC, Mexico City; Os Gêmeos: A Ópera da Lua at Galpão Fortes Vilaça, São Paulo.
33 Artists in 3 Acts, by Sarah Thornton; A man in a room spray-painting a fly… (or a least trying to…), by Francesco Pedraglio; Lives of the Orange Men: A Biographical History of the Polish Orange Alternative Movement, by Major Waldemar Fydrych; Shooting Space: Architecture in Contemporary Photography, by Elias Redstone.
The Strip: A new work from Maciej Sienczyk, introduced by Paul Gravett
Off the Record: Gallery Girl – in London
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