Art Monthly - No 432 - December 2019

Art Monthly - No 432 - December 2019
Library Shelf Location Current issue in Library. Back issues in Archive.
Publication Date Dec 2019



Intimacy Rising

Lizzie Homersham asks what forces have changed the space of the intimate

Anne Imhof’s Sex indicates what work can be available for people who look the right way in the right place and time in order for their performance to be recompensed as contemporary art. They also perform the exhaustion of this role, as if there is nowhere to go except this extremely social sphere, the seeming inverse or tethered twin of the prison, detention centre or psychiatric unit.


Expanding the Curriculum

Ranjana Thapalyal argues for the adoption of an interdisciplinary approach to teaching

Art school discourse, too, seems to have hoodwinked itself into thinking it has dealt with multiplicities and complexities in the student cohort by batting away the bogey-man of fixed truth, and declaring it to be unstable and contingent. Why then, in 2019, do we face renewed and quite rightly even more strident calls for ‘decolonising the curriculum’?


Fighting Fascism

Sarah Jury argues that art is one of the few remaining spaces in which cultural activism can make a difference

The most effective way for artists, educators, curators, writers, activists, museums and publications to fight fascism isn’t yet clear, but it is widely discussed. I bounce from being annoyed that there is so much discourse that it has become an industry in its own right, to being relieved that so many people are trying to do something.


Hal Fischer

Chris McCormack on the intersection of subcultures and the everyday in the work of the San Francisco-based artist

For one work, taken over 24 hours during a weekend, Fischer photographed a popular bus stop bench on 18th Street in San Francisco, just 75ft from the corner with Castro street, on the hour, every hour.



Judge Dredd

The alignment of art and activism is long standing, and over the years both have come under fire from the authorities. Perhaps less obvious, however, is the backing of the courts which, recently, have become more prominent in their defence of artists and activists.

How has it come to this? It is as if representative public bodies, from the government down, have been put on a permanent war footing against the citizens of this country who they are meant to protect.


Divest BP

The Scottish National Portrait Gallery drops the BP Portrait Award; Nan Goldin’s PAIN activists protest against Sackler funding at the V&A; the Roundhouse turns down £1m from the Sackler Trust; artists withdraw their works from high-profile exhibitions; plus the latest news on galleries, appointments, prizes and more.


Super Black

Open Your Eyes

Matthew Bowman

13BC: Fatal Act

Maeve Connolly

You Feel Me_

Laura Robertson

Vija Celmins: To Fix the Image in Memory

Michael Wilson

Sara MacKillop: Returns and Renewals

Peter Suchin

Edward Allington: Things Unsaid

David Briers

Michael E Smith

Mark Prince

Haroon Mirza: Waves and Forms

Adam Heardman

Ilona Sagar: Deep Structure

Lauren Velvick

Christodoulos Panayiotou: Act II – The Island

Paul Carey-Kent

Mikhail Karikis: For Many Voices

Elisabetta Fabrizi



Ron Athey: Acephalous Monster

Dominic Johnson

Ron Athey is no longer concerned precisely or exclusively with what he once termed his project to create ‘a perfectly depicted apocalypse’.



Futures of the Contemporary

Daniel Neofetou

For Peter Osborne, this results in ‘anti-capitalism without a post-capitalist imaginary – a series of abstract ideas (freedom, equality, communism) severed from historical meanings rooted in particular social relations’.



Anne Boyer: The Undying – A Meditation on Modern Illness

Elisa Adami

As Anne Boyer was pumped with highly-toxic medicine manufactured by extractive industries, her desire to survive clashed with her effort to ‘unravel survival’s ethics’.



15th Berwick Film & Media Arts Festival

Vera Mey

The Halt is a more digestible 283 minutes compared with Lav Diaz’s other films, which defy both cinema and the notion of film as something to be attentively and studiously sat through.



The Found Archive of Hani Jawherieh

Amna Malik

The sense of the exhibition conveying a meaning equivalent to a double negative comes about inevitably because of the diminished resources and platforms through which a Palestinian history can be seen.


Letter from Timisoara

Maria Walsh

My presupposition that there would be a connection between the biennale and the city’s regeneration, perhaps gentrification, was immediately confirmed on sighting the enormous apartment complex under development on the same boulevard as my hotel.


Letter from Rabat

Adam Hines-Green

Much was made in the opening speeches of the Biennale about freedom: the freedom of expression offered to the curator and the artists. Freedom of expression is an essential but not sufficient condition.


Blackpool Art B&B

Denise Courcoux

Art B&B has been driven by frustration at the lack of local opportunities to network and expand artistic practice; to paraphrase one of the Art B&B staff, they want to attract artists who wouldn’t ever come to Blackpool.


Ways of Working

Legal Drivers

Henry Lydiate

A key feature of Banksy’s practice is the marked absence of a signature/tag on all but his earliest publicly sited work. This has led to a recent legal challenge, which in turn has driven him to introduce a new way of working.
Quantity 1
Format Magazine
Month December 2019
Publication Art Monthly

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