| Description |
In this issue:
Karen Archey discusses the daily celebration of life and love in the work of Dorothy Iannone.
"For Iannone, it is precisely the subjective, biographical and narrative approach to her practice that continues to be so revelational. This modus operandi, so respectfully counter to the normal authoritative, self–aggrandizing and pseudo–cerebral voice that still dominates artistic discourse today, is also that which probab ly sidelined the artist for so many decades."
—Karen Archey
Ruairiadh O'Connell speaks with Darren Flook about waiting, honesty and hope in his artistic process.
Questionnaire
In anticipation of the coming academic year, we examine the current state of art education, asking the directors, presidents and coordinators of twelve major art schools across the globe to describe their vision for art education, particularly in terms of how their program establishes a balance between knowledge and know–how.
With contributions by: Bard College / Annandale–on–Hudson, NY, USA; Bezalel Academy of Art and Design / Jerusalem, Israel; CalArts / Valencia, CA, USA; Central Academy of Fine Arts / Beijing, China; Columbia University School of the Arts / New York, USA; École de Recherche Graphiq ue (ERG) / Brussels, Belgium; FAAP / São Paulo, Brazil; HEAD / Genève, Switzerland; Royal College of Arts / London, UK; Städelschule / Frankfurt am Main, Germany; Tokyo University of the Arts / Tokyo, Japan; Yale University / New Haven, CT, USA.
The New Uncanny
Gary Indiana talks to Lodovico Pignatti Morano about the difficulty of depicting our ugly reality.
"What interests me in life are the secret things. What I see as the whole process of the world now is the elimination of all that wonder and mystery of the unknown. Even writing — you'd read Joseph Conrad or any writer that you admired, and it let you look through a keyhole at something that was secret, that not everybody knew about."
—Gary Indiana
Maurizio Cattelan asks Francesco Vezzoli to see himself as if he was…
"If I were one of my works, I would be the next one. I am very detached from the works out there; and I kind of blame myself for being as such. For me there is only 'one work,' which is not necessarily a work of art, and it is my life. Therefore I can only project myself into the future, into the next project."
—Francesco Vezzoli
Edward Sanderson explore the disjointed, ritualistic and obsessive activities "taking place" in Fang Lu's videos.
Spotlight
Ettore Spalletti / MAXXI, Rome; GAM, Turin; MADRE, Naples by Michele D'Aurizio.
Art Biz
Paula Cooper / New York by Donatien Grau.
Brand New
Basim Magdy by Antonia Alampi.
Reviews
"Other Primary Structures" / Jewish Museum, New York; Sanya Kantarovsky / Casey Kaplan, New York; Virginia Overton / Museum of Contemporary Art, North Miami; "Little Messages for Modern Shut-Ins" / Aran Cravey, Los Angeles; Stanya Kahn / Susanne Vielmetter Projects, Los Angeles; "Postcodes: Soft" / Casa do Povo, São Paulo; "Play What's Not There" / Raven Row, London; "World Music" / Carlos Ishikawa, London; He An / Daniel Templon, Brussels; Pierre Klossowski / Isabella Bortolozzi, Berlin; Anne Imhof / Deborah Schamoni, Munich; Georgia Sagri / Kunsthalle Basel; Pierre Ardouvin and Przemek Matecki / Progress Gallery, Paris; Chen Zhen / Galerie Perrotin, Paris; Robert Overby / GAMeC, Bergamo; Charbel-joseph H. Boutros / Grey Noise, Dubai; Yang Fudong / ShangART, Shanghai; Ai Shinohara / Gallery MoMo, Tokyo. |