set/hørt
Berenice Abbott
Court of the First Model Tenements in New York City (ca. 1935-39).
“Their houses,” said Berenice Abbott, “tell much more about a people than their noses” (LIFE, 1938).
Jeu de Paume, Paris.
Museo del Prado
Jusepe de Ribera: The Bearded Woman (1631)
Francisco de Goya: Saturn devouring his son (1819-23)
Francisco de Goya: Dog half-submerged (1819-23)
Untitled (2009)
Mark Bradford
A Thursday on Upper Manhattan
Wallpainting of a Camel (Spanien, måske 1129-34). The Cloisters, New York.
The Unicorn in Captivity (Holland, ca. 1495-1505). The Cloisters, New York.
Diego Velázquez: Cardinal Pamphili (1650). The Hispanic Society of America, New York.
Lynette Yiadom-Boakye: Any Number of Preoccupations (2010), The Studio Museum in Harlem, New York.
Mark Bradford: Alphabet (2010). Studio Museum in Harlem, New York.
Tanea Richardson: He’s Actually Very Intelligent (2007). Studio Museum in Harlem, New York.
!?
Fia-Stina Sandlund: One More Monument (2007)
Juan Pérez Agirregoikoa: Reject Series (2007)
!? – En utställning om politisk retorik och dubbla budskap, Signal, Malmö, 29/10-12/12.
“We are now a step closer to the rest of Europe.” (Galleri Signal)
Lens flare
(Henriette Heise på Overgaden fra 12. november)
Dark Time
“And then those questions come up.
Like was the Constitution written in invisible ink?
Has everybody here forgotten how to think?
Is this big boat starting to think?
…
And you thought there were things that had disappeared forever.
Things from the Middle Ages.
Beheadings and hangings and people in cages.
And suddenly they were everywhere
And suddenly they’re alright”
(Laurie Anderson: Dark Time in the Revolution)
Max Hattler: Your Highness
“I don’t want to be negative, but I always find the whole thing rather strange. Soccer is one thing, but the World Cup is something else because it takes on even more of a mass dynamic. During the World Cup period in 2006, when Germany was the host country, I returned to Germany from England and was stunned to see everyone waving their German flags and all the newspapers reporting how great it was that Germans could now finally show their national pride again. This time around, it has become even worse – police cars sporting German flags, etc. I find it rather unpleasant.”
Max Hattler i Deutsche Welle
Laurie Anderson: The Crash
Laurie Anderson: Homeland
Jim Hodges
Jim Hodges: Slower Than This, 2001 (Camden Arts Centre)
Francis Alÿs: A Story of Deception
Ambulantes I and II Mexico City 1992-
Rehearsel I (El Ensayo) Tijuana, 1999-2001
Francis Alÿs: A Story of Deception (Tate Modern)
Whose map is it?
Emma Wolukau-Wanambwa: A continuing survey of syntactic parsing (detail) 2010
Alexandra Handal: Labyrinth of Remains and Migration (detail) 2000-01, 2010
Gayle Chong Kwan: Save the Last Dance for Me (detail), 2010
Esther Polak: NomadicMILK, 2008
Whose map is it? new mappings by artists (iniva, Rivington Place)
Emilia Kabakov: The Toilet in the Corner (2002)
Jan Svankmajer: Jabberwocky (1971)
The Surreal House (Barbican Centre)
Exposed
Jonathan Olley: Golf Five Zero watchtower (known to the British Army as ‘Borucki Sanger’), Crossmaglen Security Force Base, South Armagh 1999
Weegee (Arthur Fellig): Their First Murder October 9, 1941
Tate Modern: Exposed – Voyeurism, Surveillance & the Camera
Newspeak: British art now
Karla Black: Nothing is a must
Eugenie Scrase: Truncated trunk
Newspeak: British art now (Saatchi Gallery)
Tacita Dean: Craneway Event
Tacita Dean: Craneway Event (Frith Street Gallery)
“I filmed for four days—the first day it was raining and Merce just looked at the space. The next three days, the dancers came. There were pelicans everywhere, and the craneway was surrounded by glass. It was stunning light.”
Tacita Dean in Artforum
