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Dhaka Art Summit, “বন্যা/Bonna”

Pallavi Surana

Cartoon inspiration from a literal translation of Bonna—the Bangla word for alluvion and a mutual girls’ name—this sixth edition of the Dhaka Art Elevation looked at the social and ecological impact of climatic change in Bangladesh. Under the direction of Diana Campbell (the curator’due south 5th edition), this theme is channeled through the imagination and playfulness of the eponymous fictional child as she grows upwardly in an environs nether threat. Of the many dichotomies that this edition sought to claiming across its 9 days—disaster and regeneration, natural and built environments, binary gender norms—the most noticeable friction was between criticality and approachability. Campbell has insisted that she sees this enquiry and exhibition platform as closer to a music festival than a biennale, noting that the previous iteration attracted half a million visitors. This endeavour to navigate between the expectations of a visiting international audience professionally engaged in the art earth and the desire to appeal to a large local audience resulted—across more than 120 artists, over half of them showing new commissions—in a curatorial impulse to foreground work deemed approachable and entertaining. Scattered through the principal venue of the Shilpakala University were large-scale, colorful, eye-catching works. Bhasha Chakrabarti’s
Tender Transgressions

Beatrice Gibson’s “Dream Gossip”

Juliet Jacques

Beatrice Gibson’s start solo exhibition in Italy takes its title from Alice Notley’south column in the self-published 1990s New York zine
Scarlet. In the column, Notley invited readers to transcribe their dreams, printing them alongside articles, poesy, and editorials about the AIDS crisis and the Gulf State of war, sharing with the Surrealists a feeling that dreams were both aesthetically striking and politically potent. Gibson’s response to Notley’southward work includes three films. Ordet’south main space is dominated past the newest,
Dreaming Alcestis
(2022), in which Euripides’ heroine inspires a portrayal of the procedure of dreaming, and how external stimuli, experienced past day or dark, shape the unconscious imagination. In
Dear Barbara, Bette, Nina—a four-minute work fabricated in Palermo in 2020 and presented on a small monitor, with headphones, to one side of the room—Gibson reads from a phone a alphabetic character to three older women filmmakers over a shot of her hands at rest.
Deux Sœurs Qui Ne Sont Pas Sœurs
[Two Sisters Who Are Not Sisters] (2019),
loosely adjusted from a Gertrude Stein screenplay written in 1929, is shown on a large screen in its own room. It provides a collective portrait of Gibson’s influences, friends, and collaborators—including Notley herself—in a time …

Sharjah Biennial fifteen, “Thinking Historically in the Present”

Ben Eastham

On her get-go visit to Africa in the early 1970s, Angela Davis was surprised to find her speeches interrupted by dancing. Being pulled from the lectern whenever an idea moved her audience showed the philosopher and activist, she tells filmmaker Manthia Diawara in a work deputed for the fifteenth edition of the Sharjah Biennial, how damaging is the western separation of intellectual speculation from embodied activity. She proposes art as the form through which these two expressions of man freedom are reconciled. How it might exercise so is the question that haunts this sprawling exhibition of over 150 artists “conceived” by the late Okwui Enwezor and curated by Hoor Al Qasimi. The difficulty is encapsulated by Diawara’s
Angela Davis: A Earth of Greater Freedom
(2023), which joins incendiary footage of Nina Simone singing “Mississippi Goddam” (1964) to Davis’s testament that the song did more than to mobilize resistance than a thousand books. Simone’s functioning leaves no room to doubt it, but the black box in which the film is screened leaves no space in which to trip the light fantastic information technology. Similarly, Bouchra Khalili’s
The Circle
(2023) combines accounts of the campaigns by which French-Arab workers asserted their rights in the early on 1970s with …

Gordon Matta-Clark and Pope.L’southward “Impossible Failures”

Katherine C. Thou. Adams

Gordon Matta-Clark’due south film
Bingo X Ninths
(1974), which features a precise dismantling of all but the core of an abased house, has been projected at large calibration along the start wall of 52 Walker. The door to the exhibition space intersects the projection, such that gallery visitors irrupt onto the image every bit they enter and exit. A perfectly circular hole, cut straight through the same gallery wall, also interferes with the clean transmission of the motion picture. A layer of grit from this incision lines the gallery floor. Information technology’s tempting to view such strategies equally a literal cocky-reflexivity built into the gallery pattern: Matta-Clark’s canonical building cuts alluvion onto the gallery’due south walls, making their marking on the nowadays architectural space. Even so the pairing of Matta-Clark and Pope.L for “Incommunicable Failures” performs a different role, complicating Matta-Clark’s do on a more central plane. Here, Matta-Clark appears to piece of work vertically, in the air, through various forms of concrete intermission, while Pope.L works laterally, low-to-the-ground, worm-like. Drawings by Matta-Clark with subjects such equally
Loftier Rising Excavation Diving Tower
(1974) prove lofty engineering schemes that seem to resist the pull of gravity. The artist’s 3 exhibited films all emphasize, to varying degrees, aerial vantage points …

Transmediale, “a model, a map, a fiction”

Orit Gat

“Alexa, I used to bark at you, now I say please and give thanks you.” This is creative person duo !Mediengruppe Bitnik describing their work
(2018), featuring music written for the virtual assistant. It begins every bit a love song between user and device, so gradually gets darker. They discuss the work during a panel about the “Digital Middleman” with artists Farzin Lofti-Jam and Simone C Niquille, moderated by Silvio Lorusso, as part of the five-day Transmediale festival at the Akademie der Künste, which is complemented by exhibitions at the AdK, as well equally a citywide public art project, “Out of Scale.” The Digital Middleman panel, its participants explain, developed during training from a larger discussion of our relationships to the platforms and corporations that shape our digital lives to a conversation about how companies like Google and Apple tree have come up into our homes. Transmediale, the veteran arts festival begun in the tardily 1990s (with precursors dating dorsum to the ’80s), has grown from a focus on the relationship betwixt art and engineering science to a reflection on how our interactions with technology are now conditioned by its developments. Many of the works on view and panels in the festival considered advancements in, …

Luis Camnitzer’due south “Arbitrary Order”

Paul Stephens

Luis Camnitzer’south
A to Cosmopolite
is a marvel of precisely executed conceptual art—or as Camnitzer might prefer, “contextual art” (a term he has advocated since the 1960s). Writing through a 1972 Webster’southward unabridged English language dictionary, Camnitzer covers the gallery walls in prints that match each definition to a screenshot of the first search result from Google Maps that corresponds to it. The title of the exhibition is something of an oxymoron: by combining two classification systems, the cartographic and the lexicographic, Camnitzer reveals a myriad of cultural and political interconnections. The search results in
A to Cosmopolite
are proximate to Camnitzer’due south own location in Groovy Neck, New York, thus making the project personal also equally global. Someone in Camnitzer’due south digital orbit named their corporation “Aleatoric Media, LLC,” and that entry, like many others, stuck out to me equally a viewer. I institute the best way to explore the work was to read, in alphabetical order, every crimson location name—which took approximately an hour. When a proper noun intrigued me, I consulted the corresponding definition and took a photo with my phone—reincorporating the physical work on the wall into my own personal datasphere. This work is, importantly, a remediation of …

Reinhard Mucha’s “Der Mucha—An Initial Suspicion”

Kirsty Bell

For the last four decades, Reinhard Mucha has been making sculptures and installations that speak in the tongue of bureaucratic systems and engage a distinct object vocabulary. In that location are standardized furnishings of museum display and archiving (dark forest frames, felt linings, plate drinking glass) but besides behind-the-scenes elements of technical installation and found materials from the past. Elaborate wall-based sculptures are function display-instance, part carefully crafted autonomous construction, revealing their workmanship with cross-section views. Rooms built within rooms provide actress spatial frames. There is something fetishistic in Mucha’s reverence for these textures and his compulsive collecting and archiving of materials and documents, just his works pointedly question whether
to show is equal to
how. These tendencies unfold to the full in this ii-venue retrospective—the 72-year-old creative person’s showtime—in his hometown of Düsseldorf. A single large hall on the footing floor of K20 brings together several meaning installations, the centerpiece of which is
Das Figur-Grund Trouble in der Architektur des Barock (für dich allein bleibt nur das Grab)
[The Figure-Basis Trouble in Baroque Architecture (for you solitary is but the grave)]
(1985/2022). This virtuosic construction conjures
a Ferris bicycle and “wall of expiry” from shiny aluminum ladders, office chairs and tables, trussed …

“Exist/RESIST – Works by Didier Fiúza Faustino: 1995–2022”

Nick Axel

Along their descent down the ramp into the MAAT’s ovular, fundamental exhibition infinite, visitors encounter a series of athwart, austere, and imposing structures that are formally reminiscent of armed forces architectures. Like medieval castle walls, with embrasures mediating the simultaneous necessity to look out while not letting anything in, gaps between the structures obstruct and frame views into a brightly illuminated, enfilade-similar space. The perceptual logic of concealment and revelation is carried further by a series of circular cuts made to the structures’ inward-facing walls that confess their hollowness while presenting a panoply of material from the architect/artist’s dynamic, evolving, and multifarious practice. Over the virtually thirty years covered by this mid-career retrospective, Faustino has worked with buildings, installations, furniture, prosthetics, video, photography, speculative design, performance, and more to face up and transform the normative limits of compages and the trunk, which, as his work proves, inextricably condition i some other. This is evident in
(2003), which creates a literal hole in a wall the size of a single body, and
Domicile Adjust Domicile
(2013), which refashions strong carpeting into a garment for the trunk. Simply it is perhaps best demonstrated by the scale model of
One Square Meter Firm
(2001–06), a …

Walter De Maria’s “Boxes for Meaningless Work”

Valentin Diaconov

The Walter De Maria exhibition at the Menil has everything: guns (HARD CORE, a movie from 1969, shows Michael Heizer and an actor dueling in the desert), swearing (“Colour, Size, Shape, Shit” is number 25 on the listing of
One Hundred Activities, a score work from 1961), and even the faint possibility of a romantic run across in the form of a pinkish mattress and a pair of headphones playing seductive and relaxing field recordings of the Atlantic’due south steady breath (Ocean Bed, 1969). “Boxes for Meaningless Work” does not, of course, contain De Maria’southward almost iconic pieces—The Lightning Field
New York Globe Room
(both 1977). But the testify is rich enough to serve as a solemn reminder of what passed as artistic expression in the golden years of American Imperialism, when it was still possible for Minimalists to repackage the formal purity that had denoted universal social progress for Russians and Germans in the 1920s. It is interesting to look at the sea alter in relationships between the advanced and infrastructure over this menstruum. If the Soviet artist would overreach towards a ideal platonic of a sexless, classless, and ageless lodge, an approach best exemplified past El Lissitzky’s
About Two

“Tangled Hierarchy 2”

Ben Eastham

At the heart of this group exhibition curated by Jitish Kallat are reproductions of the five envelopes on which Mahatma Gandhi, nether a vow of silence, wrote messages to Lord Mountbatten on the eve of the Partition of Bharat. The first of his scribbled responses to the concluding Viceroy of British India reads: “I am sorry / I cannot speak.” The phrase introduces some of the paradoxes that animate this brilliantly executed show about an historical trauma that continues decades afterwards to be felt: silence as protestation, mourning as activity, absence as presence. The show opens in violence. Visitors to an exhibition ranged over two floors of a warehouse space in the backstreets of Fort Kochi are greeted by Zarina’s
(2013), a woodcut print which renders the Sectionalization line as a white chasm running like a wound through a blackness page, Mona Hatoum’s continuing world
Hot Spot (Stand)
(2018), its state masses marked out in burning electrical filaments that cast the room in threatening red lite, and the sound of bombs dropping, the source of which is Mykola Ridnyi’due south
(2008). Shot in the wake of Russia’southward invasion of Georgia in 2008, the short film syncs the dissonance with …

Source: https://www.e-flux.com/criticism/?ct[]=Reviews

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