Rigorous Research

On Intuition and Affinity: Timeless Aspects of Modern Art and the “Ahistorical” Exhibition

Pavel Pyś
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Juxtaposing artworks and artifacts has become something of a recurrent tendency—even a trend. In 2013, for instance, the 55th Venice Biennale, curated by Massimiliano Gioni and titled The Encyclopedic Palace, opened not with art but with an architectural model by Marino Auriti; elsewhere visitors found the mineral collection of the French intellectual Roger Caillois and Ca...

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Curator's Favorites

New Spring

Carol Yinghua Lu
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New Spring Painting Exhibition (Xinchun huazhan) was not a show I saw in person. And there is not much visual record of it, as far as I know; those directly involved seem not to have produced any photographic documentation. Furthermore, in historical narratives of contemporary art in China, it is usually only mentioned in passing, ...

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Rear Mirror

Complicit

Laura Hoptman
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For some artists, a solo, survey, or retrospective exhibition at a major museum is cause for celebration. For others it’s torturous: a psychically painful exposure to a potentially judgmental, indifferent, or even hostile public. Or, maybe worse, a misrepresentation by the very institution that claims to honor them. Many artists who made their reputations th...

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Assessments

32nd São Paulo Biennial: Declining Assertions

Fernanda Brenner
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Writing about the 32nd Bienal de São Paulo just over six months after its opening has reaffirmed its relevance. In September 2016, when the exhibition was launched, Trump was still an unlikely possibility. In Brazil, reactionary President Michel Temer had just taken office following a parliamentary maneuver that ousted elected President Dilma Rousseff. All of t...

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32nd São Paulo Biennial: Of Use and Memory

Oliver Basciano
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When teaching art criticism, I don’t forget the basics: take notes, and write your thoughts up as soon as possible. So hopefully no future students will read this: a review written months after the fact and without the scribbles that normally serve as guidance. While I am loath to set a bad example for my...

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32nd São Paulo Biennial: Open Plan

Maria do Carmo M. P. de Pontes
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Uncertainties are as alive in the present as they have been in nearly every other moment in the past. Their names sometimes change, while the threat of a disaster endures, and is at times fulfilled. The uneasiness that characterizes the contemporary world has been familiar to many generations before us, and the suspicion that we ...

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Dialogue and Discourse

Exhibition as Image: Art through the Camera’s Eye

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The following conversation took place on August 2, 2017, at Ludlow 38 in New York. The participants were Josephine Graf, a writer and curator based in New York, and Piper Marshall, an independent curator and Editor-at-Large of The Exhibitionist. They met on a humid late summer evening to discuss Exhibition as Image: Art through the Camera’s Eye, an...

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The Restless Earth

Barbara Casavecchia and Vincenzo Latronico
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The following discussion took place on July 19, 2017, at the exhibition La Terra Inquieta (The Restless Earth) at the Triennale di Milan. The participants were Barbara Casavecchia, a writer and independent curator based in Milan (where she teaches at Brera Academy), and Vincenzo Latronico, a writer and translator based in Milan. A contributing editor at Frieze, ...

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One Man Anti Show

Kate Sutton, Nataša Ilić, and Sabina Sabolović
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The following walk-through took place on Tuesday, January 24, at the exhibition Július Koller. One Man Anti Show at mumok, Vienna. The participants were Kate Sutton, a writer based in Zagreb, and Nataša Ilić and Sabina Sabolović, two members of the curatorial collective What, How and for Whom? / WHW, based in Berlin and Zagreb, resp...

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