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

Radical Women: Making Room

Ionit Behar
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Part of a massive Getty-sponsored initiative focused on Latin American and Latino art in dialogue with Los Angeles, Radical Women: Latin American Art, 1960–1985 offers an experience both enriching and traumatic. Organized by the Hammer Museum with guest curators Cecilia Fajardo-Hill and Andrea Giunta, the exhibition takes as its baseline the systematic exclusion of its 120 artists fr...

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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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Dialogue and Discourse

Hangar for the Passerby

Natasha Ginwala and Rosalyn D'Mello
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The following discussion was conducted over a series of conversations in September 2017 around the exhibition Hangar for the Passerby at Kiran Nadar Museum of Art (KNMA), Noida, India. The interlocutors were Natasha Ginwala, an independent curator and writer, and Rosalyn D’Mello, a writer based in New Delhi. This large-scale and elaborately researched exhibition curated by...

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Re-contextualizing the Art Fair: Part Four

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The Exhibitionist is partnering with the Artissima art fair for the 2017 iteration of Artissima Live, which invites international publications to be in residence during the course of the fair, to publish about the art, programs, and events taking place over the course of four days in the city of Turin, Italy. Alongside the editors of ...

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Re-contextualizing the Art Fair: Part Three

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The Exhibitionist is partnering with the Artissima art fair for the 2017 iteration of Artissima Live, which invites international publications to be in residence during the course of the fair, to publish about the art, programs, and events taking place over the course of four days in the city of Turin, Italy. Alongside the editors of ...

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