Dreams Being Real: EDELO’s Frontline Resistance
Entering the main gallery at UC Santa Cruz’s Institute of the Arts and Sciences, visitors are confronted by a massive fallen tree made of…
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Intimacies Concealed and Performed: Katayoon Yousefbigloo and A Maior at Western Front
“A pendant hangs, an amulet works,” claims Fawn, a character in curator Kiel Torres’s script and accompanying text for the exhibition Wishing on My…
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As Flight or Escape: Ralph Lemon at MoMA PS1
Ralph Lemon has described choreography as “a daily event appropriate to uncontrolled circumstances.” If the traditional role of the choreographer is to determine the…
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A Very Real American Place: The Suburban Unconscious in Mike Kelley
The suburb of Westland, Michigan, where Mike Kelley grew up, may be one of the only cities in the US renamed after a mall….
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On Weather and the Archive: Sofía Gallisá Muriente and Tony Cruz Pabón
For five months I lived with open windows in a suburb of San Juan, air ventilating through my apartment on days of both intense…
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Ritual Maintenance: Edges and Encounters with Tina Girouard
Maintenance I: Role Change, 1970 I give myself a haircut using the video system as a mirror. It is completely private, no one in…
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“You Took, Took, Took”: Alanis Obomsawin’s Work is Never Finished
In 1969, the young Abenaki singer and activist Alanis Obomsawin, newly hired as a consultant at the National Film Board of Canada (NFB), took…
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The Wish in Yong Soon Min’s KISSSSS
“It is worth wondering, perhaps, what the wishes are in kissing,” Adam Phillips writes. In his readings of Freud, Phillips suggests that a kiss…
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Prescient About Still-Active Threats, Marisol Is Right on Time
Near the end of the definitive, long-overdue survey of the artist Marisol at the Buffalo AKG Art Museum, after a parade of totemic sculptural…
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Arenas of Freedom
“Time is more than a container; time participates.” —Susan Rethorst, A Choreographic Mind I often enter retrospectives with a certain girding of the…
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