“If I Ventured in the Slipstream”: Tamara Henderson’s Nomadic Encampment at REDCAT
If I ventured in the slipstream Between the viaducts of your dream Where immobile steel rims crack And the ditch in the back roads…
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An Allegory for an Absconded Modernity: Claudio Correa’s Brigantine Signals Chile’s Speculative Present
Physically light, Libertad, Igualdad, Fatalidad (2016) is not underweight on ambition or conceptual ballast. Its creator, Chilean artist Claudio Correa, installed a real-scale brigantine…
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Ways of Seeing John Berger, in Two Recent Documentaries
“It’s in hell where solidarity is important, not in heaven.” – John Berger, Seasons in Quincy Media veracity, it seems clear, has dissolved into…
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Isa Genzken Plays with the Artworld’s Insides in “I Love Michael Asher”
“And why is this dedicated to Michael Jackson?” journalist Randy Kennedy asked Isa Genzken last February as both sat on a stage at the…
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Sara Cwynar Prepares Herself to Turn
Sara Cwynar is just young enough to speak the mother-tongue of post-photography. Certainly her work assumes the dimensionality of an exploded medium and exercises…
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Acting Out: The Visibility of Blackness in the Work of Martine Syms
Hair flicks, flirtatious glances, side eye. Hands beckoning and clapping, a finger wagging in rebuke. Body language is highlighted in Borrowed Lady, an exhibition…
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Morbid Symptoms: In Search of the Post-Contemporary at the 2016 Montreal Biennial
In the aftermath of Donald Trump’s nauseating election victory, hard on the heels of this year’s earlier Brexit vote in the UK, it has…
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Weird Science: William Kentridge Deepens Time at Whitechapel
Normal science, wrote Thomas Kuhn, is the way most scientists spend their time: the quotidian task of theorizing, observing, experimenting – puzzle solving, in…
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Romancing the Stone: Three Berlin Exhibitions Commune with the Ancients
The past vexes us. Longing to feel connected to it, those with money tour the world’s ancient ruins searching antediluvian kin. Meanwhile in Eurocentric contemporary…
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A House Divided: Theaster Gates’s Confused Beat at the AGO
Touted as “a new immersive work,” Theaster Gates‘s first museum solo exhibition – self-knowingly titled How to Build a House Museum, and recently on show…
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