VSVSVS at Mercer Union: A White-Cube Compromise
The frisky Toronto collective VSVSVS – a collective of emerging artists, most of whom are connected to Guelph University, and many of whom share…
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Ydessa Hendeles: Of Ourselves and of Our Subjects
There is a fine line between being an object and a person. And it’s hard to know when it’s been traversed. The difficulty lies…
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Labor Lost: Okwui Enwezor’s Artworld Biennale
Consuming visual art is conspicuously, if oddly, social. You are inherently distracted, aware of watching and being watched, even, perhaps especially, in the darkened…
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A Future Never Sought: Okwui Enwezor’s 56th Venice Biennale
Swimming for his life, a man does not see much of the country through which the river winds. – W. E. Gladstone’s diary, 1868…
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Trenton Doyle Hancock Moves to Mythos at Sarasota’s Ringling Museum
The context of Trenton Doyle Hancock’s past exhibitions weighs heavily on his present. With Hancock’s epic fiction circling the creatures known as Mounds, each successive…
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A Pixelating Voice: Reading Sophia Al-Maria’s “Sisters” at the New Museum Triennial
Any visitor to the New Museum Triennial is subject to the burden of information. There’s no ignoring the walls when the walls sprout obstacles…
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Taking On “The Gaze,” and Doing Away With it, Too: Warsaw’s Elsner and Rogalski
Whenever I am asked to fill out a form that requires a description of my eye color, I have to get up, find a…
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“Feast”: Xiao Guo Hui’s Divine Tragedy
There are few films that could be said to have led to their director’s deaths; Pier Paolo Pasolini’s Salò, or The 120 Days of…
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The Troubling Thrill of Invernomuto’s Counter-Ritual
Invernomuto is an Italian duo who bring an uneasy postcolonial funk to contemporary art, somehow managing to capture the over-the-top brio of, say, dub…
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Valérie Blass Is Both Accessible and Locked-Up in “My Life”
In the movies, we are accustomed to watching the main character navigate the edges of a party, fall into a moment of introspection, receding…
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