From Cinematic to Static: Isa Genzken’s 75/75 Retrospective in Berlin
Why is time rarely foregrounded in our experience of sculpture? Isa Genzken intends her works to function more like “moving images than as sculptures,…
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Fought Through Women’s Bodies: Mona Hatoum’s Early Performances
The first image is a close-up of a breathing, or perhaps pulsing, scarlet blob. Only when the camera zooms out do we see these…
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Claire Morgan’s “Dead Weight” in Paris
A pale woman clutches a dead fox to her bosom, her hold on its lifeless pelt somewhere between a cuddle and a throttle. Her…
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A Goodbye to Former Selves: Uncategorizing Sonja Ahlers
My favorite page in Rabbit-Hole, the latest bookwork by Sonja Ahlers, contains only one image and one line of text. The image is a…
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Christina Sharpe’s Perpetual Present
Free from an autobiographical or narrative format that would encourage an epic spun out from a punctum, Christina Sharpe’s newest book, Ordinary Notes, casts…
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We’re Alive, Pablo Is Dead
Pablo Picasso is so famous and so ubiquitous and so dead that he is easy not to think about at all. It’s as though…
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The Polyphonous Calls for Land (and Land Back) of Manuel Axel Strain
Among the works installed by Manuel Axel Strain in Unit 17’s florist turned gallery space were: A stolen white-picket fence hemmed in by a…
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A Clinic the Size of the World
And, like the world, a lunatic asylum is a mosaic of the passions. —An asylum doctor in the Sarthe, 1837 Upon discovering an illness,…
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An Alien Echo at the Gwangju Biennale
I arrived at the 14th Gwangju Biennale intrigued but skeptical about its goals. This year’s title is Soft and Weak Like Water, an aphorism…
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Between Language and Cure: Athena Papadopoulos at MOCA Toronto
The UK-based and Toronto-born Athena Papadopoulos created the sculptures for her recent exhibition at the Museum of Contemporary Art Toronto (MOCA), her first institutional…
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