The Aesthetic Dimension of Erasure: Voluspa Jarpa on Twenty Years of Recovering Trauma
When my Skype interview with Voluspa Jarpa begins, her face is sandwiched between two huge lips like a Tour de France winner being pecked…
Read MoreJuan Jose Santos
Dora García Has Many Names: The Artist on Three Works Across a Pandemic
It’s become such a common sight, these past seasons, to visit someone over Skype and watch their form swim into view before a bookshelf….
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Behind the Curtain: Beatriz González’s Political-Decorative Art
A familiar scene: two dandies basking in a casual lunch on the grass, immersed in delightful parlay, accompanied by a completely naked woman in…
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Freeing Latin American Art from Eurocentric Curating
A dense black explosion looms, static in the museum’s center. Nuclear Fungus (2007), by Argentinean artist León Ferrari, sculpturally simulates the smoke caused by…
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The Strangeness of the Everyday: Skulptur Projekte Münster’s Deep Grey
Not an auspicious start. I stood under the regularly irregular German rain in front of one of Skulptur Projekte’s posters, annoyed by what might…
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Forcing the Fortuitous: Tacita Dean Searches for Luck
Nothing is more frightening than not knowing where you’re going, but then again nothing can be more satisfying than finding you’ve arrived somewhere without…
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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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While the World Burns: The 32nd São Paulo Biennial’s Political Disregard
For the first time in the history of the São Paulo Biennial, the turnstiles disappeared. Attendees carried no tickets and sported no bracelets. The…
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Understanding Lina Bo Bardi’s Unending Popularity (and Misuse)
Imagine the ghost of Lina Bo Bardi banging the ceiling with a broomstick to annoy whomever’s making a ruckus upstairs. Now imagine it’s not…
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Embracing the Sāo Paulo Biennial’s Acute Uncertainty
1951. “I don’t look back. I don’t want to know. I only think about the future, and I know that it’s certain.” These words…
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