Extending the possibilities of relation.
Not fit for human consumption.
A New York- and Cairo-based artist unpacks her understanding of heritage and how it can operate in contemporary art.
The ethics of curating as an ethics of care
Benjamin as hollow window dressing
Laura Morrison is an artist from London based in New York.
“Moving bodies generate this system. They create, supposedly, some justification to play this market out.”
With charmingly deadpan humor, Aki Sasamoto’s performances and installations tease out just how small human existence is; despite our more evolved intellect, advanced motor skills, and ability to read and appreciate Proust, we’re all basically rats at heart, just with the added bonus of self-reflection and a love for rosé.
Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.
Everywhere you look in the first room, there are little directives, tucked into the art, to text various numbers for answers. I did as bidden, but because I was listening to Fiona Apple’s “I Know” on repeat too loudly over my headphones, I couldn’t hear the answers, which emanated God-like from the walls, and so I only have this one-sided record for you, dear reader.
“Art, for me, comes out of life. It is the peak of life.”
“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”
When I walked through the doors of the Hionas Gallery to see Rebecca Smith’s exhibition, there was one white wall piece that seemed to hover in front of a white wall. It was nothing if not quietly but palpably breathtaking. It made the room feel complete; it beckoned me closer… and thrillingly, there was nothing to say!
Venezuelan-born artist Javier Téllez’s first exhibition at Koenig & Clinton took its title from his recent film To Have Done with the Judgment of God (2016) and concerns an experience that marked Antonin Artaud’s life in 1936: the author’s encounter with the Rarámuri community living in the Sierra Tarahumara in northwest Mexico.
“One actively is olived, one actively becomes a desired color, desired manufactured ethnicity.”
“A good part of our work is about giving materiality to things that aren’t visible.”
“It’s nice when you can make connections in hindsight. Your life feels like chaos and then you realize that there are patterns.”