The malleable biographies of cultural objects.
The Thingliness of Things at the Hammer Museum.
Claire Fontaine lives in Paris. Her “assistants” are Fulvia Carnevale and James Thornhill, an Italian-British artist duo.
For over 20 years Christian Marclay has been creating works that explore the intersection of the aural and the visual, reflecting on the nature of how sound and image are related.
Most urban dwellers live within their own limit politics—a linked network of socially and economically circumscribed spaces.
When a jigsaw puzzle is first spilled from its box there is the chaos of hundreds, sometimes even thousands of individual parts—some so tiny they reveal themselves only as a dollop of color, a ripple of cloth or the tooth of a smile—which, after much effort, the trials and errors of fitting and not fitting, are made into a whole.
José Antonio Hernandez-Diez poses an inversion of the ordinary, an inversion that makes the viewer complicit in the humor that constructs his artwork.
Cildo Meireles’s work offers an intensive multisensorial experience that challenges our most fundamental notions of what art can be.
The triumphant return of Duchamp’s “readymade” in the 1960s and its acceptance as a form of art making in the 1980s, is thought of as marking the final phase in the conceptualization of art
Michael Bidlo shares his relation to the “masters” as a copyist of the Modernist canon and at times looses himself in the process, not sure even of his own voice or thoughts at times.
“The Church was a very sick place. The Church that I knew was an extremely hypocritical institution. That might be where I got my initial inspiration of perversity, growing up within the Catholic Church.”
Portfolio curated by Olivier Mosset.
Two ’80s works by Jeff Koons: New Hoover Convertibles, Shelton Wet/Dry Doubledeckerand Two Ball Total Equilibrium Tank.