April–May 2013
Artist and filmmaker James Benning talks with writer Bruce Jenkins about his work—which filters observations of the natural world through a conceptual lens—his gallery-based installations and the critical reception of his work.
Interest has burgeoned in the art world regarding time-based media and practices, also as a growing presence in museums and galleries. Filipa Ramos discusses this turn with Erika Balsom, Maeve Connolly and Chrissie Iles.
Ute Meta Bauer and Fender Schrade visited artist, educator and co-founder of Group Zero Otto Piene to talk about his appreciation for light, energy and sound.
To a great extent the history of contemporary art is being written by Conceptual Art. Caitlin Jones looks beyond this mainstream toward the histories of photography, film, video and the Internet, which exert significant influence on the art of our time.
Their respective practices—the provocative and deceptive videos of Alex Bag and the subtly disquieting animations of Jordan Wolfson—are part of the artists’ conversation about their life experience in the art world.
Isabelle Graw provides an exegesis of the various types of artistic conversation, glimpsing the politics concealed behind each species of dialogic exchange between interviewer and artist.
São Paulo-based Adriano Pedrosa talks to curators Joselina Cruz, in Manila, Bisi Silva, in Lagos, and José Roca, in Bogotá, about the challenges of working at the margins.
Nari Ward has been investigating the poetic potential of discarded materials and objects. Anna Daneri spoke with him about conjuring up paths of awareness and human responsibility.
Bringing intersecting approaches from choreography, visual art, filmmaking, theater and political organizing, Trajal Harrell, Ralph Lemon, Steffani Jemison, Okwui Okpokwasili and Wu Tsang reflect a variety of multidisciplinary perspectives in contemporary conceptual art. They discuss play, danger, voguing, interiority, uncertainty and more with Thomas J. Lax.
Judith Hopf converses with Lena Henke about her recent show FIRST FACES, where she has made extensive use of tar, and the reasons she spends time in “third places,” between public and private, to get inspiration.
NICE TO MEET YOU: Mathieu Malouf weaves a conversation with Liam Gillick on the art world and his own use of fungi as art material; Alex Ross investigates the meaning of the many curves on display in Eloise Hawser‘s solo show Haus der Braut; Jacob Fabricius analyzes the work of David Horvitz, who manages to worm his way into the Web as well as venture into the most palpitating realities.
By contrasting the early 15th-century printed gothic letters by Master E. S. with Wade Guyton’s contemporary printer paintings, Linda Mai Green demonstrates how reproducibility opens, and closes, doors to self-expression.
Jens Hoffmann addresses the trend of event-based programming in modern and contemporary art museums in a conversation with Ann Temkin and Jessica Morgan.
BERLIN: Pauline Boudry and Renate Lorenz spoke to Anne-Sophie Dinant about their projects, from the making of “filmed performances” to their installations using 16mm film, photography and props.
LONDON: Olivia Plender and Patrick Staff discuss the projects they have worked on together since 2010, and the techniques they have borrowed from theatre, dance, anthropology and activism to build a methodology for collaborative work.
NEW YORK: A fourth-generation musician, artist Sergei Tcherepnin knows all about the power of music to entrance. He speaks to Simon Castets about his latest project and the many encounters that have led to its final multiple form.
LOS ANGELES: In 1968 Robert Kinmont photographed his favorite dirt roads. Andrew Berardini walks back down the dusty paths of this atypical artist who made Land Art lighter to dance on the borderline of the Conceptual.
Certain tasks just can’t be delegated. Sleeping is one of them. For Jennifer Allen this fact becomes an opportunity for thorough reflection on life-as-work, and the troubling fusion in progress in capitalism.
Peter Wächtler‘s interview with Jamie Stevens investigates the artist’s authorial pursuit of storytelling or filmmaking, with equal doses of delusional fantasy and quotidian neurosis.
Ana Teixeira Pinto explains why immaterial work has neither displaced nor outflanked traditional labor.
Ed Atkins and Elizabeth Price delve into an analysis of pop music. The music’s ability to promise escape, engaging bodies in dancing, is connected with the attempts of the two artists to make works that grapple with reality.
Adam Szymczyk analyses Piotr Uklanski‘s recent revisitation of the Polish avant-garde as an allegory and a tribute to the conflicted but also rich and fascinating art scene of that period in Poland.
