Over the past decade, sculpture as a medium has undergone considerable stress and reappraisal. It has been hybridized into increasingly installational (in tandem with set design and display) and performative forms. In this regard, we have noted that artists using sculpture as their primary medium today—from Aria Dean to Mimosa Echard to Anne Imhof—are predominantly female. We have also noticed greater attention being paid to sculpture in the context of fashion, the work of Craig Green and the designer duo Ottolinger among recent examples.
An investigation of new forms of sculpture in this latest issue was almost unavoidable. The aesthetics of these sculptures are largely incorporated into our daily lives. Think of the great contemporary art museums of Europe: Kunsthaus Bregenz, Kunstmuseum Basel, Martin-Gropius-Bau. The Bauhaus is everywhere. It has been the indelible sculptural sensibility of artists who revolutionized contemporary sculpture—such as Klara Liden, Nora Schultz, and Isa Genzken—who have brought a kind of positive-negative balance to these spaces.
In her essay on Isa Genzken, Chiara Mannarino states: “In the mid-1970s, sculpture was still a largely under-engaged medium in Germany, and women sculptors were nowhere to be found.” Since the beginning of her practice some fifty years ago, Isa Genzken’s work has encapsulated the subject matter, material, and cultural climate of our era. The title of this issue, “F*CK THE BAUHAUS (NEW SCULPTURE),” is a tribute to the German artist, and refers to her sculpture series “F*ck the Bauhaus (New Buildings for New York)” from the early 2000s, when Genzken transitioned from concrete and industrial materials into handmade assemblage.
Genzken’s work is featured as one of the covers of this issue, along with that of Isabelle Albuquerque, whose practice is considered through the lens of transhuman desire by Estelle Hoy. This whole issue investigates new forms of sculpture-making: Mimosa Echard’s biological complexity is analyzed by Pascale Krief; Valerie Werder reflects upon Aria Dean’s computer-assisted renderings; Cole Lu’s mythological world-building is unpacked in conversation with Thora Siemsen; Isabelle Andriessen talks with Natasha Hoare about the agency of materials; Bri Williams and Margaret Kross think about psychic redemption; Gioia Dal Molin writes about the nautical apparitions of Dominique White; and Jordan Strafer’s visceral yet droll reenactments of trauma are discussed with Marie de Brugerolle.
This issue’s installment of Critic Dispatch is an exhilarating and detailed reflection on the post-ironic figure of the femtroll, written by Mikkel Rosengaard. In Letter from the City, Ketuta Alexi-Meskhishvili shares a meditation on insomnia, empathy, and what it meant to be an artist in the 1990s. SEMIOFUCK, our column dedicated to merging hybrid spatial practices by Armature Globale, echoes the film Trainspotting as a means of introducing a conversation about Northern aesthetics. A new column, Unpack Reveal Unleash, intends to keep an eye on emerging artists. This time it is K.R.M. Mooney by Alex Bennett.
You will also find a new graphic touch throughout the magazine, courtesy of designer Alessio Avventuroso of Flash Art Studios.
Reviews
Gordon Matta-Clark & Pope.L Impossible Failures 52 Walker, New York by Nina Mdivani / Alfatih Day in the Life Swiss Institute, New York by Colin Edgington / Roberto Cuoghi, Fridericianum, Kassel by Philipp Hindahl / Carolyn Lazard Long Take Nottingham Contemporary by Phoebe Cripps / June Crespo They Saw their House Turn Into Fields Museo CA2M, Madrid by Joaquín Jesús Sánchez / LuYang Vibratory Field Kunsthalle Basel by Sebastjan Brank / Chrysalis: The Butterfly Dream Centre d’Art Contemporain, Genève by Eleonora Milani
The issue will be available at Miart, Milan; ArtParis; ArtBrussels; Gallery Weekend Berlin; Art Basel Hong Kong.
