Conceptual

Galeria Piwna 20/26 Emilia and Andrzej Dłużniewski 1980–1993 at Galeria Monopol

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Galeria Piwna 20/26 Emilia and Andrzej Dłużniewski 1980–1993 at Monopol provides a rare glimpse into the history of an influential apartment gallery that operated in Warsaw for thirteen years. From the imposition of Martial Law through the collapse of the Berlin Wall and beyond, the Dłużniewskis exhibited artworks by Polish and international post-conceptual artists. The retrospective exhibition at Monopol resonates with an uneasy timeliness: Given the prevailing political[…..]

Vicious Circles

Mounir Fatmi. Casablanca Circles, 2012 (detail); Print on baryte paper; 35 2/5 × 47 1/5 in. Courtesy the artist and a private collection.

From our friends at REORIENT, today we bring you “Vicious Circles.” In this piece, author Samannaz Kourang Pishdadi talks with Moroccan artist Mounir Fatmi about growing up in Tangier, the inspiration of the Beat movement, and his interdisciplinary career. Fatmi says of his work, “At the beginning, I think I was very naïve thinking my work could change things. Eventually, I realised that the most important [thing][…..]

Otobong Nkanga in Conversation with Clare Molloy at Kadist Paris

From our friends at Kadist Art Foundation in Paris, today we bring you a video of Clare Molloy in conversation with Nigerian artist Otobong Nkanga. They discuss Nkanga’s exhibition Comot Your Eyes Make I Borrow You Mine, which was on view from September 27 through December 20, 2015. Nkanga says, explaining the title, “In a way, traveling and going through all these places, I had only the eyes of others.” 

Tony Hope: TH+ at ASHES/ASHES

Tony Hope. Untitled (Hugh), 2015; installation view. Courtesy of the artist and ASHES/ASHES.

Obsessively attuned to the use of space, Tony Hope stages deceptively spare sculptural environments within the gallery of ASHES/ASHES in his first Los Angeles solo exhibition, TH+. The two installations, which are suggestive of one another in their polarity, speak to the larger context of the show as it pertains to the value of manufactured identity. Hope displays a deep understanding of the transience found within subcultural materials that do[…..]

Como fantasmas que vienen de las sombras… y en las sombras, se van at Espacio de Arte Contemporáneo

Jazael Olguín. Paisaje molar, 2015; black marker and three paintings. Courtesy of ESPAC.

Like with mazes and haunted houses, there’s a magnetic appeal in unraveling the mysteries that fictitious places offer. We enjoy undefined atmospheres where a strange comfort assures the encounter with the unknown and is met with the thrill of discovery. Because our sense of control struggles with the powerful forces of uncertainty, we are challenged by our own idea of self-representation, despite being aware that[…..]

Interview with Angelica Mesiti

Artist Angelica Mesiti.

From our friends at Guernica, today we present an interview with Australian video and performance artist Angelica Mesiti. Author Naomi Riddle notes, “In Mesiti’s work, verbal language is decidedly absent. The artist is preoccupied with actions and movement—with the communicative potential of sound and the body, the significance of an upturned hand.” This article was originally published on November 2, 2015. I stood watching Australian artist[…..]

Jennifer Moon, Jemima Wyman, and Robby Herbst at Commonwealth & Council

Jennifer Moon. 3CE: A Relational Love Odyssey, 2015; HD Video (TRT: 11:15); edition of 3 + 1 AP. Courtesy the artist and Commonwealth & Council, Los Angeles.

As contemporary art seems to be increasingly the province of the 1%, with continual record-breaking auctions, it may be difficult to appreciate the revolutionary origins of modernism. Early 20th-century art movements like Constructivism, Futurism, and Dada sought an aesthetic, social, and political break with the past, often with utopian goals for the future. A trio of solo shows at Commonwealth & Council aim to reinvigorate[…..]