#Hashtags: Viral Thoughts on Politics, Arts, and Culture #Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts. Please send queries and/or ideas for future to hashtags@dailyserving.com. “Cameras are the antidote and the disease, a means of appropriating reality and of making it obsolete.” – Susan Sontag In her 1977 essay, “The Image-World,” Susan[…..]
When Edward Kienholz died of a heart attack aged 65 in 1996, his burial arrangement could have been one of his own installations: his embalmed body was stuck into the front seat of an old brown Packard coupe; he drove off into the good night with a dollar and a deck of cards in his pocket, accompanied by the ashes of his dog in the[…..]
I can’t remember exactly how I found the website of Whitney Lynn—one of those following links of links things—but as soon as I saw images of her sculptures of pillow fort/military bunkers I knew I wanted to talk with her. Luckily for me, she was about to install a solo show at Steven Wolf Fine Arts in San Francisco. I went over to the gallery[…..]
Comprising only a large installation at the Schirn Kunsthalle, Gabríela Friðriksdóttir’s Crepusculum – Latin for “twilight” or “dusk” – is a mixed-media, polyphonic, physical exploration of metaphysical structures that govern the human psyche, and speculates that an enigmatic and irrational system of signs, meanings and forms counterbalances the deceptively ordered exteriors of our existence. Above all, it is an experiential and tactile show that prioritises[…..]
Grasping the nebulous zone of art and politics can be arduous at best. The curatorial project of Agitated Histories attempts to do just that by compartmentalizing the political narrative. The Re-enactment, The Archive, The Persona, and The Intervention give some scaffolding from which the viewer can approach the work. The artists in this exhibition engage with the political, the social, and the personal through formal[…..]
In a recent BBC documentary on J Dilla, the deceased beatmaker’s family and fellow industry folk recount the seminal producer’s style, marked most notably by a counter-quantizing of his drum machine: a drunken mechanization, a meeting point of analog practices (the mythic process of searching through crates of records) and digitization that concurrently sounded ill-programmed (off-beat), yet intentional and on-point. This is man-made modernism, in[…..]
Monika Fryčová’s show Perpetuum Mobile at the Kling og Bang Gallery propositions that the relationship between the visible and invisible is constantly in motion and ephemeral. Locked behind the socialist borders in then-Czechoslovakia, stories of local culture were the only narratives that Fryčová heard. Like many artists who were restless for new physical activity and renewed visions after the fall of the Iron Curtain, Fryčová[…..]
