Liam Gillick
Florence Bonnefous: What is your name? Liam Gillick: When I was growing up in the North London suburbs it was the…
Features
Robert Irwin
Robin Clark: Let’s start by talking about a critical shift in your work, a transition from the gestural, textured paintings that…
Liquid Hells
German artist Anne Imhof recently staged a series of performances entitled School of the Seven Bells (SOTSB) at Portikus in…
Once We Were Human
There are no words on Xen. Occasionally, there’s an utterance, a fractured kind of cocky holler in its title track,…
Communication is the Enemy
Maurizio Cattelan: Are you comfortable making videos that are pretty borderline, morally? Neïl Beloufa: I create representations of the world,…
The Awakening of the Individual
He Jing: Let’s set aside for now the question of whether your works are “abstract.” Something people find interesting in…
Allan Sekula
& Bruno Serralongue
Documentary photography and video have played a significant role in the evolution of global contemporary art, opening a new dimension…
Mladen Stilinovič
When I started making artworks about work, like Work is Disease (Karl Marx) (1981), in Yugoslavia it was interpreted in…
Johanna Billing
Melissa Gronlund: Your films and events bring up a number of questions concerning authorship, the particularity of media and public sociality,…
Rodney Graham
Matthew Shields: As an autodidact, you join a long and storied lineage that includes Leo Tolstoy, Edgar Allan Poe, Herman Melville,…
Hanne Darboven
An innumerable amountof sheets, coherent sequences of pages filled with sketches, notes, fragments of texts, recorded on graph and typewriter…
Charles Ray
Umberta Genta: Do you have an obsessive personality? I can’t help wondering about it when I look at the extreme perfection…
Llyn Foulkes
Maurizio Cattelan: This might not be the best way to start, but I have to ask you, what’s with all…
The Body Electric
Patrick Steffen: I recently spoke with Simone Forti about the legacy of postmodern dance, and she told me that one…
Conceptual Pop
Umberta Genta: What makes your work ironic, seductive and somehow serious at the same time? Stefan Brüggemann: Irony is another way…
Subversion through Inefficiency
One of the key concepts in Cruzvillegas’ work is “self-building,” which refers to the way that much housing in Third-World…