Collective Acts
in the Aftermath
Legendary postwar artists in Japan have seen a recent resurgence of attention. Last year, the exhibition “Tokyo 1955-1970: A New…
Features
Collective Acts
Memo for the Music
As a child, one of my toys was a tape recorder. After my father had bought and grown tired of…
Monir is Always the Answer
Maurizio Bortolotti: I’d like to start from your position as an artist and woman in Iran. You have been through many…
Ancestral Figures Revisited
Rajesh Punj: Your performative work seems to directly engage the viewer and draw them out of their comfort zone. Are…
A Restless Subject
The room was found empty, without a stick of furniture. The pictures on the walls had been taken down, leaving…
Pulsing from the Bottom Up
Gianni Jetzer: You got involved with performance in the early ’70s when it was low on the totem pole of…
The Future is an Empty Space
Attempting a concise survey of the work of David Maljković seems an elusive goal. Within Maljković ’s output over the last…
An Intimately, Duplicitously Reflexive Experience
Klaus Biesenbach: What is your working process? Do you start with text and then the image comes? Or do you have…
Remembering Agnes Varda • Surprising Impressions
Patrick Steffen: I’ve wanted to organize this conversation since 2011, when Rita Gonzalez curated the show “Asco: Elite of the…
Fetish Eyeballs
Amy Yao’s little beauties, shiny, glassy, delicate life-size fetishes, seem to play on our lost innocence. They are remnants of…
Five Questions about Los Angeles
1. After James Ellroy and Bret Easton Ellis, who do you think should write a contemporary novel on La La Land?…
3 x Sterling Ruby
Madness and Reason in the Minimum Security Studio by Gea Politi Visiting Sterling Ruby’s studio in Vernon, California, you are…
Sound and Vision
Every Rough Edge is Gone
Joel Kyack: The red light is on. Laura Owens: Do you think we can just ask each other questions? JK:…
Networks of Influence
“We are really walking a fine line — in fact, our line might be so fine that we might be…
Everyday Instability. On the notion of the personal within Lutz Bacher’s curiously-received art
Imagine walking into a gallery and seeing a skewed flat screen on the floor, its surface illuminated by a video…