Marina's Diary
As a performance artist, I always hated the theater. I didn’t think it was something real. Performance art is about…
Magazine Articles
Robert Fitzpatrick
Donatien Grau: You’ve had a very complete and fascinating career: from dean of students at Johns Hopkins University and member…
Circle the Wagons
Laura Mclean-Ferris: To begin this discussion about pastoralism, I’d like to ask about your most recent body of work, which…
Art & Language
Although it may be difficult or even unfair to make a true assessment of the real extent of Art & Language’s…
Franz Erhard Walther
I have always felt fortunate to have come of age as an artist during the early ’70s (turning 20 in…
The Young and the Collected
“The brilliance of art as a collectible is that it has a way of reaching out on an emotional level.…
Ostalgia
An interview with Massimiliano Gioni by Silvia Conta SILVIA CONTA: “Ostalgia” is the title of the show you have curated…
Keith Sonnier. Light and space
Keith Sonnier is one of the first artists who worked with light as a sculptural material. In the late ’60s, he started experimenting with a combinations of incandescent light fixtures, neon tubes and other materials to explore the diffusion of light through various materials and the surrounding architectural space.
Air de Paris / Florence Bonnefous and Edouard Merino
Donatien Grau: You first established your gallery in Nice. Florence Bonnefous: We first met when we were both students at…
The Prosumer Version
Appropriation is ubiquitous today — both as an artistic procedure and as a discourse. This discourse emerged in the late…
Kerstin Brätsch
Maurizio Cattelan: Ciao, Kerstin. Sorry about that before, I didn’t hear you coming. I’ve always got these things in my…
Ayşe Erkmen
Ayşe Erkmen’s distinctive process shows a commitment to long-term research-based projects that can be traced as far back as the…
Djordje Ozbolt
There is a perverse logic in setting up a conversation between old friends Djordje Ozbolt and Subodh Gupta. After staying…
André Butzer
John Newsom: Knowing that in 1993 you encountered both Asger Jorn’s Green Ballet (1960) at the Hamburger Kunsthalle as well…
Gerhard Richter
Let us think this thought in its most terrible form: existence (das Dasein) as it is, without meaning or aim,…
Marina's Diary
On October 8, at the Garage Center for Contemporary Culture in Moscow, I will be presenting for the first time…