Viewing articles tagged with 'Performance'
Republic of Korea Pavilion, Giardini, Venice, Italy
The title of the pavilion is ‘History Has Failed Us But No Matter’, curated by Hyunjim Kim, and nods to a struggle against the social and geopolitical framework that a person is born into, yet simultaneously, understanding yourself in relation to this framework. Kim has worked with three female artists; a first in the pavilion's history. Together the artists, Hwayeon Nam, siren eun young jung and Jane Jin Kaise, challenge ideas related to tradition and the canon of gender, mediating on the emancipatory potential of tradition (opposed to tradition being a barrier) for East Asian women. Review by Laura O’Leary
Maurice and Paul Marciano Art Foundation, 4357 Wilshire Blvd, Los Angeles, CA 90010, USA
Donna Huanca’s ‘Obsidian Ladder’ is purposefully discomfiting, and almost too visceral and sensual to be absorbed fully in one go. Once you enter the cavernous main gallery of the Marciano Art Foundation, Huanca’s multimedia installation of paintings, sculpture, performance, sound, and scent threaten to overwhelm your senses. The combination makes for an unnerving, unsettling experience that ostensibly explores femininity and gender, but whose impact only comes across as such when you know the whole context of the work and can appreciate the importance of its site. Review by Deborah Krieger
Irish Museum of Modern Art, Royal Hospital Kilmainham, Military Rd, Kilmainham, Dublin 8, Ireland
Kim Gordon first came to prominence in the mid-80s as a member of the noise band Sonic Youth - co-founded with her ex-husband Thurston Moore and active until 2011, when both the band and marriage dissolved. Since then Gordon has become a polymath: releasing music from several projects, embarking on an acting career, writing the acclaimed ‘Girl in a Band’ memoir on her years in Sonic Youth, and focusing on her visual art practice that took a backseat during her tenure with the band. It is this last category that sees us drawn to Dublin’s Irish Museum of Modern Art (IMMA) to see Gordon’s latest exhibition ‘She bites her tender mind’. Review by Aidan Kelly Murphy
Whitney Museum of American Art, 99 Gansevoort St, New York, NY 10014, USA
The 2017 edition of the Whitney Biennial is remembered for the animated debate surrounding the inclusion of a controversial painting by Dana Schutz titled ‘Open Casket’ (2016). It spurred an open discussion about cultural appropriation, white privilege and freedom of creativity. It divided much of the art world and prompted a discussion panel with The Racial Imaginary Institute titled ‘Perspectives on Race and Representation.’ The painting ultimately remained. Despite the best intensions of curators Jane Panetta and Rujeko Hockley, this year’s Whitney Biennial wallows yet again in controversy. Review by Anaïs Castro
Indian Pavilion, Arsenale, Venice, Italy
Pranamita Borgohain speaks to some of the artists, organisers, and key voices behind the Indian Pavilion at the 58th Venice Biennale.
Glenfeshie, Cairngorms National Park
High in the Cairngorm Mountains, a remarkable artwork was performed over four days. ‘Into the Mountain’ is a unique response to ‘The Living Mountain’ (1977) by Nan Shepherd, a lyrical text describing a sensuous exploration of the Cairngorms. Through a rich fusion of dance, music, literature and walking, the performances invited audiences to explore more-than human connections with mountain environments and ecologies. Review by Anna Fleming
17-19 Triton Street, Regents Place
PANEL: Sol Bailey-Barker, Nissa Nishikawa, Daniel Hudson, Extinction Rebellion & Colin Tudge. Chaired by Gabriella Sonabend. A panel discussion organised as part of exhibition 'Sisyphus in Retrograde' at 17-19 Triton Street, Regents Place, London until May 4th 2019.
A compilation of greatest hits by the extraordinary artist Katherine Araniello who died in February 2019. Katherine’s work used performance, video and subversive humour in response to the mundane, social awkwardness and the negative representation of disability.
Kadist, 19bis/21 rue des Trois Frères, Paris, 75018, France
Imagining utopia seems to have become the principal task of artists as of late, any speculative, social practice is quickly branded as such. So much so that the title of Kadist’s latest exhibition ‘Affective Utopia’ almost washes past unnoticed. Review by Jessica Saxby
Richard Saltoun Gallery, 41 Dover St, Mayfair, London W1S 4NS
Two lovers lie in bed sleeping. Their duvet is a ploughed field, fabric folds replaced with the undulating peaks and troughs of soil furrows. An air of the uncanny pervades ‘Bed in Field’ (1971), a series of photographs of British performance artist Rose English and her partner of the time tucked into a pastoral landscape. Review by Lotte Johnson
The Fabric Workshop and Museum, 1214 Arch Street, Philadelphia, PA 19107
Laura Mulvey is best known for her essay describing the phenomenon of the 'male gaze,' where the act of looking in visual media is coded as male, or specifically for heterosexual male viewers, leaving women as passive objects that are meant to be looked at and desired. While not directly referencing Mulvey, Suzanne Bocanegra investigates this concept of women as the target of the gaze in 'Poorly Watched Girls,' using multiple media to question whether the performance of watching women can ever truly be enough to understand them as subjects in their own right. Review by Deborah Krieger
Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB
‘Still I Rise: Feminisms, Gender, Resistance’ is the first act of an exhibition showing a kind of history of resistance through the means of feminisms and intersectional queer thinking. The curators started to build the exhibition as an idea two years ago. Then, we didn’t have #metoo and #timesup, Trump wasn’t yet the POTUS, women’s marches weren’t so much in the news ... Review by Gulnaz Can