Art Seen: International

HEIDI BUCHER // PARASOL UNIT FOUNDATION FOR CONTEMPORARY ART, LONDON

By Dr. Kostas Prapoglou The diversity of the visual vocabulary of Heidi Bucher (1926-1993) stems from her unique relationship with space and time and the way these two intertwine with her life experiences and their emotional backdrop. Born in Winterthur, Switzerland, she attended the School for the Applied Arts in Zurich, moved with her family to[…]

WALEAD BESHTY // IN CONVERSATION

By Natalie Hegert In Walead Beshty’s work, the means of a work’s production—the various material transformations and transferences that it undergoes, even its transportation—becomes central to the work itself. In the 2008 Whitney Biennial, Beshty displayed prints from negatives that had been exposed to X-ray as they passed through airport terminals, thus bearing, in a[…]

SCRATCHING FICTIONS // LAWRENCE ABU HAMDAN AT DAADGALERIE

By Vanessa Gravenor In Helmut Lethen’s text ‘“Knall als sich”: Das Ohr als Einbruchstelle des Traumas,’1 he reflects on the technical shock the machine gun had on WWI soldiers. Rather than the following the majority of post-traumatic stress theory (and post structuralist theory for that matter) that focuses on the image as the site of[…]

OUR IDEAS: ADAM PENDLETON // PACE GALLERY LONDON

by Dr Kostas Prapoglou The solo exhibition of New York-based artist Adam Pendleton at Pace London showcases recent and new works spanning the gallery’s ground floor space. The works on view comprise of one mural piece, Wall Work, Midnight (A Victim of American Democracy) (2017) accompanied by several small System of Display works, four Untitled[…]

Beyond, Between, and Under the Border

NAVIGATING THE CARCERAL STATE By Hiba Ali A border is nothing but a man-made fiction, imagined and realized by those who would never be imprisoned within its bounds. To colonizers, borders were pure cartography—settling matters after beating the enemy. With pen to paper, business was conducted, and a deal was made. To Europeans, North America[…]

From Print to Negative, and Vice Versa

MLADEN BIZUMIC // PROFILE OF THE ARTIST By Alfredo Cramerotti The following conversation between writer Alfredo Cramerotti and artist Mladen Bizumic took place during lunch in the leafy garden of a restaurant in the Museum Quarter of Vienna, in June 2018. It just preceded the preparation for a group show at the Society for Projective[…]

Refiguring Monstrosity

MOREHSHIN ALLAHYARI // WHITNEY MUSEUM OF AMERICAN ART By Joel Kuennnen Morehshin Allahyari’s latest work is a hypertext fable hosted on the Whitney Museum of American Art’s artport, its online exhibition portal for new media and net art commissions. The Laughing Snake (2018) blends personal narrative and lore in a black, reflective, 3D-modeled environment. The[…]

Leonor Antunes

A THOUSAND REALITIES FROM AN ORIGINAL MARK // MARIAN GOODMAN GALLERY By Kostas Prapoglou Portuguese-born, Berlin-based artist Leonor Antunes receives her inspiration from tropes within modern art, architecture, and design. Reconsidering and reimagining their applications to sculpture and space, she creates works by questioning and surveying spatial relationships and interactivity while simultaneously taking into consideration[…]

Against the Biennale

WE DON’T NEED ANOTHER HERO // BERLIN BIENNALE 10 By Gabrielle Welsh In late July, I stumbled my way into the KW Institute for Contemporary Art, in search of the press entry into the tenth edition of the Berlin Biennale without a press badge or any official credentials, but with a student ID (useless) and[…]

The World as Supermarket and as Derision

MICHEL HOUELLEBECQ // KUNSTHALLE BRATISLAVA By Ezara Spangl Upon entering the glass street-level exhibition space of the Kunsthalle Bratislava LAB to view the exhibition of Michel Houellebecq’s photography, a gallery attendant approaches, with exhibition reading materials in hand dubiously state dramatically ironic information: the artist’s images are unrelated to his literature. She adds, on a[…]

Tourism, In Passing

A SERIES OF VIGNETTES By Naoki Sutter-Shudo We might never again live in a world with a real belief in permanence. The advent of thermodynamics and its accompanying concept of entropy, has given us the modern knowledge that chaos unavoidably prevails. No system is stable. Still-life paintings, based on actual witnessed scenes— whether seen live[…]

U.S. PAVILION // DIMENSIONS OF CITIZENSHIP

Presented as a part of /Dialogues May 27, 2018 Courtyard, U.S. Pavilion (Venice, Italy) Panelists: Shani Crowe, Andres L. Hernandez, and Amanda Williams Moderated by Stephanie Cristello (Editor-in-Chief, THE SEEN ) The following transcription follows a panel organized as part of the U.S. Pavilion opening program at the 16th International Architecture Exhibition at the Venice Biennale,[…]

YTO BARRADA: AGADIR // THE BARBICAN CENTRE

By Noah Hanna On the 29th of February 1960, an earthquake destroyed the Moroccan coastal city of Agadir, killing nearly fifteen thousand people and leaving the city in ruin. Despite the devastation, Morocco’s king Mohammed V ordered the resurrection of the city, declaring, “If destiny decided the destruction of Agadir, its rebuilding depends on our[…]

ROSE SALANE // ALL OF THESE EVENTS ARE TRUE, BUT NONE OF THEM HAPPENED

By Elliott Mickleburgh On the morning of September 5th, 1975, Lynette “Squeaky” Fromme, an associate of the infamous Manson Family cult, drew a handgun from a folkloric red robe and aimed the weapon at the body of then president Gerald Ford while the commander-in-chief and his entourage were walking through the grounds of the California[…]

ILLUMINATION AND CONFLICT // HITO STEYERL’S VIDEO ART

By Kristen French The technology used to perfect analog and digital photography is the same as that used to improve the precision of military weapons and surveillance. The technology that makes contemporary video art possible is the same that is used to render people vulnerable to military violence or invisible-disappeared-in the digital age. When technology[…]

DANIEL G. BAIRD

OVERVIEW EFFECT By Ryan Filchak >click here to download PDF In the Spring of 2016, Chicago-based artist Daniel G. Baird presented his first solo show with PATRON Gallery. The exhibition, entitled When, featured several ongoing series, showcasing Baird’s use of archaeological sites and remains to source the concepts and material for his sculptural practice, including[…]

FORMS OF TENSION

EWA AXELRAD // PROFILE OF THE ARTIST By Alfredo Cramerotti >click here to download PDF Ewa Axelrad’s works are connected to specific spaces, functioning as place responsive interventions. Treating the space actively, and emphasizing its context, her work refers to personal stories and collective memory. Devoid of an original context, the artworks are at once[…]

SHADOW SHIFT

AFRUZ AMIGHI // ECHO’S CHAMBER By Kostas Prapoglou >click here to download PDF Afruz Amighi is an Iranian-American sculptor and installation artist based in Brooklyn, New York. In 2009, she received the Jameel Prize for Middle Eastern Contemporary Art, an award by the Victoria & Albert Museum in London for her work 1001 Pages (2008),[…]

AFRUZ AMIGHI // ECHO’S CHAMBER

by Dr. Kostas Prapoglou Afruz Amighi’s visual vocabulary lies somewhere between light and shadow, between the real and the ethereal. The first solo show in the UK of the Iranian-American artist at Sophia Contemporary Gallery in London features nine new wall sculptures, all made by materials that the artist has been meticulously collecting throughout the[…]

FACE VALUE // TRANSMEDIALE 2018

by Vanessa Gravenor First ponderings of the 2018 transmediale Face Value: Bill Viola is present. [1] Viola, who started his career in the 70’s with experimental films, has become known for conflating digitally with ornate, grandiose experiences. The Greeting (1995), for example, shows a slow-motion digital adaptation of the Visitation by Italian Mannerist Jacopo Pontormo. Viola[…]

4 SAINTS IN 3 ACTS—A SNAPSHOT OF THE AMERICAN AVANT-GARDE // THE PHOTOGRAPHERS’ GALLERY

by Dr. Kostas Prapoglou Over eighty rare and unseen photographs from behind the scenes, as well as cast portraits, from the opera Four Saints in Three Acts comprise the exhibition 4 Saints in 3 Acts—A Snapshot of the American Avant-Garde currently on view at the Photographers’ Gallery in London. The exhibition sheds light on the[…]

LOUIS REITH // STO AND AND O

By Ryan Filchak Born in Hengelo, a small town in the Netherlands, artist Louis Reith (b. 1983) sources printed material and typographic forms to achieve a sharp, stylized approach to collage. A graduate of the Academy for Art and Industry in Enschede, Reith’s crisp compositions balance the mechanical and the natural, the figurative and the[…]

XUZHEN SUPERMARKET // SADIE COLES HQ

by Dr. Kostas Prapoglou Xu Zhen’s XUZHEN Supermarket (2007/2017) features a what it seems at first glance as a conventional and one of the many in the area Chinese supermarket stores situated at the ground floor space of Sadie Coles HQ in London’s West End. Although visitors are invited to purchase authentic packaged merchandise from[…]

MARTIN PURYEAR // PARASOL UNIT, LONDON, UK

by Dr. Kostas Prapoglou Martin Puryear’s (b.1941) first solo show in a public institution in London embraces a survey of almost four decades of artistic production. His first solo exhibition, which took place in 1968 at Gröna Palletten Galleri when he was studying printmaking at the Royal Swedish Academy of Fine Arts in Stockholm, was[…]