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Noted
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| Rebecca Horn is a major representative of the contemporary German art world, and has been well-known since the early 1970s for her numerous performances that sought to improve communications with others and develop a rapport with nature. Following her participation in the Documenta V show in her 20s, Horn has energetically explored one new territory of art after another, thus capturing the fascination of not only audiences of visual art, but dance and film enthusiasts. The devices Horn wore to enhance physical perceptions in her early performances developed into independent, kinetic-mechanical sculptural works. |  | |
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Reviewed
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Artist Laurance Rassin, director of the New Blue Riders, is teaming up with the Durst Organization and Chabad’s Children of Chernobyl (CCOC) to create awareness and funding for not-for-profit organizations through Simply Blue, his first major solo show at Condé Nast’s exhibition space in Manhattan. The exhibition, curated by Lanny Powers, is open to the public from April 28 to June 4, with a cocktail reception on May 6, to be held at the Condé Nast Building. For this exhibition, the artist has put together a virtual parade of canvases and objects that reflect an inquisitive mind and a mature application of recognizable style and working methods.
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China
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| The earliest performance piece of Bai Chong-Min that I knew about was Lugu Lake, which was a collaboration with Wu Wei-He in 2002. It was part of the “Long March” projects on feminism. It could be easily concluded from Lugu Lake that the cloth dolls and clothes styles were all making an analogy to the “body bundling and packaging” approach, which was popular in performance art in 1980s. Lugu Lake took place in the context of regional tradition: the funeral ceremony of the Mosuo matriarchal society in Li Jiang, Yunnan Province. Bai was invited in 2005 to do a piece, The Selling of Tao Te Ching, as part of the Performance Project of Da Shan Zi Art Festival, and carried out in the 798 Art District. |  | |
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Skin
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| My drawings, sculptures, and installations serve as visual comedy, or a form of concrete poetry, and can mostly be credited to a failed attempt at mastering the English language. To me, rhyme, homonyms, puns, and euphemisms are more historically vital discoveries than fire. Although I interject social satire and politics into my work at times, my main focus involves stretching language, and utilizing wit as a true medium, alongside graphite, cotton balls, and colored pencil. Originally starting out in journalism, some of my earliest influences were traditional political cartoonists from Honore Daumier, to Thomas Nast, to Paul Conrad, with their ability to poetically quantify daily current events and global issues.... |  | |
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Performance
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| My art practice is invested in creating a free space for contemplation that lends itself to mutual understanding and the promotion of non-violence. My work has taken a variety of forms including performance, installation, photography, film, video, text, sculpture, and sound. For the 13th annual DUMBO Art Under the Bridge Festival, feel free to join me in Gut #5: Witness Walk, a performance and sculptural installation project. During the festival, I will distribute white chocolate Humvees in a wandering performance. In the spirit of gift exchange, the festivalgoers and I will collectively dissolve these war vehicles by consuming them together. |  | |
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Reviewed
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An intriguing group exhibition, My Funny Valentine: A Tribute to Chet Baker curated by the outsider Tchera Niyego, featured Carl Andre, Ilsabé von Dallwitz, Jennifer Contini Enderby, Rudi Keimel, Ayşe Küçük, Robert Le Biez, and Michelle Sakhai. The subject matter of the exhibition explores the nature of love, and perception, visual and otherwise, in relation to the theater of passions and life. Niyego utilizes the talent of her artists to investigate the circumstance, psychology and the blueprint that comprise the performance of love. Captivated and inspired by Chet Baker’s tale of love and ardor, Niyego is almost effortless in her selection of artists who recreate the beauty of Baker’s blues in this omnipotent and wicked show.
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Curated
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| Navedenga is an installation of the room-size sculpture Navedenga (1998) by Ernesto Neto (born 1964), one of the most influential Brazilian artists working today. Navedenga was acquired in 2007, and is on view for the first time at the Museum of Modern Art from January 22 to April 26. The installation is organized by Doryun Chong, associate curator, and Nora Lawrence, curatorial assistant, Department of Painting and Sculpture, the Museum of Modern Art. Since the late 1990s, Neto has been creating enveloping sculptural environments using translucent stretch fabric. Navedenga, an important early example from this ongoing body of work, is a large-scale sculpture constructed from Lycra fabric, Styrofoam, and sand.... |  | |
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Conversations
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Catherine Y. Hsieh: How did the concept for the show develop?
Camille Morineau: Well, it was in a strange way when I arrived in the museum six years ago. I thought about putting up an objectionism show. And then three years later it appeared on a show called The Revolution and Independence of Spain, a European show that gives people a guide in Spain, which we treated very well to the subject. This is the first part of the story, and then the second part of the story is really about the French complex that appears more difficult than I thought, in the sense that feminism is truly a taboo, in a way.... |  | |
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Conversations
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Maurizio Cattelan: When you talk about your work, you use the term “formula.” Now you’ve even made it the title of your exhibition in Berlin. What is it, this formula?
Gianfranco Baruchello: Every day, the artist constructs his world and his way of being, which is coherence and contradiction at the same time. In doing so, he designs and uses a very personal formula, reserved only for him. It is the cast of his existence. It grows out of the search for the freedom to invent pictures. Whether rigid or moving, whether object or installation, that makes little difference to me. |  | |
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Conversations
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Catherine Y. Hsieh: Gender, relationships, and identity are recurring themes in your work. A lot of times, your work deals with men’s conventional image coined by
social standards. What was it that spurred this overthrow of stereotypes in your work?
Jesper Just: For a long time my work did revolve around stereotypical images of men and the transgression of these images within specific social spaces. Lately I’ve become interested in other stereotypes too, though, such as the middle-aged woman (A Vicious Undertow), the hermaphrodite/the transsexual (Romantic Delusions) and the African-American woman (Sirens of Chrome). |  | |
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Conversations
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Aaron Hobson: Let me start off by saying I really enjoy your work, especially the Doppelgänger series (which is what I will be referring to in the Q&A). One thing I admire about your work that differs from other work I’ve seen (mine included) is how eerie and unsettling the images make me feel, but that it is done in a vibrant, bright and almost cheery way. That is a bizarre combination and one of the most attractive elements about the series. Was that your original intention for this series?
Cornelia Hediger: Erie and unsettling you say, ha! I went on your Web site and loved the work—it’s pretty unsettling as well. |  | |
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