7 Albums is elliptical; it is poetic. The show works as an additive — but one that’s both nuanced and gentle.
Hanne Darboven, though considered a visual artist, considered herself, first and foremost, a writer.
What happens when one’s language is not heard? Or heard, but not recognized? When one’s speech carries within it holes of silences: hesitations, pauses, caesuras, stutters, and apprehensions?
The week I visited Julie Ault’s new show, afterlife, at Galerie Buchholz, I also gave a talk at the Institute of American Indian Arts (IAIA) on poetry and the archive.
Isa Genzken is not a Dadaist.
The small gallery contains artworks that have all already been included in von Bonin’s previous Petzel shows, yet the exhibition is entirely new.
Asif Kapadia’s documentary Amy reconstructs the late singer, Amy Winehouse, by giving the viewer the full story, Amy’s entire life from girlhood until her death.
Exiting the big, steel elevator to enter Doubleworld, the first major survey of Sarah Charlesworth’s work currently at the New Museum, one steps into another, double, world and directly into the gallery of Stills: 14 photographs of people jumping or falling from tall buildings.
The opening shot of Lars von Trier’s Melancholia (2011) is a close-up of Justine (played by Kirsten Dunst) her eyes shut, her wet, white-blonde hair wild, a feral halo around her face. And then she slowly opens her eyes.
The tank is a lens through which we can better see Pierre Huyghe’s overall project.
Childhood is the kingdom of magic. In this world, the child invents new secret languages, speaks with people and creatures visible only to her eyes. She is happy.
The German artist Charline von Heyl’s current show, Dusseldörf, currently on view at Petzel’s new uptown gallery, presents a group of von Heyl’s early collages and paintings from 1990–1995.