From playful to political, there are 80 options by artists including Nick Cave, Mona Hatoum, and Wang Sishun.
Alfredo Jaar
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The Neuberger Museum of Art Explores Pier Paolo Pasolini’s Range of Work and Influence
Pasolini openly criticized the government, the Church, the right and the left — anywhere he saw a wrong. Pier Paolo Pasolini: Subversive Prophet is on view February 12–May 31.
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Alfredo Jaar on the Capacity of Culture
In a conversation we had in Cape Town, I attempted to better understand Jaar’s deep belief in art’s capacity to effect change amid political disorder.
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Two Projects Revisit Historical Images with a Calm and Critical Eye
Two video installations currently at the Museum of Contemporary Art (MCA) in Chicago place the viewer within images and their history, and demand we look at them differently.
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Clearing the Slate: MoMA’s Contemporary Reboot
A few months after having been roundly trounced for The Forever Now: Painting in an Atemporal World, its attempt to assess the current state of painting, the Museum of Modern Art opened a reinstallation of its contemporary collection on the same day as its Björk fiasco.
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The Limits of Shedding Light on Grief
Anguished, powerful, and problematic as they are, there is a heavy bar to what images of war and suffering can do, and what they can carry beyond cynicism, voyeurism, or spectacle.
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Mythological Moments from India’s First Biennale
KOCHI, India — I finally made the trip to Kerala, on India’s southern tip, not because tourism websites insist upon it as God’s own country, but because the first ever biennale hosted in India is taking place there at Kochi (or Cochin), a city that was once a thriving spice port. Bringing together an exciting range of artists from around the world in thirteen amazing venues, the Kochi-Muziris Biennale has also boldly turned the searchlight on Indian contemporary art with a strong accent on the Keralam.
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For Those Without History, a Memorial Museum in Chile
SANTIAGO, Chile — Walk down a flight of stairs and open the door. The door closes behind you and you find yourself in a dark room. You disappear; you can’t leave the space and don’t have a point of reference. A few minutes later, 500 silhouettes of the heads of 500 different people throw a diffuse white light — you find yourself gathered with people, some dead, some disappeared, and some others still alive. You are one of the victims of Chile’s dictatorial period. Finally the door opens and you go outside, warmed again by the natural light of the sun. You have just visited the installation “Geometria de la Conciencia” (“Geometry of the Conscience”) by Alfredo Jaar. You are in the Museum of Memory and Human Rights of Santiago, Chile.
