Art Monthly, London (2024)

15/11/2024

“Museums often try to inoculate themselves from answering more difficult questions through a quick dose of institutional critique. Glenn Ligon’s work, however, carefully resists more recognisable models of artistic intervention, asking less straightforward questions about what constitutes critique in a public museum.”

‘Glenn Ligon: All Over the Place’, Fitzwilliam Museum, Cambridge – Matthew Bowman

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[image: Glenn Ligon, ‘All Over the Place’, installation view]

14/11/2024

“Along with her peers in Anarchitecture, Tina Girouard helped theorise new, if absurdist possibilities for built spaces, while in her own work she envisioned new concepts of house and home. It is clear that, for Girouard, a home was as much a product of people and their activities as it was architecture, decor and furnishings. Though it may be impossible to recreate the vitality of her projects, these three exhibitions succeed in rooting her practice in social and collaborative performance.”

‘Tina Girouard: Sign In | Conflicting Evidence | I Want You to Have a Good Time’, CARA | Magenta Plains | Anat Ebgi, New York – Chris Murtha

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[image: ‘Tina Girouard: Sign In’, CARA]

12/11/2024

“Struggling with the vexed history of photography, a medium so bound up in the (mis)representation of Africa’s inhabitants, Sammy Baloji has increasingly moved into sculpture, installation and film as a way of forging a visual language capable of reframing histories and generating new perspectives.”

Sammy Baloji – profile by Elizabeth Fullerton

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[image: Sammy Baloji, ‘Aequare: The Future that Never Was’, 2023]

11/11/2024

“How might a more creative use of digital technologies critically resituate or intervene in conservative museum aesthetics, and productively renew the role of cultural institutions in representing so-called world history?”

‘Repatriation v Duplication’ – Tom Snow argues that artists must be given a vital role in addressing longstanding issues about the repatriation of artefacts found in western museums and current debates about digital replicas

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[image: Morehshin Allahyari, ‘Lamassu’, 2015–16]

07/11/2024

“Ever since Italian Renaissance writers fantasised about reviving the glories of Ancient Rome evidenced in their grand and broken antiquities, ruins have been put to work for politico-cultural causes.”

From the Back Catalogue: ‘Modern Ruins‘ – Gilda Williams on the politics and aesthetics of ruins

If there is a difference between derelict buildings and ruins, could the distinction relate to the oppressive systematisation inherent in modernist architecture? And how have artists explored the difference between the two terms?

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[image: Edgar Arceneaux et al, ‘Philosophy of Time Travel’, 2007]

06/11/2024

“In the elegiac tradition, the ruin exists in time but not in history – that is its chief attraction. Dora Apel is right to see this approach as, at root, consolatory. For the ruin to serve a more radical agenda, it has to retain echoes of willed destruction.”

‘Ruin Fever’ – Marcus Verhagen suggests that our romantic fascination with ruins wilfully ignores our part in creating them

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[image: Laura Huertas Millán, ‘The Labyrinth’, 2018]

04/11/2024

“As somebody who has worked between activism and art and community organising for years, I know this particular participatory work, in art and research, is more than a symbolic one.”

Suzanne Lacy interviewed by Larne Abse Gogarty

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[image: Suzanne Lacy, ‘Silver Action’, 2013]

31/10/2024

November art jobs, residencies, grants, exhibitions and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:

https://www.artmonthly.co.uk/newsletters →

[image: Geumhyung Jeong, ‘Under Construction’, live performance 7pm 13 November 2024, ICA, London]

30/10/2024

Art Monthly, Issue 481, November 2024

• Suzanne Lacy interviewed by Larne Abse Gogarty

• Ruin Fever – Marcus Verhagen

• Repatriation v Replication – Tom Snow

• Sammy Baloji – Profile by Elizabeth Fullerton

+ news, views, reviews and more…

[cover: Sammy Baloji, ‘Aequare: The Future that Never Was’, 2023]

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TAKING ART APART SINCE 1976

23/10/2024

“The mystery object in ‘Jasmine Untethered’ is a floating tool bag. The work is a reference to a photograph taken by astronaut Satoshi Furukawa of a tool bag which had accidentally been let go in space, where it continued to orbit the Earth for months at an altitude slightly beyond the naked eye. Prodger’s drawing of the tool bag, framed against a deep-blue limit, finally returns it to the human realm.”

‘Charlie Prodger: Cardinal Beams’, Hollybush Gardens, London – Vaishna Surjid

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[image: Charlie Prodger, ‘Jasmin Untethered, November’, 2024]

22/10/2024

“Referencing Stanley Kubrick’s ‘Dr Strangelove’, the male cast is replaced by women as the Doomsday Clock ticks down towards nuclear catastrophe. This all-female government faces a nuclear threat from a fictional Mr Twittler: a provocative morphing of Hi**er with Elon Musk.”

‘What if Women Ruled the World? Part 2’, EMST, Athens – Sophia Phoca

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[image: Yael Bartana, ‘Two Minutes to Midnight’, 2021]

18/10/2024

“The social model of disability – as opposed to the medical one – shifts attention away from the individual mind/body to society’s dysfunctional lack of care. It is this latter approach that moulds sickness into disability; that I still feel inclined to make this clear reflects the urgency of this show.”

‘Towards New Worlds’, MIMA, Middlesbrough – Tom Denman

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[image: ‘Towards New Worlds’, installation view]

16/10/2024

“The body is a site of both struggle and liberation in Belinda Kazeem-Kamiński’s relentless and disorienting videos that drive onwards to the next breath, and the next after that, in a collective act of resuscitation.”

‘Take a Breath’, IMMA, Dublin – Chris Clarke

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[image: Belinda Kazeem-Kamiński, ‘Respire (Liverpool)’, 2023]

15/10/2024

“For the past ten years, the Kuwaiti-Puerto Rican artist Alia Farid has been researching links between extractivist national modernities and the migrations of architectures, communities and languages between the Arabian Gulf and the Caribbean.”

Alia Farid – profile by Maria Walsh

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[image: Alia Farid, ‘Chibayish’, 2022]

14/10/2024

8pm Monday 14 October: Art Monthly Talk Show

• Bob Dickinson on artists connecting the sleep crisis to the climate crisis

• Tom Denman on the show ‘Towards New Worlds’ at MIMA

Hosted by Matt Hale

https://resonancefm.com

[image: RA Walden, ‘Remedial Geologies IV’, 2019]

14/10/2024

“Intended, in the early 1970s, as objects that stimulated a wider cultural and political critique, Anthony McCall’s solid light films have, since 2000, become quasi-votive forms that suffuse their environs with feeling and sentiment rather than intellectual inquiry.”

‘Cones of Vision’ – Chris Townsend sees recent ahistorical approaches to Anthony McCall’s work as indicative of a general shift from process and form towards subjective experience

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[image: Anthony McCall, Line Describing a Cone, 1973]

09/10/2024

“Artists Navild Acosta and Fannie Sosa themed their experiment in ‘finding power in rest’ around the fact that ‘black people in the US are twice as likely to get insufficient sleep compared to white people’, and that sleep deprivation, internationally recognised as a form of torture, has been used to control the black population ever since the time of slavery.”

‘Rest is Resistance’ – Bob Dickinson looks at how artists are drawing attention to the structural parallels between the climate crisis and sleep crisis

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[image: Navild Acosta and Fannie Sosa, ‘Black Power Naps’, 2023]

07/10/2024

“The works suggest that this moment of not fitting should not be seen as a temporary state to be overcome, but rather as a space for extension, reflection and appreciation. This parallels the experience of social ‘misfits’ – people who do not conform to societal norms and who remain marginal.”

Nairy Baghramian interviewed by Anna Souter

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[image: Nairy Baghramian, ‘Misfits’, 2021]

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