Protests over a park in the heart of Istanbul are the culmination of a series of non-consensual urban initiatives that have taken place in the past decade under AKP leadership. They reflect the anger and frustration of Istanbullites, who want more public debate on major urban projects… [Read More…]

Flash Art International – May/June 2013 – feature essay:
ALFREDO JAAR IN BERLIN

In a world of increasingly rapid and abundant communication, we as consumers of information become overwhelmed and learn to shut out, glance aside, and ignore events Alfredo Jaar decries as public emergencies: Stop! Can’t you see what is happening? And he leads us… [Read More…]

Within a structure that resembles an itinerary, with an introduction as check in and section headings outlining three different potential departure plans, T.J. Demos sets out, in The Migrant Image: The Art and Politics of Documentary during Global Crisis, to chart the relationship between art, documentary, and a post-1989 global economy… [Read More…]

An Exercise in Numbness & Other Tales, exhibited last fall at the Richmond Center for Visual Arts, Western Michigan University, was Nayda Collazo-Llorens’ largest solo exhibition to date. It included Unfolding the Triangle: Lake Michigan as the 3rd and final installation that maps where the artist has lived and worked – New York, Pittsburgh, and now… [Read More…]

For WINTER NOTATIONS, Shifting Connections highlights two color-intensive exhibitions – Suzan Frecon at David Zwirner and Alighiero Boetti at Gladstone Gallery. [Read More…]

Yevgeniy Fiks‘s 3rd solo exhibition at Winkleman Gallery – Homosexuality Is Stalin’s Atom Bomb to Destroy America – derives its title from a 1953 article by Cold War pundit Arthur Guy Mathews. There is no mistaking the homophobic intent of Matthews’s remarks, nor Fiks’s irony by layering images of the first Soviet atom bomb tests with Cold War rhetoric… [Read More…]

Since the late 1960s and early 1970s when Nancy Spero created the War Series, Artaud Paintings and Codex Artaud, she strove for the validity of the poor image before its appearance in a new millennial discourse of resistance: the image that is hastily executed and viewed from peripheral vision – “slant” – glanced at rather than observed from a fixed and diagnostic point of view. [Read More…]

For Francis Alÿs: “Poetic license operates like a hiatus—an agent provocateur, a short circuit—into the apathy of a situation that finds itself in the state of political, social, confessional, ethnic, economic or military crisis or lethargy.” He incorporates walking into his practice to navigate the relation between mental, physical, and aesthetic realms… [Read More…]

A Shiite imam asks strategic questions of a Maronite Christian to determine the grounds for reciprocal discussion in Beirut; a priest in the villas miserias of Buenos Aires doubts his faith in the shadow of a popular liberation theologist assassinated during the Dirty War; Pastor Christine, a Congolese trader, mixes commerce with divine deliverance establishing temporary parishes among traveling merchants… These are snap shots from the extensive research project, Global Prayers, in which academics and artists through workshops and field research endeavored to learn over a number of years the mutual influence between religion and the functional spaces of modern cities. [Read More…]

Dennis Adams’s Malraux’s Shoes (2012) and Alejandro Cesarco’s If In Time (2012) reveal a willing vulnerability on the part of the artist that is rare outside a more confessional, feminist practice. So encased are men in silence, self-assurance, purpose, and disinterest that opacity seems almost a birthright and issues belong to the one who questions. All the more interesting then when a character replete with the angst of aging, drink, power, and the flagrant display of ingenuity lets slip a small punctum of love’s memory. [Read More…]

Krzysztof Wodiczko believes in the power of art to heal, transform, and enlighten. For this artist, cultural practices provide the means to embolden voices muted through marginalization and alienation. To coincide with Veteran’s Day, fourteen soldiers and family members recuperate their stories and reconcile troubled pasts in testimonies projected onto Henry Kirke Brown’s statue of Abraham Lincoln, which has stood silent vigil in Union Square’s north end since 1870. Through digital proxy the veterans assume Lincoln’s authority as a statesman and orator to gain standing as viable public citizens. [Read more…]