The distinctive geography, climate and culture of Iceland has engaged Roni Horn for over 30 years. Her intimate relationship with the island has led to a multidisciplinary series of works, including books, drawings, sculpture, texts and photographs. Located in a converted library building on a promontory overlooking the ocean in Stykkisholmur on Iceland’s west coast, Vatnasafn/Library of Water incorporates Horn’s abiding interest in water and weather, reflection and illumination, and the relation of these phenomena to the fluidity of human identity. The installation houses 24 glass columns containing local glacier water that reflect outside weather conditions onto a rubber floor embedded with weather-related adjectives. It also functions as a community space, a writers’ studio and an oral archive of local weather reports. An introduction by co-director of the London-based nonprofit Artangel, James Lingwood, surveys Horn’s substantial body of Iceland-related work alongside essays by critics Briony Fer and Adrian Searle, a selection of weather reports and writings by Horn, inspired by her experience of the enigmatic island.
Challenging and provocative, Mikhailov’s photographs document human casualties living in post communist Eastern Europe after the demise of the Soviet Union. They are unflinching and ruthless depictions of poverty and the homeless (also known as Bomzhes) living in the margins of Russia’s new economic regime without social support or care. This series presents a simulated wedding between two homeless people often naked and in sexual poses, set amongst their own surroundings. Mikhailov’s photographs, often presented in these wry even humorous situations, only add to the absurdity of this tragic life. The onlooker experiences feelings of empathy and disgust as they guiltily absorb the content of these engaging yet horrifying pictures, peering into an unknown world of madness, destitution, longing and death in an un-redemptive portrait of outcast humanity. The Wedding is bound in imitation of a traditional wedding album, with faux-leather and gold-debossed lettering designed by calligrapher John Stevens. It is further finished off with a text by Adrian Searle.
In the gauche surroundings of a hotel room, Juergen Teller combines the braggadocio of his nude self-portraits with his ongoing paean to woman in an often x-rated filmic narrative. The faux-leather bound, gold leaf tipped slim volume, Louis XV contains a series of photographs that is an intimate tale of lust and excess with his latest muse, the actress Charlotte Rampling. Teller’s work is essentially autobiographical–his art has always explored his personal milieu of friends and family and his position at the intersection of fashion and art. For some years he has also used the self-portrait as a ground for personal expression, theatrical role-play and exploring his relationship to his own history. At the same time, as essasyist Adrian Searle points out, “Teller frequently makes his appearance in his own photographs as though he has just blundered in like an unexpected and unwelcome guest, a gatecrasher. There is something either farcial or vainglorious about this, perhaps both. Something almost obscene, too, about the way he overwhelms certain of his images, disrupting them, hogging the lens, filling the frame, crashing about unconstrained, unleashed, as it were, dragging his life about with him. It is somehow embarrassing. You want to look the other way.” Included with Louis XV is the 104-page exhibition catalogue, Ich Bin Vierzig, a paperback collection of selected images from the photographer’s past works. It includes highlights from his Tracht and The Clients series. Essays by Elisabeth Bronfen, Rainer Metzger and Ulrich Pohlmann.
Works on paper play an important role in Peter Doig’s oeuvre, from the artist’s adept maneuvering through drawing, etching and watercolor, to the various commercial and personal source materials he uses in the studio. This first publication devoted to Peter Doig’s work on paper includes over 40 large, full-color illustrations, plus an insightful essay on Doig’s work. Essay by Adrian Searle.
What Is It Billed as a “major reassessment of contemporary painting” (in other words, “is painting dead?”), this wide-ranging show, curated by the Whitechapel Art Gallery’s Judith Nesbitt and Francesco Bonami of Chicago’s Museum of Contemporary Art, features 60 works by 60 artists, European and North American, some famous, some not. What They Say About It “As a substantiation of an important shift, as a demonstration that exciting and different things have been happening, it’s quite hopeless. Choice of work: dispiriting. Sustaining ideas: nil… There are a few fine things. The Philip Guston, the Sigmar Polke, the Ilya Kabakov, the Gary Hume each hit an elusive spot which is somewhere between funny and forlorn…” Tom Lubbock, The Independent. “The show might aim to be `conceptual’, but it makes no concessions to the concept that paintings demand space for themselves, and that they can command the space about them. They are reduced to pictures, and this, I think, is the exhibition’s fundamental flaw. It misunderstands painting’s power.” Adrian Searle, The Guardian. Where You Can See It `Examining Pictures’ is at the Whitechapel Art Gallery, London
Issue 13 of Kilimanjaro is an unofficial catalogue of sorts, whose theme is A Love Letter To Roni Horn; it is the first edition of the magazine which has been created with a single artist, and is a kind of visual & textual retrospective. Using the traditional format of a magazine publication, comprised of interviews, essays and art criticism, we have curated an overview both of the DNA of Horn’s work, and – through the words of our selection of her friends, collaborators and admirers – of Roni Horn herself. The issue features: JUERGEN TELLER, ADRIAN SEARLE, JOHN WATERS.
One of the most significant Portuguese artists alive today, Pedro Cabrita Reis has produced a complex oeuvre encompassing a variety of media. His paintings, sculptures, and site-specific installations are primarily composed of found and manufactured objects. Often employing common, simple materials, his work touches on issues of space, architecture, and memory, with a suggestive power of association that goes beyond the visual to the level of metaphor. Bringing together the viewer’s subjective conscience with the greater conscience of everyday life, Cabrita Reis’s artworks induce a reconstruction of individual and collective memory, creating an expansion of meaning and proposing a literal and figurative reconstruction of the world. This lavishly illustrated publication provides a comprehensive overview of the artist’s work from the mid-80s to the present, and includes writings by the artist as well as bibliography and thumbnail catalogue raisonné. Edited by Michael Tarantino.~Essays by João Fernandes and José M. Miranda Justo. ~Conversation with Pedro Cabrita Reis and Adrian Searle.
“Cinema Remixed and Reloaded” is a daring, bold, innovative look at black women artists and video art. This historical survey examines an intriguing and unbounded scope of work, including experimental film, projections, and installations. Creative projects by established artists who became interested in time-based media several decades ago, such as Camille Billops, Barbara McCullough, Howardena Pindell, and Adrian Piper, are presented alongside such midcareer artists as Berni Searle, Lorna Simpson, Kara Walker, and Carrie Mae Weems, who continually garner international acclaim.Works by emerging artists, including Elizabeth Axtman, Debra Edgerton, Lauren Kelley, Jessica Ann Peavy, Pamela Sunstrum, and Lauren Woods, are also featured. While exploring personal experiences and dissecting popular visual culture, the artists in “Cinema Remixed and Reloaded” provide relevant views on several important topics – memory, loss, alienation, racial politics, gender inequities, empowerment, and the pursuit of power.
The work of Tom Friedman (b.1965) captures for many the essence of art at the beginning of a new century. It is modest in scale, imaginative and ecological, painstakingly crafted and ‘unheroic’. Friedman suggests a new direction in art: post video, post political/identity issues, post digital media, post ready-mades. Friedman works in a windowless studio (more like a playground-kitchen-laboratory) in rural Massachusetts, relentlessly inventing these startling ephemeral objects ‘out of the stuff in my house’: bits of Styrofoam, packing material, bottle tops, pencil shavings, plastic straws, dental floss, spaghetti, toothpicks, bubble gum. Some of his works are too delicate to move, existing solely in photographs and, above all, in the imagination. This is art that, to quote New York Times critic Roberta Smith, ‘raises wonderful questions about the making and seeing of art’: about paying attention, about how we spend our time, and about the pleasures of small transformations producing sudden beauty. Solo exhibitions of Friedman’s works have been held at The Museum of Modern Art in New York and at The Art Institute of Chicago. A major exhibition of his work, ‘Tom Friedman: The Epic in the Everyday’ toured in 2000-2 to the Museum of Contemporary Art in Chicago, the Yerba Buena Center for the Arts in San Francisco, the New Museum of Contemporary Art in New York and the Southeastern Center for Contemporary Art in Winston-Salem, North Carolina. American art critic Bruce Hainley examines the artist’s work as a kind of giant self-portrait. Poet and novelist Dennis Cooper discusses with the artist such unexpected influences as contemporary electronic music. Guardian art critic Adrian Searle looks at the artist’s work Untitled, 1993: a ring of plastic cups in a home-made Minimalist tradition. The Artist’s Choices are The Dinner Party (1919) by Swiss writer Robert Walser, and the glossary to Info-Psychology (1975-6) by Timothy Leary, the cult psychologist who advocated the use of psychedelic drugs. Facsimiles of the artist’s notebooks and text works are published alongside an important interview by renowned curator Robert Storr.
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