Art In America

Artists Protest Israeli Funding of São Paulo Bienal

Some 56 artists have signed an open letter to the the São Paulo Bienal foundation, asking that the organization decline funding from the state of Israel. The letter states that the artists were previously unaware of Israeli support for the exhibition. The signatories represent a significant portion of the 100-some participants in the show....Read more


“Restricting Eyes”: Lee Yong-woo on Gwangju Biennale Censorship

In his first interview since announcing his resignation, Lee talked to A.i.A. via e-mail about the need for free expression in South Korea's young democracy and the future of the exhibition he cofounded.    …Read more


The Agenda: This Week in New York

A.i.A. editors suggest a few of the myriad events taking place this week in New York: brainstorming about utopia at FluxFactory; a mixtape of artists' videos at Electronic Arts Intermix; an analysis of a 1984 album by English post-punk masters The Fall…Read more


Self-Determination in Western Sahara: Metahaven and Independent Diplomat

A.i.A.'s August cover is the product of a collaboration between the New York-based non-profit advisory group Independent Diplomat, which has worked with the Sahrawi Arab Democratic Republic to promote self-determination since 2006, and Dutch graphic desig…Read more


São Paulo Bienal Reveals Artists and Projects

Titled "How to (...) things that don't exist," the biennial will, the organizers say, take on a research-based approach with open meetings on art and society rather than settling on a specific theme.…Read more

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Our article on artists decrying Israeli funding has been updated with a statement from the @BienalSaoPaulo:


Marilyn Minter on Robert Gober

"Robert Gober was profound for me."…Read more


N. Dash on Liz Deschenes

"The press release for Liz Deschenes's show at the Walker says only that she is creating new work. The vague description is appropriate, perhaps, because Deschenes's projects are resolutely physical and best experienced in the real."…Read more


Philip Tinari on Lee Mingwei

"'Lee Mingwei and His Relations' will be an event for Tokyo."…Read more


Over 13 days in the summer of 2012, when the low tide coincided with the early morning duties of maintenance workers at Laga Beach in Ibarranguelua, Spain, Swedish artist Gunilla Klingberg made A Sign in Space, her vivid, idiosyncratic variation on Land art. The workers' ordinary tractor towed a specially manufactured steel cylinder fitted with a relief matrix made from truck tires. As the tractor chugged back and forth in successive rows, the beach was transformed, via the relief's patterns, into a rippling and intricate design, at once earthly and celestial, hinting at cosmic objects and events while connecting with sacred mandalas, Islamic architectural ornamentation and ceremonial sandpainting. Tides and human use gradually erased the design each day, making for an expansive yet ephemeral work that embraced emergence and disappearance, cohesion and entropy, and that li...Read more

To artists, the term "local" can be almost derogatory, implying provincialism or lack of international success. Yet widespread international exhibitions and biennials rely on and reinforce the concept of local identity. The recent show by London-born, Berlin-based artist Kasia Fudakowski at Chert Gallery, titled "Local Artist," poked fun at this paradox. Choosing as a lens the culture of Japan—a nation distantly included in her complex lineage—she parroted traditional Japanese aesthetics through sculpture, video and performance while also referencing the way Japanese culture has been historically assimilated and (mis)interpreted in the Western world. In the first room, Fudakowski presented the semblance of tatami-mat flooring (all works 2014), made from "local" materials purchased at a nearby hardware store: Styrofoam and wooden beams. Two sculptures featured Japanese...Read more

A potted maple tree, encircled by 20 white marble slabs forming a dashed line on the floor, occupied the center of Lia Rumma gallery's ground floor. The circle seemed to demarcate a sacred area: the red-leaved tree took the place of a religious icon, while the flat marble rectangles defined the perimeter of an imaginary colonnade. The thinness of the slabs gave the marble a pictorial quality; rather than sculpture, they looked like immaculate floor paintings with pearl gray veins. The piece is titled Signaling (2014), the first of three installations in this recent solo exhibition by David Lamelas (b. Buenos Aires, 1946). The work was a new version—specifically conceived for this gallery—of the artist's Signaling of Three Objects (1968), in which he marked out the area around a tree, a lamppost and a chair in London's Hyde Park by positioning white pan...Read more

Andrew Lord began working in ceramics some 40 years ago—long before the medium's recent renaissance in the art world—creating pieces that explore concerns far beyond those of functional household objects. Throughout his career, he has used forms such as coffee sets or vases as grounds on which to consider painterly notions such as how light falls, or to refer to other artists, including Picasso, Duchamp and Jasper Johns. Born in northern England in 1950 and based in New York since the 1980s, Lord makes nearly all his work by directly grappling with the clay, the final sculptures bearing signs of struggle between the resistant material and the artist. Lord's recent exhibition at Eva Presenhuber centered on three groups (all 2013) of 13 to 15 pieces based on ceramics by Gauguin—vases, dishes, bowls—and presented on three long trestle tables. Each of the coll...Read more

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