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A Question of Fever
Like their nations of origin, artists from the former Yugoslavia and neighboring countries have witnessed piqued interest in their work and problematic assimilation over the past decade. Major exhibitions in Vienna, Brussels, London and Rome, and newly erected national pavilions at the Venice Biennale are credited with generating a "Balkan fever" that continues to captivate the Western European art world. The artists supposedly eliciting said fever have complained of their work being exoticized and homogenized, the topic of conversation on the opening night of an exhibition at the Austrian Cultural Forum titled "Serbia FAQ."
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Restrained By Order: Cosey Fanny Tutti at the ICA
On a recent drizzly Saturday, about a hundred devotees converged on London's ICA theater for a six-hour conference in homage to Cosey Fanni Tutti. The iconic performance artist and founding member of Throbbing Gristle got her name when the artist Robin Klassnick sent her some mail art, a component of which was a re-spelling of Mozart's comic opera Così fan tutte, loosely translated "as all women do." Of course, what Cosey has done has always been a little different, and in the mid-1970s the name Cosey Fanni Tutti was synonymous with scandal. Experimenting with multifarious identities, Cosey appropriated images from her side-career as a sex industry worker into her artistic practice. Her first (and only) art show at the ICA, with Genesis P-Orridge as part of the COUM Transmission art collective, opened in 1976, bluntly titled Prostitution. It outraged the museum-going public with clippings of the artist in pornographic magazines and irreverent displays of, among other things, rusty knives and bloody tampons. The show was closed after only four days.Read More
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Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200
