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Gilad Ratman's video projects demand an extreme physicality from the friends and associates whom he enlists as participants. In Che Che the Gorgeous (2005), they lie on a cracked desert floor in what look like cocoons, singing and wailing, sounds that are then mixed in a home studio by a DJ. In Alligatoriver (2006), they undertake a noisy bacchanal in a supposedly alligator-infested river. Often his players act barely civilized, or borderline insane, with a propensity for wordless vocalizations, shaggy hair and unkempt couture.
Irreverent to the end, Franz West was instrumental in conceiving a major retrospective that opened after his death.
To visit Katrín Sigurđardóttir's installation Foundation at the Venice Biennale, you must travel to the Palazzo Zenobio in the city's Dorsoduro quarter. There you traverse a courtyard garden, beyond which lies a spacious, grassy yard flanked by walls in diverse masonry. On the far side of the yard is a plain gray building that looks as though it has been sliced through horizontally by the black-and-white-tiled floor of a second, entirely unrelated structure.
Sarah Sze's exhibition "Triple Point" occupies the American Pavilion in the Venice Biennale.
"Cinematic Scope" gathers six artists in their 30s and 40s from Germany, Austria and ex-Yugoslavia whose practices are "expanding" media in the 21st century.
Wael Shawky's one-hour video Cabaret Crusades: The Path to Cairo (2012) features intermittent close-ups of taut strings quivering in a fire-lit night.
The Vienna Kunstkammer evolved from the late Renaissance notion of the cabinet of wonders. It originally contained, apart from works of art, curiosities of nature that have since been disbursed to natural and ethnographic museums, or vanished. Still, it remains the largest and finest of its kind-and one of the greatest decorative arts collections on earth.
I GREW UP IN THE D.C. suburbs, in Maryland. My mother worked for the government, and my dad’s business often dealt with government.
Sarah Oppenheimer falls into a category of artists whose aim is to make us ponder the previously hidden experiential and perceptual dimensions of our constructed world.
The Argentine video artist and filmmaker Sebastian Diaz Morales (b. 1975), who divides his time between Comodoro Rivadavia in his homeland and Amsterdam, is regrettably little known in the U.S., though he has exhibited widely elsewhere around the world.