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1 month ago | 
artforum.com | Bryan Barcena
Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.
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2 months ago | 
artforum.com | Hans-Ulrich Obrist |Oskar Oprey |Bryan Barcena |Barry Schwabsky
Roy Ascott reflects on his careerTHE PIONEERING British media artist ROY ASCOTT, who turned ninety last fall, has been at the forefront of creative experimentation with interactivity since the late 1950s. Equally influential is his work as an educator, beginning with the radical “Groundcourse” he developed at the Ealing School of Art in 1961.
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2 months ago | 
artforum.com | Richard A. Meyer |Oskar Oprey |Bryan Barcena |Barry Schwabsky
Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.
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2 months ago | 
artforum.com | Jeremy Lybarger |Oskar Oprey |Bryan Barcena |Barry Schwabsky
TO UNDERSTAND the kind of artist Barbara DeGenevieve was, you need only look at some of the prompts she gave her students at the School of the Art Institute of Chicago (SAIC), where for twenty years, starting in the mid-1990s, she was the photography department’s resident troublemaker:Make a piece in which you explore/inhabit/become a stereotype. Make a piece that addresses your own racism. Make a piece that is guaranteed to offend or piss people off.
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2 months ago | 
artforum.com | Oskar Oprey |Bryan Barcena |Barry Schwabsky |Anne Carson
On Holly Herndon and Mat Dryhurst’s “The Call”THERE WASN’T A BIBLE IN SIGHT, but the Serpentine North Gallery still felt like a place of worship thanks to The Hearth, 2024, a gigantic wall-mounted suite of GPU cooling fans that doubled as a church organ, blaring out AI-generated hymns that echoed throughout the entrance area. This musical installation, by the artists Holly Herndon and Mat Dryhurst, formed the opening to “The Call,” the Berlin-based duo’s first UK institutional show.
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2 months ago | 
artforum.com | Carter Ratcliff |Bryan Barcena |Barry Schwabsky |Anne Carson
Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.
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Jan 1, 2025 | 
artforum.com | Anne Carson |Bryan Barcena |Barry Schwabsky |David Ross
ON THE OCCASION OF “Overshare,” Sophie Calle’s first retrospective in North America at the Walker Art Center in Minneapolis, Artforum asked Anne Carson to discuss a work from the French artist’s show. Her text, “COUNTERSLEEPFEIT,” was written in response to a project for which Calle invited twenty-seven people to sleep in her bed over the course of eight days. A selection of photographs documenting this event are reproduced here. “Overshare” is on view through January 26.
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Sep 19, 2024 | 
artforum.com | Oskar Oprey |DiaryThe HEAT |Bryan Barcena |Ekow Eshun
Michel Houellebecq vents againI think I’m going to learn French, if only to keep up with Michel Houellebecq. The aging bad boy of letters has been embroiled in a fresh crop of scandals these past few years, the plotlines worthy of an X-rated soap opera on Canal+. First there’s his legal battle with Dutch art collective KIRAC—they collaborated on a pornographic film project together, in which audiences would have seen Houellebecq having sex with women other than his wife.
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Sep 18, 2024 | 
artforum.com | Bryan Barcena |Ekow Eshun |Jan Tumlir |Eve Hill-Agnus
Frieze Seoul and the Gwangju BiennaleComing from Los Angeles and its housing issues—born of its charming but inefficient sprawl—it’s impossible to see urban density, and the juxtapositions it creates, as the sign of a well-functioning, twenty-first-century city.
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Jun 1, 2024 | 
artforum.com | Bryan Barcena |ZinesVideolandby Oskar Oprey |Oskar Oprey |WELL-MEANINGBy Shih-yu Hsu
“The World Made Wondrous”“THE WORLD MADE WONDROUS: The Dutch Collector’s Cabinet and the Politics of Possession” presented a luscious contrast to the austere exhibition design typically seen at LACMA’s Stuart and Linda Resnick Pavilion, a Renzo Piano building whose gallery spaces conform to the modernist preference for neutrality over ambience.
