Jennifer Piejko

Jun 6, 2024 | frieze.com | Jennifer Piejko

An entire odyssey can be written on a single grain of rice. In Hu Yun’s The Unknown Clouds (2021–24), 376 of them sit in a small porcelain bowl, each inscribed with the formal name – deciphered to the best of the artist’s ability – of a Chinese indentured labourer whom he found listed in the gold rush-era records of the Golden Dragon Museum in Bendigo, Australia.

Apr 24, 2024 | news.artnet.com | Jennifer Piejko

Maysha Mohamedi has been writing in a diary almost every single day since she was 15 years old. When it was time to look back through the old pages for a book of her collected writings, it turned out that her early material didn’t age as well as she’d hoped. “It was really gnarly,” she said with a laugh as we sit in her Los Angeles studio. “It was so gnarly, and I wanted to publish it.

Feb 28, 2024 | theartnewspaper.com | Jennifer Piejko

Local galleries have long been the bedrock of Los Angeles’s contemporary art scene, from influential titans like Ferus Gallery and LA Louver, to local institutions like Blum and Regen Projects, and newer cornerstones of the scene like Anat Ebgi and Night Gallery. Now, with the local art scene flourishing and powerful outsiders from New York and beyond moving in, a new generation of homegrown art spaces is keeping the city’s hardscrabble and experimental character alive.

Dec 12, 2023 | e-flux.com | Jennifer Piejko

Tatsumi Hijikata spoke with his entire body. At Nonaka-Hill, Yasuo Kuroda’s photographs of his performances of Butoh—the form of dance theatre he founded in postwar Tokyo—are displayed alongside new paintings by Sanya Kantarovsky, advancing the latter’s interest in Japanese folklore and traditions. The subjects on the canvases resemble the dancers in the photographs, as if painted from hazy memories or fever dreams.

Nov 1, 2023 | artasiapacific.com | Jennifer Piejko |Alison Carroll |Pamela Zeplin |John Hoskin

Issue There is no surer welcome for a graffiti artist than the humble iron gate: ornamental, industrial, and imposing, these barred portals present irresistible frontiers that invite as much as they repel. For Norwegian artist Ida Ekblad the fence circling a bus depot in Oslo was once an oblique point of entry, a place into which she could drift and paint murals on the walls and roof, leave her mark, and turn a municipal complex into a summer hideout with her peers.