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Is Documenta 13 post-human? Three blitzschnell dispatches by Quinn
Latimer, Filipa
Ramos, and Ana
Teixeira Pinto provide very different accounts of this friendly
Frankenstein of an exhibition—an "ambitious world of worlds" (Ramos)
or "engaged with the world that we (joyfully, sorrowfully, weirdly)
inhabit" (Latimer). Rich in animal, vegetal, and other worldly influences,
Teixeira Pinto perhaps best surmises the exhibition in equating Documenta
to a breed of "urban wildlife" […] "a species neither wild nor
domestic and created by the peculiar ecology of the refuse of civilization,
an animal that burrows in sewers and scavenges leftovers." What these
perspectives share is an appreciation for the depiction of the world's
fertile fragility, but this too is tinged with an uneasiness of mind.
Recently on Agenda:
Documenta 13,
Kassel
Three reviews from Documenta 13 by Quinn Latimer, Filipa Ramos, and Ana Teixeira Pinto.
Art
Basel, Fondation Beyeler, Kunsthalle Basel, Museum für
Gegenwartskunst
Colin
Chinnery and Laura
McLean-Ferris at and around about Art Basel.
Jill
Magid's "Failed States," Honor Fraser, Los Angeles
Eva
Diaz expounds upon how an armored Mercedes station wagon plays a
role in Goethe's "Faust" in Jill Magid's first show at Honor Fraser, Los
Angeles.
Yto Barrada's "Mobilier Urbain," Pace Gallery,
London
JJ
Charlesworth hesitates to judge without having read the assembly
manual of thoughts behind Yto Barrada's "Mobilier Urbain" at Pace Gallery,
London.
"The Deep of the Modern," Manifesta 9: The European
Biennial Of Contemporary Art, Genk
Jonas
Žakaitis emerges from "The Deep of the Modern" at a mine in
Belgium to find how coal can be transformed into a "semantic and
morphological engine" of meaning at Manifesta 9.
Paul
McCarthy and Damon McCarthy's "Rebel Dabble Babble," The Box, Los
Angeles
Jonathan
Griffin elaborates on the double trouble of Paul McCarthy and son
Damon's passing dalliance with James Franco and Rebel porn at The
Box, Los Angeles.
Thomas Bayrle at Air De Paris,
Paris
Lara
Sarcevic discovers the early (less recognizable) aesthetics of
Thomas Bayrle at Air de Paris, Paris.
Yang Fudong's
"Close to the Sea & the Revival of the Snake," Shanghart Beijing /
ARTMIA
Gallery, Beijing
David
Spalding is entranced by Yang Fudong's latest at ShanghART Beijing
(with ARTMIA Gallery): "No matter how aestheticized, these images of an
exiled rebel struggling for survival have an unexpected confluence with
China's present-day reality, which only strengthens the work's magnetic
field."
John Miller's "New Realities," Patrick Painter
Inc., Los Angeles
Andrew
Berardini shows how John Miller revives the middlescence (or not:
we just like the word) of "Material Realities" at Patrick Painter, Los
Angeles.
Mark Dion's "Twenty One Years of Think in
Three Dimensions," Galerie Christian Nagel, Berlin
John
Beeson traces Mark Dion's engagement with the ordinary through
sculpture in a survey of the artist's work at Galerie Christian Nagel,
Berlin.
Coming soon, reviews
of "Glaze," at Galerie Chez Valentin,
Paris; Martin Kippenberger at Carolina
Nitsch, New York; "We love
you," at Limoncello, London; Silke Otto-Knapp at Galerie Daniel
Buchholz, Berlin; "Stand still like the hummingbird," at
David Zwirner, New York; "Steel Life," at Michael
Benevento, Los Angeles; and Zoe Leonard at Raffaella
Cortese, Milan.
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