Writing

Heartbreaking Duplicity: Documenta 14 // Learning From Athens

09/28/2017
Banu Cennetog˘lu, BEINGSAFEISSCARY, 2017, various materials, Friedrichsplatz, Kassel, documenta 14. Photo: Roman März.

The following article was originally published by The Seen in September, 2017. In a sense, the Western World presumes to be (always) learning from Athens, espousing Ancient Greece as its point of origin and thereafter presuming a complex blend of familiarity, ownership, and admiration…. +

Joan Jonas: A Fickle Trickster Screen

08/24/2017
Joan Jonas. Song Delay film still, 1973. 16 mm film, black-and-white, sound; 18 minutes 35 seconds. Camera: Robert Fiore. © Joan Jonas.

The following article was originally published by Art21 in August, 2017. For more than four decades, Joan Jonas’s interest in producing, emphasizing, and manipulating space and sound has remained constant in her practice. A 1972 article by Janelle Reiring in The Drama Review describes one of… +

Anthropocene Curriculum, Haus der Kulturen der Welt / Bound with Beautiful Things, Deep Time Chicago

06/12/2017

Between 2013-2022 the Anthropocene Curriculum was developed by Haus der Kulturen der Welt (HKW, Berlin) and the Max Planck Institute for the History of Science (MPIWG, Berlin), in collaboration with many partners worldwide. I had the pleasure of attending two iterations in Berlin in 2017 and New Orleans in… +

Bettina Pousttchi // The Shifting Politics Of Material Perception

05/28/2017
Bettina Pousttchi, Echo, 2009–2010. 970 paper posters on the facade of Temporäre Kunsthalle Berlin. 11 x 20 57 m / 36 x 66 x 187 ft. Courtesy the artist and Buchmann Galerie.

The following interview was originally published by The Seen in May, 2017. Based in Berlin, German artist Bettina Pousttchi is known for her work in sculpture and photography, teasing out the politics of perception, particularly as it emerges through institutionalized structures—whether the exterior of… +