Creischer and Siekmann | Statistical Aesthetics

Sarah Lookofsky I am interested in the fact that both of your practices function to “materialize” abstract and unseen economic processes. Andreas, your practice adopts the informational graphics of the Cologne Progressives and, Alice, your work is marked by a meticulous craft aspect. I wonder if you could both talk a bit about the material qualities your work take—going beyond traditional formal concerns in order to visualize the invisible, materialize the abstract, slow down a… [read more »]

Thomas Hirschhorn | Concordia, Concordia

Since I am not – and since I do not want to become – a journalist I would like to propose an EXISTING text, an EXISTING text means a text I wrote FROM myself – FOR myself, that is why it EXISTS now: As many people, I saw the pictures showing the inside of the sunken cruise-ship “Costa Concordia” after the wreck. The floor emerging upright had become a wall, the wall was turned into… [read more »]

Disability and Disabled Theater

From November 12th to November 17th 2013, Jerome Bel, a French choreographer, and Theater Hora, a company of Swiss actors, presented Disabled Theater at New York Live Arts in partnership with Performa 13.1 Disabled Theater is a compilation of ten dance solos inter-cut by the voice of Simone Truong Michael Manis , a narrator who who sits slightly off-stage and speaks into a microphone (translating the actors’ German into English, narrating the choreographer’s process, and… [read more »]

No Matter Where You Are in the House You Feel Connected to the Landscape
Isa Genzken: Retrospective

Since the dawn of consumer culture, the fine art of sculpture has inevitably had to negotiate its relationship to the explosion of stuff into everyday life. In the past thirty years, the nature of this association has been concretized in many ways, ranging from elevation to critique and multiple points in between. The periodization of the important post-war German sculptor Isa Genzken’s practice, since the 1970s until today, not only addresses this shifting relation, it… [read more »]

Mark Dion | Trash on the Beach

This past summer, the artist Mark Dion joined an expedition of scientists and artists, traveling 450 nautical miles along the Alaskan coastline to inspect the buildup of marine debris ejected from the great gyres, or currents, in the Pacific Ocean. Here he responds to questions about the role of art in processing the effects of global capitalism and the trash it piles up. Sarah Lookofsky There you were with a bunch of climate scientists on… [read more »]

Thomas Hirschhorn | Project in the Projects

Thomas Hirschhorn is currently in the process of constructing The Gramsci Monument in the Forest Houses in the Bronx, which is scheduled to open on July 1st. He responds to questions about it in anticipation of the opening. Sarah Lookofsky I know that you were searching for a long time for an ideal location for your Gramsci Monument in New York. What made you finally decide on the Forest Houses in the Bronx? Thomas Hirschhorn The… [read more »]

Hank Willis Thomas | BRANDING USA

Sarah Lookofsky In Unbranded (2007), you remove logos and slogans from advertisements that feature black bodies, leaving them to “speak for themselves.” I found it striking that some of the images include very clear-cut racist and sexist stereotyping, while others appear more ambivalent, even defamiliarizing or unsettling when perceived out of their commercial context (this was especially the case for me with older images that are distant from the present moment). To your mind, does… [read more »]

Group Think

The focus group is a good allegory for democracy under capitalism. On one side of the two-way mirror—which offers narcissistic mirroring for those solicited for opinions—everyone is permitted to have and express their individual discriminations. This “all-ears” invitation obscures the fact that the choices with which we are presented are manufactured, limited, and can only be met with individualized notions of taste: “I like this color best; he seems like a nice person; nuh-uh, too… [read more »]

May the Unnoticed Remain So

The Gagosian Doesn’t Want you to See this Image. There is a big silver-grey painting, or perhaps a piece of metal, that could be mistaken for a carpet covering the back wall. There is a pink walrus on a low plinth. There is a scrap metal sculpture on a pedestal around the corner. Two women are cleaning the art fair booth. One, on the right, holds a vacuum cleaner hose and looks with a faint… [read more »]

You May Qualify for Art School

Sarah Lookofsky: I feel compelled to start with some ads that pop up on my Facebook page on a daily basis: a mixture of Roy Lichtenstein lookalikes and model-y people—all with lips slightly agape and searching looks on their faces—summoned to lure me to apply for art school with the promise of generous grants. I haven’t bothered to figure out what is actually on offer (they don’t seem to detect that I am already rather… [read more »]

Josephine Meckseper | The Final Shop

Sarah Lookofsky I thought we could begin with a bit of media-specific contemplation. Here we are on a website that addresses, among other things, fashion, a time-bound commodity that your artistic practice has continually explored. I thought it might be interesting to think about this site in contrast with the “sites” you frequently assemble in your work, namely the glass vitrine and display case. The shop window is a curious recreation at this point in… [read more »]

Middle Management on a Freelance Basis

She lived in a sculpture. Tall and thin, with an edge, amazing frontage and amenities like a lounge and yoga classes and a roofdeck with lounge chairs. Designed in the Bay Area and imported. Her old place was really not bad, but people here were just more diverse and interesting. These were uncertain times, so work was best performed in a reclining position and creativity was best tapped in a steady drip. The laptop fit… [read more »]

Brody Condon, Somewhere on the Floor

Brody Condon, Untitled (2010) In coordination with Saks Fifth Avenue and the PS1 Greater New York Exhibition, Brody Condon was invited to contribute a project to be displayed in the Saks window on 50th St. Brody’s proposal was to film a performance inside Saks itself. To his surprise Saks was familiar with his work and agreed. The piece, a modification of the Trisha Brown work Accumulation (1971), is a floor-based dance performance based on various… [read more »]