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Special Edition: Artissima 19
by ArtSlant Team


by Jared Baxter

Particularly for those in the art world who can recall the rains that marked the closing of last year's Artissima with a city-wide flood watch, the title of this year's cultural initiative, It's not the end of the world, ought to cement the art fair's reputation for dogged optimism. To a large extent, this outlook is earned – at a time when instability in the art market has made other events of its ilk ever more desperate affairs, Artissima increasingly stands out for the ways in which it tries and frequently succeeds at being more than a mere function of commerce, through initiatives that have been a part of its conception since the beginning.

Chief among these, perhaps, is the section called Back to the Future, a section dedicated to solo presentations of work from the 60s and 70s by artists whose influence eclipses their acclaim among a more general audience. As the section's title hopefully suggests, this may be because their work has undergone some kind of renaissance, having shrugged off the weight of the historical trajectories it built on or set in motion to enjoy a renewed contemporaneity.

As a critic, it's tempting to see some of the choices as somewhat polemical...

...


by Andrew Berardini

To be honest, I'm not very good at preparing for things.

I do manage to pack socks and a toothbrush, though the only items I figure to be truly indispensable are a passport and maybe some pants.

Everything else can be reckoned with.

I aspire to detail-oriented readiness, long for the interest and ability to compose excel sheets that excel and enumerate neat lists with reassuring checkmarks next to each accomplished task, but this is sadly not the case. I can be distracted by a particularly beautiful butterfly passing.

I've read that showing up is most of the job though and I do generally manage that.

I have my plane ticket to Italy and a room booked in Turin under my name, and a project there with my name listed as co-curator.

I'm organizing a show at Artissima this year with my good friend and colleague Lauren Mackler for her space Public Fiction out of Los Angeles. The exhibition required ridiculous amounts of preparation of course as these things generally do, hundreds of emails, dozens of meetings, trips to shipping places and sundry studios, and the difficult-to-quantify work of thinking and then trying to wind up your courage to do the many difficult things required to do much of anything.

Our show will last only four days, the duration of the fair...

...

The subtle relief sculptures, paintings, drawings, prints and stage design of German artist Jakob Mattner make something out of nothing. Or is it nothing out of something? His work will be on view at Artissima 19 in Turin with 401 Contemporary (booth 7 in the Violet Corridor). Mara Goldwyn visited Mattner last week in his Berlin-Charlottenburg studio:

MG: There does seem to be something cosmic – planets or heavenly bodies – in the work... This is always a silly question to ask an artist, but is it intentional?

JM: If you’re interested in light, you’re always confronted with the day and the night, the twilight, the stars. As an art student...I said – OK I’m just going to forget everything they taught me and just work with the night, the twilight and the day...

...

Posted by ArtSlant Team on 11/7/12

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