Bigindicator

Vanessa Gravenor

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, Andrea Crespo’s video installation, which opened at Kraupa-Tuskany Zeidler during Berlin Art Week, runs for one hour. It has a linear plotline, with silent dialogue written over the image. The aesthetics are sparse; the film flickers through still shots of institutional interiors, revealing an interrogation in which the minds and bodies of people with autism are charted and managed by the State. In the gallery, the artist emphasizes this bodily control with clinical and military... [more]
On a rainy afternoon in Berlin, during the latter half of Berlin Art Week, I met with writer and artist Ingo Niermann to discuss his new project about bringing love, sex, and intimacy into the realm of social justice—ideas put forth in his novel and the film Army of Love, commissioned and co-produced by the 9th Berlin Biennale. Complete Love is the latest edition in the Solution Series, an exercise bringing together experimental proposals and fiction to respond to the pressing needs of... [more]
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What Can LARPing Bring to an Art World Obsessed with the Present?   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Brody Condon at Akademie der Künste - Pariser Platz September 17th, 2016 - September 18th, 2016
Posted 9/15/16
The problem of presence Presence wracks the contemporary artist’s existence. Take, for instance, Marina Abramovic’s 2010 retrospective, , during which the artist famously sat in the gallery for the entirety of her exhibition’s run at MoMA. In her essay “‘The Artist is Present’: Artistic Re-enactments and the Impossibility of Presence,” critic Amelia Jones argues that the very fact that Abramovic was there, in the live act, “destroys presence (or makes the impossibility of its being secured... [more]
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At the Berlin Biennale, Are DIS Pranksters or Practitioners of the Present?   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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at Berlin Biennale for Contemporary Art June 4th, 2016 - September 18th, 2016
Posted 6/10/16
A post-internet dystopian fairyland—this was my first reaction to the 9th Berlin Biennale for Contemporary Art, Curated by DIS, the art collective behind DIS magazine, the exhibition promised to be full of post-internet art, advertisements, and corporate aesthetics, as was made apparent by branding techniques and imagery on the Biennale website as early as 2014, when the curatorial team was announced. In the weeks preceding the Biennale, posters were mounted outside KW Institute for... [more]
Raised plastic titles display Arabic lettering. The text is slightly enlarged so that it imitates brail—raised to suggest that the shapes could be read with hands—turning texture into thought. A red exclamation point disrupts the script—a western interruption bordering on fusion. These are some of the constructed artifacts on display in the Preis der Nationalgalerie exhibition at Hamburger Bahnhof by the collective Slavs and Tatars, who were nominated for this year’s award. The collective... [more]
A young-girl enters the room, she gives a speech, she engages with the audience, she exits. Her acting double, an identically looking young-girl, enters the room after her. She performs the same speech in German with a slight variation. Both girls perform the same character—a character modeled after manga character Ann Lee. In their combined acting, they agree to share the personality of a constructed character schizophrenically. They (she) perform an idea of identity that has been crafted by... [more]
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Fire and Forget: Artists Respond to Modern Warfare   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Marina Abramovic, Ron Amir, Roy Brand, James Bridle, Luis Camnitzer, Mircea Cantor, Joan Castro, Marcelo Cidade, Jem Cohen, Martin Dammann, Chto Delat, Öyvind Fahlström, Harun Farocki, FRANK&ROBBERT/ROBBERT&FRANK, Daniil Galkin, and Keren Yeala Golan, Rudolf Herz, Damien Hirst, Clara Ianni, Emily Jacir, Hunter Jonakin, Joachim Koester, Korpys/Löffler, Barbara Kruger, Armin Linke, Robert Longo, Jazmin Lopez, Kris Martin, Michael Müller, Timo Nasseri, NEOZOON, Katja Novitskova, Tal R, Pipilotti Rist, André ROBILLARD, Julian Röder, Henning Rogge, Martha Rosler, Hrair Sarkissian, Ori Scialom, Timur Si-Qin, Santiago Sierra, Javier Téllez, Ulay, Julius von Bismarck, Sharif Waked, Gillian Wearing, He Xiangyu, Amir Yatziv, Ala Younis at KW Institute for Contemporary Art June 14th, 2015 - August 30th, 2015
Posted 6/24/15
Entering . On Violence, the viewer passes through two of the four rotating gates in Daniil Galkin’s installation Tourniquet. Beyond this eerie passage, a provocative text speculates on the impact of technology on modern warfare. Its thesis can be characterized as follows: since modern technology has largely emancipated warriors from a traditional active sense of duty—allowing them to literally fire and forget—does this change in confrontation halt the production and inevitable perception of... [more]