Interviews

THE MULTIPLE LIVES OF IMAGES By Andrew Maerkle and Natsuko Odate Former house of General Wang Shu-ming, the Chief of Staff under Chiang Kai-Shek, Cidong Street, I (2010), C-type print, 65 x 83 cm. All images: © Tomoko Yoneda, courtesyView More >

PROJECT FOR A MASQUERADE (HIROSHIMA) By Natsuko Odate Project for a Masquerade (Hiroshima) (2010–11), with hand-carved Noh mask for the character Kichiji the Gold Merchant/James Bond in foreground and, from left to right in background, masks for the Hat Maker’sView More >

Excerpted and adapted from an artist talk by Simon Starling at the Hiroshima City Museum of Contemporary Art, January 22, 2011: Installation view of Project for a Masquerade (Hiroshima) (2010–11) at the Hiroshima City Museum of Contemporary Art. All images:View More >

II. Orientation, This Anri Sala discusses the choreograpy of perception in time and space. Exhibition view of “Anri Sala” at Musée d’art contemporain de Montréal, 2011, with Doldrums (2008) in foreground and the two-channel video projection After Three Minutes (2007)View More >

IN AND OUT OF ARTICULATION By Andrew Maerkle Still from Answer Me (2008). © 2011 Anri Sala, courtesy the artist; Galerie Chantal Crousel, Paris; Marian Goodman, New York; Hauser & Wirth, London, Zurich; Johnen/Schöttle, Berlin, Cologne, Munich. Anri Sala firstView More >

THE RADIUS OF ACTION By Andrew Maerkle Working Progress (1996-99), work in situ, Alkmaar, The Netherlands, wood. Photo Leo van der Kleij. All images: © Tadashi Kawamata, courtesy the artist and kamel mennour, Paris. One of Japan’s most distinguished artists,View More >

BEYOND HORIZON By Andrew Maerkle Tempest (Study for The Raft) (2005), color high-definition video on flat panel display mounted on wall, duration 16 min 50 sec, screen 109 x 66 x 10.2 cm. Performers: Sheryl Arenson, Robin Bonaccorsi, Rocky Capella,View More >

IV. Wallfuckin’, Revisited Monica Bonvicini on the necessity of taking risks. Wallfuckin’ (1995/96), b/w video on monitor, sound, amplifier, speakers, drywall panels, aluminum studs, bricks and mortar, white paint, door, 250 x 310 x 330 cm, duration 60 min. AllView More >

III. Built to Ride Monica Bonvicini on quotation as critique and the breakdown of language. We Finally Built Walls (2010), wooden structure, 30 safety glass panels, black enamel color, 398 x 983 x 7.3 cm; photo Nils Klinger. All images:View More >

II. Group Erotics Aernout Mik discusses the erotics of sameness and collective emotions. Top: Exterior view of “Citizens and Subjects,” Dutch Pavilion at the 52nd Venice Biennale, 2007; photo Victor Nieuwenhuis. Bottom: Installation view of Training Ground (2007) in “CitizensView More >

II. I believe in the skin Monica Bonvicini discusses fetishism and the act of destroying her own works. Hammering Out (an old argument) (1998), video color projection, sound, amplifier, two speakers, 18 min 45 sec. All images: Courtesy Monica BonviciniView More >

ART OF UPHEAVAL: 1924 By Natsuko Odate All images unless otherwise noted: Performance still from 1924 at the National Museum of Modern Art, Kyoto, 2011. Courtesy Miwa Yanagi. Best known as a photographer addressing images of feminity in a male-orientedView More >