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 >
ERECT AS SIN By Andrew Maerkle Belts Couch (2004), black leather men’s belts, iron, fabric, 55 x 160 x 200 cm. All images: Courtesy Monica Bonvicini and Galerie Max Hetzler, Berlin. Based in Berlin, Monica Bonvicini is known for worksView More >
POSSESSION/FORM By Andrew Maerkle Still from Glutinosity (2001), single-channel video installation. All images: courtesy Aernout Mik and carlier❘gebauer, Berlin. Aernout Mik’s meticulously staged, multi-channel videos explore the tensions between individual actions and collective order, hysteria and reason, and how theseView More >
II. The Index of Robert Macaire Cheyney Thompson on the technology of perspective, and names that un-name. Installation view of the solo exhibition “Chronochromes, Data, Motifs” at Rat Hole Gallery, Tokyo, 2011. All images: Courtesy Cheyney Thompson and Rat HoleView More >
ALLEGORY OF THE BODY AND THE NAME By Andrew Maerkle Installation view of “Chronochromes, Data, Motifs” at Rat Hole Gallery, Tokyo, 2011. All images: Courtesy Cheyney Thompson and Rat Hole Gallery. I. The Strangeness of Discipline Cheyney Thompson on conditionsView More >