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Published in Associated Press, 25 December 2008
Like most of her works, the stunning “Measuring Your Own Grave” (2003) is based on a photograph. Painted in black and white, a dancer takes a graceful bow, leaning over at the waist; we see the top of her head, her arms stretched, pushing against the edge of the canvas. It’s an innocuous scene, painted from what we can only assume was a happy moment, but Dumas’ title changes all that.
http://www.projo.com/art/content/wk-dumas_show_at_MOMA_12-25-08_A2CKEV1_v13.6f1f777.html
Related Artists: Marlene Dumas
Published in The Guardian, Monday 15 December 2008
The exhibition also spills over into the education room, where the Raqs Media Collective has curated its own sub-exhibition… a cluttered arrangement of aluminium stepladders on which screens are mounted, displaying a confusing array of video and film imagery. All that hardware signals cutting-edge, information-superhighway modernity. The documentary film material they show highlights the collisions between traditional rural, religious Indian culture and a new industrial society.
http://www.guardian.co.uk/artanddesign/2008/dec/15/art-india-serpentine-gallery
Related Artists: Raqs Media Collective
Published in Bloomberg.com, 12 December 2008
Working from news photographs as well as her own snapshots and Polaroids, Dumas takes on Big Themes—sex, death, birth, race, motherhood—without sensationalizing or sentimentalizing them.
Her figures are anonymous but unmistakable, isolated in extreme close-up on monochromatic backgrounds and distinguished by blurred edges, bleeding veils of paint and physical characteristics that she distorts for emotional effect without resorting to caricature.
http://www.bloomberg.com/apps/news?pid=20601088&sid=akTIRWk6WQuw&refer=muse
Related Artists: Marlene Dumas
Published in Frieze, 8 December 2008
In ‘Dream Villa,’ the largest single body of her colour work shown to date, Singh explores the mysteriousness of ordinary spaces obscured in darkness. She exploits colour photography’s unique ability to reproduce gradations of colour and density in light, juxtaposing artificial lighting with moody night skies.
http://www.frieze.com/shows/review/dayanita_singh/
Related Artists: Dayanita Singh
Related Exhibitions: Dayanita Singh: Dream Villa
Published in ShahidulNews, 6 December 2008
[Dayanita] had been questioning her own work for some time. Questioning her ’success’ at producing images that regurgitated the “India” the west already knew. She chose to become a mirror to herself, and in that process begin a journey that would create a window to an everyday world. An everydayness that other photographers had shunned.
http://shahidul.wordpress.com/2008/12/06/through-the-cracks-of-a-mirror/
Related Artists: Dayanita Singh
Published in Eyecontact, December 2008
“Killing Time” is an extraordinary portrait of an un-named possum trapper who lives in the Ureweras, working in remote areas of mountainous bush, British artist Bridget Smith films him in his house in Tokomaru Bay as he talks about his lifestyle and certain personal events.
Related Artists: Bridget Smith
Published in Financial Times, 22 November 2008
In her newest series, Dream Villa, [Singh] focuses once again on the empty places in this most populated of countries… and now, in a departure from her signature black and white, she is using colour - not to reflect the famously vivid Indian palette but, unexpectedly, to capture the shifting facets of the Indian night.
http://www.ft.com/cms/s/0/73e1657a-b838-11dd-ac6d-0000779fd18c.html?nclick_check=1
Related Artists: Dayanita Singh
Related Exhibitions: Dayanita Singh: Dream Villa
Published in The Telegraph, Calcutta, India, 16 October 2008
Dayanita Singh’s Sent A Letter (Steidl, 2007) grew out of what she describes as a “diary-like way” of photographing that she started around the year 2000. She would take photographs while walking around a city or travelling together with, or simply thinking about, a friend…
http://www.telegraphindia.com/1081016/jsp/opinion/story_9971108.jsp
Related Artists: Dayanita Singh
Published in Artforum, October 2008
Related Artists: Craigie Horsfield
Published in The New York Times, 21 August 2008
“Stillness” is about duration and change, which are the same thing and are also the substance of life and history. Ms. Dean’s film of Mr. Cunningham’s performance is about the sound and motion of history in action: the personal history of one man’s fidelity to the memory of another; the cultural history of a living artist transmitting and rejuvenating the creative essence of one who has died; the contemporary history of a younger artist preserving and honoring all this, and the two men (the piece is above all a portrait of Mr. Cunningham) in her art.
http://www.nytimes.com/2008/08/22/arts/design/22dia.html?_r=1&ref=design&oref=slogin
Related Artists: Tacita Dean
Published in Time Out London, 4 August 2008
A bevy of Belgian women smoking shows Akerman the filmic anthropologist at her finest: making art out of the way cinema handles the female subject…
Related Artists: Chantal Akerman
Published in Amsterdam Weekly, August 2008
Related Artists: Fiona Tan
Published in Artforum, Picks, Summer 2008
Much of Tacita Dean’s recent work in film has been portraiture, and her scrupulous attention has brought forth a range of engrossing characters…
http://artforum.com/picks/section=us#picks20885
Related Artists: Tacita Dean
Published in New York Times, 27 July 2008
[Tacita] Dean’s installation looks amazing down here. Walking down the stairs from the museum galleries and stepping into the darkness, you can see only the flickering lights of the six projectors. They look like radiant stars in the night sky. As you get closer to each projection, the imagery comes into view. The soundtrack also begins to kick in, over and above the whirling hum of the projectors.
http://www.nytimes.com/2008/07/27/nyregion/nyregionspecial2/27artswe.html
Related Artists: Tacita Dean
Published in The Independent, 24 July 2008
Entering the main gallery is a mesmeric and moving experience. Text flickers across two curved screens to the strains of melancholy classical music. Fragile and ephemeral, the French words blur, as the viewer walks between the screens, then enlarge and dissolve like ghosts to become barely legible in the flickering light.
Related Artists: Chantal Akerman
Published in ArtForum, July 2008
Related Artists: Jaki Irvine
Published in The Guardian, 15 July 2008
One of the pleasures of Akerman’s work - and this is especially true of the earliest of the three pieces in the London show, her 1972 Hôtel Monterey - is the idea that something is about to happen, or is happening just out of sight. The camera crawls unlit corridors and shadowy corners in the New York hotel. It lingers outside doors, waits for the elevator and hovers at windows. Back and forth the camera goes, a silent walker, a leading character in a movie without a plot.
http://www.guardian.co.uk/artanddesign/2008/jul/15/art.film
Related Artists: Chantal Akerman
Published in Art on Paper, July 2007
Related Artists: Cornelia Parker
Published in The Huffington Post, 26 June 2008
But she has asked herself, how do you paint the end of a relationship? How do you indicate without words, what two people have meant to each other? And she manages to do it, rendering the awful pain of separating from someone you thought you would be close to forever by juxtaposing the head of one lover on top of another, no longer side by side, looking in entirely different directions.
http://www.huffingtonpost.com/patricia-zohn/culture-zohn-marlene-duma_b_108975.html
Related Artists: Marlene Dumas
Published in The Los Angeles Times, 25 June 2008
“Leather Boots” (2000) shows a busty nude woman in profile squatting inside a narrow space and wearing only what the title says. A cascade of black hair tumbles down her back, and she’s framed by the black walls of what might be a peep-show booth. Yet her torso is backed by a vaporous veil of lovely sunrise color—peachy pink lifting into radiant yellow, which puts you in mind of the intimate intensity of a Rothko.
http://www.latimes.com/entertainment/news/arts/la-et-dumas25-2008jun25,0,4194446.story
Related Artists: Marlene Dumas
Published in The Boston Globe, 22 June 2008
Since 1995, video artist Chantal Akerman has carved out a niche combining a sensual cinematic sensibility with formal aspects of video installation, including multiple screens, large-scale projections, and dissociated audio. Her glacial approach in “Chantal Akerman: Moving Through Time and Space,” a hypnotic show at the MIT List Visual Arts Center, takes some getting used to, but the rewards are great.
Related Artists: Chantal Akerman
Published in New York Times, 15 June 2008
[Dumas’] paintings can be defined in terms of what she has rejected from her surroundings. She strips away anecdotal detail… until all that is left is a haunting gaze.
http://www.nytimes.com/2008/06/15/magazine/15dumas-t.html?pagewanted=1&ref=design
Related Artists: Marlene Dumas
Published in The New York Times, 13 June 2008
Chantal Akerman is a hero of the avant-garde cinema. Her most famous film, “Jeanne Dielman, 23 Quai de Commerce, 1080 Bruxelles” (1975), devotes more than three hours to observing a woman’s domestic routines before climaxing in, as accounts regularly put it, “an act of shocking violence.”
http://www.nytimes.com/2008/06/13/arts/design/13aker.html?8br
Related Artists: Chantal Akerman
Published in Londonist, 12 June 2008
Artist Anna Barriball has been commissioned to design a series of posters for the underground, and the result is an enigmatic exercise in the art of typographic seduction.
http://londonist.com/2008/06/oh_boy_new_art_on_the_underground.php
Related Artists: Anna Barriball
Published in Flash Art, June 2008
‘Chomsky’s anecdotes, and the detailed information that he relays in a wide-sweeping vision of our decadent and deadly culture, hold the viewers in thrall… It is the compassion with which Chomsky delivers his statement and the depth of thought which underpins all his answers that irresistibly engenders a deep adoration for this man.’
Related Artists: Cornelia Parker
Published in The Boston Globe, 8 June 2008
In defiance of the frenetic, fast-cut pace of MTV (which has leaked into almost every other form of popular moving imagery today) Akerman clings to a style of shooting that is unapologetically glacial. She favors long lateral takes from moving vehicles and extended frontal takes from a static camera. Her approach takes some getting used to, but the rewards are great.
http://www.boston.com/ae/theater_arts/articles/2008/06/07/a_lingering_look_at_the_world/
Related Artists: Chantal Akerman
Published in The Los Angeles Times, 6 June 2008
Yet each [painting] leaves viewers with so much room to maneuver—so much space to romp around in—that they reawaken those great moments in life when everyday responsibilities fall away and freedom whooshes in…
http://www.latimes.com/entertainment/news/arts/la-et-galleries6-2008jun06,0,4126691.story
Related Artists: Juan Uslé
Published in Frieze Issue 116, June - Aug 2008
The members of Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) have been described as artists, media practitioners, curators, researchers and editors. Their work, which has been exhibited widely in local and international venues, locates them squarely along the intersections of contemporary art, historical enquiry, philosophical speculation, research and theory – often taking the form of installations, online and offline media objects, performances and encounters.
http://www.frieze.com/issue/article/raqs_media_collective_1/
Related Artists: Raqs Media Collective
Published in ArtForum, June 2008
Related Artists: Giuseppe Penone
Published in Contemporary Arts Society, April 2008
Related Artists: Massimo Bartolini
Published in Art of England, April 2008
Related Artists: Cornelia Parker
Published in Circa, Spring 2008
Related Artists: Daphne Wright
Published in Irish Arts, Spring 2005
Related Artists: Daphne Wright
Published in Time Out, 5 March 2008
‘I was cutting up headlines into phrases and [my daughter] began writing them out as part of her homework. She’s doesn’t understand what she’s writing yet – things like “Catastrophe is always elsewhere” – but we’re all bombarded with this weird concrete poetry now, either in the papers or in email spam.’ - Cornelia Parker
http://www.timeout.com/london/art/features/4366/Cornelia_Parker-interview.html
Related Artists: Cornelia Parker
Published in Metro, 20 February 2008
‘She avoids straightforward diatribe, however, creating brief portraits of silence. Between Chomsky’s answers her voice is absent. Instead, we see Chomsky listening, blinking, nodding, gulping, flaring nostrils, pursing lips and adjusting his glasses.’
Related Artists: Cornelia Parker
Published in The Times, 12 February 2008
‘Parker has always had an apocalyptic vision. “I suppose I have always been alert to the fragility of the world, and I have always been interested in addressing our fears of destruction,” she says.
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article3351184.ece
Related Artists: Cornelia Parker
Published in The Guardian, G2, 12 February 2008
What was the most important thing I learned from Chomsky? That capitalism compels us to work ourselves to death in order to stuff our houses with things we don’t need. Perhaps this is one thing art can do: create a new aesthetic, one of austerity.
http://arts.guardian.co.uk/art/visualart/story/0,,2255812,00.html
Related Artists: Cornelia Parker
Published in Manifesta4, February 2008
Massimo Bartolini creates real physical environments while being uniquely capable of relating them to some superior worlds. His installations include a special use of light and often sound. They are indeed rooms and spaces that, however, have immense tactile power.
http://www.manifesta.org/manifesta4/en/projects/artist1361.html
Related Artists: Massimo Bartolini
Published in re-title.com, February 2008
http://www.re-title.com/exhibitions/archive_DAmelioTerras1203.asp
Related Artists: Massimo Bartolini, Cornelia Parker
Published in Luceonline.it, February 2008
‘The artist has created an installation using light, immaterial element constituted by pure energy. The art-work will be on the facade of the MAXXI, in close relation with the new museum and with the city.’
http://www.luceonline.it/eng/main.php?action=fullnews&id=117
Related Artists: Massimo Bartolini
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