Art Monthly Magazine
Fiercely independent since 1976
Contents
Issue 458, July–August 2022
Céline Condorelli, After Work, 2021
Feature
Work and Play
Céline Condorelli interviewed by George Vasey
I am fascinated by the hierarchies of labour and the presence of bodies in museum spaces. Institutions reify particular types of artistic labour while deleting other forms of technical labour.
Jana Romanova, Untitled, 2022
Feature
The Future Eaters
Sophie J Williamson discusses how the present disaster caused by Russia’s invasion of Ukraine exends to other colonised communities in the region
European colonisers in Australia were dubbed by some aborigines ‘the future eaters’ because they consumed in abundance from the land without replenishing it, bereft of foresight.
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From the Back Catalogue
Art & Activism
Gavin Grindon reports on the crisis in Copenhagen at COP15. First published 2010, now free online
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YOUNG-HAE CHANG HEAVY INDUSTRIES PRESENTS: DOWN IN FUKUOKA WITH THE BELARUSIAN BLUES, 2010
Feature
Information v Experience
Mark Prince asks whether the tension between the apparent democratic reach of mass-media versus intimate forms of storytelling in our post-truth era might be resolved in art
If Down in Fukuoka’s dancing fragment of rogue narrative, put through a string of digitally animated variations, is not literally a form of storytelling, it is at least a commentary on the loss of its potential.
Nikhil Vettukattil, Amnesia, 2022
Profile
Nikhil Vettukattil
Alexandra Symons-Sutcliffe
Amnesia uses a techno soundtrack: the high bpm of hard electronic music brings you further into your own bodily rhythms.
sponsored
Editorial
Moral Maze
The UK government’s Rwanda policy may be mostly performative, but it is unethical, unrealistic, costly – in every sense – and reeks of colonial attitudes that must be confronted.
Collective action is required to address the underlying causes of mass migration, and wealthier nations, many of which grew rich through colonial extraction and exploitation, have a duty of care.
sponsored
Artnotes
Museum Meddling
An international report on museum governance slams today’s absurd levels of political interference; the V&A is picketed as it hosts the Tory Party’s fundraising ball; Documenta is targeted in racist attacks; artists suffer mass arrests over land rights protests in the Philippines; talks are announced between Greece and the UK over the future of the Parthenon Marbles; celebrated British artists plan to become German citizens in protest over Brexit; plus the latest on galleries, people, prizes and more.
Obituary
Hunter Reynolds 1959–2022
aka Patina du Prey 1989–2000
Alex Cecchetti, Sentiero (Path), 2022, Biennale Gherdëina
Exhibitions
Sylvie Fleury: Turn Me On
Pinacoteca Agnelli, Turin
Juliet Jacques
Filippo Caramazza: Guston Reloaded
Handel Street Projects, London
Peter Suchin
Meriem Bennani: Life on the CAPS
Nottingham Contemporary
Luisa Lorenza Corna
Jitish Kallat: Covering Letter
Tangled Hierarchy
John Hansard Gallery, Southampton
Adam Heardman
sponsored
Rajni Perera: Traveller
Eastside Projects, Birmingham
Thomas Ellmer
Berlin Biennale: Still Present!
various venues
Mimi Howard
Biennale Gherdëina: Persones Persons
various venues, Val Gardena
Lucia Farinati
Whitstable Biennale: Afterwardness
various venues
Sara Quattrocchi Febles
Gran Fury, Read My Lips, 1988
Books
Jack Lowery: It Was Vulgar & It Was Beautiful – How AIDS Activists Used Art to Fight a Pandemic
Chris McCormack
The book centres on the visual material produced by the collective Gran Fury as part of the multiheaded fight against the political hostility of two successive Republican governments – and beyond – for those dying of HIV/AIDS.
Daisuke Kosugi, A False Weight, 2019
Film
Daisuke Kosugi: Somewhat Infrequently
Maria Walsh
Near the end, a black screen is punctuated by a circular dot that sways like a pendulum from one side of the screen to the other, its frame showing different fragments from the film. It is as if, in the back-and-forth motion, the film is recalling and erasing itself.
Anja Kirschner, UNICA, 2022
Film
Anja Kirschner: UNICA
Sam Dolbear
One point becomes clear: work is boring and repetitive, and involves a sort of reproduction of the self and a division of labour that also relies on the division of other people’s labour that is probably also boring and repetitive.
Maria Kulikovska, 254, 2014/22, Neue Nationalgalerie
Reports
Letter from Berlin
Brian Hatton
Maria Kulikovska first enacted 254 in July 2014, in protest against the Russian annexation of Crimea, her home, and the destruction of her works in Donetsk by the pro-Russian militia. Looting the Isolatsia gallery, they dragged out the statues she had cast of her own body in soap and, aiming their guns, shot them to pulp.
Rugile Barzdziukaite, Vaiva Grainyte, Lina Lapelyte, Sun & Sea, 2017/21
Reports
Letter from Luckenwalde
Greg Thomas
Located in the once-notorious state of Brandenburg, Luckenwalde was a site of neo-Nazi agitation during the 1990s and 2000s. That threat was seen off but the more insidious growth of mainstream nativist nationalism in the late 2010s has troubled the area.
Simone Leigh, Birmingham, 2012, estimated at $150,000, sold for $2.2m
Reports
Salerooms
Colin Gleadell
The May sales of Modern and Contemporary art in New York, which used to be packed into one week, were spread out over two this year and these bumper sales posted their highest ever total for a series of Modern and Contemporary art auctions at $2.785bn.
Maurizio Cattelan, La Nona Ora, 1999
Artlaw
The Unasked Question
Henry Lydiate
Rarely do artists issue author-recognition writs against fellow artists, but in May 2022 the chief intellectual property court in France heard such a lawsuit against Maurizio Cattelan.
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