Art Monthly Magazine
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Contents
Issue 457, June 2022
Zineb Sedira, Dreams Have No Titles, 2022
Feature
Conversations with Friends
Zineb Sedira interviewed by Hettie Judah
The conversation with Sonia Boyce and Gilane Tawadros that I filmed for my project was already taking place between many black artists in the 1980s. Unfortunately, we are still having these conversations after 40 years. It was important then and it is still important today, until discrimination vanishes.
Abbas Akhavan, slug, 2020
Feature
A Walk in the Park
Abbas Akhavan interviewed by Tom Denman
You might hear it if you happen to be on the grounds. You experience it as a witness rather than an audience. I’m fond of the idea that the cellist might be performing and no one might hear it except for the donkey that lives at a nearby stable.
poster promoting the Universal Basic Income referendum held 5 June, 2016 in Switzerland, photo Julien Gregorio
Feature
To BI or not to BI: Against Artists’ Basic Income
Chris Hayes argues that we can’t ignore the dark history behind Ireland’s transformative policy
Unlike the labour movements of the 20th century, which pushed for greater democratic control over the economy, basic income does little to address the causes of poverty and precarity, and is often advocated by the same economists and businesses who are allied with existing inequalities.
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From the Back Catalogue
Art & Gentrification
Larne Abse Gogarty on the uses and abuses of social practices in art. First published 2014, now free online
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Suki Chan, Lucida, 2016
Profile
Suki Chan
Maria Walsh
Vision depends on a complex network of neural impulses, but perception is informed by the phenomenological sense of being a body in relation to the surfaces, depths and atmospheres of other bodies in space.
sponsored
Editorial
Winning Ways
The politics of prize-giving has in recent years left the UK a pariah on the international stage, but the openness of our culture has recently been rewarded despite the isolationism of our government.
In recent years, the participation in the Venice Biennale of the US and its principal ally, the UK, has been largely ignored or awarded the equivalent of ‘nul points’, regardless of the merits or otherwise of the artists selected.
sponsored
Letter
Withdrawal from BAS9 Manchester
Dozens of artists pull out of the Manchester leg of the British Art Show in protest against the University of Manchester’s handling of legal threats over a Forensic Architecture display.
sponsored
Artnotes
Looted
The UN confirms the looting of Ukrainian cultural sites; support for Ukrainian cultural workers arrives both from within the country and abroad; Russian artist Oleg Kulik inadvertently finds himself at the centre of Russia’s culture war; Poland’s politicians replace a well-regarded museum director with a nationalist puppet; Documenta faces similar pro-Israel anti-BDS legal threats to those that recently unsettled the Whitworth; Jacob Rees-Mogg has ACE in his sights; plus the latest on galleries, people, prizes and more.
Obituary
Hermann Nitsch 1938–2022
sponsored
Emii Alrai, ‘A Core of Scar’, installation detail
Exhibitions
59th Venice Biennale: The Milk of Dreams
Arsenale and Central Pavilion, Venice
Chris Clarke
Whitney Biennial 2022: Quiet as It’s Kept
Whitney Museum of American Art, New York
Ted Targett
Weather Engines
Onassis Foundation, Athens
Sophie J Williamson
Parklife: Biodiversity in Contemporary Irish Art
Glucksman Gallery, Cork
Cherry Smyth
sponsored
Radical Landscapes
Tate Liverpool
Mike Pinnington
Jane & Louise Wilson: The Toxic Camera
Maureen Paley, London
Adam Heardman
Say Less
Herald St, London
Peter Suchin
Kerry Guinan: The Red Thread
The Complex, Dublin
Michaële Cutaya
Emii Alrai: A Core of Scar
Hepworth Wakefield
Greg Thomas
Lonnie Holley performing at Stone Nest
Performance
Lonnie Holley: The Growth of Communication and The Edge of What
Sara Quattrocchi Febles
Lonnie Holley’s songs and artworks are raw and ephemeral markers – songs that cannot be adjusted or fixed as they are only ever played once, and artworks that use abandoned and discarded objects, no longer needed by their past owners.
Meredith Monk and Bang on a Can performing at Southbank Centre
Performance
Meredith Monk and Bang on a Can: Memory Game
John Douglas Millar
Appropriately enough, given where the performance was taking place, on the site of London’s Elizabethan theatres and bear pits, Meredith Monk’s occasionally comedic elements carried the dark wisdom of the fool.
Cristiano Volk, Laissez-Faire, spread
Artists’ Books
Cristiano Volk: Laissez-Faire
Julian Stallabrass
Laissez-Faire is a book of the urban night – of consumption, clubbing and office work, of the light of capital, seen pure and without the competition of the sun, and the photographic rendering of its colours in acidic clashes across many pages.
Lala Rascic, Gorgo, 2019
Books
Jasmina Tumbas: ‘I am Jugoslovenka!’ Feminist performance politics during and after Yugoslav Socialism
Jon Blackwood
Neither dissident nor an ‘ideal worker’, Jugoslovenkas in this era of collapse and ethnocide used all the tactics learned in navigating existing socialism with the much uglier realities that ultimately replaced it.
Madeline Anderson, Integration Report 1, 1980
Film
2022 International Short Film Festival Oberhausen
Adam Pugh
The theme at this year’s festival, ‘Synchronise! Connections, References, Encounters: Pan-African film networks’, surveyed African filmmaking past and present, both rooted and diasporic.
‘Art is Here’, installation views, Moravian Gallery
Reports
Letter from Brno
Pavel Büchler
In Brno today, the decapitated Medusa signals the historical affinity between Brno and Vienna.
Artlaw
Brexit Bites
Henry Lydiate
The UK’s EU art market position derived largely from the benefits of operating within the EU’s stand- ardised framework of laws creating a customs and market union.
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