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Hommage à Malevich: Black Square Continued Print E-mail
Exhibition Reviews
Written by Milena Tomic (Montréal)   
Friday, 16 October 2015 15:21

Fig. 1: Vlado Martek, “Yugoslavia – Malevich,” 1984. Cardboard, tempera, 20.5 x 14.5 cm. Image courtesy of the artist.Curated by Mateja Podlesnik at Ljubljana's City Art Gallery to mark the centenary of Kazimir Malevich's Black Square (1915), Hommage à Malevich: Black Square Continued tracks artistic references to Suprematism from late-socialist Yugoslavia and its later independent former republics. The significance of this shared reference is found in two works by Vlado Martek, a Croatian poet and artist, that hang roughly at the midpoint of the exhibition's first floor. Started in the same year that an anthology of the Suprematist's writings appeared in translation,(Kazimir Severinovich Malevich and Slobodan Mijusković, Kazimir Maljevič: suprematizam, bespredmetnost: tekstovi, dokumenti, tumačenja [Kazimir Malevich: Suprematism, Non-Objectivity: Texts, Documents, Interpretations (Belgrade, Student Publishing Center, 1980).) the series Artists, Read Malevich (1980–2002) is here represented by six framed pieces of paper on which Martek wrote that injunction in different languages. On an adjacent wall, Yugoslavia – Malevich (1984), a tiny tempera on cardboard, adds the Russian artist's last name to a lumpy red representation of the country (fig. 1). As the protected color of communism, red could not be appropriated at will; Martek's reclaiming of it for an alternative vision to the socialist modernism promoted by the state hints at how post-conceptual artists working across these territories in the early 1980s were in a better position to "read Malevich" than their American counterparts, who were largely drawn to the combination of reductive formalism and vague revolutionary potential.(For more details on Malevich's American reception, see Alison McDonald and Ealan Wingate, eds, Malevich and the American Legacy, exh. cat. (New York: Gagosian Gallery, 2011).)

Unrecounted: Historical Amnesia in Germany and Namibia at the Venice Biennale 2015 Print E-mail
Exhibition Reviews
Written by Elisa Schaar (Oxford)   
Friday, 06 November 2015 00:00

Figure 2 Christoph Schlingensief, “The African Twin Towers,” 2005-2009. © Filmgalerie 451.After Angola won the Golden Lion for best national pavilion upon its first participation in the Venice Biennale in 2013, Okwui Enwezor's edition of the Biennale in 2015 further emphasized the African context. With the exception of the debacle surrounding the Kenyan pavilion, which was disowned by the Kenyan government because the artists chosen to participate, grotesquely, were once again, as in 2013, mostly Chinese, Enwezor's curatorial lead meant that artists from the margins were finally given greater visibility.(Laura C. Mallonee, "Kenyan Government Denounces the Country's Venice Biennale Pavilion," Hyperallergic, April 24, 2015, But Enwezor's Biennale also attracted artistic and curatorial projects in which artists of European descent owned up to their inherited legacy of the colonizer, raising difficult questions about what it meant to speak from this perspective, and, more broadly, about how the different voices were situated in relation to one another.

Off-Biennale Budapest: Art Beyond Government Funding? Print E-mail
Exhibition Reviews
Written by Dasha Filippova (Budapest)   
Sunday, 13 September 2015 17:47

Roee Rosen, “The Buried Alive Group Videos: Historical Joke # 3,” 2013, (still). Image courtesy Galleria Riccardo Crespi, Milan, and the artist.OFF-Biennale was the inaugural edition of an art event that mobilized seemingly all of Budapest's nongovernmental art, semi-art and entirely nonart spaces on both sides of the Danube, to present diverse works by some 200 local and international contemporary artists. Running a month-long marathon of daily exhibition openings and one-time performances in galleries, bars, a hair salon, an electricity factory and numerous outdoor public spaces (April 24 -May 31), the majority of the biennale took place in the Hungarian capital – its contextual home and a city that uniquely merges both socialist and imperial ruin aesthetics – but some sister events were scattered as far as São Paulo and New York.


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ARTMargins Print has released its new issue, 4.3. (October 2015)!

Special Issue on Capitalist Realism

J. Hamilton Faris (Manoa) on Akasegawa Genpei's take on capitalist reality.

Maibritt Borgen (New Haven) considers life-material in Öyvind Fahlström's Kisses Sweeter than Wine.

In the Document section we present, for the first time in English, Akasegawa Genpei's "The Objet after Stalin." FREE ACCESS. (Introduction by Pedro J. Erber)

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