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"Rattemeyer, Christian"
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8th berlin biennale
[...]while Gaitán's efforts to address the question of globalism and cultural hegemony were laudable, his decision to do so via the oddly removed and formalized language of museological display and classification in the hermetic space of an ethnographic museum often left out the urgency of these subjects. [...]his preference for a light touch-his desire for intimacy, sustained attention, and ephemerality-resulted in the selection of works and venues that couldn't transcend the exhibition's wellmannered appearance in unexpected or innovative ways.
Magazine Article
\Surogat stvarnosti\
Overall, the selection showed the shifting ways in which a wide range of highly inventive graphic styles, often originating in fine-art experiments, shaped Zagreb animation over the past fifty years. Besides the extraordinary quality of the material presented, and the sheer joy of encountering a wealth of graphic material at once new and foreign but immediately graspable and clear, the exhibition managed to open up several important lines of inquiry.
Book Review
27th Sao Paulo Bienal: Sao Paulo
FOR THIS INCARNATION of the Sao Paulo Bienal, chief curator Lisette Lagnado-- along with Adriano Pedrosa, Cristina Freire, Jose Roca, Rosa Martinez, and guest curator Jochen Volz --decided to do away with the exhibition's longstanding separation by nationality. Instead, the organizers framed the exhibition around the theme stated in the biennial's title, \"Como Viver Junto\" (How to Live Together), taken from a series of lectures Roland Barthes delivered at the College de France in Paris in 1976-77. This subject was approached from two angles, dubbed \"programs for life\" and \"constructive projects,\" which might be described as focusing on social and architectural realities, respectively.
Magazine Article
27th São Paulo Bienal
Employing his now-iconic over-size paper and cardboard replicas of \"bound\" volumes of philosophy books, mannequins punctured by nails and screws, sofas and tables upended and stacked, and a toolshed replete with screwdrivers, hammers, axes, and drills, Hirschhorn took his artistic practice to its logical extreme by securing everything (right down to the supporting shelves and pedestals) with brown packing tape. Among them were Meschac Gaba's Museum of Contemporary African Art, 1997-2002, which uses the format of the museum gift shop to present handcrafted objects made from obsolete African currencies; Goshka Macuga's model-like modernist pavilion containing a miniature group show of vaguely modern-looking works; Mabe Bethônico's forays into the archives of the São Paulo Bienal, which examine how its history is understood by the institution itself; and Rirkrit Tiravanija's \"tropicalized\" version of Jean Prouvé's 1951 Tropical House, re-created out of corrugated tin and populated with palm trees so as to insert local life back into a structure that had been designed to exorcise all traces of it in the name of colonialism.
Magazine Article