Crop Marks, Sharif Waked’s latest work, is a life-size photographic self-portrait of the artist with his head cut off. Alma Mikulinsky writes about this beheading drama and tries to understand our fascination with images of head amputations, such as Henri Regnault’s painting of the brutal execution in Granada and Ned Stark’s decapitation in Game of Thrones.
Between 1918 and 1924, the German missionary and anthropologist Martin Gusinde traveled to Tierra del Fuego and West Patagonia, the southernmost point in Chile and therefore the globe. Alma Mikulinsky writes about the traveling exhibition of Gusinde’s photographs, documenting his encounter with the indigenous people of the Selk’nam, the Yamanas and the Kawésquar.
Can one bypass the fact that Roee Rosen, through his writing, manufactures his art as a closed system? Can one approach his art from different perspectives? Alma Mikulinsky writes about Rosen’s mid-career retrospective at the Tel Aviv Museum of Art
In the current post-Occupy disillusionment, where the art world is dominated by commercial interests, could the term “Capitalist Realism” offer new strategy for change? Alma Mikulinsky reviews ARTMargins’s special issue on Capitalist Realism.
Could an egg-shaped artwork have predicted the internet? Alma Mikulinsky on “The Metabolic Age,” curated by Chus Martínez at Museo del Arte Latinoamericano de Buenos Aires