In the group exhibition Constelação Clarice we can see, for the first time, Clarice Lispector’s writings situated within the art scene of her time. Hannah Bruckmüller reviews the exhibition that has taken place at IMS Paulista in São Paulo, where she finds the egg that is the beginning.
"Gambling, risk-taking, and games of chance are inherent in the way a structure, for instance, a body, can swing between activity and passivity, between control and submission to fate or to another entity." Hagai Ulrich on the sculptures of Daniel Oksenberg in the exhibition "Sweaty Grips."
The first installment of a new column on studio visits by Michal B. Ron, who lives in Berlin. As the coronavirus pandemic spreads, the column also develops and acquires new forms. At the center of each encounter is a discussion of works by different artists and their thoughts about the current conditions of art and life.
David Duvshani talks with Ohad Meromi about sculpture, modernism, the 1990s, exile, and border crossings.
A carpet made of concrete, a ripped duvet, and toy soldiers scattered across a single bed. East of Elsewhere's “While You Were Sleeping” housed a collection of domestic furnishings distorted and deconstructed to reflect the consequences of conflict seeping into everyday life.
In Richard Deacon's comprehensive solo show at the Prague Municipal Gallery, to see the large-scale sculptures viewers must get close, bend down, crane their necks upward, focus on the small details, and then again step back and look at the whole work. These exploratory actions that the viewers perform with their bodies and their movement through space have led Hagai Ulrich to try to understand how Deacon manages to physically express ideas, symbols, and signs that cannot be realized in time and space.
"Slowland," Bianca Eshel Gershuni's and Oree Holban's joint exhibition, opened at Barbur Gallery in Jerusalem in the wake of the highly visible dispute between the gallery and the municipality, and the latter's attempts at censorship. Hagai Ulrich visited the show and returned with some thoughts about the political prospects suggested by the space the two have built.
Do the works of Michal Makaresco represent cheap fetishism and dubious situations? Were they made casually, easily, or on a whim? Hagai Ulrich visited the show at Hamidrasha Gallery in Tel Aviv and came back with thoughts about good taste, honesty, as well as questions about weight and scale.
Producing some of the wittiest artistic pranks in sculptures, installations, photography, and video works, in an ever more pompous art world, Fischli/Weiss have always advocated wild thinking. Michal B. Ron writes about the duo's major retrospective exhibition at the Guggenheim.