Issue 87 November-December 2004
View from the Bridge
When colour theory is no longer enough
Another Brick in the Wall
Six years ago the run-down Kingsdale School in south London was threatened with closure - until architects dRMM were invited to help with its regeneration; they later invited artist Joep van Lieshout to contribute to the scheme.
Molotov Cocktails
Tom Wolfe’s 1970 essay ‘Radical Chic’ explores the decadent relationship between wealth, glamour and extremist politics – and is as relevant today as it was 34 years ago
State of the Art
‘Blood runs! Flags wave! … Come on, run into the Winter Palace and stand on tables, waving bits of paper at each other! Yes! Yes! Hello, are you the Tsar? Bam bam! Tough luck, fascist! That’s what happens to people who aren’t working class! … In ten minutes time there’s going to be a massive rock and roll benefit in the drawing room …’ Rick, ‘The Young Ones’, 1984
Language Factory
An interview with Mel Bochner on words, portraits, Roget’s Thesaurus, colour, Jorge Luis Borges, humour, nostalgia and political engagement
Mirror, Mirror
Joanne Tatham and Tom O’Sullivan’s sculptures, installations and performances mine the space between what you want from something and what that something has to give
Bjorn Dahlem
Last year the Hubble Space Telescope took a long, hard, deep look at what appears to be a nearly empty spot inthe night sky near the constellation Fornax
Saskia Olde Wolbers
She is a mightly fabulist, an artist who creates vast and lanyrinthine worlds which she uses as settings for miasmic tales of longing and delusion
Nina Konnenmann
Her videos gently unhinge your sense of time and space. No special effects are used, and all the actions shown are real events, none of them what you might call spectacular
Anthony Burdin
One of the extraordinary things about his video is the way that they instantly draw you in, opening a rhetorical chute where you slide past the usual outposts of spectator detachment
Soft Machine
Even ‘hawks’ have begun to doubt that exerting ‘hard power’ – sheer military and economic strength – is enough. Cultural persuasion, or ‘soft power’, is the new buzzword
Emil Heilborn
Centrum for Fotografi, Stockholm, Sweden
By Ronald Jones
John Bock
ICA, London, UK
By Dominic Johnson
Socle du Monde
Herning Kunstmuseum and Ikast Kedelhal, Herning, Denmark
By Jan Verwoert
Between Past and Future
Asia Society and International Center for Photography, New York, USA
By Sydney Pokorny
Damian Ortega
White Cube, London, UK
By Mark Godfrey
Daniel Joseph Martinez
The Project, New York, USA
By James Trainor
Tim Davis
Bohen Foundation, New York, USA
By Peter Eleey
Behind the Facts
Museu de Arte Contemporanea de Serralves, Oporto, Portugal
By Michael Hubl
Tobias Rehberger
Whitechapel Art Gallery, London, UK
By Alex Coles
Art and Utopia: Action Restricted
Museu d'Art Contemporani de Barcelona, Barcelona, Spain
By Jan Verwoert
Albert Oehlen
Musee Cantonal des Beaux-Arts, Lausanne, Switzerland
By Fabrice Stroun
Julian Rosefeldt
Kunstwerke, Berlin, Germany
By Sally O'Reilly
Ray Johnson
Gimpel Fils, London, UK
By Nicholas Cullinan
Sergej Jensen
Galerie NEU, Berlin, Germany
By Dominic Eichler
Janet Cardiff
Central Park, New York, USA
By Megan Ratner
Donald Urquhard
Millers Terrace, London, UK
By Andrew Hunt
Ana Mendieta
Whitney Museum of American Art, New York, USA
By Kristen M. Jones
Liverpool Biennial 04
Various locations, Liverpool, UK
By Tom Morton
The Future Has a Silver Lining
Migros Museum, Zurich, Switzerland
By Tirdad Zolghadr
Freedom of Expression National Monument
Foley Square, New York, USA
By James Trainor
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