Reto Pulfer at the Swiss Institute

FRIEZE WEEK 2013: Reto Pulfer at the Swiss Institute

written by Nathalie Zwimpfer in New York

Tonight the Swiss Institute opens a new exhibition showing Swiss Artist Reto Pulfer's Zustandseffekte. Pulfer's work is very elusive in many ways. It is difficult to categorize, however, it can be stated that there is an immersive architectural component to his work. Pulfer turns the 5000 square-foot gallery into a new setting, which suddenly leads to a surprising and unknown experience of space.

The gallery's white cube, sterile and clean by its definition becomes a giant but cozy tent. The tent feels welcoming and warm, in spite of its large scale. One could imagine being in a teepee, or a bedouine tent. Its walls are dynamic, drifting and moving. The space seems unlimited due to the fabric's transparency and the gallery's concrete walls are about to dissolve. A tangible space exists but also an imaginary unlimited one.

Reto Pulfer

Zustandseffekte

The exhibition’s title, Zustandseffekte can be interpreted or translated as effects of a given state. It seems like the room changes from solid to liquid until it almost vanishes.

The light falls through the skylight windows and becomes an important actor giving a site-specific component to the installation. It lightens up the tent from above and when it hits through the fabric it is softly distributed and floats through the room, creating a mysterious and sensual setting. The smell of incense sticks all over the exhibition space supports this ambience.

With large fabrics draping from the ceiling, hundreds of waves are formed on the sheets, evoking thoughts of floating water. One could assume being surrounded by water looking towards its wavy surface from far beyond. At the same time one could picture the sky up in the ceiling. On the egg shell-colored sheets there is a wide, diagonal stripe painted that leads from one corner to the other. It's in blue, green and yellow colors and spreads itself over the tent's ceiling like the Milky Way. 

The sheets are rather subtle despite the installation's size yet they have the power to turn the space into a completely different environment. Pulfer's installation surprises with the ambivalence between its gigantic, impressive appearance and its creation of a reticent, calm and cautious ambiance that leaves the viewer in an almost meditative state.

Reto Pulfer, 

Zustandseffekte continues until June 23, http://www.swissinstitute.net/exhibitions/exhibition.php?Exhibition=128

ART NOVA, ART BASEL MIAMI BEACH 2012

written by Nathalie Zwimpfer in Miami Beach

PROJECTESD

Gilda Mantilla & Raimond Chaves
An Uncomfortable Eagerness
Due to the diversity and complexity of the work shown, a gallery that stood out at the Art Nova section was ProjecteSD from Barcelona. They presented a project called An Uncomfortable Eagerness by two collaborating Latin American artists Gilda Mantilla and Raimond Chaves. The work consists of numerous drawings, video work, sound and slide projections. During a period of 9 months Mantilla and Chaves travelled to an Amazonian town in northern Peru, researching the region with frequent visits to two local libraries. One of them, the Library of the Center for Theological Studies of the Amazon was founded by a progressive Augustinian order that broke with the traditional scheme of evangelization and colonialism. The other one was the Library of the Research Institute of the Peruvian Amazon that had a rather technical approach in their holding.

Mantilla and Chaves chose this specific region for their research because in recent times it has become the center of intense debates regarding the Amazonian identity. It’s a city where fundamental contemporary cultural and artistic movements have emerged.

Their work is concerned with the stranger’s perception of a place, his personal view and his eagerness to find out more. What are the stranger’s expectations, what does he want to find out and what will actually be found?

Mantilla and Chaves had to cross the impervious Amazonian jungle before getting access to the libraries, which was only possible by air or water. The density of the region reappears in the difficulties of researching. The artists had to work through a complex jungle of information, trying to gain knowledge about the unknown.

Questions are evoked about the relationship between the researcher and the region.  How do we deal with information about history, how do we connect it with the present and is there such a thing like reality. There’s a very wide range of artworks all implemented in a different way. The artists’ style is hardly recognizable. And yet in this random way of research and artistic production a certain pattern can be made out. It speaks the language of history book and dicitionnaries, the pictures seem to be known.

Maps have been redrawn, musical scores have been replayed and therefore a personal narrative has been created by the artists. It’s this personal narrative that leads back to the question about the stranger’s perception and the impossibility of understanding this complex world.

Art Basel Miami Beach 2012

Art Positions 2012

written by Peter Duhon and Nathalie Zwimpfer in Miami Beach

Categorized by Art Basel as a platform for discovering new talent from across the globe, Art Positions delivers on that promise by presenting 16 artists spanning 10 countries. While in South Beach, Art Comments surveyed the works on display and we've short listed 5 of the artists for our readers to bookmark.

Latoya Ruby Frazier

Recently participated in the Whitney Biennial 2012 with much acclaim. Represented here at Art Basel by the Parisian space, Galerie Michel Rein. Her work is at once personal and political, she doesn't hesitate to critique the ill effects of industrialism and its proponents, for example, Andrew Carnegie and his legacy. 

Of the photographs on display, one series charts and documents the destructive course of a non-profit organization that is currently leading the charge in destroying community centers and hospitals in Pittsburgh, PA.

The documentation of erasure and displacement by Latoya Ruby Frazier continues her ongoing investigations and critique of capitalism that initially began with intimate, familial photographs.

Latoya Ruby Frazier

Aslı Çavuşoğlu

Turkish artist Aslı Çavuşoğlu, represented by NON, a gallery based in Istanbul, is well known for her recent project Murder in Three Acts presented at Frieze London 2012. At Art Positions there are two separate work series exhibited in the booth. One of which that stood out is the Pawnbroker series that consists of 9 photograms that mostly show sets of jewelry.

Aslı Çavuşoğlu’s work is important because it deals with Turkey’s rather turbulent history and especially the Ottoman nostalgia that has been spread over the country in the last few years. However, Aslı Çavuşoğlu’s work does not only focus on the country’s history but also deals with research and it’s difficulties that evolve due to historical events.

Aslı Çavuşoğlu

Irene Kopelman

Amsterdam based artist Irene Kopelman explores the relationship between art and research. In a previous project Kopelman has focused on sameness and difference in the context of zoology, more precisely in entomology. Her work deals with the difficulties of taxonomy and how complex phenomena are put in a tight system by simplification.

At Art Positions Irene Kopelman is represented by the LABOR gallery. The exhibition consists of several watercolor paintings and one work made of numerous pieces of fired clay presented on the booth’s floor. The work shows the practice of the notion of scientific models through visual means.

Kopelman’s work has a big importance for the current, ongoing discourse of the relationship between art and science and how the methods of research in each field can be applied on one another.

Irene Kopelman

Leyla Cardenas

Based in Bogotá and represented there by Casas Riegner, Leyla Cardenas engages with the remnants and artifacts of destruction, the seen and unseen, the visible and invisible. Her found object and sculpture on display, Excision, are an example of a process that mirrors that of an archeologist since she procures fragments such as walls, ceilings and floors to produce her work.

Her work embodies the failures of modernization, a reminder of the harsh realities produced by urban renewal and redevelopment in Bogotá but also globally.

Leyla Cardenas

Atsushi Kaga

Japanese artist Atsushi Kaga is presented by Irish gallery Mother’s Tankstation at Art Positions. His paintings and drawings show different scenes involving cartoon-like characters he created. On all his work, cute-looking fluffy bunnies, bears and other amusing creatures discuss the frailties of human existence charged with cynicism and humor.

Kaga activates the booth by co-opting it as a production studio where visitors can see him and his mother working to create art, custom handbags branded with his fictional characters.

Visit Atsushi’s visually highly appealing website where each character receives it’s own space: http://www.atsushikaga.com/

Atsushi Kaga

Art Basel Miami

December 5 - 9, 2012

Turner Prize 2012

Paul Noble: Turner Prize nominee and his drawings

written by Nathalie Zwimpfer in Basel, Switzerland

The Turner Prize has often been criticized and various people and groups such as the Stuckists protest against Great Britain’s most famous art award every year. They are opposed to the Turner Prize’s focus on conceptual art since they would like it to concentrate on figurative painting. Turner Prize winning artists of the previous 10 years whose work are considered conceptual are Mark Leckey (2008), Mark Wallinger (2007), Tomma Abts (2006), Simon Starling (2005) and Jeremy Deller (2004). 

Indeed calling the award after one of Great Britain’s most famous painters might not be a very suitable and fortunate choice of name, however, nominating artists that work with all different kinds of media and methods only references today’s diverse artist’s practice. 

Penelope Curtis, director of Tate Britain and chair of the jury doesn’t even want to the award to be representative. She states: “The Turner Prize is neither a survey nor a barometer of what is happening in contemporary British art.” In contrast, the Stuckist’s approach is rather dogmatic. They claim: “Artists who don’t paint aren’t artist.”

Paul Noble

This year’s nominees are Spartacus Chetwynd, Luke Fowler, Elisabeth Price and Paul Noble. None of the four nominees is a painter, however, one of them, British artist Paul Noble, employs a rather traditional technique for his art production. His work consists of large-scaled drawings and numerous small-sized marble sculptures which are now exhibited at the Tate Britain in London. Paul Noble has been nominated for his solo-exhibition Welcome to Nobson at Gagosian Gallery in London in 2011.

Drawing remains the fastest way of accomplishing a visual expression and has always been an important part of visual arts. During the Renaissance drawing gained a special significance in the act of visual creation. Famous art historian Giorgio Vasari defined the term "disegno" - which is translated best by “drawing” - in his publication Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times in 1550. However, “disegno” in Vasari’s sense is not only a "drawing“, but becomes an artistic inspiration and an intellectual concept, too. A divine means of creation and knowledge.

Paul Noble

Although Vasari emphasizes the importance of drawing and sketching not only as an artistic method, but also as the essence of all artistic production, he doesn’t see them as autonomous pieces of art. In the course of art history drawings have hardly been valued as artworks themselves. They rather served as means to sketch a painting or sculpture. Only much later, in the 20th century, drawings became more appreciated and gained their autonomy as artworks.

It’s indisputable that Noble’s drawings are autonomous, self-consistent pieces of art. Not only their large-scaled size is impressive but also their density. Noble draws his fictional metropolis Nobson Newtown very precisely and the urban area is built up by hundreds of details. Even though Noble’s drawings follow rigorous constructional rules there’s this exceptional virtuosity in his use of ordinary, predominantly hard-mined pencils and all different shades. They especially reference Hieronymus Bosch’s perspective that makes space suddenly vanish. The drawing’s density reminds one of Pieter Bruegel the Elder’s paintings.

Vasari describes the “disegno” as the foundation of all paintings, sculptures and architecture. Noble eludes from this function of drawings. He states: “There is no story or time in Nobson Newtown. I consider it to be a play without acts or actors.”

Paul Noble

Therefore one can argue that Noble’s drawings are rather conceptual than narrative or aesthetic. This is where things become interesting. Artworks cannot be categorized so easily. There’s a lot of potential in showing artworks of different media next to each other. That allows the development of the interplay between artworks on a meta-level. Seeing Paul Noble’s work at Tate Britain helps evoking questions about how different material, techniques and methods serve different concepts, ideas and creativity in general.

British Artist at Kunsthalle Basel

Craigie Horsfield – Slow Time and the Present at Kunsthalle Basel

written by Nathalie Zwimpfer in Basel, Switzerland

Walking into the rooms of British artist Craigie Horsfield’s latest exhibition at Kunsthalle Basel is compelling. Surrounded by three monumental, large-scaled and dramatic pieces of tapestry and two frescoes, one could feel overwhelmed. The scale not only causes this feeling but also the historical connotations to these techniques, which are often associated with abundance and power. The exhibition is imposing and the rather magnificent halls of Kunsthalle reinforce this impression.

On first sight the pieces of art can’t be distinguished between photography, fabric and painting. Even though based on film-stills, they are rather pictorial. Single colored yarn threads become an image. The materiality and surfaces play an important role in Horsfield’s artwork and the handcraft of the tapestries is astonishing.

Craigie Horsfield, Slow Time and the Present

Horsfield found a small weaver’s workshop in Flanders that developed a new technique to produce tapestries of this quality. Tapestries as well as frescoes are often associated with the Italian Renaissance. A time when the manufacture of tapestries and frescoes were costly, therefore only the church or rich and powerful families could commission them. Horsfield’s frescoes might even have similarities with Masaccio’s.

Although at first sight the tapestries’ motives seem to be from past centuries, this is not the case. All of them are based on film-stills Horsfield took in the last few years. Therefore a traditional handcraft is applied on contemporary motives such as rock concerts but also rituals that have been held for centuries. Two tapestries The Arciconfraternity of Santa Monica, Chiesa SS. Annunziate, Sorrento, April 2010 (2012) and Above the bay of Naples from Via Partenope, Naples, September 2008 (2012) and the fresco Processione die Gigli, Via Cocozza, Nola, June 2008 (2012) show rituals that take place annually. However, the third tapestry Broadway, 14th day, 18 minutes after dusk, New York, September 2001 (2012) displays an event that is the opposite of a traditional, annual event. A film-still of Ground Zero acts as a remaining evidence of a moment that changed history.

The second fresco At 99 Posse concert, Via Gianturco, Naples. September 2008 (2012) is based on a film-still taken at a rock concert in Naples. Although a totally different context the fresco’s composition, perspective and motive is very similar to the one showing the procession in Nola. Many people are standing extremely close together, all looking at the same direction.

Craigie Horsfield, Slow Time and the Present

There is a very strong interplay between the five artworks in the first and largest room. All the procession’s penitents and concert visitors on the first tapestry and on the two frescoes are facing the Ground Zero scene as well as a tapestry that shows fireworks and explosions in the bay of Naples; an image that is similar to a historical painting of a naval battle scene. The people on the frescoes and the Fraternity tapestry seem to be looking at those drastic scenes. The two tapestries’ dark petrol, blue and grey colors reinforce the threatening feeling evoked. These two artworks have many similarities with a picturesque Turner painting.

The largest tapestry The Arciconfraternity of Santa Monica, Chiesa SS. Annunziate. Sorrento, April 2010 (2012) shows a very old, catholic ritual that takes place annually in Sorrento, a town near Naples. In this scenery a large number of penitents prepare for a procession. The tapestry covers almost the whole wall so the beholder nearly becomes a part of the artwork. Looking at the picture is discomforting, the viewers find themselves surrounded by numerous people covered in white cloaks. The clothing looks much like the Ku Klux Klan’s cloaks. This association is leading to an intimidation. Only a very few participants aren’t hooded and haven’t covered their faces yet, therefore it feels like an anonymous, ominous threat walking towards the beholder. By covering their faces and bodies with white clothes the penitents are losing their individuality and the Fraternity is acting like a common collective. Due to the tapestry’s size one feels like being among the penitents, however, the beholder doesn’t become a part of them. One acts more like an alien peeking into a hidden world to which one should not have access.

Craigie Horsfield, Slow Time and the Present

In the second and much smaller room of the exhibition there are two tapestries called Zoo, Oxford, January 1990 (2007) each showing a rhino. These two tapestries are very different in a way from the ones in the first room. With this diptych the story of two individuals is told. Both rhinos lie on straw with their legs bent under their bodies on the floor of their concrete boxes. They are lying there very quietly and seem rather exhausted, tired or sad. It’s an intimate atmosphere, however the scenery isn’t less dramatic than the ones in the first room of the exhibition.

The two tapestries are almost symmetrical to each other. The animals seem to be captured in the tapestries square. Questions about their relation are evoked. Are the rhinos lying in the same room and are they living with each other? Although they are facing each other it seems like there’s no dialogue developing between them. They are rather living next to each other instead of living with each other. There are two parallel stories happening at the same time and place, still they don’t cross. Rituals and traditions can’t be found on this diptych, however, there are strong historical connotations. These photographs are similar to first zoological photographs of the late 19th century or even to Muybridge’s animal photographs. Additionally, images of rhinos always reference to Albrecht Dürer’s famous illustration. In this context Walton Ford’s triptych painting Loss of the Lisbon Rhinoceros (2008) should be mentioned as well. Like Horsfield, Ford deals with the notion of time and history’s perception.

Cragie Horsfield’s exhibition Slow Time and the Present is posited on the idea of the past being a part of the present. The linearity of history and its perception is questioned. The motives show traditions and rituals that have been practiced and developed over a long time as well as historical moments and individual stories. The exhibition mixed different perceptions of time and the relation of the past and the present.

Although some of the art pieces have been shown in previous exhibitions one could almost believe that this exhibition was site-specific. There are not only strong connections between each piece of art but also connections to the building and its surrounding.

Craigie Horsfield, Slow Time and the Present

Before even entering the exhibition there is a newly renovated fresco Das Erwachen der Kunst in der Renaissance by Ernst Stückelberg from 1877 in the stairway of Kunsthalle. According to the assistant curator of the Craigie Horsfield show, the fresco’s recent renovation was one reason why Horsfield was chosen for the current exhibition.

Furthermore, Kunsthalle’s floor structure is similar to the church’s floor in The Arciconfraternity of Santa Monica, Chiesa SS. Annunziate. Sorrento, April 2010 (2012). Therefore, the large-scaled tapestry that almost touches the floor seems to fade to the actual floor of the exhibition. Additionally the size of the artworks matches the size of the exhibition halls. The connotation and significance of tapestries are related to the historical site of Kunsthalle. However, there is not only a site-specificity to the building but also to its surrounding. Looking out of the only window in the exhibition one can see Elisabethenkirche, one of Basel’s most important, historical churches. 

This show is recommended to everyone because it deals with the perception of time, which affects or even dictates all of our lives. Craigie Horsfield states about the exhibition: “The title Slow Time and the Present concerns a sense of the duration of our attention and of life as something other than the busy and often frenetic onrush of everyday experience and our consequent separations from a consciously lived present. It concerns the notion of a present we may inhabit, a dilated or deep present.”

Rey Akdogan, Light Wielder, MoMA PS1

written by Lindsay Zackeroff in New York

“9. To recognize light as well as colour of metallic origin, and the discovery of beams as an equivalent of the economic development of the town.

“10. To relate the sun as a bonfire of illumination to the system of our flesh and bone.”

--Kazimir Malevich, “Resolution >>A<< in Art”

Rey Akdogan currently has her works on view at MoMA PS1 in one of their second floor project spaces entitled “off set”; she was also featured in Miguel Abreu Gallery’s “Surface Affect” show.  Both shows use lighting gels, light sources, metals and plastics as media; and she uses all of her media in their entirety—each is displayed as a whole—thus situating her work somewhere between ready-made/found object and sculpture. Using light as a solid medium, her show meticulously highlights the nebulae of the spaces, whether it is her solo show or a few works in a larger show.

As a staff member at MoMA PS1, I have spent over 20 hours in Rey Akdogan’s solo show.  Visitors, frequently rush through “off set” unprepared to face the barriers to her space.  At the entrance is a screen frame, folded to extend its triangularity and hinged into some sort of dwelling for the silver streamer looped to one of its poles.  She rarely uses adhesive, allowing her media to conjoin and intertwine through its natural properties.  Yet the piece has the corpses of unused electrical tape still tacked on.  The windows are blinded to eclipse the red filters, the most striking piece in the show.  Over the course of the sun’s movement, the red and white glow crystallizes into defined lines dawning in the corner of the room and moving down a roll of glittery Mylar like a timekeeper or the hands of a clock, metastable depending on the weather that day. Behind an electric blanket is Carousel #5, a slide projection that exhausts all of material such as a plastic bag or packing supplies into the light.

Similarly, at Miguel Abreu gallery, her piece with the carpet and lighting gel, strategically hung near the floor crunches the room into a pink line of light.  All of her works, though relatively small compared to the other pieces in the show by varying artists, have a massive effect on the space and the viewer’s access to it.

Her work addresses what is installation and modalities of minimalism.  It seems that Rey Akdogan’s installations are minimalistic, in that the media appear relatively un-tampered and un-tinkered.  This minimalism in geometry and reduction of form paradoxically maximizes the material, introducing a chaotic tension—which I would like to relate to Russian avant-garde and installation.  Ilya Kabakov, a prominent Russian installation artist, refers to minimalism as an “inner equilibrium and focused attention”, coercing the viewer to go “inside himself”[1].  In the maximization of her material, she invites the viewer to contemplate the material itself, as a whole, reduced to its original and pure form a la Malevich’s “Black Square”.  Yet her core medium, light, is inexhaustible.  

Rey Akdogan, Carousel #5

As “Black Square” claims to be the reduction of all form, in Carousel #5, this pairing of reduction and all, she diffracts and gathers her media as a high-powered microscope and as a telescopic whole: an image + light.   This projection motif is also the nucleus of the red filter on the window, where the viewer gains access to the projection and the projector itself, in which the projector bulb has harnessed the sun (and the post office outside PS1).  The media is distilled from the film set or theatre.  The privacy screen recalls the fabric architecture of the movie screen, extracted from the peripherals of a movie theatre, and replaced with what Roland Barthes refers to as “dancing cones of light”, the projections.  She wields light as solid beams, using the movement of space and time to animate them, recalling how Giuliana Bruno describes solid light films:

“Thus draped in the luminous space of the gallery installation, we are folded back into the animated surface of the film screening, woven into the very architecture of the spectatorial experience ‘suited’ to the electric psychic fabric of cinema.”[2]

Like the public movie theater, or recalling a Heideggerian clearing[3] (Lichtung), that tear in the world that the art-work creates, she has called us to her space to gather.  Her installation is both aggressive and serene, perhaps a bit like a temple.  Installation art is analogous to temples.  We are all gathered in the museum supposed to be looking at something, finding, feeling something, but we do not know what it is we are looking at or feeling (if we did, we would not need what I call the little white curatorial Viagra-texts, or reviews).  The pleasure, which we pay admission for and give our time, is the community of human and objects as sacred, and the contemplation of this.  James Turrell in his work “Meeting”, a floor above in MoMA PS1, accomplishes an intravenous architectural feat, providing benches for an audience, a congregation, to be worshippers of light and sky. 

The frequent haste to dismiss Rey Akdogan’s work ignites the question of installation and interaction with installation art—how do we reach the unconscious of the installation work, which is relatively new, in the way we have been trained when we look at a painting? When entering Rey Akdogan’s space, some viewers refuse this focus of attention and reconciling with this minimalist and chaotic form.  They look to the wall text for permission to depart, with the supposed understanding of what it all “means”. 

What is this review other than more wall text?—my viewing and re-viewing over the time I have given to her work.  I cannot make the critique of whether it is “good art” or “bad art”.  I evaluate my opinion based on the success of the realization of intention.  The intent for this installation is not articulated, nor does it need to be, but without it I cannot further express my “critique” past my experience.  It is an experiential installation—a heightened, plateau of experience in no need of this review I am writing, which is only an articulation of my gelling inside the image. I recommend staying with Rey Akdogan’s work, re-viewing and re-viewing.

Rey Akdogan continues until September 17, http://momaps1.org/exhibitions/view/354

---

[1] Boris Groys, David A. Ross, and Iwona Blazwick, Ilya Kabakov, London: Phaidon, 1998.

[2] Giuliana Bruno, “On the Surface of Film and Architecture”, Urban Images: Unruly Desires in Film and Architecture, By Synne Bull and Marit Paasche, Berlin: Sternberg, 2011.

[3] Martin Heidegger, and David Farrell Krell, “On the Origin of the Work of Art”, Basic Writings: Martin Heindegger. London: Routledge, 2010. 

A Short Course on Resistance @MoMA PS1, May 13

PLEASE JOIN US FOR THE FIRST SESSION OF

A Short Course on Resistance

This participatory series is free and open to the general public, and we invite you to join us on May 13 for the first group discussion of Simon Critchley's book Infinitely Demanding: Ethics of Commitment, Politics of Resistance. 

The book club segment of A Short Course on Resistance meets on consecutive Sundays at MoMA PS1 from May until August to discuss several books, initiating with a discussion of Simon Critchley's book Infinitely Demanding: Ethics of Commitment, Politics of Resistance. 


Critchley, the Hans Jonas Professor of Philosophy at The New School, joins the book club on May 20 for a Q&A session.

Simon Critchley also serves as a member of the International Necronautical Society, as Chief Philosopher. 

Additional confirmed participating authors and books include Jorg Heiser, editor of Frieze magazine; curator and critic Nicolas Bourriaud; and philosopher Jacques Ranciere. The book club will read their books, All of a Sudden: Things that Matter in Contemporary Art, The Radicant, and The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, respectively.

Please join us May 13 for our first session of A Short Course on Resistance, Sunday 3:00 – 4:00 PM.

To sign up and to receive more information, please fill out the form here: http://bit.ly/IIczss or email us at scr@artcomments.com.

A Short Course on Resistance is free and open to the public @ MoMA PS1 facilitated by ArtBook.

Location:

MoMA PS1
22-25 Jackson Ave. at the intersection of 46th Ave.
Long Island City, NY 11101

A Short Course on Resistance is a multidisciplinary exhibition comprised of a book club, forthcoming lectures, and video screenings to be held at various venues curated by Peter Duhon, writer, educator, and director of the contemporary art blog, Art Comments.