#63 Spring 2020
New York is its own mythology, but, like that of the American Dream, it’s broken. Yet it stays alive in the wit, ambition, resilience, and general badassery of the people who live there amid the false promises of capitalist excess and nostalgia. From our living rooms to yours, this issue looks at what’s going on in the scattered brains of the metropolis that once upon a time stole the idea of modern art from Paris, and is still where Europe most often turns when it seeks wisdom from afar. We learned from this issue that it would be great to be either a yuppie’s gay mistress or a secular adult virgin, and that we missed our chance to all be wearing bibs from Barneys.
Lower East Side Round-up at Various Venues by Rahel Aima. “Aliza Shvarts: Purported” at Art in General by Adina Glickstein. “Countryside, The Future” at Solomon R. Guggenheim Museum by Jeppe Ugelvig.
“Tishan Hsu: Liquid Circuit” at Hammer Museum by Grace Hadland
“Lydia Ourahmane: ةيسمش ةخرص Solar City” at
Cca Wattis Institute for Contemporary Arts by Carlos Kong
“Gego: The Emancipated Line” at Masp by Oliver Basciano
“Marie Angeletti: Vanessa’s” at Carlos / Ishikawa by Alexandra Leake Germer. “Imran Perretta: The Destructors” at Chisenhale Gallery, by Harry Burke.
“Özgür Kar: A Decade of Submission” at Édouard Montassut by Charles Teyssou. “Jacques de Bascher” at Treize By Ingrid Luquet-Gad.
“Radio-Activity” at Lenbachhaus and Kunstbau by Sebastian Schneider
“Wade Guyton: Zwei Dekaden MCMXCIX – MMXIX” at Museum Ludwig by Colin Lang
“The Same Room: Julie Becker in dialogue” at Galerie Neu by Bianca Heuser. “Disappearing Berlin” at Schinkel Pavilion, various locations by Eva Scharrer.
“Bunny Rogers: Kind Kingdom” at Kunsthaus Bregenz
by Chloe Stead
“Paweł Althamer: Cosmic Order” at Lentos Kunstmuseum Linz
by Maximilian Geymüller
“Niklas Lichti: Concrete Quarterly”at Galerie Emanuel Layr by Maximilian Geymüller. “Jakob Lena Knebl: Ruth Anne” at Galerie Georg Kargl by Klaus Speidel.
The New York-based painter culls Instagram and the internet for her images, with a particular fondness for nail art and food porn. The artist anticipates that her works will be reabsorbed by the social media platforms from which they were taken. Tenzing Barshee and Camila McHugh spoke to Gina Beavers about trying too hard, making your own memes, and the realness of the world.
There’s so much mystery surrounding Austrian collective Gelatin’s The B-Thing that some believe it never really took place. This barely plausible architectural intervention on the ninety-first floor of the World Trade Center in 2000 was shown – once and once only – to a lucky handful of invited guests. Among them was artist Maria Hassabi, who witnessed the events on a Sunday morning in Lower Manhattan. By Maria Hassabi