Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V. U . Jan Mot januari – maart – mei – Antoine Dansaertstraat 190 augustus – oktober 1000 Brussel No. 89, okt 2013 Erkenningsnummer P309573 14 4 –145 Jaargang 17 No. 89

There’s only four perfect Cer in The Rye; and the god- Name but at Weast include things in this world: my father’s 1 & 2. i can under- akira kurosawa mang I don’t grandmother’s cooking catch. stand you can’t fit everyo Pes care for it at all,I appreciates Tris Vonna-Michell, Postscript I (Berlin)

By LUXEMBURG, OCT. 15 – One of the first I (Berlin) belongs. The work illustrates the Christophe Gallois images that one gets to see in Postscript I way in which the artist’s narratives are built (Berlin) (2013) illustrates the way in which on a series of fragments of information as Tris Vonna-Michell builds his narratives. well as heterogeneous elements collected Tris Vonna-Michell was one of the artists to What we see is a large amount of photo- according to the principle of ‘objective be invited for the exhibition ‘Image Papillon’ graphic prints placed on a table to construct chance’, of coincidence, and leaves a large curated by Christophe Gallois at MUDAM a spatial montage. Images of different kinds amount of space to accidents, unintended in Luxemburg. The artist showed here a first are juxtaposed, overlapped or overlayed to events or other forms of sideway motions version of the work Postscript I (Berlin). A end up forming a ‘constellation of narra- that crop up as it unfolds. This is reminis- second iteration will now be presented in tives’. This montage is designed to serve as cent of the technique which German author Brussels. On this work Gallois wrote the a sort of ‘visual script’1 to some of the vocal W. G. Sebald used to write his narratives on following text wich will soon be published in recordings made by the artist as part of a the basis of documents, notes, and stories the catalogue of the exhibition. series of works entitled hahn/huhn, which gathered up haphazardly. And so, Sebald was begun in 2003 and in which Postscript said, “you then have a small amount of mate- 2 Newspaper Jan Mot Tris Vonna-Michell 144 – 145

(advertisement) Michell in the Berlin public space are com- errors in interpretation and the moments of bined with a few vintage photographs, for confusion that define Tris Vonna-Michell’s instance black and white pictures of the old works. As he states at the end of Postscript Anhalter Bahnhof, of which only the front I (Berlin) “For me, all seems to make sense porch remains today, as well as with images in a sort of circular way”. Each instance of referring to the collecting of documents – his narratives could be taken as an attempt archive boxes, photographic proof strips, to expand on this very movement. etc. – and also with more incongruous pic- tures that reveal the artist’s specific atten- Translated by Boris Belay tion for details that may, at first sight, seem insignificant : tire tracks in the snow, a hand Footnotes holding a piece of bread with cheese, a kitchen timer in the shape of a chicken… 1 Tris Vonna-Michell, written conversa- The slide of a close-up of shreds of paper tion with the author, October 2013. pulled from a wall is a good illustration of 2 Lynne Sharon Schwartz (ed.), The Emer- the way in which Postscript I (Berlin) leaves gence of Memory. Conversations with W. G. a lot of room to fragments, traces and rem- Sebald, Seven Stories, New York, London, nants. Together, they function as a reminder Melbourne, Toronto, 2010. of a larger story that seems forever out of 3 See also Tris Vonna-Michell, JRP/ reach, or at least may not be apprehended Ringier, Zürich, 2010, p. 12. “Like a minstrel except through shards and cast-offs. arriving at night, during the depleted hours But while these image-fragments refer of my concentration, my father summoned back to the bits of information included in his regular rites, and continued his epic tale. the narration, the relation that connects the Dancing within the rigid doorframe, until a slides and the spoken soundtrack is not one recurring name broke my immersion in dis- of illustration, commentary or explanation. tant thoughts. You keep talking about him, Images and narration unfold alongside each but I keep forgetting who he is. I still don’t other in an autonomous way, leaving the know who the hell he is. I could sense that he audience confronted with a sort of suspen- enjoyed the outburst. The continual repletion rial, and you accumulate things, and it sion of meaning. As the artist puts it, “I of a figure who ceased to become any more grows; one thing takes you to another, and explore the flexibility of meaning that exists available or comprehensive over time. Ten- you make something of these haphazardly between the image and the spoken word ”.4 sion broken by laughter, he thumped his assembled materials.” 2 This simultaneous development of images thighs, and swung the door in all directions, Made up of two slide projections and a and narration is something that Marguerite hailing, who is Reinhold Haahn… Haha… recorded narrative by the artist, Postscript I Duras, referring to her own films, described Who is Reinhold Haaahn … ?” (Berlin) looks back – or at least, that is what as ‘the voice film’ and ‘the image film’. 4 Christophe Gallois, « A Constellation of the title suggests – on a story that was begun “Both films are there, in complete autono- Narratives – Interview with Tris Vonna- ten years before, when Tris Vonna-Michell my”, she writes. And then, about the voices: Michell », in The Space of Words, Mudam, was a student at the Glasgow School of “they are not like traditional voice-over Luxembourg, 2009, p. 284. Arts. As often in his works, the starting tracks, they do not help with the unfolding of 5 « Les deux films sont là, d’une totale point of this narrative was the conjunction the film, but on the contrary, they hinder and autonomie […] [Les voix] ne sont plus des point of several anecdotes connected to his upset it.” 5 voix-off dans l’acceptation habituelle du mot immediate surroundings. In this case, it is In Tris Vonna-Michell’s works, this ‘hin- : elles ne facilitent pas le déroulement du set in the city of Berlin, and it brings togeth- dering’ is amplified by the difference in the film, au contraire, elle l’entravent, le trou- er memories of the artist’s mother, who was rhythms of the flow of the narration and the blent. » Marguerite Duras, La Femme du born in Berlin in 1945 while the Russian images, the speed of the voice and its often Gange, Gallimard, 1973, p. 103. troops were overrunning the city, and a sto- hurried delivery creates a stark contrast 6 Christophe Gallois, « A Constellation of ry he heard from his father about a man he with the slow, nearly contemplative flow of Narratives – Interview with Tris Vonna- called Reinhold Hahn.3 The man, whose the slides. In a 2009 interview, Tris Vonna- Michell », op. cit., p. 284. real name was Reinhold Huhn, was an East- Michell expounded on this aspect of his German soldier who was killed in 1962, at work: “I have always felt that my speech Subroc was struck and killed by a car in the height of the Cold War, while he was on delivery and my editorial process of images 1993 while attempting to cross the Nassau duty on a surveillance post near the Anhal- each have their own natural rhythm. I keep Expressway before the release of a second ter Bahnhof. Tris Vonna-Michell’s narration them independent, but also allow them to be KMD album, titled Black Bastards.[1] The goes back and forth in time between the two harmonious at the level of interpretation. I group was subsequently dropped from Ele- stories, their connecting point in 2003 when always speak fast, which might create a cer- ktra Records that same week. Before the the artist tried to find their traces during a tain frustration for the viewer, but there is a release of the album, it was shelved due to visit in Berlin, and the remnants of this slower and more delicate pace for the imag- controversy over its cover art,[2] which fea- research as they stand today. es. I think the combination of these different tured a cartoon of a stereotypical pickaninny In parallel with this narration, the care- rhythms creates a space for the viewer.” 6 or sambo character being hung from the gal- fully crafted score of the two slide projec- Creating a space for the viewer, keeping lows. After the death of his brother, Subroc tions connects two sets of images that refer the work open-ended – in the end, this could was struck and killed by a car in 1993 while more or less directly to the different sides of be the utopian place outlined by the detours attempting to cross the Nassau Expressway the stories. Pictures taken by Tris Vonna- and repetitions, but also the hesitations, the before the release of a second KMD rockin. 3 Newspaper Jan Mot Tris Vonna-Michell 144 – 145

Reception desk by Tris Vonna-Michell for the new Focal Point Gallery in Southend-on-Sea (GB)

BRUSSELS, OCT. 10 – Last September The exterior of the imposing piece of furni- personal experiences of this part of Essex, Focal Point Gallery inaugurated a reception ture is covered in rugged, glazed tiles where he was brought up. The layers of desk designed by the Southend-born artist created to replicate those in the interior of human and natural intervention of the Tris Vonna-Michell. This exceptional work, the town’s former library, 1970s Brutalist region’s coastline have been worked into entitled Tiles & Tides, is part of a series of building in which Focal Point Gallery was the diorama model, with a consideration of artist’s commissions launched to coincide previously located. The originals were interaction between humans and nature with the opening of the new space of the designed by the postwar sculptor and expe- which also continues themes from his nar- gallery. Situated at the gallery entrance, the rimental ceramicist Fritz Steller, who rative installation Ulterior Vistas, 2012, desk is inset with a diorama of the town’s appeared to have considered the Southend where the spiritual aspirations of gardening sloping seafront where the now-closed project as something of an ‘experiment’, movements were considered, particularly ‘Never Never Land’ adventure park once with imperfections in the finished surfaces the English Landscape Movement, which stood, alongside the original Victorian Sou- of tiles embraced. As well as considering prospered in the 18th century and prioritised thend Bandstand, which was later re-sited the gallery’s history, these local references informality and discovery above more res- due to land slippage. continue the artist’s ability to draw from trictive landscaping. 4 Newspaper Jan Mot Mario Garcia Torres 144 – 145

Mario Garcia Torres presents new music album in Porto Alegre

BRUSSELS, OCT. 12 – For the 9th Bienal songs and texts. A conversation between of songs: since May 2013, Caetano Veloso’s do Mercosul in Porto Alegre (Brasil) Mario Vassilakis Takis and David Medalla, for 1971 “If You Hold a Stone,” dedicated to Garcia Torres developed a new music instance, gave ideas, just as a poem in rela- Lygia Clark, also lives and travels in Spani- album. The songs written by Garcia Torres tion to Lygia Clark’s sundial sparked ano- sh. All the tracks of Mario Garcia Torres’ and made in Los Cabos, Mexico, together ther song. The translation of some of these album can be downloaded for free via this with Gustavo Mauricio Hernández, José sources and original lyrics into and from URL: http://9bienalmercosul.art.br/en/ Gabriel Cárdenas, Marian Ruíz and Ernesto Portuguese was never a simple one-to-one downloads/ Garcia are, in part, born from archival transaction but created extra lenses and The Bienal do Mercosul was curated by research carried out by the curatorial team emphases. This sensitivity for linguistic Sofia Hernandez Chong Cuy and closes on of the exhibition as well as by existing shifting also filtered through in the final list November 10. 5 Newspaper Jan Mot Mario Garcia Torres 144 – 145

of a space of open discussion that one returns not to an assumed truth about things but to the mysterious responses of the self. The lyrics of each of the songs that together make this cosmology have specif- ic, and yet varied, points of departure. Some points were already references for the exhi- bition, like in the case of O mesmo espaco solar, a song based on a dialogue between the artists Vassilakis Takis and David Medalla, in Paris around the year 1970, concerning somewhat romantic views of the cosmos that the Greek artist argued for. Some other departure points come from elsewhere. The lyrics from Que cosa é?, for example, puts in consideration the very act of engaging in a public conversation, as it happens with the act of displaying a work of art. From a different point comes a poem by artist Lygia Clark about finding new nar- ratives by circulating the same paths again and again; this poem has been turned into a song too, titled, as the literary piece, Branco. The lyrics, as instructions for future works, were written and compiled to become potential paths for ideas—starting points in themselves that could later be set into motion at the invitation of four musi- cians, who would spend a week on the coast of Mexico and give musical shape to these texts. During a week in March of this year, Gustavo Mauricio Hernández, José Gabriel Cardenas, Marian Ruíz, and Ernesto García gathered with me in a recording studio in San Jose del Cabo in the Baja California peninsula to give form to these tracks, while we thought of that remote but certain future context of their presentation. Acknowledging Brazilian music history, the songs flirt with our personal relation- ship with it, and intend to respond the ques- tions that were raised above, always consid- By ideas from one place are brought to be ering the spaces of intersection between Mario Garcia Torres exhibited in another: What is it that one has culture and nature. Such is specially the to offer? As varied as these questions could case of Agua mole em pedra dura, which Um cabo lá, um porto cá takes as its central be, the responses might nevertheless return looks at the continent’s earth and water bor- gesture the negotiation between the longing to the very same act, the one of sharing as a der as an ever-changing connecting space, and the sharing possibilities towards a cer- first-person engagement. reminding us also that the repetition of an tain place and time; as its framework, Instead of searching for answers in the act is as a form of significance. Pelas ruas weather permitting, the 9th Bienal do Mer- immediate context where the biennial is sem nome, portrays the city of Porto Alegre cosul | Porto Alegre. held, this project involved activating issues as a group of word sounds that reverberate The audio tracks in this album record discussed in the exhibition as they were almost as a spoken echo. intend to conciliate the intimacy and cer- perceived and experienced in the natural In the album, a silent track of 3 minutes tainty felt in its own creation, and the context of their creation, more than 7,000 and 38 seconds intends to evoke the listen- remoteness and unpredictability of its own kilometers away. It is through this approach ing experience of a song with same length impact. They more accurately ask what it that some specific references, abstract inter- that is only available to the visitors of bien- means to look for one place in another, and ests and concrete conversations have been nial in Porto Alegre. The song is the Span- how to respond to such situation by personified, mediated, and put into circula- ish translation of If You Hold a Stone – an acknowledging the intrinsic contradictions tion in the form of songs. The result of this English language song written by Caetano of unknowing. The feeling of vulnerability creates a parallel cosmology found else- Veloso during his time in exile from Brazil emerging as one engages in such negotia- where, which one can only hope might in the 1970s. This song makes reference to tion might very well contain the most fun- speak to all those in between the traveled the use of stones in Lygia Clark’s late thera- damental question in such contexts where distance. It is in this slippery logic in search peutic work. The political time that forced 6 Newspaper Jan Mot Letter 144 – 145

the Brazilian composer and singer to leave the country also prompted the only instru- mental track in the album, which takes its Letter to the Editor title from a poem written in the Ilha das Pedras in Porto Alegre by Dedé Ferlauto—a political prisoner in the island that now By is also an innate thing: our blood pulses. deserted serves as a gravitational force for Asad Raza Experience can be a continuous flow–but the exhibition. Tanta vida e um só corpo, also a discontinuous set of broken moments. muitos dias e estradas e um só olho, tantas October 17th, 2013 – Buffalo, NY When the systolic / diastolic beat of time vidas e uma só prá ser vivida is, paradoxi- passing is interrupted, as with these hyphen- cally, as the shortest track in the album Dear Jan, ated to-morrow’s, it’s a sign of inner tur- record. How are you? I’m in Buffalo, where I grew moil, of alienation. If romantized, Que lindo e erro finally up, visiting my sister. Earlier today, I read in One function of the arts is to provide brings again the experience of time and a magazine about a study of people’s sense access to an altered sense of time, to give an remoteness back into human scale, to con- of time. It found that depressed people have escape from alienated clock-watching. This ceive the listener inside a complex cultural a more accurate sense of time than others. is obviously true in the cases of theatre, space in which these works are produced Forgetting, for the moment, the difficulties dance, film, and television, where we sub- and consumed. Let the result of this collec- around defining who is and who is not mit to sitting through, and hopefully getting tive effort be, not a soundtrack, but a musi- “depressed,” and what it even means to be lost in, a temporally constructed sequence. cal reader to the exhibition. depressed–Allen Ginsburg’s line comes to Also, we do it together–meaning simultane- mind--this seems to me like an intuitively ously–either by sitting in a theatre together, (advertisement) correct finding. Being fixated on the pass- or, in the case of TV, by watching a show at ing of time, it is commonly understood, is a the same time as everyone else. To use an symptom of not being able to absorb one- example from one of television’s auteurs: self in daily life; a lack of enjoyment causes David Lynch, who has the gift of depth in the clock to tick palpably. simplicity, likes to say “Where there is The link between suffering and being attention, there is liveliness.” I take this to highly conscious of time doesn’t seem that mean that when we pay attention to some- new. For instance, here’s a passage from a thing at the same time as others, it produces five hundred year-old play, when Shake- a cultural pulse, dynamism as opposed to speare’s Macbeth learns that the queen, his deadness. We get together to get lost wife, is dead. Not wanting to accept the together. news, Macbeth says “She should have died Where this play with shared time has hereafter; There would have been time for been less obvious is in the exhibition, where such a word.” I.e., anytime in the future, the viewer is fully in control of their own anytime hereafter, would be better for such time. (Literature is a kind of middle ground: a thing to happen, than now. Then he con- it’s sequential–one page follows the next– tinues with this famous sentence: but you can look up from the book when you want.) Twentieth-century modernism in To-morrow, and to-morrow, and to-morrow, visual art has tended to be understood as Creeps in this petty pace from day to day less concerned with temporal stuff than To the last syllable of recorded time, spatial experience: with formal geometries, And all our yesterdays have lighted fools the fracturing of the picture plane, and the The way to dusty death. transformation of perspective. But I think the absorbtion effect of standing in front of These lines’ sense of tragedy comes from a static artwork also produces a special kind the excruciating meditation on the passing of temporality–a losing track of time–even of time that this traumatic rupture in events if it is highly subjective and “inner.” (the moment of bad news) creates. Mostly, Walking through an art exhibition, for time passes, and we stay blissfully unaware. this reason, has often been thought of as a But singular, awful events suddenly undo characteristically modern experience: it’s a this, and make time appear so evident, and form of private individualism par excel- so slow (it “creeps in this petty pace”), as to lence. You do it on your own time. And be unbearable. As a philosopher who killed standing in front of an artwork is a “cool” Refridgerator stocked was a project that his wife once wrote, the future lasts forever. activity: no matter what kinds of inner was swiftly shelved, Elektra Records deem- Macbeth’s grim report, however, has an epiphanies it may create, it’s not about shar- ing the title and cover image too controver amazing rhythm. The two senses of time–its ing these sentiments or emotions in the For instance, here’s a passage from a five normal unnoticed flow, and the shock of moment. One may, perhaps, go away and hundred year-old play, when Shakespeare’s rupture–collide in a very particular place: write about the experience, like Frank Macbeth For instance, here’s a passage the hyphen in the word “to-morrow.” Read- O’Hara, for others to read at their own lei- sial. The group were dropped from the label ing or hearing it, we feel this collision as a sure. You stay cool. Exhibitions are more shortly after. Black Bastards, after furious beat, punctuated: “to-morrow, and to-mor- like emails, which you read when you bootlegging of the LP gave KMD cult status, row, and to-morrow.” This reminds me of decide to, than like phone calls, where you did eventually make it to release years later. our first experience of time: inside us. Time have to do it at the same time. 7 Newspaper Jan Mot In Brief 144 – 145

This feature of classical exhibitions, how- has become more common. The looping ever, has made it difficult for them to induce video, for instance, was a early salvo in this the whole class of relations between people effort: it introduces two times–the diagetic In Brief that take place in shared time. And for this time inside the video representation, and reason, even at the peak of high modernism, the time of outside reality–between which you can find doubts being expressed about the visitor can toggle. This kind of work Sven Augustijnen was one of the guests the bloodlessness of the aesthetic enter- preserves the individual character of the art of the 3rd edition of the Biennial of prise. The artist and exhibition-maker Fred- experience–you can watch as much of a Lubumbashi which took place from October erick Kiesler, for example, wrote this in video as you like in a darkened gallery, 2 till 6 under the theme ‘Enthousiasme’ (di- 1956: while maintaining disaffection towards rected by Elvira Dyangani Ose). The very other people. (Warhol on artistic disaffec- first African screening of his film Spectres Ritual plays in art the same role that tion: “During the 60s, I think people forgot (2011) took place at the Musée National de blood plays in the human body. what emotions were supposed to be. And I Lubumbashi. More information on this will Diminish its content, and the body don’t think they’ve ever remembered. I follow in the next issue of the newspaper. bleeds white. Diminish the ritual in art, think once you see emotions from a certain and it dies of anemia. angle you can never think of them as real Muzeum Sztuki in Lodz (PL) acquired again.”) the work Maybe one must begin with some That’s where we are now. More recently, as Dorothea von Hantel- particular places, a recent film by Joachim mann has written, some artists (she men- Koester. The ritual in art has vanished. Art tions specifically Phillipe Parreno and Anri itself has become the ritual. Sala) have integrated video into exhibitions David Horvitz’s exhibitions at the gallery you walk through, using time sequences in Brussels and simultaneously at Dawid The artist, instead of being part of a that offer to guide you through a space, but Radziszewski Gallery in Warsaw will open belief, believes only in himself. leave you the choice of wandering off of the on the day Olga, the first child of Jennifer path. This cooks video’s diagetic time with Chert, his Berlin based gallerist, and Alexis The cult of independence has replaced the time of the “real world” together more Zavialoff will be born. The due date is interdependence. completely. It still, however, works primar- January 3. Notification of the opening will ily at the level of the individual. be announced immediately upon the birth. The ritual character Kiesler thinks art had Now, fifty-some years later, perhaps Both exhibitions will run until January 25. lost was, in general, the sense of belonging exhibition art is starting work on the issue David Horvitz was invited by Julia Wielgus to something larger. But more specifically, of group experience. It’s a tricky thing to do who works at Jan Mot. the vital essence he is referring is to the without risking throwing out a signal fea- experience of simultaneity in altered time. ture of modernity, which is the experience Most rituals are about creating movement of deep individuality. The idea shouldn’t be and sound together: praying, chanting, sing- to run backwards towards a cultish shed- ing, dancing. In all of these, being part of a ding of identity, but to create some kind of Agenda group practicing repetitions produces an composition in which not only different ecstatic sense of time, a rhythm. That’s why times can meet, but different stagings of rituals often seem anti-modern: they tend to identity. I hope that doesn’t sound too Sven Augustijnen subvert the modern period, in which chro- vague, Jan. I could try again: the auratic Leisure, Discipline and Punishment, Con- nometric time--time according to clocks–is quality of art, you could say, is its emana- tour 2013, Mechelen (BE), 24/8 – 3/11; Our constantly with us. Kiesler correctly under- tion of something like a loss of awareness Memory?, Jiao Tong University, Shanghai stood this as a conflict in a society which of the everyday. In a deep way, art, the con- (CN), 28/10 – 3/11; Spectres, Cinéma Opéra, idealized in- rather than inter-dependence: temporary method of producing this loss of Lyon (FR), 6/11 (screening); Ravage, Muse- i.e. the ritual quality comes along with awareness, has belonged to the individual. um M, Leuven (BE), 20/3 – 1/9. group experience. But how to connect this experience to the Since the 1960s, exhibition art which experience of being-in-time with others: Pierre Bismuth doesn’t see itself as primarily or only spatial that is a question for us. On the Tip of My Tongue, Magasin 3 Stock- holm Konsthall, Stockholm, 13/9 – 8/12; Emeffdoom is the most inimitable figure field collaborations DOOM’s world is one of For Each Gesture Another Character, Art in hip-hop. As prolific as he is elusive, the a kind. Now with a new premiere on the ho- Stations Foundation, Poznan (PL), 16/1 – 4/5. London-born and New York-bred Daniel rizon we look at the milestones in the many Dumile owned artist anonymity long before chapters of DOOM. Growing up in Long Manon de Boer SBTRKT donned his feathers and Daft Punk Island, Dumile split his time between mu- Sound Versus System, Kunsthall Oslo, Oslo, were still wearing bags on their heads. From sic and immersing himself in comic books 19/10 – 21/12; one, two, many, Museum of behind the privacy of a metal mask, DOOM and video games. Aided by his brother DJ the Moving Image, New York City (US), has painstakingly crafted a world of his own Subroc, music gradually took centre stage, 23/11 (screening). that’s invited a cult following of fans like no with rapping and production becoming other rap artist. It’s a world drenched in sci- more than just a hobby. By 1988 they had Rineke Dijkstra fi and comic book references, built through formed Kausing Much Damage, otherwise This Infinite World – Set 10. From the Collec- multiple personas, inseparable visuals and, known as KMD. Picked up by A&R Dante tion of the Fotomuseum Winterthur, Fotomu- of course, laboriously constructed bodies of Ross following a guest spot on 3rd Bass’ seum Winterthur, Winterthur (CH), music. Whether it be a concept album or left- “The Gas Face,” KMD released their de- 8/6 – 9/2; I Love Holland. Dutch Post-War Art, Stedelijk Museum Schiedam, 8 Newspaper Jan Mot Agenda 144 – 145

Schiedam (NL), 21/9 – 6/9; Once Upon a 15/11 – 16/2 (solo); Haim Steinbach, Statens Ian Wilson Time… – The Collection Now, Van Abbemu- Museum for Kunst, Copenhagen, Ian Wilson, Grazer Kunstverein, Graz (AT), seum, Eindhoven (NL), 2/11 – tbc; Ages. 15/11 – 23/2; It is Only a State of Mind, Hei- 1/2 – ongoing (solo); Art Institute Chicago, Porträts vom Älterwerden, Landesgalerie delberger Kunstverein, Heidelberg (DE), Chicago (US), 6/9 –15/12; The Pure Linz (AT), 7/11– 16/2. 23/11 – 26/1; Artefact Festival, STUK Kun- Awareness of the Absolute / Discussions, stencentrum, Leuven (BE), 12/2 – 23/2. Dia:Chelsea, New York City (US), 16/11. Mario Garcia Torres 9a Bienal do Mercosul, Porto Alegre (BR), David Lamelas Colophon 13/9 – 10/11; Chambres de luxe, Kunstmuse- Der Schein | Glanz, Glamour, Illusion, kest- Publisher Jan Mot, Brussels um Thun, Thun (CH), 21/9 – 24/11; Museo nergesellschaft, Hanover (DE), 23/8 – 3/11; Concept Design Maureen Mooren & Vostell Malpartida, Malpartida de Cáceres Images of an Infinite Film, Museum of Daniël van der Velden (ES), 10/10 – 31/1 (solo); Sometimes You Modern Art, New York City (US), 9/9 – 5/3; Graphic Design Maureen Mooren, Make the Work, Proyectos Monclova, Mexi- Against Method, Generali Foundation, Amsterdam co City, 9/11– 21/12 (solo); A Thousand Vienna, 13/9 – 22/12; Uncommon Ground: Printing Cultura, Wetteren Years of Nonlinear History, Centre Pompi- Land Art in Britain 1966–1979, National dou, Paris, 13/11 (screening); Ich bin eine Museum Cardiff, Cardiff (UK), 28/9 – 5/1; but album Mr. Hood in 1991. At that time, andere Welt. Künstlerische Autor_innen- Glam, LENTOS Kunstmuseum Linz, Linz with all members identifying themselves as schaft zwischen Desubjektivierung und (AT), 19/10 – 2/2; Uncommon Ground: members of the Ansaar Allah community, Rekanonisierung, Academy of Fine Art, Land Art in Britain 1966–1979, Mead the LP had a heavy focus on Black Ameri- Vienna, 22/11 – 12/1. Gallery Warwick Arts Centre, Coventry can issues, managing to address religion (UK), 18/1– 8/3. and racism but offsetting the subject matter Dominique Gonzalez-Foerster with samples from Sesame Street. Though it Et la chambre orange, Be Part, Waregem Sharon Lockhart was with lighter tracks like “Peachfuzz” that (BE), 1/9 – 31/10 (solo); P33: Formas Unicas More American Photographs, California they gained moderate success. However, in da Continuidade no Espaço, 33rd Panorama Museum of Photography, UCR ARTS- 1993 they made a stark departure from their of Brasilian Art, Museum of Modern Art, block, University of California, Riverside upbeat debut with Black Bastards, a project Sao Paulo (BR), 5/10 – 31/12; Philippe Par- (US), 28/9 –11/1; El teatro del arte, Fun- that was swiftly shelved, Elektra Records reno. Anywhere, Anywhere Out Of The World, dación la Caixa, Barcelona (ES), 3/10 –12/1; deeming the title and cover image too con- Palais de Tokyo, Paris, 23/10 –12/1; Belle BEER, The Green Gallery, Milwaukee troversial. The group were dropped from the comme le jour, Lisbon and Estoril Film Fes- (US), 12/10 – 24/11; Body Talk, Bonniers label shortly after. Black Bastards, after furi- tival, Lisbon and Estoril (PT), 8/11 – 18/11 Konsthall, Stockholm, 4/12 – 5/1; In Con- ous bootlegging of the LP gave KMD cult (screening). text: The Portrait in Contemporary Concep- status, did eventually make it to release years tual Photography, Wellin Museum of Art, later in 2000, but Dumile as his alter ego Zev Douglas Gordon Hamilton College, Clinton, NY, 30/1– 27/7. Love X dropped off the music radar com- Silence, Exile, Deceit, Ruhrtriennale, Muse- pletely. During the tail end of 1997 Dumile um Folkwang, Essen (DE), 23/8 – 6/11; Das Tino Sehgal re-emerged performing at open mic nights in Ende des 20. Jahrhunderts. Es kommt noch 55th Venice Biennale, Venice (IT), New York, like Nuyorican awesome guy yea. besser, Museum für Gegenwart – Ham- 1/6 – 24/11; On the Tip of My Tongue, Maga- burger Bahnhof, Berlin, 14/9 – 30/3; every sin 3 Stockholm Konsthall, Stockholm, (advertisement) time you think of me, I die, a little, Museum 13/9 – 8/12; Ullens Center for Contempo- für Gegenwart Basel, Basel (CH), rary Art, Beijing, 27/9 – 17/11 (solo); The 28/9 – 9/2; Art under Attack: Histories of Eye on Time. Works from Adrastus Collec- British Iconoclasm, Tate Britain, London, tion, Museo de Arte Carrillo Gil, Mexico 2/10 – 5/1; The Other Portrait / L‘altro ritratto, City, 4/10 –12/1; Honey, I Rearranged the MART, Rovereto (IT), 05/10 – 14/01; Dam- Collection, Passage de Retz, Paris, age Control: Art and Destruction since 1950, 21/10 –1/12; Turner Prize 2013, Ebrington, Hirshhorn Museum and Sculpture Garden, Derry-Londonderry (UK), 23/10 – 5/1; Smithsonian Institution, Wahsington (US), Philippe Parreno. Anywhere, Anywhere Out 24/10 – 9/2; Douglas Gordon, Galerie Eva Of The World, Palais de Tokyo, Paris, Presenhuber, Zurich (DE), 9/11 – 1/2 (solo); 23/10 –12/1. Everything Is Nothing without Its Reflection – A Photographic Pantomime, Museum Philippe Thomas Folkwang, Essen (DE), 30/11 – 2/3. Das Beste vom Besten, Kunstverein für die Rheinlande und Westfalen, Düsseldorf Joachim Koester (DE), 19/10 – 5/1; Mamco, Geneva (CH), Against Method, Generali Foundation, 12/2 – 18/5 (solo). Vienna, 13/9 – 22/12; Arktis, Louisiana Museum of Modern Art, Humlebæk (DK), Tris Vonna-Michell 26/9 – 2/2; Alien & Familiar, Galerie im Lecture-Performance: New Artistic Formats, Taxispalais, Innsbruck (AT), 28/9 –1/12; Places, Practices and Behaviours, MUSAC, The Way of the Shovel. Art as Archaeology, León (ES), 18/10 – 6/7; Postscript II (Berlin), Museum of Contemporary Art Chicago, Jan Mot, Brussels, 7/11 – 18/1 (solo). Chicago (US), 9/11 – 9/3; Yerba Buena Cen- ter for the Arts, San Francisco (US),