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Sylvère Lotringer ARTPULSEARTPULSE NO. 23 | VOL. 6 | 2015 WWW.ARTPULSEMAGAZINE.COM Experiencing Art and Beauty Joan Jonas: Venice Edgar Heap of Birds: Don’t Believe Miss Liberty Alfredo Jaar’s Epic Poem Ronald Ophuis on History Painting Oscar Santillan: Breaking the Paradigm of the Latin American Artist Donald Kuspit on Roberto Fabelo Recalling Baudrillard: Interview with Sylvère Lotringer 75 REVIEWS Shaan Syed – Ich mit Ihm September 27 – November 22 2015 Dezemberausstellung December 6 2015 – January 24 2016 76 ARTPULSE l www.artpulsemagazine.com 1 2 ARTPULSE l www.artpulsemagazine.com 3 4 ARTPULSE l www.artpulsemagazine.com Museum of Contemporary Canadian Art is also generously supported by THE ART an Ontario government agency un organisme du gouvernement de l’Ontario 5 4213 PONCE DE LEON BLVD. CORAL GABLES, FLORIDA 33146 VERONICA VIDES 305.446.5578 www.americascollection.com FROM THE SERIES PLAGUE-LUXURY LINK, METAL SCULPTURES OF VARIOUS SIZES 6 ARTPULSE l www.artpulsemagazine.com 2.indd 1 7/17/15 5:22 PM COMMON THREAD MIXED GREENS July 23 – August 28, 2015 NAOMI REIS September 10 – October 10, 2015 JOAN LINDER October 15 – November 14, 2015 DONNA DENNIS November 19 – December 22, 2015 7 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> MIXED GREENS >>> 531 W 26TH ST, 1ST FL, NEW YORK, NY, 10001 >>> TEL: 212 331 8888 >>>>>> WWW.MIXEDGREENS.COM >> 8 ARTPULSE l www.artpulsemagazine.com 9 10 ARTPULSE l www.artpulsemagazine.com 11 12 ARTPULSE l www.artpulsemagazine.com 13 Eyes Wide Open ARTPULSE As a follow-up to our last issue, we have again focused on the postmodern social theorist, EDITOR IN CHIEF the late Jean Baudrillard. No one has more colorfully voiced our apparent postmodern Raisa Clavijo trajectory into suicide by simulacra—our dehumanizing descent into the hyperreal—than SENIOR EDITOR Baudrillard. For anyone unfamiliar with his ivory-towered brimstones, his text Simulacra Stephen Knudsen and Simulation is a must frst-read. CONSULTING EDITORS John Valentine We welcome Sylvère Lotringer into this issue, the renowned philosopher and interpreter of Owen Duffy Baudrillard’s theories. Jason Hoelscher interviews Lotringer and dutiful whispers of Baudrillard Scott Thorp underpin the conversation. Lotringer has life-affrming ideas about “resistance” and “doing phi- CONTRIBUTING EDITORS losophy playfully.” This got me researching Baudrillard for humor. I am ashamed to say that I Donald Kuspit Michele Robecchi Jason Hoelscher Anne Swartz missed the levity before. Here, for example, is a Baudrillard gem from the conclusion of his 1987 John Valentine Scott Thorp lecture at the Whitney Museum (and published in Lotringer’s The Conspiracy of Art: Manifestos, Paco Barragán Briana Gervat Robin van den Akker Interviews, Essays). I am now seeing the twinkle in Baudrillard’s eye as I read him: “I will change perspective to end on a note of hope. I placed this analysis under the sign, ‘after CONTRIBUTING WRITERS Megan Abrahams Jeff Siemers the orgy’—what do we do after the orgy of modernity? Is simulation all we have left? With the Taliesin Thomas Fred Gross Owen Duffy Janet Batet melancholy nuance of the idea of a ‘vanishing point’ and the ‘degree Xerox of culture?’ I forgot Laura Burton Elisa Turner to say that this expression—‘after the orgy’—comes from a story full of hope: It is the story of a Keren Moscovitch Tori Busch Irina Leyva-Pérez Noel Smith man who whispers into the ear of a woman during an orgy, ‘What are you doing after the orgy?’ Julie Heffernan Leslie Moody Castro There is always the hope of a new seduction.” LEGAL CONTRIBUTOR As I edited another piece in this issue, Scott Thorp’s interview with artist Edgar Heap of Birds, Octavio Robles I was in the midst of escaping into the U.S. wilds with my wife and young daughters. We had ASSISTANT SENIOR EDITOR seen Mount Rushmore, and later that same day we stood at the mass grave at the 1889 Massacre Karla Rosenthal at Wounded Knee, the site where Lakota men, but mostly women and children, were murdered EDITORIAL ASSISTANTS by the U.S. Cavalry—by some estimates, 300 Lakota casualties. Imagine the grand pageantry Diana Lee of Rushmore and then imagine the opposite, the lowly Wounded Knee Memorial. And visitors? Othiana Roffiel Mostly tumbleweeds. At the entrance we walked under a dirty white arch on which a Lakota COPY EDITORS Gregg Lasky sympathizer had written U.S. history with a marker—facts most of which had been conveniently Jim Janson absent from my history books growing up in Minnesota. Those cleansed texts now make me re- TRANSLATOR member Baudrillard’s critique: “all of America is Disney Land.” One line on the arch read: “1862, Diana Scholtz Israel PRESIDENT LINCOLN SIGNS THE DEATH SENTENCES OF 38 DAKOTA SIOUX.” CONSULTING ART DIRECTOR As Thorp states in his intro, “Even the Great Emancipator isn’t clean. His order to execute Eddy López Dakota Indians in Minnesota resulted in the largest mass hanging in our country’s history.” GRAPHIC DESIGNER And Edgar Heap of Birds, Cheyenne by birth, discusses his work that takes aim here as Hugo Kerckhoffs he also has words about President Obama’s sanctioning of the code name “Geronimo” PHOTO EDITOR for Osama bin Laden. What blunders we make when history “is recounted along verti- Gady Alroy cal lines,” as Michele Robecchi writes in his piece Let’s Twist Again. Robecchi reminds PHOTOGRAPHY us to “walk around our times with eyes wide open.” Mariano Costa-Peuser - Charles A. Shaw And that is the stance of Heap of Birds and other artists included in this issue. For INTERN example, on the 20th anniversary of the Rwandan genocide, Briana Gervat interviews Sofía Fernández Alfredo Jaar and in doing so uncovers new nuances concerning Jaar’s Rwanda projects. ADVERTISING ASSOCIATES Then, Paco Barragán interviews the history painter Ronald Ophuis. If you do not think Ryan Sadorf Carl Sutton that grand narrative painting of violence in the tradition of Géricault is relevant today, a counterargument awaits you in this piece. Barragán’s second piece in the issue is a nuanced ADVERTISING [email protected] argument regarding forms of censorship. DIRECTOR Robin van den Akker, the go-to scholar on metamodernism, interviews Oscar Santillan José López-Niggemann just after the artist “had stolen” the tip of the highest mountain in England to place on a pedestal in his latest exhibition. There has been a public outcry calling on the artist to return ARTPULSE is published four times per year the one-inch stone to the mountain top that makes me think of the outcry about “giving SUBSCRIPTIONS ARE: $30 USA / $50 Mexico & Canada / $60 International back” in the aftermath of British colonialism. Anne Swartz gives performance artist Joan Jonas her due in an essay that honors the artist EDITORIAL INQUIRIES [email protected] for being chosen to represent the U.S. in this year’s Venice Biennale. And Donald Kuspit, al- ways a treat, and no stranger to the art-writing pantheon, gives Cuban artist Roberto Fabelo GENERAL INQUIRIES [email protected] praise. Fabelo paints the human soul as Goya did in the darkest times. But unlike Goya, the SUBSCRIBE ONLINE fgures in the paint of Fabelo are, as Kuspit writes, “not driven mad by social forces beyond www.artpulsemagazine.com their control, but are uncontrollably mad by nature.” PUBLISHER John Valentine’s piece delves into a more subtle kind of darkness called biomechanical reduc- ARTPULSE LLC tionism. Valentine states, “It falsely claims that art and beauty experiences are really nothing P.O. Box 960008 Miami, Fl. 33296 1-786-274-3236 more than brain experiences as causally governed by DNA, protein robots and various locations of brain geography and the action of neurotransmitters.” Valentine argues that experience is more ARTPULSE LLC, is not responsible for and does not necessarily share the opinions expressed by its than this. Perhaps whatever that “more” is, it will redeem us, even lead us into a Baudrillardian contributors, nor does it assume any responsibility for unsolicited materials or contents of advertisements. No “hope of a new seduction” that affrms what is fully human. portion of ARTPULSE may be used or reproduced in any form without the express written permission of the Stephen Knudsen publisher. All rights reserved. Senior Editor 14 ARTPULSE l www.artpulsemagazine.com CONTRIBUTORS Stephen Knudsen is the senior editor of Michele Robecchi is a writer and cura- ARTPULSE. He is an artist and professor tor based in London. A former managing of painting at the Savannah College of Art editor of Flash Art (2001-2004) and senior and Design and a contributing writer to The editor at Contemporary Magazine (2005- Huffngton Post, Hyperallergic and other 2007), he is currently a visiting lecturer at publications. He is an active visiting lecturer Christie’s Education and an editor at Phaid- at universities and museums, and his forth- on Press, where he has edited monographs coming anthology is titled The ART of Cri- about Marina Abramović, Francis Alÿs, tique/Re-imagining Professional Art Criti- Jorge Pardo, Stephen Shore and Ai Weiwei. cism and the Art School Critique. Paco Barragán is the visual arts cura- John Valentine is a professor of philosophy tor of Centro Cultural Matucana 100 in and has taught at the Savannah College of Art Santiago, Chile. He recently curated “In- and Design since 1990. His publication cred- timate Strangers: Politics as Celebrity, Ce- its include the textbook Beginning Aesthetics lebrity as Politics” and “Alfredo Jaar: May (McGraw-Hill, 2007), as well as articles in the 1, 2011” (Matucana 100, 2015), “Guid- Florida Philosophical Review, the Southwest ed Tour: Artist, Museum, Spectator” Philosophy Review, the Journal of Philosophi- (MUSAC, Leon, Spain, 2015), and “Erwin cal Research, the Journal of Speculative Phi- Olaf: The Empire of Illusion” (MACRO, losophy and The Philosopher, as well as poetry Rosario, Argentina, 2015).
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