This richly illustrated book considers the dazzling oeuvre of choreographer and dancer Marlene Monteiro Freitas. In line with her creative methodology, Alexandra Balona unfolds an “atlas of affects” through five emblematic dance pieces that reveal the intensity, humor, and humanity of one of today’s most radical choreographic voices.
Invited to present an exhibition at the Galleria Borghese in Rome, Kenyan-American artist Wangechi Mutu has developed an innovative approach to museum space, challenging hierarchy, permanence, and fixed meanings. With in-depth essays and a rich selection of illustrations, this catalog retraces that exhibition and explores the themes and concerns that have long characterized the artist’s practice.
Invitata a concepire una mostra alla Galleria Borghese, l’artista keniota-americana Wangechi Mutu ha sviluppato un approccio innovativo allo spazio museale, confrontandosi con le gerarchie, la permanenze e le sedimentazioni del contesto. Attraverso saggi approfonditi e una ricca selezione di illustrazioni, questo catalogo ripercorre la mostra ed esplora i temi e le preoccupazioni che da tempo caratterizzano la pratica dell’artista.
A visual notebook of the screenshots taken by Yngve Holen over the past five years or so, 6G—the anticipated next phase of network technology—is a peculiarly sized artist’s book, a glossy non-linear agglomeration that reflects the intersections of production, life, and digital debris.
Conceived as a visual résumé, the book provides a comprehensive overview of Posenenske’s solo exhibitions and a record of her numerous group shows. Featuring an essay by curator Erlend Hammer on the role of documentary photographs in the circulation of works of art, it was published in conjunction with the eponymous show at the Haugar Art Museum in Tønsberg.
Edited by Melanie Bühler
Contributions by Marie Angeletti, Karen Archey, Ute Meta Bauer, Melanie Bühler, Simnikiwe Buhlungu, Harry Burke, Ann Demeester, Clémence Lollia Hilaire, Frima Fox Hofrichter, Andrea Fraser, Simon Fujiwara, Sofía Hernández Chong Cuy, Alex Kitnick, Lynne Kouassi, Erik van Lieshout, Lloyd Corporation, Sven Lütticken, Daniel Morgenthaler, Marlie Mul, Becket MWN, Grace Ndiritu, D’Ette Nogle, Ahmet Öğüt, Ima-Abasi Okon, Monilola Olayemi Ilupeju, María Inés Plaza Lazo, Bea Schlingelhoff, Hito Steyerl, Juan Uribe, Dena Yago
Designed by Sabo Day
Co-published with Frans Hals Museum
2022, English, softcover, 21 x 29,7 cm, 288 pages
ISBN 979-12-80579-10-2
We live in a moment in which institutions, including those central to the art world, are facing a surge of public scrutiny. Propelled by social media, profound questions about how institutions operate—whether structurally, politically, or financially—have become an increasingly prominent part of public life and discourse in recent years.
In this context, The Art of Critique revisits the artistic practice of institutional critique to ask what it means today, and to consider its ability to respond to the urgent social, political, and economic issues of our time. Taking works by Tracey Emin, Andrea Fraser, and Sarah Lucas in the collection of the Frans Hals Museum as a departure point, The Art of Critique uses a feminist approach to broaden and challenge traditional art historical definitions of institutional critique. These expanded forms of critique function as precursors to the practices of the contemporary artists presented as part of this project. Collectively, the contemporary works shed a new light on the legacy of institutional critique while addressing structural issues as wide-ranging as labor practices in the creative industry, city development, gender inequality, and the intertwined histories of capitalism and colonialism.
The publication documents the long-term project at the Frans Hals Museum (2019–22)—a symposium, Color Critique (chapter one); an exhibition, Image Power (chapter two: Image Critique); and artist commissions (chapter three: Structure Critique)—together with artworks, conversations, and newly commissioned and translated essays.
The publication has been generously supported by Outset Contemporary Art Fund Netherlands and VriendenLoterij.
