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Published in Art in America, November 2010
Flat and either squarish or roughly round, the irresistibly appealing “Feelies” were shown on sheets of wax paper laid atop low, wall-hugging corrugated cardboard shelves. They suggested pint-size Thomas Nozkowskis or Mary Heilmanns—or potholders made by a preternaturally gifted preschooler.
http://www.artinamericamagazine.com/reviews/polly-apfelbaum/
Related Artists: Polly Apfelbaum
Published in Time Out, October 2010
Narrative is but one softly spoken weapon in Fiona Tan’s disarming armoury, but she knows how to weave a magical tale or two. A short audio piece translates a Dutch fable about an Irish monk’s nine-year journey to ‘Brendan’s Isle’, a mystical, blessed rock, only to return home the minute he lands. Needless to say, no one ever finds it again - it’s a construct about mental space, rather than a physical place.
Related Artists: Fiona Tan
Related Exhibitions: Fiona Tan: Cloud Island and other new works
Published in Artforum , October 2010
Published in Art Monthly , October 2010
The ‘Craneway Event’ of Dean’s film took place on the West Coast, in a magnificent Albert Kahn building from the 1930s. A ford assembly plant until 1955, it overlooks San Francisco bay, with three sides of the building glazed in order to maximise the light. Dean filmed the rehearsals over three days, including all initial preparations up to the final dress rehearsal. This raised various important questions for the film project: the absence of music (as in most Cunningham productions, the music is rehearsed separately from the dance, sharing only a broad, overall time structure), though not sound; and the issue of the edit - that is, how to condense the span of the rehearsals into smaller time period without being either conventional or overly ‘arty’ ( in fact admirably realised by Dean)
Related Artists: Tacita Dean
Related Exhibitions: Tacita Dean: Craneway Event
Published in Time Magazine , October 2010
Her most recent work, Dream Villa, elaborates on this same glacial stupefaction, featuring streets and curious urban abstractions shot at night. There is darkness here, and the ineffable disquiet of great, harrowing art.
http://www.time.com/time/magazine/article/0,9171,2022544,00.html
Related Artists: Dayanita Singh
Published in Art in America, September 2010
Projection was one of three works featured in Tan’s recent solo show. Fittingly, it is also the first video that visitors encounter in “Fiona Tan: Rise and Fall,” an exhibition at the Vancouver Art Gallery of seven films and video installations made over the past five years. Organized by senior curator Bruce Grenville, the show demonstrates Tan’s abiding interest in portraiture, her thoughtful interrogation of the genre’s traditional modes and limitations, and her inventive use of film and video technology to deepen our understanding of her subjects’ identities.
http://www.artinamericamagazine.com/features/fiona-tan/
Related Artists: Fiona Tan
Published in ARTFORUM, September 2010
In Craneway Event, an art practice that combines in an unprecedented way moving and still images to capture a late-modernist culture on the brink of disappearing. In today’s culture, unable to preserve the relics-both mortal and architectural-of the last century, Dean’s film offers another means of reclaiming and displaying overlapping moments of our recent past.
Related Artists: Tacita Dean
Related Exhibitions: Tacita Dean: Craneway Event
Published in the Telegraph, Culcutta, August 2010
http://www.telegraphindia.com/1100827/jsp/opinion/story_12854333.jsp
Related Artists: Dayanita Singh
Published in The Independent, July 2010
Related Artists: Fiona Banner
Published in Art Monthly , July 2010
Related Artists: Fiona Banner
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