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Review: Dreamland | Tim Burton s The Nightmare Before Christmas

Mostafa Heddaya on the comparative complex - Artforum International

SOMETIME IN JANUARY 2016, the Instagram profile known as “@whos__who” went live. Who is who? A big question, in general. Anonymous and prolific, the account places apparently similar images, usually of artworks, in comparative assemblies published as single posts. At minimum, these posts feature two artworks, but often three, four, or more crowd the frame. Offered without explanation by their anonymous comparer, the resulting combos of artworks are blank screens for their beholders’ projections. The act signed @whos__who was inaugurated by a jaunty pairing of two works side by side: one by Nicole

Mostafa Heddaya on art and comparison - Artforum International

SOMETIME IN JANUARY 2016, the Instagram profile known as “@whos__who” went live. Who is who? A big question, in general. Anonymous and prolific, the account places apparently similar images, usually of artworks, in comparative assemblies published as single posts. At minimum, these posts feature two artworks, but often three, four, or more crowd the frame. Offered without explanation by their anonymous comparer, the resulting combos of artworks are blank screens for their beholders’ projections. The act signed @whos__who was inaugurated by a jaunty pairing of two works side by side: one by Nicole

Enter Robert Smithson s Museum of the Void

Robert Smithson, Grave Mounds with Object, ca. 1966 © HOLT/SMITHSON FOUNDATION / VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY Curated by Highsnobiety and presented during the time period formerly known as Paris Men’s Fashion Week, “Not In Paris 2” is our second in a series of bi-annual digital exhibitions celebrating creativity in the age of remote interactions. Head here for the full series and cop our new merch via our online store. Throughout his career, the late artist Robert Smithson drew abstract floating objects and varied formless masses. Thought of as studies for his famous “earthworks,” these drawings are resonant on their own as depictions of nowheres spaces suspended in abstraction that hit differently in the era of video conferencing. Presented in collaboration with the Holt/Smithson Foundation as a special project for “Not In Paris,” critic and art historian Mostafa Heddaya wades through the mud of Smithson’s work and his notion of space-time.

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