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Interview | Barbara Kruger: Thank God I m an artist and not a movie or Tiktok star
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An Artist Just Transformed Berlin s Berghain Nightclub Into an Eerie, Immersive 3D Swamp—See Images Here
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In the arid mountain terrain of the Sinai Peninsula after living with Bedouin shepherds and their herd for months, Amal Khalaf abruptly turned her back on her dream job at the age of 22.
Khalaf, as an integral member of a small television team recording the annual migration of a Tarabin tribal family, was no longer stuck in an office in London doing research but directly involved in the story as it was constructed in the desert.
The talents of her fellow documentary makers aside, however, she was growing increasingly uneasy. There was a feeling of distance and of extracting too much from people who “had themselves never seen a television set nor a camera”.
Installation art, that occasionally perplexing accumulation of things, whether sculpted or found or otherwise, doesn’t immediately invite comparison with the array of marks an artist makes on a canvas or a piece of paper – but perhaps it could. ‘A shimmering thing at the edge of analysis’: so the art historian James Elkins, in an essay of 1995, described one possible function of the mark. ‘One instant it will seem to be solid and homogenous, and then it will resolve into parts.’ A similar description might be applied to the Delphic installations of Dineo Seshee Bopape, which combine formal elements – drawing, sculpture, video – with commonplace materials like fabric, oil, feathers, herbs, bricks, mirrors, linoleum, houseplants, gold leaf and mud. Confounding as they may first appear, upon close attention the arrangements of Bopape’s installations, which have appeared in cities across North America, Europe, the Middle East and Africa, reveal an intuitive logic.
Top 10 Shows in the EU of 2020
From the premiere of Aby Warburg’s
Mnemosyne Atlas in Berlin to Corita Kent’s political prints in Innsbruck
If there’s anything positive to say about 2020, then it’s that we were given the chance to rethink the status quo. We were asked to re-evaluate our priorities, to listen to those in need and to expand our knowledge in areas where we previously had blind spots. In many ways, 2020 has been a series of lessons in unlearning ignorance – something that art can contribute to as well, I believe. Here are a few highlights from some of the remarkable exhibitions that were on view in this unprecedented year:
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