By Krystina Mierins
In March 2015, the Carnegie Museum of Art announced that Ingrid Schaffner will curate the next Carnegie International (CI), the second oldest survey of contemporary art in the world. Over the next three years, Schaffner will attempt the Herculean task of assessing and distilling contemporary art from around the globe. Of particular interest is the Hall of Sculpture, a room that has proven to be highly appealing to artists and curators, but is riddled with challenges.
By Bansie Vasvani
Architectural construction, assemblage, and symmetry play a vital role in Róza El-Hassan’s sculpture. Deeply inspired by unnamed Syrian artists whose work she describes in an essay as avant-garde for its spontaneous expressiveness, El-Hassan’s own art comes close to capturing the ethos and pathos of these displaced people.
By Carrie Paterson
Among the many references loaded like cargo into Maryrose Cobarrubias Mendoza’s subtle and humorous sculptures are Southern California’s pattern of Filipino immigration, ecosystems, local bungalow architecture, shipping containers, chemistry and space travel. Yes, space travel, but we’ll get to that.
By Krystina Mierins and Carrie Paterson
Gregor Schneider’s Die Familie Schneider is part haunted house, part palimpsest, an installation shown originally in two doppelgänger East London counsel flats, and which has now been compiled into an illustrated book. The lauded German artist, who has made his name building claustrophobic rooms, has a secret—and he’s not telling.
Simon Clark’s record of a summer’s arduous travels through his native British Isles tells the story of a bicycle messenger on an unexpected and perhaps unwarranted journey to find recipients of postcards abandoned on Floreana, in the Galápagos Islands.
Interview by Anne Hars
A founder of Sci-Arc, Glen Small is “one of the dear eccentrics of American architecture … and an early leader in the movement for green building,” according to Michael Sorkin. In a series of email exchanges with Anne Hars, Small sheds light on present conditions of urbanity and ecological crisis through a brief lesson on the megastructure movement in architecture.
By Joanna Grasso
I had just moved to the desert and was getting acclimated. The locals were a motley crew, including international writers, healers, tree whisperers, scroungers and bird watchers. At a local gathering, someone mentioned a site in Joshua Tree full of junk transformed.
By Seth Hawkins
In a city with the motto “Keep Austin Weird,” The Austin Contemporary—known for its avant-garde, edgy programming—has renovated its flagship, the Jones Center. From January through March 2014, the Jones Center hosted artist Charles Long’s massive collaborative installation “CATALIN,” a true Gesamtkunstwerk combining sculpture, music, scent, light, kinetics, video, theater, and new technology into one spectacle.
By John Haber
After fifteen years, millions of internally displaced people, and well over five million dead, the earth itself should have turned to blood, or so it may seem in The Enclave, an aching, unnervingly beautiful video work by Richard Mosse whose subject is war in the Democratic Republic of the Congo.
By Liliana Rodrigues
LR – I understand that your new work is done in three-days per painting. I am curious about this time constraint you impose on yourself. In the past, fresco painters had to deal with the properties of freshly laid wet plaster and pigments; thus, they were forced to paint quickly. What does it mean for you, as a contemporary painter, to set a time constraint on yourself?
The Nomadic Journal 