Whenever I see one of Catherine Telford Keough’s sculptures, I’m reminded of half-melted heaps of snow, embedded with various lost items they’ve accrued during the long winter months: candy bars, pills, bottle caps and gum wrappers suspended in the frozen mass. Her evocative installation, Carriers (Gravity-Fed) (2024), sits nicely alongside works whose material explorations provoke a similar sense of melancholy: Jes Fan’s Interface I and Interface II (both 2024), the soy skins of which seem to melt off their supports, and Lotus L. Kang’s shed (Receiver Transmitter (Butterfly), 2023–24), in which rolled up prints and neatly folded mats gesture at an absence. All three artists have left Toronto for New York in recent years.
Bu hikaye Frieze dergisinin Issue 243 - June - August 2024 sayısından alınmıştır.
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Bu hikaye Frieze dergisinin Issue 243 - June - August 2024 sayısından alınmıştır.
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Already a subscriber? Giriş Yap
I'm trying to follow my instinct: to have confidence and not get into my head too much about what other people are expecting.'
Conversation: Ahead of a solo show at London’s Cubitt Gallery, Marlene Smith speaks to Lubaina Himid about her time in the BLK Art Group, friendship and collaboration
Tell It Slant
Built Environment: Giovanna Silva on photographing history through unexpected architectural interventions
Dean Sameshima
What does it mean to be alone? In Dean Sameshima’s recent body of work – 25 monochrome photographs of queer men in Berlin porn theatres with sumptuous black negative spaces and blinding white cinema screens – ‘alone’ is a complicated term.
Nicole Wermers
Nicole Wermers’s Reclining Female #6 (2024) looks out over Glasgow.
Greater Toronto Art 2024
Museum of Contemporary Art, Toronto, Canada
Echoes of the Brother Countries
In recent years, the former German Democratic Republic (DDR) has been the subject of a reappraisal that, while not seeking to redeem the stiflingly authoritarian state, has attempted to present a more nuanced overview of its social and cultural realities.
Pierre Huyghe
A pale tetra fish swims around a vast obsidian tank, while another bobs on its side at the top of the water, perhaps ailing from debilitating swim bladder disease (Circadian Dilemma [El Día del Ojo], 2017).
Inward Yearnings
Essay: Rianna Jade Parker retraces the history of the Jamaican intuitives, a group of self-taught artists who ushered in a national form of artmaking mythologizing African traditions through religious divination and esteem-raising cultural work
The Promise of the Past
Built Environment: On the occasion of the ‘Tropical Modernism’ exhibition at the Victoria and Albert Museum, Derin Fadina examines the architectural movement’s exclusionary narratives
Where Is Everyone?
Built Environment: Minoru Nomata’s paintings ask why we obsess over unpeopled architecture
