Author Archives: Barlo Perry


The beautiful exhibition catalog for MADE IN L.A. 2020: a version—available to order from the Hammer Store—includes a folio of collages by Hedi El Kholti bound into the book, as well as a conversation with El Kholti and Chris Kraus. The artist-designer-editor has also created two posters, available as exhibition takeaways at the Hammer Museum and the Huntington.

El Kholti’s work can also be seen in Because Horror by Johnny Ray Huston and Bradford Nordeen—a recent publication from Dirty Looks Press and Semiotext(e).

All images © Hedi El Kholti—courtesy of the artist, the Hammer Museum, and the Huntington Library, Art Museum, and Botanical Gardens—from Made in L.A. 2020: a version (2020), the catalog for the exhibition curated by Myriam Ben Salah and Lauren Mackler, with Ikechukwu Onyewuenyi.


I never really had a plan, except to express myself as purely as possible… I still make work on my own body first, as I always have. I can only understand it from the inside. — Michael Clark

MICHAEL CLARK—COSMIC DANCER, recently at the Barbican, was the first comprehensive retrospective of the British dance artist. Interrupted by the pandemic shutdowns, the exhibition lives on in the catalog, edited by Florence Ostende.

Bringing together materials from his choreographic work and collaborations with artists—including Elizabeth Peyton, Silke Otto-Knapp, Sarah Lucas, Wolfgang Tillmans, Leigh Bowery, Peter Doig, Cerith Wyn Evans, and Duncan Campbell—the book is a beautiful complement to MICHAEL CLARK, a 2011 monograph edited by Suzanne Cotter and Robert Violette.

See link below for details.


Edited by Florence Ostende.

Prestel Publishing

From top: Charles Atlas, Hail the New Puritan (1986), Michael Clark, stills, 16mm film transferred to video, image courtesy and © Charles Atlas and Luhring Augustine; Michael Clark and Company, I Am Curious, Orange, 1988, photograph by Richard Haughton, image courtesy and © the artists and the photographer; Michael Clark, Before and After: The Fall, 2001, in Berlin, Lorena Randi and Victoria Insole, photograph by Andrea Stappert, image courtesy and © the artists and photographer; Clark during the filming of Hail the New Puritan, photograph by Alexander James, image courtesy and © the artists and the photographer; Wolfgang Tillmans, man with clouds, 1998, image courtesy and © the artist, Galerie Buchholz, Maureen Paley, and David Zwirner; Elizabeth Peyton, Michael Clark, 2009, image courtesy and © the artist and Sadie Coles HQ; Silke Otto-Knapp, Group (Formation), 2020, watercolor, image courtesy and © the artist, Galerie Buchholz, and Greengrassi; Michael Clark: Cosmic Dancer (2020), edited by Florence Ostende, exhibition catalog cover image—Clark, Mmm, photograph by Hugo Glendinning—courtesy and © the artist, the photographer, the Barbican, and Prestel Publishing; Leigh Bowery and Rachel Auburn in Hail the New Puritan; Clark at the opening of Derek Jarman’s 1984 exhibition at the Institute of Contemporary Arts, London, photograph by Steve Pyke; Hail the New Puritan, courtesy and © Atlas and Luhring Augustine; Ellen van Schuylenburch and Clark in Hail the New Puritan, photograph by Haughton. Images courtesy and © the artists, the photographers, and the Barbican.


I like to work in a way that all the processes about the creation of the work are visible in the end when the work is done. I do not like works where you have to think, “How is this done?” Everything can be visible. — Monica Bonvicini*

Bonvicini gives a video tour of her traveling exhibition LOVER’S MATERIAL, through the beginning of May.

See link below for details.


Kunsthalle Bielefeld

Through May 3.

Monica Bonvicini, Lover’s Material, Kunsthalle Bielefeld, October 10, 2020–May 3, 2021, from top: Little Liar, 2020, photograph by Jens Ziehe; Remember This House, 2020, and Black Chain Rain, 2020; Grab Them by the Balls #3, 2020; Breach of Decor, 2020 (floorpiece), and LEGSCUTOUT Big #3, 2015; Pendant (Guilt) #1, 2020; Ekel, 2020, and Grab Them by the Balls #3; White Out, 2020; NEVER TIRE, 2020, photograph by Ziehe; In My Hand, 2019, photograph by Ziehe; Marlboro Man, 2019, photograph by Ziehe. Images © Monica Bonvicini and VG Bild-Kunst, Bonn 2020, courtesy of the artist and König Galerie, Berlin, Galerie Krinzinger, Vienna, Galleria Raffaella Cortese, Mailand, Galerie Peter Kilchmann, Zürich, Mitchell-Innes & Nash, New York, and Kunsthalle Bielefeld.


On the occasion of the exhibition PLURAL POSSIBILITIES & THE FEMALE BODY—organized by Nina Bozicnik and Dr. Ann Poulson, now in its final weeks—the Henry Art Gallery presents an online art reflection and writing workshop with Brittney Frantece.

See link below for registration information.


Henry Art Gallery

Tuesday, April 27.

4 pm on the West Coast; 7 pm East Coast.

Plural Possibilities & the Female Body, Henry Art Gallery, February 27, 2021–May 9, 2021, from top: Wangechi Mutu, All the way up, all the way out, 2012, collage on linoleum, collection of John and Shari Behnke, photograph by Robert Wedemeyer, image © Wangechi Mutu, courtesy of the artist and Vielmetter Los Angeles; Brittney Leeanne WilliamsOur Horizon, 2019, oil and acrylic on canvas, collection of Josef Vascovitz and Lisa Goodman, photograph by RCH photography, image © Brittney Leeanne Williams, courtesy of the artist and Monique Meloche Gallery, Chicago; Lynn Hershman Leeson, TV Legs, 1990, gelatin silver print, collection of John and Shari Behnke, images © Lynn Hershman Leeson, courtesy of the artist; Christina Quarles, Vulgar Moon, 2016, acrylic on canvas, collection of Josef Vascovitz and Lisa Goodman, image © Christina Quarles, courtesy of the artist.


The touring exhibition PATI HILL—SOMETHING OTHER THAN EITHER is in its last weeks in Switzerland. The show is “the most comprehensive exhibition of the artist’s works to date—an artist who was equally an author, columnist, model, antiques dealer, and gallerist.”*

Hill’s oeuvre includes four novels, short stories, artist’s publications, a collection of instruction manuals, and the invention of a new Symbol Language (1977–1978), as well as thousands of photocopies from 1974 onwards.*

See link below for details.


Through May 2.

Kunsthalle Zürich

Limmatstrasse 270, Zürich.

Pati Hill, something other than either, Kunsthalle Zürich, December 12, 2020–May 2, 2021, from top: Untitled (napkin), circa 1985, courtesy and © Air de Paris; installation views (3), photographs by Julia Mangisch; page from Versailles Rose Garden, Déchet and Alternatives, circa 1997. Images courtesy and © Pati Hill Collection, Arcadia University.