Category Archives: ART


There’s an Édouard Glissant text I read with my students called For Opacity.” It’s not specifically about images, but how understanding is a type of imperialism, that there’s a right that people have to opacity. — Em Rooney

WOMEN IN FICTION—Rooney’s Los Angeles show of new sculptural and photographic work—has been extended.

See link below for appointment information.


Through January 23, by appointment.

François Ghebaly

2245 East Washington Boulevard, downtown Los Angeles.

Em Rooney, Women in Fiction, François Ghebaly, December 12, 2020–January 23, 2021, from top: Poppy for Emi Wada, 2020, blackened and welded steel, rice paper, water soluble oil paint, thread; Jennie C. Jones at Her After Party, 2020, pewter, poplar, aluminum leaf, museum glass, silver gelatin print; Girl Spinning, 2020, pewter, poplar, aluminum leaf, museum glass, silver gelatin print; Good Wombs Make Bad Sons, 2020 (2), welded steel, burlap and Hydrocal, enamel paint, epoxy resin, laser copies; Lady Macbeth, 2020 (2), blackened and welded steel, glass, linen, paste wax, yarn; Queen of Cups, 2020 (2), welded steel, Hydrocal and burlap, aluminum leafing, heat blankets, epoxy resin; Burned Fox-like in Spring, 2020; Certain Fields Blow Green Forever (detail), 2020, frame materials (not shown) are pewter, poplar, copper leaf, oil stick, museum glass, silver gelatin print. Images © Em Rooney, courtesy of the artist and François Ghebaly.


THE ESSENTIAL PAINTER—an exhibition at Mendes Wood DM, with an online viewing room presented by Modern Art, London—brings together work by Eleonore Koch (1926–2018), with a focus on her 1960s London period to the paintings she did in São Paulo in the 1990s.

See links below for details.


Through January 16, by appointment.

Mendes Wood DM

60 East 66th Street, 2nd floor, New York City.

Modern Art, London viewing room

Eleonore Koch, The Essential Painter, Mendes Wood DM, New York, and Modern Art, London, November 24, 2020–January 16, 2020, from top: Interior with white chair, 1977, tempera on canvas; Blue carpet on steps in landscape, 1984, tempura on canvas; Awaiting, 1971, tempura on canvas; Untitled, 1969, pastel on paper; Untitled, 1973, tempura on canvas; Angry Island, 1974, tempura on canvas; Untitled, 1971, pastel on paper; Interior with yellow chair blue, 1987, tempura on canvas; Untitled, 1968, tempura on canvas. Images courtesy and © the Estate of Eleonore Koch, Mendes Wood DM, and Modern Art.


On the 27th of November, 2020, more than 300 artists, intellectuals, and Cuban citizens presented themselves at the Ministry of Culture to demand the government follow through on their supposed commitment to freedom and civil rights. This protest came as a result of police violence exerted the previous day against members of the San Isidro Movement—an activist group who over the course of the past few years has been vocal in demanding greater freedom of expression in Cuba. Using social media as a tool to bring awareness to their cause, they have sparked renewed attention and urgency in calling for an end to government censorship and repression against all artists, intellectuals, and activists in Cuba. This community adopted the name 27N and together have staged peaceful protests asking for freedom of artistic expression in the face of government repression.*

This week, MOCA Los Angeles will host a virtual panel with artist and activist Tania Bruguera and other members of the 27N. See link below to register.


MOCA x 27N

Thursday, January 7.

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

From top: Tania Bruguera poster image—with quote by José Martí—courtesy and © the artist; Bruguera, Poetic Justice, 2002–2003; Bruguera, The Francis Effect, 2014; Bruguera, Tatlin’s Whisper # 6, 2009; 27N in Havana, photograph by Reynier Leyva Novo, courtesy and © the photographer and 27N. Artwork images © Tania Bruguera, courtesy of the artist.


The official-artistic career of Frida Orupabo developed out of the digital world of algorithms: she was working as a social worker for sex workers and victims forced into prostitution when Arthur Jafa came across her Instagram account @nemiepeba three years ago. It is certainly not a convenient aesthetic that operates Orupabo’s feed and that ultimately led her to the Venice Biennale in 2019, but rather a relentless confrontation with omnipresent historical and simultaneously contemporary sociological problems: gender, racism, post-colonialism, violence, identity. Since 2013 the Norwegian-Nigerian artist has collected almost archivally authentic visual evidence distributed in popular media, amongst them photographic and film records of colonial violence and images of women.*

A show of recent work by Orupabo is on view in Vienna through the end of this week.


Through January 9.

Koenig2 by robbygreif

Margaretenstrasse 5, Vienna.

Frida Orupabo, Koenig2 by robbygreif, October 22, 2020–January 9, 2021, from top: Untitled, 2019, fine art print on Hahnemühle PhotoRag baryta paper; Untitled, 2019 (detail), video installation, looped; Untitled, 2018, framed pigment print on acid-free semigloss cotton paper; Untitled, 2018, collage with paper pins mounted on cardboard; Untitled, 2019, video installation, looped. Images © Frida Orupabo, courtesy of the artist and Koenig2 by robbygreif.


You consume with your eyes. And eyes are voracious. The stomach has a size. It will only fit so much. But the eyes?…You think eventually you will get enough. But satisfaction and familiarity don’t come. You just keep wanting and waiting. Wanting and waiting, needing more. A meal that does not end. — Roni Horn

ISLAND ZOMBIE: ICELAND WRITINGS—a new collection of texts, essays, and poems by Horn, illustrated with more than fifty images—is out now from Princeton University Press.

Roni Horn, from top: Man at hot spring, Strúter, Iceland, 1990, from To Place: Pooling Waters IV, published by Walther König, Cologne, 1994, image © Roni Horn, collection of the artist; Roni Horn, Island Zombie: Iceland Writings (2020), cover image courtesy and © the artist and Princeton University Press; Rationalists Would Wear Sombreros, 1990, Ink and graphite on special-edition print, from To Place: Bluff Life, published by Peter Blum Edition, New York,1990, image © Roni Horn, collection of the artist.