Category Archives: ART


TRINH T. MINH-HA—FILMS, the artist’s first institutional exhibition in Asia and the final presentation at NTU CCA Singapore’s current space, is on view through the end of the month.

Featuring six of her films—Forgetting Vietnam (2015), Night Passage (2004), The Fourth Dimension (2001), A Tale of Love (1995), Shoot for the Contents (1991), and the new work What about China? (Part I of II, 2020–21)—the show is complemented by the adjoining exhibition Trinh T. Minh-ha—Writings.

TRINH T. MINH-HA—FILMS is curated by Ute Meta Bauer. See link below for details.


Through February 28.

Nanyang Technological University

Centre for Contemporary Art

Block 43 Malan Road, Singapore.

Trinh T. Minh-ha, Films, Nanyang Technological University Centre for Contemporary Art, October 17, 2020–February 28, 2021. Images © Trinh T. Minh-ha, courtesy of the artist.


THESE LACUSTRINE HOMES, a group show featuring work by Valentin Carron, Isabelle Cornaro, Karin Gulbran, Matthew Lutz-Kinoy, and Mai-Thu Perret—curated by Perret—is now on view at David Kordansky.

Investigating “disparate ideas of art history, including a covert conceptualism,” the artists “draw loosely from religious iconography and its traditions, as well as European artistic movements.”

The works converge, however, in their exploration of the tension between domestic materiality on one hand and a biomorphic, dream-like strangeness on the other. This becomes a way for the artists to consider the intrinsic life force of the art object and the evasive past of each form.*


Through March 6.

David Kordansky Gallery

5130 West Edgewood Place, Los Angeles.

These Lacustrine Homes, David Kordansky Gallery, January 23, 2021–March 6, 2021, from top: Mai-Thu Perret, A Magnetizer III, 2020, glazed ceramic; Isabelle Cornaro, Streams II (#7, Aluminum), 2019,resin with aluminum powder; Matthew Lutz-Kinoy, Lac Léman all year, 2020, acrylic on canvas; These Lacustrine Homes installation view, featuring (left) Valentin Carron, The Bathrobe (yellowish and cold), 2020, enamel on cast aluminum, and Mai-Thu Perret, Broken mirrors never again reflect, fallen flowers cannot return to the branch, 2020, glazed ceramic; Karin Gulbran, Singing Bird, 2020, glazed ceramic; Isabelle Cornaro, EYESORE, 2019, animation, color, silent; These Lacustrine Homes installation view, featuring works by Cornaro on wall and (foreground) Mai-Thu Perret, We receive the master’s grandmotherly kindness, 2020, glazed ceramic; These Lacustrine Homes installation view, featuring (on wall) Matthew Lutz-Kinoy, Heaven on Earth rose, 2020, pink marble, and works by Gulbran; Valentin Carron, You he we we you, 2013, iron (2, full work and detail); These Lacustrine Homes installation view. Images courtesy and © the artists and David Kordansky Gallery, Los Angeles.


As images from the civil rights era migrated in the American visual lexicon, some becoming icons… a shift also happened in the aesthetic understanding of what images do and how they function. American society has been saturated with images since the post-Second World War period, and artists growing up at that time were some of the first to turn a critical eye to the production of images and cast doubt on their narrative function…

Black artists understood that though Black people may be the subject of many images throughout U.S. history, those captured by and circulated within those images gave little or no consent. In addition, the Black body and its visual reception have been so predetermined by stereotype that their presentation may undermine even good intentions. — Naomi Beckwith*

To kick off the New Museum exhibition GRIEF AND GRIEVANCE—ART AND MOURNING IN AMERICA—the final show conceived by Okwui Enwezor—join Beckwith, Glenn Ligon, Mark Nash, and New Museum artistic director Massimiliano Gioni for a curatorial roundtable.

See link below to register for this online event.


New Museum

Tuesday, February 16.

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

See MEETING WORLDS—ON OKWUI ENWEZOR’S WORK, an online conversation featuring Ute Meta Bauer (the founding director of the NTU Centre for Contemporary Art Singapore), Franklin Sirmans (the director of the Pérez Art Museum in Miami), Terry Smith (a professor of Contemporary Art History and Theory at the University of Pittsburgh), and Octavio Zaya, an independent art critic and curator. New Museum director Massimiliano Gioni moderated the January 21 talk.

*Naomi Beckwith, “My Soul Looks Back in Wonder,” in Grief and Grievance: Art and Mourning in America (New York: New Museum; London: Phaidon, 2020), 182.

From top: Naomi Beckwith, photograph by Maria Ponce, courtesy of the photographer, Beckwith, and MCA Chicago; Glenn LigonA Small Band (2015) installation, New Museum, 2021, neon, paint, and metal support, image © Glenn Ligon, courtesy of the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, Chantal Crousel, Paris, and the New Museum; Garrett Bradley, Alone (2017), still, single-channel 35mm film transferred to video, sound, black and white, image © Garrett Bradley, courtesy of the artist and the New Museum; Grief and Grievance: Art and Mourning in America (2020), conceived by Okwui Enwezor, cover image courtesy and © New Museum and Phaidon; Mark Nash, image courtesy of Nash; Massimiliano Gioni, courtesy of Gioni and Alain Elkann.


I’m lucky in many ways because I was able to meet a lot of practicing artists quite early, when I was young. Artists such as Virginia Chihota and others. Spending time with them and learning from them was really the fuel I needed to become who I was.Kresiah Mukwazhi

This is the closing week for MUKANDO, a show of textile works and videos by Mukwazhi exploring “the world of sex industry, [dealing] with questions of safety, sense of community, and collective support.”*

See link below for details.


Through February 13.

Jan Kaps

Jülicher Strasse 24A, Cologne.

Kresiah Mukwazhi, Mukando, Jan Kaps, Cologne, December 4, 2020–February 13, 2021. Images © Kresiah Mukwazhi, courtesy of the artist and Jan Kaps.


What’s happening in Chile (and in Hong Kong, Ecuador, etc.) is truly terrifying, and it may be a preview of what awaits people around the world, unless we wake up fast to defend our democratic rights! The art community will be affected fully by what happens to the whole of society, during and after an uprising of this order.

The beauty of this movement is that it feels as an awakening expressed in joyful and peaceful massive protests emerging in every corner. They respond to the hidden pain under the monstrous inequity of the system (Chile has the biggest disparity between rich and poor in the world). The people have named it “Chile despertó.” (Chile awoke). Yet, the President has declared an unconstitutional “State of exception” that suspends rights and floods the streets with armed soldiers and [is] unleashing a new form of state violence, illegal detentions, and shootings. The number of people dead is growing, and so far there is no accountability. It all comes down to the circulation of information: the media controlled by the private sector only shows vandalism, to spread fear. But the people are posting counter images: multiple video clips on the Internet that open the question: is this vandalism a “set up”? You see what looks like undercover policemen descending from fancy cars, setting banks on fire. You see crowds shouting: “the police are burning the subway stations.” So, this is beyond fake news, it is faking reality, in order to exert control.

What can art, and the art world, do in Chile and beyond? Spread awareness of the violence that distorts information, language, and images, the “tools” of our trade. The art world can stand for transparency to empower our ability to discern purpose and intent. Otherwise the mad destruction of the land and people’s rights, along with the right to question what is true as it is happening in Chile, will continue to spread like wildfire to all nations.Cecilia Vicuña

This week at the Wattis Institute, Vicuña presents three of her short films—El veroir comenzó/Seehearing began, Rito por el Mapocho, and the video poem Word-Snakes.

The event includes an online conversation with Vicuña and Daniel Borzutzky. See link below for details.


Wattis Institute

Thursday, February 11.

5 pm on the West Coast, 8 pm East Coast.

From top: Cecilia Vicuña, photograph by Jane England; Vicuña film still; Vicuña, Lava Quipu, 2020, multimedia performance, photograph courtesy of Museo Universitario Arte Contemporáneo, Mexico City; Vicuña film still; Cecilia Vicuña, Memoria Chilena. Images © Cecilia Vicuña, courtesy of the artist and Lehmann Maupin.