Ever since I read my first X-Men comic and fell in love with the fuzzy German mutant Nightcrawler, I’ve been interested in German language and culture. Some people find it surprising that such a silly, kitschy thing spurred a passion that became academic, as I made twentieth-century German art and culture one of my specialties in school, and even studied there for a semester in undergrad. Today I’m feeling that the comic book connection would have been appreciated by the artist at hand, irreverent Pop and experimental kitsch genius Sigmar Polke, whose first full retrospective is currently on view at the Museum of Modern Art in New York.
When I heard that one of the newer exhibits at the Institute of Contemporary Art would feature stop-motion animation, I was pretty damned excited. Basically all I ever want in any visual entertainment is stop-motion animation, for real. But that description is only scratching the surface of Nathalie Djurberg’s work, produced in conjunction with her partner, Hans Berg, a composer. Djurberg combines elements of installation, sculpture, video, and sound to create her immersive room-size works, the newest of which is titled A World of Glass. For this piece, viewers enter an enclosed dark room lined with several rows of long tables, upon which rest hosts of small translucent sculpture- resembling glass but actually rendered in polyurethane.
I visited the New Museum in New York for the first time a few weeks ago, and had a really good experience overall. (Though that spaceship thing was kind of a let down.) It’s kind of a strange building, an assortment of rooms piled on top of each other in a jumbled tower, with each floor serving as a single exhibition space. The main exhibit on view was devoted to Polish sculptor Paweł Althamer, spanning four floors and revealing the artist’s aesthetic innovation as well as his tendency to collaborate with people outside the art world establishment.
In my final semester of grad school I took what turned out to be my favorite course, a class focusing on Latin American art made during the Cold War period. I find Cold War history fascinating, and am always interested in how culture played a major role and how artists responded to events of the time. Imagine my sheer glee when the MFA opened its newest contemporary art exhibition, a show highlighting the collection of Ella Fontanals-Cisneros, who founded CIFO, an organization dedicated to supporting Latin American contemporary artists. Permission to be Global/Prácticas Globales features a number of major contemporary artists from various countries in Latin America…
Last month the Institute of Contemporary Art debuted two new exhibitions in their main galleries. One is a phenomenal video installation by William Kentridge, which I cannot recommend enough, but I’m not here to talk about that. I’m here to talk about Nick Cave. The Chicago-based sculptor and performance artist who’s been making a big splash in the art world just within the past few years. I don’t think I’d heard of him before 2011 or so, and now I feel like I see him everywhere. He is known for his Soundsuits, a series of meticulously crafted wearable sculpture that can be displayed statically or worn in dance performances.