future greats
Ones to Watch
Ei Arakawa Allison Schulnik
Arakawa’s performance-based practice is a big brash mess of In the paintings of LA-based artist Allison Schulnik, imaginary
things: temporally sensitive collusions of production, choreography, creatures are depicted in impastoed oil paint. In her highly emotive
performance and documentation that evoke a sense of an almost work, subjects range from ponies and cats to ghoulish armies of
or future time, without the heavy-handedness of utopian thinking, skeletons and creepy clowns. Solo exhibitions this year include the
but with a strongly materialistic and (historically) embodied Mike Weiss Gallery, New York; last year her work was shown in No
language of construction and dance. Two Grahams, Arakawa’s 2007 Luck, at Rokeby, London, and Fools, Rejects, and Sanctuaries, at
performance with Jutta Koether (and, in characteristic fashion, a Mark Moore Gallery, Santa Monica. Selected by ArtReview
revolving door of other collaborators), proposed associative
readings of Martha and Dan Graham’s work, as gigantic plastic
tarps were stapled across the width of the Reena Spaulings gallery
interior, forcing improvising dancers to constrict their movements
and begging audience members to recode their own spectatorial Juliette Blightman
contributions in this ever-evolving gallery space. While there are
many artists sketching equally roundabout connections between
Juliette Blightman’s quiet films ruminate on narrative, the temporal
many of the twentieth century’s creative giants, what makes
and spatial, using the most subtle period references – an old TV
Arakawa’s work memorable is a feeling of unresolve – a feeling that,
show or vintage camera equipment – and deceptively simple
contingently, places the audience in a heightened state of
setups. Recent exhibitions include The Chips Are Down,
empowerment. Arakawa’s unresolve asks not that we be the
Whitechapel Project Space, London; artLedge Presents: Spring
synthesists for his work, but assumes that its conceptual life is made
Break Chicago 2007, Chicago; and What Is It?, an i-cabin
ongoing by our continuing performance of it.
retrospective at Wysing Arts Centre, Cambridge.
Selected by Tyler Coburn
Selected by Mark Sladen
Simon Cunningham
Becky Beasley
A recent MFA photography graduate from the Royal College of
Art, London, Simon Cunningham is in love with the moments
Becky Beasley’s minimalist objects, plywood boxes with blankly
when perception and experience slide out of control. For his
shiny Perspex insets, for example, contain some surprising
degree show he hired a taxidermist to construct a duckrabbit, a
references, as in her recent solo show at Laura Bartlett Gallery,
mythical creature that had only ever had life in 2-D, as a diagram
Three Notable American Novellas, with allusions to Melville,
used by Wittgenstein to illustrate cognition flickering between two
Faulkner and Capote residing in these pared-down forms. Beasley’s
poles. In his photography and videowork, Cunningham performs
explorations of representation and content are already highly
similarly baffling optical violence, splicing and dicing to turn the
sophisticated. Selected by ArtReview
familiar into the ‘woah, what just happened?’ He has recently shown
work at 20 Hoxton Square, London. Selected by James Westcott
Artreview 106
FUTURE~1.INDD 106 11/2/08 12:50:05
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