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TOP FIVE: WHAT TO SEE THIS MONTH
BY DONNA DE SALVO
Chief Curator and Associate Director of Programs at the Whitney Museum of American Art, New York
2 4
VALIE EXPORT STEVEN
VALIE EXPORT is an artist who has consistently PARRINO
explored fundamental notions of feminism, the
female body and the vulnerable nature of human Parrino’s life was cut short,
existence. Most recently she presented exceptional and this retrospective is
installations at Klemens Gasser & Tanja Grunert in an important opportunity
New York, entitled Dead People Don’t Scream and to examine his early work,
Dead People Don’t Scream 2. They featured images of including shaped paintings
violent deaths, drawn from a collection of American made with non-traditional
homicide photographs, along with a disturbing yet materials such as motor oil.
moving series of heads cast in different materials. His work reflects a range
Her inclusion in Venice and Documenta have of preoccupations, including
particular relevance at this moment in time. the counterculture concerns
of the 1980s and more formal
VALIE EXPORT, UNTIL 21 NOVEMBER, VENICE experiments in painting.
BIENNALE, WWW.LABIENNALE.ORG; AND UNTIL One thinks of earlier figures,
23 SEPTEMBER, DOCUMENTA 12, KASSEL, such as Frank Stella, but
WWW.DOCUMENTA12.DE also Robert Smithson, 1
especially his interest in
science fiction and mythology. CHRIS MARKER
It’s also interesting to
consider his work in terms
This is the first exhibition of artists working today
of the Paris-based filmmaker’s who use culture as material,
photographs, appropriately such as Jutta Koether.
titled Staring Back. Marker
is well known for films STEVEN PARRINO,
which incorporate a range UNTIL 26 AUGUST,
of references, many drawn PALAIS DE TOKYO, PARIS,
from popular culture. WWW.PALAISDETOKYO.COM
This exhibition offers an
unprecedented opportunity
to study his notion of the 5
gaze as seen in his still
photography – that is, his own SIGMAR POLKE
gaze and those of the people
he photographs. These include Polke continues to amaze and
political demonstrations he surprise us with his seemingly
has witnessed and participated endless inventiveness.
in, among them protests for 3 He’s presenting a group of
Algerian independence in 1962, paintings in Venice that
the march on the Pentagon RUDOLPH STINGEL he made while working in
in 1967 and, most recently, an oilcloth tent near his
in 2006, demonstrations in Stingel is a fascinating figure in terms of his home. I understand they are
France against employment investigation of painting and use of unconventional made by applying layers of
legislation. materials, such as carpet, aluminium and Styrofoam. multicoloured fabric soaked
Stingel’s installations connect with larger public in lacquer onto canvas; he
CHRIS MARKER: STARING realms, such as a work he installed in New York’s has also used meteor dust,
BACK, UNTIL 12 AUGUST, Grand Central Station a few years ago. He also lavender oil and crystallised
WEXNER CENTER FOR uses materials to engage with notions of decoration. violet pigment. Apparently the
THE ARTS, OHIO STATE I’m particularly interested in how he uses the light in the tent was scant,
UNIVERSITY, COLUMBUS,
WWW.WEXARTS.ORG floor and the wall – an approach that expands upon so the paintings have an
what many artists were doing in the early 1960s incredible – almost alchemical
as they challenged traditional notions of painting – aura. To see such a thing in
and sculpture. Venice could be quite amazing!
top: Chris Marker, Simone Signoret, 1980.
Courtesy the artist RUDOLPH STINGEL, 28 JUNE – 14 OCTOBER, SIGMAR POLKE,
WHITNEY MUSEUM OF AMERICAN ART, NEW YORK UNTIL 21 NOVEMBER, above right: VALIE EXPORT,
(ORGANISED BY MCA CHICAGO), WWW.WHITNEY.ORG VENICE BIENNALE, Remote… Remote…, 1973, 16mm fi lm,
b/w and colour, sound, 12 min. WWW.LABIENNALE.ORG
Courtesy Archive Valie Export
ARTREVIEW three.lintwo.lin
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