On the morning of Saturday March 27, 2010, the MoMA opened with Marina Abramovic seated facing a table and an empty chair, on schedule, ready to receive visitors as part of her ongoing marathon performance “The Artist is Present.” But this day was different, as the first visitor in line was a young woman who showed up dressed in a long blue dress and a black braid swept over one shoulder. Read on for an interview with the doppleganger, performance artist Anya Liftig.
Halloween came and went this week, and the scariest thing in the art world may have been the pop-out prosthetic tongue in Urs Fischer’s New Museum show—unless, that is, the politicization of art and cultural heritage gives you the heebie-jeebies. Read on for ArtWeLove’s news digest, now also available in email form—bringing a comprehensive roundup of the week’s art developments to your digital doorstep. If you aren’t signed up, simply click here. As always, we welcome your feedback at editorial@artwelove.com.
Changes at P.S. 1 and MoMA, and a new name for the Mona Lisa were among the week’s developments.
Roman Ondák works within the boundaries of the museum’s apparatus, using things already present in MoMA-museum visitors, attendants, and walls-as the chief materials of his piece.
Recently struck with a series of aggressive dreams that envelop me in wild imagery, I feel more aware of my experience with Aernout Mik’s video work (through July 27) at the Museum of Modern Art.
Tim Goossens, a young Curatorial Assistant at PS1 Contemporary Art Center, has found himself in a unique position. Calm, cool and collected, he’s one of the young curators measuring new waves of distention in the art world.
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