In my opinion, the true test of a good magic trick is that after it’s performed, you don’t want to know how it’s done. Questions about magic tricks are like money—it’s a good feeling to have them jingling contentedly in your pocket. When I went to watch the Glenn Kaino/Ryan Majestic magic show at the Slipper Room the other night, I really didn’t have a clue what I was in for.
Tag Archives: Performa
Alexandre Singh’s “The Alkahest,” Omer Fast’s “Talk Show,” Shana Moulton’s “Erratic Anthropologies,” and Tan Lin’s “Chalk Playground”/”LitTwitChalk” On Monday, November 9th, I attended the first of four performances by Alexandre Singh at White Columns gallery in the West Village. When I arrived chairs were arranged in a circle in the gallery, facing an overhead projector. As the performance began the lights went off and the audience could hear a voice starting to tell a story.
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 firstname.lastname@example.org.
Speeding through creative thoughts and curatorial vision with Liutaurus Psibilskis, a truly independent curator whose focus is to awaken the public to both the unrecognized historical presence and contemporary significance of, primarily, video and performative artwork.
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