Burlington Contemporary

@burlingtoncontemporary

A free online platform for the best new writing and research on contemporary art Created by @theburlingtonmagazine
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The judges of this year's @theburlingtonmagazine Contemporary Art Writing Prize are the scholar and author Julia Bryan-Wilson @juliaqbw1 and the artist Trevor Paglen @trevorpaglen . ⁠ Julia Bryan-Wilson is a widely published queer feminist author. She is Professor of Contemporary Art and LGBTQ+ Studies at Colombia University, New York, and Curator-at-Large at @masp . In 2024 she served as the President of the International Jury of @labiennale . ⁠ ⁠ Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering and numerous other disciplines. He is the author of several books and numerous articles on subjects including experimental geography, artificial intelligence, state secrecy, military symbology, photography and visuality. @pacegallery ⁠ ⁠ Submissions for the Prize must be between 800 and 1,000 words in length and entrants must have published no more than six pieces of writing in print or online prior to their submission.⁠ ⁠ Link in bio for full submission criteria and how to enter. ⁠ ⁠ #WritingPrize #Opportunities #ArtWriting #Prize #OpenCall #Competition⁠
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2日前
'The exhibition culminates in the juxtaposition of two works from 2007: "Limpsijad" ("Lickers") and "Vahesein" ("Screen"). The two helmet-like "lickers" recall Põder’s mutant cosmonauts of the 1980s, but here all facial features are removed except for a monstrous, protruding tongue. The heads themselves are almost pure wire scaffolding, with small sections of aluminium foil skin. With no recourse to the other senses, they are led by their engorged tongues alone. A potential target for their blind tastebuds is offered in "Vahesein", in which a wall of metal struts is filled with Kinder Eggs. These confections arrived in Estonia following independence in 1991, as part of a broader influx of Western products. In what are perhaps Põder’s most direct references to neoliberal consumerism, the artist appears to grapple with the rapaciousness of a new information society and its infiltration into all spheres of human existence'.⁠ ⁠ Our Contemporary Art Editor, Kathryn Lloyd @k_lloyd reviews 'Anu Põder: Space for My Body' @muzeumsusch , curated by @ceciliaalemani . Link in bio to read.⁠ ⁠ Image: "Limpsijad" ("Lickers"), by Anu Põder. 2007. Wire mesh, aluminium foil and textile, 2 parts, dimensions variable. (Art Museum of Estonia, Tallinn).
49 1
2日前
'Since the 1990s Akram Zaatari has been concerned with forms of restitution. His practice often involves acts of archival, para-archaeological excavation. In 1997 he co-founded the Arab Image Foundation, Beirut, an archive in which he attends to the contingencies of displacement that have affected the documents that he examines, in an attempt to restore something that has been lost or taken. This could be human dignity, ritual value or something harder to pin down; it generally resides in the realm of meaning and affect, transmitted by artistic invention rather than the physical transportation of an actual artefact'.⁠ ⁠ Tom Denman reviews 'Akram Zaatari: Father and Son' @thomasdanegallery . Link in bio to read. @akramzaatari ⁠ ⁠ Image: 'Venus of Beirut', by Akram Zaatari. 2022. 3D routed, hand-polished Grey Bardiglio imperial, 50.5 by 50.5 by 4 cm. (© Akram Zaatari; courtesy the artist and Sfeir-Semler Gallery, Hamburg, and Thomas Dane Gallery, London and Naples). ⁠
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6日前
'Much has been written about the impact of the internet, smartphones and social media upon our attention spans – and most of it has been negative. But these debates do not adequately broach the new conditions of spectatorship that characterise contemporary culture. How has our attention been reorganised? How are artists processing, reacting to or rejecting these developments – and how can we understand these shifts?'⁠ ⁠ This week, we publish an extract from Claire Bishop's new book, 'Disordered Attention: How We Look at Art and Performance Today', published by @versobooks . Link in bio to read.⁠ ⁠ Image: 'Sun and Sea (Marina)', by Rugilė Barzdžiukaitė, Vaiva Grainyte and Lina Lapelytė. Performed at the Business Leaders Centre, Kaunas, 2024. (Courtesy the artists; photograph Ilmė Vyšniauskaitė). @rugile_barzdziukaite @vaivagrainyte @linalapelyte ⁠ ⁠ #ClaireBishop #VersoBooks #PerformanceArt
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13日前
The Burlington Contemporary Art Writing Prize closes at 10am on 15th July 2024.⁠ ⁠ Last year’s Prize was awarded to Kolleen Ku, who chose to write about the group exhibition ‘Home-O-stasis: Lives and Livelihoods in Flushing’, which was staged in a mini-mall in Flushing, New York. @kkolleen ⁠ ⁠ The judges – Adam Pendleton and Huey Copeland – were particularly impressed by Kolleen’s ability to ‘write in prose that is as narratively compelling as it is culturally incisive’, noting that ‘she deftly explores the exhibition’s situation within and emergence from the vibrant aesthetic life of Asian immigrant communities in Queens. The exhibition’s themes are identified, contextualised and further explored, leaving readers with a thorough understanding of the curatorial aims of the project’. ⁠ ⁠ Link in bio for Kolleen’s winning entry and to find out more about the £1,000 Prize. ⁠ ⁠ Image: 'Butterfly', by Xiyadie. 2023. Papercut, 30.4 by 30.4 cm. (Courtesy the artist; photograph Zilan Fan). ⁠
46 0
14日前
'For Burton, the decorative nature of painting is a central tenet that allows him to question the binary classifications of political and non-political artmaking. Incorporating visual motifs that seem to relate purely to aesthetic "style" and "ornament", he asks: if everything is political, then what politics does each specific work of art express?'⁠ ⁠ This week, Hardeep Singh Dhindsa profiles Luke Burton. Link in bio to read.⁠ ⁠ Images: 'Civil Cameo', by Luke Burton. 2024. Vitreous enamel, copper, paper and Twiglets, 9 by 8 by 8 cm. (Courtesy the artist and Bosse & Baum, London; photograph Damian Griffiths).⁠ ⁠ 'Sir Crawford Dunlop Falconer Nine Letters First Letter "F"', by Luke Burton. 2024. Oil and acrylic on linen, 100 by 70 cm. (Courtesy the artist and Bosse & Baum, London; photograph Damian Griffiths).⁠ ⁠ 'Lanyard', by Luke Burton. 2024. Acrylic on canvas, MDF, satin paint, aluminium and textile, dimensions variable. (Courtesy the artist and Gerald Moore Gallery, London; photograph Josef Konczak).⁠ ⁠ @luke_p_burton @bosse_and_baum @thegeraldmooregallery @britishschoolatrome @abbeyawards
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19日前
Issue 10 of 'Burlington Contemporary Journal' is now live. It includes an artist commission by Catherine Yass and seven peer-reviewed articles presenting new academic research on contemporary art. In our most wide-ranging issue yet, the articles are connected by disruption: they challenge Western art-historical narratives, upend disciplinary and genre classifications and break through temporal barriers to reformulate the links between past and present.⁠ ⁠ Full list of contents:⁠ ⁠ 'African art as found object'⁠ by Lisa Wainwright ⁠ ⁠ '(re)Touching "The Swing"’⁠ by Catherine Yass @catherine.yass ⁠ ⁠ 'Aftermath performance: mourning in the work of Jelili Atiku'⁠ by Akin Oladimeji @akin_oladimeji @jeliliatiku ⁠ ⁠ 'Gender in (dis)order: masturbatory emancipation in Peaches’s "Whose Jizz is This?"’⁠ by Maike Wagner @peachesnisker ⁠ ⁠ ‘"What the hell": narrative and mystery in the work of Keren Cytter'⁠ by Tilde Fredholm⁠ @kerencytter ⁠ ⁠ 'Chair portraits: Clara Porset’s "butaque"'⁠ by Daisy Silver @daisysilver ⁠ ⁠ 'Camera consciousness: on Susan Morris’s "Concordances" and "Silence (On Prepared Loom)"'⁠ by Margaret Iversen @miversen.essex @susanmorris1001 ⁠ ⁠ 'A competition for re-presentation: Elizabeth I in contemporary art'⁠ by Christina Faraday @cjfaraday @storytudorart @thesinghtwins_art @chan_hyo_bae @matcollishawstudio ⁠ ⁠ #LisaWainwright #FredWilson #DavidHammons #MatthewAngeloHarrison #NariWard #CauleenSmith #Theaster Gates #CatherineYass #AkinOladimeji #MaikeWagner #TildeFredholm #MargaretIversen #ChristinaFaraday #TheSinghTwins #MatCollishaw #ChanHyoBae #JeliliAtiku #Peaches #KerenCytter #ClaraPorset #SusanMorris ⁠ ⁠ #AcademicJournal #PeerReview #OpenAccess
48 2
23日前
'A clear invitation to reflect on the ethical responsibility of our gaze'. ⁠ ⁠ Marilena Borriello @marile_bo reviews 'Lynn Hershman Leeson: Are Our Eyes Targets?' @juliastoschekfoundation @lynn.l.leeson . Link in bio to read.⁠ ⁠ Image: Still from 'The Electronic Diaries of Lynn Hershman Leeson 1984–2019', by Lynn Hershman Leeson. 1984–2019. Six-channel video installation, duration 74 minutes. (Courtesy the artist and Anglim Gilbert Gallery, San Francisco).
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28日前
'Burlington Contemporary' was launched by @theburlingtonmagazine in 2018, and the first ever issue of the journal was published in May 2019. In establishing a new, peer-reviewed journal on contemporary art history, the aim was to combine the academic rigour of ‘The Burlington Magazine’ with an experimental, open approach to the subject. We have since published new research by over fifty leading academics and writers, including Julia Bryan-Wilson @juliaqbw1 , Michael Bracewell, Mora J. Beauchamp Byrd, Abigail Susik @abigailsusik7 and Amy Hale @amyhale93 , and have commissioned new work by six artists, including Laure Prouvost @studioprouvostsocialclub , Moyra Davey @moyradavey and Jade de Montserrat. Now, five years later, we celebrate the publication of our tenth issue.⁠ ⁠ Issue 10 of 'Burlington Contemporary Journal' will go live on Monday 10th June. More details coming soon. Link in bio.⁠ ⁠ 'Burlington Contemporary Journal' is an open access, peer-reviewed publication for new research on contemporary art.⁠ ⁠ #OpenAccess #AcademicPublishing #Journal #PeerReview #ContemporaryArt #ArtHistory #ArtResearch @theburlingtonmagazine .
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29日前
May was a bumper month on 'Burlington Contemporary'. All content is free to read online. Link in bio.⁠ ⁠ – Vanessa Boni reviewed @ullawiggen 'Outside / Inside' @fridericianum .⁠ – Mark Francis remembered Richard Serra.⁠ – Diego Mantoan reviewed 'L’altro RAVE: East Village Artist Residency', edited by @danielecapra and @nicocovre , published by @quodlibet_edizioni . ⁠ – Greg Thomas @gregchthomas profiled @hanna_tuulikki .⁠ – In conversation, Alexandra Bell @yesitsalex and Garrett Bradley @garrettgarrettbradleybradley discussed modes of documentary and journalism, beauty and trauma and editing and construction in relation to their respective practices. ⁠ – Emily Steer @emilycsteer reviewed @soufianeababri @barbicancentre . ⁠ – Helena Vilalta reviewed 'Candice Lin: The Animal Husband' @talbotricegallery .⁠ – Valentina Bin @_la_bin reviewed the first @contemporainedenimes triennial.⁠ ⁠ Images: 'Iris VIII Line', by Ulla Wiggen. 2020. (Courtesy Galerie Buchholz, Cologne, Berlin and New York; photograph Jenz Ziehe).⁠ ⁠ 'East-West/West-East', by Richard Serra. 2014. (© Richard Serra and Artists Rights Society, New York; photograph Cristiano Mascaro).⁠ ⁠ 'In Onda', by Liliana Moro. 2021. (Courtesy the artist and RAVE, Trivignano Udinese).⁠ ⁠ Detail of still from 'SOURCEMOUTH : LIQUIDBODY', by Hanna Tuulikki. 2016. (Courtesy the artist).⁠ ⁠ Detail of still from 'America', by Garrett Bradley. 2019. (© Garrett Bradley; courtesy the artist and Lisson Gallery).⁠ ⁠ Installation view of 'Soufiane Ababri: Their mouths were full of bumblebees but it was me who was pollinated' at the Curve, Barbican Art Gallery, London, 2024. (Courtesy Barbican Art Gallery, London; photograph Eva Herzog).⁠ ⁠ 'Groom', by Candice Lin. 2024. (Courtesy Talbot Rice Gallery, University of Edinburgh; photograph Sally Jubb).⁠ ⁠ Installation view of 'Alassan Diawara and Zineb Sedira: Partitions sédimentaires' at the Gare de Nîmes, 2024, showing photographs by Alassan Diawara. (Courtesy the artist, Contemporaine de Nîmes and ADAGP, Paris; photograph Jean-Christophe Lett).
116 0
1か月前
'The central exhibition is structured around twelve projects, which are dispersed across various locations. Each involves an intergenerational pairing of artists: a younger, comparatively emerging practitioner and an older, more established or historical one. This structure follows a widely accepted convention that equates "young" with "up-and-coming" and "older" with "established". Youth is indeed fetishised in the art world, but its fruits are often engulfed and discarded. On the other hand, many older artists are relegated to the sidelines unless they arbitrarily "emerge" when a gallery sees the opportunity, in a vulturous fashion, for them to do so. It is worth noting, therefore, that the exhibition curators have missed an opportunity to problematise this dichotomy'.⁠ ⁠ Valentina Bin @_la_bin reviews the first edition of @contemporainedenimes , a new contemporary art triennial in Nîmes. Link in bio to read. ⁠ ⁠ Image: Detail of 'Les trois visages d’Héliogabale' ('The three faces of Heliogabalus'), by Valentin Noujaïm and Ali Cherri. 2024. Three-channel video installation and masks. (Courtesy the artists and Imane Farès, Paris; photograph Jean-Christophe Lett; exh. Rue Romaine – Musée De La Romanité, Nîmes). @ali.cherri @vnoujaim
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1か月前