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Maddie Klett

Maddie Klett is a writer and researcher based in NYC and Virginia, U.S.A.

Tiffany Sia: Slippery When Wet

Sia’s ontological approach to the “glocal” (although she never mentions the term in the show—maybe it died out in the early aughts?), spectacle, and landscape at/from/through her home of Hong Kong recalls this same a-historical, locality-driven condition.

Nicole Eisenman and Keith Boadwee

Nicole Eisenman and Keith Boadwee is an unexpected pairing and exhibition format. There is a lot of work on view. As a result, there are many opportunities to find both affinities and issues with what’s there—a quality that straddles both artists’ practices and that recalls the troubling, yet self-aware, late figurative work of Philip Guston.

Bodys Isek Kingelez: City Dreams

In theorist and historian Partha Chatterjee’s 1991 essay “Whose Imagined Community?”, Chatterjee challenges Benedict Anderson’s argument made in his book, Imagined Communities, that politicians in Africa and Asia selected their post-liberation national forms from existing models in the United States, Western Europe, and Russia.1 Chatterjee responds: if postcolonial nations are restricted to these models, then what is left for them to imagine? The late Congolese artist Bodys Isek Kingelez’s works can provide an answer to Chatterjee’s question.

Fernanda Laguna: As Everybody

As Everybody includes works Laguna has made over the past 10 years; her handwritten notes enable the whole exhibition to feel cohesive and particular to its Richmond locale—something I appreciate at a time when seeing art in person is a rarity.

Abbas Akhavan: cast for a folly

In the cavernous front gallery of the CCA Wattis Institute for Contemporary Arts in San Francisco, Abbas Akhavan has reconstructed the eerie scene of the National Museum of Iraq’s lobby after its looting following the American invasion of the country in 2003.

Colter Jacobsen: Essays

Despite living at the center of tech development and corporatization, Jacobsen gravitates towards untrendy, outdated means of production—copy stores and drugstore photo counters.

A Void

Ramirez Jonas’s artwork and essay shape this exhibitionary exploration of loss—how artists reckon with it, or even attempt to restore or repair it.

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The Brooklyn Rail

MAY 2021

All Issues