Beatrice Gibson

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Kaleidoscope 23
Winter 2015


Kaleidoscope #23 (Winter 2015).

HIGHLIGHTS:
JASON MATTHEW LEE (by Alexander Shulan), DANIEL BAUMANN (by Aoife Rosenmeyer), Marilyn Minter (by Gianni Jetzer), MAGALI REUS (by Ruba Katrib), KNOW WAVE RADIO (by Alexandre Stipanovich), BEATRICE GIBSON (by George Vasey), CATHERINE AHEARN (by Tobias Czudej), K-HOLE (by Kevin McGarry), JAMIAN JULIANO-VILLANI (by Joshua Abelow), ALESSANDRO BAVA (by Francesco Garutti), ZHAO YAO (by Venus Lau), and IDEA BOOKS (by Xerxes Cook).

At a time when feminism resurges both in critical discourse and media headlines, while at the same time entering a list of words overdue to be banned, Kaleidoscope’s MAIN THEME section is devoted to a reconsideration of female identities and role models. POST WOMAN is composed of a think tank, a think piece by Natasha Stagg and five interviews, including with Juliana Huxtable (by Andrew Durbin), Amalia Ulman (by Francesca Gavin), Judith Bernstein (by Hanne Mugaas), Massimiliano Gioni (by Pietro Rigolo), and Girls Like Us (by Felix Burrichter).

To follow, this issue’s MONO section and cover story are dedicated to Norwegian artist IDA EKBLAD. Fueled by an outright marvel for this thing called art, her work is distinguished by an extreme degree of impatience and prolificness. Her shift and turns are the result of a feverish engagement with pure materiality, synthesized with popular culture and animated by alien transformations. This definitive monographic survey comprises an essay by Peter J. Amdam, an interview by Cory Arcangel and an original portrait by Sølve Sundsbø.

Later on, the VISIONS section invites the eye to an enthralling journey across almost 100 pages of visual contributions by artists, curators and image-makers, including: TOBIAS ZIELONY, “Jenny Jenny”; MR.; “Chicago”: BARBARA CRANE and TONY LEWIS; DAVID DOUARD in Los Angeles; JONAS WOOD; “Alliantecnik,” curated by Alessio Ascari; TIMUR SI-QIN, “Premier Machinic Funerary”; and GRAHAM LITTLE.

Lastly, the closing section of REGULARS features our insightful columns on the past, present and future of art and culture: PRODUCERS features Carson Chan’s conversation with Ballistic Architecture Machine; in FUTURA 89+, Hans Ulrich Obrist and Simon Castets interview young artist Philipp Timischl; Andrey Bold questions TOKYO’s art scene as part of the PANORAMA series; in PIONEERS Fredi Fischli and Niels Olsen talk to cult Swiss designers Trix and Robert Haussmann; and in the first installment of RENAISSANCE MAN, Jeffrey Deitch celebrates the art of choreographer KAROLE ARMITAGE.

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Beatrice Gibson
The Tiger's Mind


In 2010, a production process was instigated by filmmaker Beatrice Gibson and typographer Will Holder, with the intention of using British composer Cornelius Cardew’s musical score The Tiger’s Mind as a means of producing speech. Since the score concerns the changing relations between six characters in production, practitioners from other fields (musicians and visual artists) were invited to three conversations at Künstlerhaus Stuttgart, Kunstverein in Amsterdam, and CAC Brétigny.

After each conversation, a printed document was made and distributed amongst the characters, to serve as a score for subsequent conversations. Any other ends would be found in conversation. After some time it became clear that a film would be made: Beatrice

Gibson’s The Tiger’s Mind. This book is a document of its making.

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The Tiger's Mind
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The Happy Hypocrite 5 – What Am I?
Maria Fusco (Ed.)

The Happy Hypocrite 5 – What Am I?

The fifth issue. Garbed in a sequence of paradigmatic structures such as the joke, the notebook, the novel and the script, this issue’s range of contributions defy the innate obsolescence of classification through their embrace of poetic analysis. Contributors include: Shumon Basar, Kate Briggs, George Clark, Ruth Ewan, Beatrice Gibson, Antonia Hirsch, Chris Kraus, Hanne Lippard, The Plebs, Seth Price, Laure Prouvost, Stephen Sutcliffe and Sarah Tripp.

The Happy Hypocrite is a semi-annual journal for and about experimental art writing. Informed by a lineage of modern experimental and avant-garde magazines, such as: BananasDocumentsThe FoxMerlin and Tracks, HH aspires to unpack their methodologies whilst providing a new constituency for contemporary art writing. Providing a greatly needed testing ground for new writing and research-based projects, somewhere for artists, writers and theorists to express experimental ideas that might not otherwise be realised or published.

Edited by Maria Fusco, published by Book Works, London.

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