Newest issue of Paris’ MAY Revue, and already out of print.
May #11 features:
An Introduction to a Juridical Legal Analysis of Contemporary Art — Judith Ickowicz
The Reappearances of Cady Noland and the Theatre of Law — Judith Ickowicz, Elvan Zabunyan, David Perreau
A Revolution “First-Hand”: Seth Siegelaub’s Journey to Portugal in May 1975 — Sara Martinetti
Zero Dark Thirty: The Aesthetics of Narcissism — Maija Timonen
Friend of the Devil. On Michael Krebber, “The ridiculized snails” at CAPC, Bordeaux — Mark von Schlegell
On Martin Kippenberger, “Sehr Gut | Very Good” at Hamburger Bahnhof, Berlin — Jay Chung
Life, like networking, is a group show. On Tanja Widmann, “eine von euch” at Grazer Kunstverein, Graz, Badischer Kunstverein, Karlsruhe, Saprophyt, Vienne, tranzitdisplay, Prague — Tonio Kröner
Another image, a different song. On Mathias Poledna at Secession, Vienna — Benjamin Hirte
Get Rid of Capitalism. On Bernadette Corporation, “2000 Wasted Years” at ICA, London — Josefine Wikström
Participation, Penetration, and Phoniness. On Tobias Kaspar, “Life and Lies” at Galerie Marcelle Alix, Paris — Andrea Legiehn
On “The Issues of Our Time” at Castillo/Corrales, Paris — Seyoung Yoon
“Living in Your Head”. On “When Attitudes Become Form: Bern 1969/Venice 2013” at Prada Foundation, Venice — Elvan Zabunyan
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
- MAY #11
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