Orlando @Aperture

Twenty-seven years after starring in Orlando, a film adaptation of Virginia Woolf’s 1928 novel, Tilda Swinton became a guest-editor in the Aperture 235 – Summer 2019 issue, and curator of an accompanying exhibition around the theme of the gender fluid, extraordinary character that is Orlando.

Some days ago we saw Tilda Swinton in conversation with B. Ruby Rich. Today, time for the exhibition.

Virginia Woolf, Orlando: A Biography, 1928 & Tilda Swinton’s ring from Orlando, 1992
Gail Albert Halaban || Necklace, Via Pietro Maestri, Milan, February 2017
Ethan James Green || Young New York Portfolio
Collier Schorr || Untitled (Casil), 2015-18
Collier Schorr || Untitled (Casil), 2015-18
Collier Schorr || Untitled (Casil), 2015-18
Collier Schorr || Untitled (Casil), 2015-18
Collier Schorr || Untitled (Casil), 2015-18

Collier Schorr has long been interested in how a body changes. For several years, she followed a model named Casil McArthur, who transitions over the course of Schorr’s project Untitled (Casil) from boyish girl to girlish boy, from artist’s muse to Bowie-like chameleon. Schorr remembers meeting Casil just as Casil had begun to start modeling as a young man rather than as a young woman. When Casil first began to transition, he worried about his future as a model. But the partnership with Schorr was perfectly legible within the fashion world, with fashions moving away from his/her clothing and toward the concept of they/them. Schorr explains that Casil’s fantasmatic appeal may have changed as he transitioned, but the mystery and the enigmatic quality that a model must project remained constant.

Viviane Sassen || Penicilline, 2019 || From Venus & Mercury series, 2019
Original photobook of preproduction images made by Sally Potter to help secure the funding for the film Orlando, 1988

Aperture, New York

June 5th, 2019

Brick House

Surrounded by glass, attracting stares; some stony. Why was she given no eyes of her own?

Brick House, Bronze

”Simone Leigh presents Brick House, a 16-foot-tall bronze bust of a Black woman with a torso that combines the forms of a skirt and a clay house. The sculpture’s head is crowned with an afro framed by cornrow braids, each ending in a cowrie shell. Brick House is the inaugural commission for the High Line Plinth, a new landmark destination for major public artworks in New York City. This is the first monumental sculpture in Leigh’s Anatomy of Architecture series, an ongoing body of work in which the artist combines architectural forms from regions as varied as West Africa and the Southern United States with the human body. The title comes from the term for a strong Black woman who stands with the strength, endurance, and integrity of a house made of bricks.”

On the High Line

June 5th, 2019

The Mother

A sleek, Newyork-lofty adaptation of Florian Zeller’s play, translated into English by Christopher Hampton. Yes, it was funny and dark and drunkenly depressed to the point of self-destruction, but all I remember is Hupper’s magnetic performance – and that slutty red mini dress. I remember thinking how is it possible for this tiny slender figure to exude such fierce energy. Even those who don’t particularly care about her style, would have no choice than simply bow to her charisma.

Isabelle Huppert. The Mother
Chris Noth. The Father
Justice Smith. The Son
Odessa Young. The Girl

Atlantic Theater Company

March 30th, 2019

The Young and Evil

From February through April 2019, David Zwirner presented The Young and Evil, a group exhibition featuring significant works from the first half of the twentieth century by Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Jensen Yow, and their circle.

Among them, some works by Pavel Tchelitchew, to which I was particularly drawn.

March 7th, 2019

The Illustrious R. Crumb

Robert Crumb is an unblinking witness to and graphic critic of the dysfunctional strangeness of the Disunited States. He is peerless in that regard because there’s simply no one like him and no one is as ”far out”. – Robert Storr

Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb

David Zwirner Gallery, New York

March 07th, 2019

In Pieces

Man & Art


Artwork (with a slightly more elaborate title), by Mariechen Danz:

The Dig of No Body (soil sample), 2018
Copper, plaster, bronze, ground glass, resin, soil, cement, shells, plastic trash, clay, marble, horn, steel, sand, semi-precious stones, wood, aluminium, Coal, Steel base

Art on the Highline

July 8th, 2018

David Zwirner: 25 Years

In 2018, David Zwirner celebrated their 25th anniversary and, on that occasion, New York was treated with a special exhibition of works by some of the artists the gallery represented over the years.

David Zwirner was the only New York gallery on my radar before coming to the City, because they represent one of my favourite Belgian artists, Michaël Borremans. I went to the exhibition hoping to see some of his works and, sure enough, a couple of his smaller-size paintings were on show. This is one of them, but if you’d like to see more of Borremans’ amazing  work, please hop over to my Brussels blog, for highlights from an exhibition held in Brussels, in 2014.

Michaël Borremans


Chris Ofili


Marlene Dumas


Isa Genzken


Aline Kominsky-Crumb and Robert Crumb


Philip-Lorca diCorcia


Suzan Frecon


Jeff Koons


Sherrie Levine


Christopher Williams


Felix Gonzales-Torres


Donald Judd / Dan Flavin


Ruth Asawa


Yayoi Kusama


February 10th, 2018