Editorial: Site

Between 4,000 and 5,000 years ago, a 840,000 kg cluster of iron meteorites known as Campo del Cielo (Field of the Sky) collided with Earth in north-central Argentina. This year, Buenos Aires-based artists, Guillermo Faivovich and Nicolás Goldberg attempted to move a large chunk of Campo del Cielo to Kassel for dOCUMENTA(13). After condemnation as a ‘deeply colonialist attitude’ by social anthropologist, Alejandro Martín López and protests by the Moqoit First Nation peoples, the meteorite remained where it had landed and discussion about respect for the traditional custodians, their land and their meteorite became a talking point throughout dOCUMENTA(13). Site specific engagement continued to play an important role in this edition of documenta. Spread across four cities (Kassel, Kabul, Cairo and Banff ) and containing a profuse amount of works by artists, writers, performers and scientists the entire dOCUMENTA(13) program was impossible to experience, even if you had Brad Pitt’s private jet to get from one site to the next. read more…

Inside Issue #22

Money and other events before the form

Marian Tubbs

Archie Moore, Dermis, (2012). Acrylic paint, wooden dowel, steel brackets, three parts. Photo: Jamie North.   On a given night, walking down a particular avenue on a particular block after six in New York City you will see a gathering, swishing glasses to one particular kind of art, on another floor of the building or

Chatting about dOCUMENTA(13), instead of reviewing it

A. Groom Michaela Gleave Sarah Mosca Stella Rosa McDonald Sumugan Sivanesan

From: A. Groom Subject: documenta 13 review Date: 21 June 2012 4:08:53 PM To: Stella McDonald, Sumugan Sivanesan, Michaela Gleave, Sarah Mosca   Hi S, S, M and S, I agreed to review Documenta for Runway magazine, but then I realised I don’t want to. It seems to me that this Documenta has managed to

Next Wave Festival 2012: The space between us wants to sing

Susan Gibb

Sarah-Jane Norman, Bone Library, (2012). Photo: Pia Johnson.   Next Wave is an ambitious festival. Like most small art organisations it thinks big while running on a lean hard-working team, the generosity of volunteers and the drive of artists who want to get their work out there. Since its inception in 1984, Next Wave has

New York Art Scene

Hannah Tattersall

The Yok, New York   In New York, art is not dissimilar to pizza. There’s the good stuff, the bad stuff, the stuff that costs next to nothing, and the stuff you pay a high premium for. But it’s all pizza and it’s everywhere: on street corners, in fancy institutions, in pop-up shops and private

Going Solo

Rachel Fuller

View of the town of Cumnock, NSW (2012). Image: Yasmin Smith and Alex Pye.  To start at the beginning. A trio of disclosures: 2009 Three years ago I was offered a job in New York City. Shortly before my departure I happened to pick up the latest issue of The Monthly. The graphic cover was

Pump Up The Volume

Pedro de Almeida

Daniel Mudie Cunningham & Stephen Allkins, Boytown (2012). HD single channel video, colour, 16:9, 5:20 minutes. Commissioned by Campbelltown Arts Centre for Transmission, courtesy the artists. Photo: Susannah Wimberley   Pair artists with musicians and ask them to create new work. This is the premise of Campbelltown Arts Centre’s recent project Transmission. It’s a challenge

Artist-run and artist-led: London and non-London initiatives in the UK

Sean Rafferty

Roger Beebe, Last Light of a Dying Star, expanded film performance at Cafe Oto as part of Other Film and’s event Unconscious Archives     Not surprisingly the arts in the United Kingdom are well serviced by excellent galleries and museums on a bigger scale and variety compared to what can be experienced in

The Space of NEW12

Amelia Wallin

Above: Bennet Miller, Behavioural Ecology (2012). Dimensions variable. Photo: Andrew Curtis.   The works in NEW12 vary in terms of subject matter and thematic qualities but when exhibited side by side, in the cavernous Australian Centre for Contemporary Art (ACCA), the gallery is transformed into a series of immersive sites of spatial mediation. NEW began in

State of Alaska

Jai McKenzie

Brian Fuata, Empty Gesture (installation view), (2012). Photo: Heidi Pultar   Jai McKenzie: What is the significance of the name Alaska Projects? Sebastian Goldspink: It came from my love of the Velvet Underground song Stephanie Says (1968). In the song her friends describe the title character as ‘Alaska’ because she is so cold and distant.

Nocturne : A Cappella Arrangement for Internal and External Voice in Multiple Fragments

Andrew Burrell

Words: Andrew Burrell Images: Katherine Olston and Andrew Burrell   ‘we speed ourselves up as much as we can—then struggle not to let it change us.’ … ‘What’s wrong with that? There’s not much point to longevity if all you’re going to do with your time is change into someone else entirely. Or decay into

Distance is a place

Abby Cunnane

Maddie Leach, Evening Echo (detail), Shalom Park, Cork, Ireland, 27/12/2011. Image: Clare Keogh. Growing up at the bottom of the world teaches you that distance itself is a place. It convinces you that the glint of what is far off is something constant, not a site you can arrive at, but always a point of

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