Documenting idolatry since 1949
In times past
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Art Observed
The Interview Grace Wales Bonner by Emily McDermott 28
Belly of the Beast by Amber Husain 38 Positions by Kuba Szreder 39
Writing Practice by Adam Thirlwell 37
Not So Fast by Jamie Sutcliffe 41
page 28 Grace Wales Bonner, The Love in Which I Wash, 2016. Photo: Harley Weir. Courtesy the artist
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Art Featured
Ramesh Mario Nithiyendran by Mark Rappolt 46
Tadáskía by Guilherme Teixeira 64
Objects of Ridicule by Nathalie Olah 56
Thomas Hirschhorn by Mariacarla Molè 70
Means of Production by Mitch Speed 59
Analia Saban by Claudia Ross 74
page 46 Ramesh Mario Nithiyendran, Bust with Serpent Head, 2023, earthenware and glaze, 140 × 65 × 35 cm. Photo: Mark Pokorny. Courtesy Jhaveri Contemporary, Mumbai, & Sullivan + Strumpf, Sydney & Melbourne
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Art Reviewed
EXHIBITIONS & BOOKS 86 “Pictures Girls Make”, by Jonathan Griffin Marianna Simnett, by Emily May Mestre Dicinho, by Mateus Nunes Steirischer Herbst, by Alexander Leissle Sarah Lucas, by Tom Morton Sable Elyse Smith, by Rachel M. Tang Bárbara Sánchez-Kane, by Benoît Loiseau Dom Sylvester Houédard, by Max Feldman Helen Marten, by Jenny Wu EVA International, by Rebecca O’Dwyer What Models Make Worlds, by Cassie Packard Christian Marclay, by Mark Rappolt Tomas Leth, by Jonathan Griffin María Magdalena Campos-Pons, by Zoë Hopkins Wanda Czełkowska, by Phoebe Blatton Jan Van Imschoot, by Martin Herbert Benjamin Senior, by J.J. Charlesworth Phumzile Khanyile, by Matthew Blackman In the shade of the sun, by Marv Recinto Arlette, by Salena Barry
Who Does Not Envy with Me, by Maria Fusco, reviewed by Roy Claire Potter Artists Making Books: Poetry to Politics, by Venetia Porter, reviewed by Nirmala Devi Selected Nonfiction, 1962–2007, by J.G. Ballard, reviewed by David Terrien Monica, by Daniel Clowes, reviewed by J.J. Charlesworth Bring No Clothes: Bloomsbury and Fashion, by Charlie Porter, reviewed by Clara Young Zhang Xiao: Community Fire, by Zhang Xiao, Ou Ning and Ilisa Barbash, reviewed by Yuwen Jiang Arbuckle ’s Amazing Adventures 118
page 109 Phumzile Khanyile, Vuma, 2021–22, giclée print on Hahnemühle Photo Rag, 50 × 65 cm. © the artist. Courtesy the artist and Blank Projects, Cape Town
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10461臺北市中山區中山北路三段181號 No. 181, Sec. 3, Zhongshan N. Rd., Zhongshan Dist., Taipei City 10461, Taiwan www.tfam.museum www.taipeibiennial.org
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Ramesh Mario Nithiyendran Action and Drama by Mark Rappolt
November 2023
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Tadáskía Interview by Guilherme Teixeira
elas here elas there, charcoal and pastel on paper, diptych, 100 × 70 cm (each), 2023
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The Brazilian artist who builds harmony from ambivalence
November 2023
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Disrupt, Destabilise, Defetishise Analia Saban glitches her way to a multidimensional critique of how we assign value by Claudia Ross
Claim ( from Chesterfield Sofa) (detail), 2014, linen canvas on stretcher bars and on sofa structure, 315 × 244 × 102 cm. © the artist. Courtesy the artist and Sprüth Magers, Los Angeles
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Grid Method: Tea Cups (detail), 2023, graphite on encaustic paint on panel, 122 × 185 × 5 cm. Photo: Paul Salveson. © the artist. Courtesy the artist, Sprüth Magers, Los Angeles, and Tanya Bonakdar Gallery, Los Angeles
November 2023
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ArtReview
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Photo credit
Text credit
On the cover Ramesh Mario Nithiyendran, photographed by Bowen Aricò in Sydney, October 2023
Words on the spine and on pages 27, 45 and 85 are from Major Rock Edict no. 8, attributed to Ashoka, third century BCE
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