Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Launch Party May 18th, 2019
@ The Pit
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Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
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Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
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Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
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(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
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Letter From the Editor Lindsay Preston Zappas
Letter to the Editor
Men on Women
Geena Brown
Eyes Without a Voice
Julian Rosefeldt's Manifesto
Christina Catherine Martinez
Seven Minute Dream Machine
Jordan Wolfson's (Female figure)
Travis Diehl
Laughing in Private
Vanessa Place's Rape Jokes
Catherine Wagley
Interview with
Rosha Yaghmai
Laura Brown
Exquisite L.A.
Featuring: Patrick Martinez,
Ramiro Gomez, and John Valadez
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Launch Party February 2019
Frieze Los Angeles, ALAC,
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Buy the Issue In our Online Shop
Reviews Outliers and American
Vanguard Art at LACMA
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Sperm Cult
at LAXART
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Kahlil Joseph
at MOCA PDC
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Ingrid Luche
at Ghebaly Gallery
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Matt Paweski
at Park View / Paul Soto
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Trenton Doyle Hancock
at Shulamit Nazarian
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(L.A. in N.Y.)
Catherine Opie
at Lehmann Maupin
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Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
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Launch Party November 18, 2018
at Odd Ark L.A.
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
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Robert Yarber
at Nicodim Gallery
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Nikita Gale
at Commonwealth & Council
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Lari Pittman
at Regen Projects
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(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
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Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
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At Praz-Delavallade
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Fiona Conner
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Show 2
at The Gallery @ Michael's
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Deborah Roberts
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Mimi Lauter
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(L.A. in N.Y.)
Math Bass
at Mary Boone
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(L.A. in N.Y.)
Condo New York
–Laura Brown
Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
Christina Quarles
Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
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Launch Party May 19, 2018
at Karma International
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
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Chris Kraus
at Chateau Shatto
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Ben Sanders
at Ochi Projects
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iris yirei hsu
at the Women's Center
for Creative Work
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Harald Szeemann
at the Getty Research Institute
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Ali Prosch
at Bed and Breakfast
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Reena Spaulings
at Matthew Marks
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Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Launch Party
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
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Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch Party November 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
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Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
Launch Party August 19th at Blum and Poe
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
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Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
Alice Könitz and LAMOA
Catherine Wagley
Interview with
Penny Slinger
Eliza Swann
Exquisite L.A.
Featuring:
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
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Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter from the Editor Lindsay Preston Zappas
Generous
Structures
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Launch Party February 18, 2017
at Shulamit Nazarian
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Featuring:
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Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
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Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
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Kenneth Tam
's Basement
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The Female
Cool School
Catherine Wagley
The Rise
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Art Witch
Amanda Yates Garcia
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at LACMA
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Launch Party Carla Issue 6
Exquisite L.A.
Featuring:
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Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
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Reviews
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
Letter form the Editor Lindsay Preston Zappas
Non-Fiction
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
at REDCAT
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Launch Party Carla Issue 5
Exquisite L.A.
Featuring:
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
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Reviews Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
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(L.A. in S.F.)
Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Reconsidering
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater:
Diana Thater
at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Launch Party Carla Issue 4
Interiors and Interiority:
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Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
F.B.I.
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
and LOUDHAILER
Benjamin Lord
A Conversation
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Char Jansen
How We Practice Carmen Winant
Launch Party Carla Issue 3
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
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at Michael Thibault

Fred Tomaselli
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Trisha Donnelly
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Bradford Kessler
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Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
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at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
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No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor"
Travis Diehl
Dora Budor Interview Char Jensen
Letter from the Editor Lindsay Preston Zappas
MEAT PHYSICS/
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
SOGTFO
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
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at LACMA

Mernet Larsen
at Various Small Fires

John Currin
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Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
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Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute

Shahryar Nashat at Swiss Institute (installation view) (2019). Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.

Shahryar Nashat deals in desire—not a Koonsian, flashy, buy-it-now kind, but rather like a digital enticement, giving the viewer bits of a story, and leaving them wanting more. In his self-titled show at Swiss Institute in New York, interest is piqued as refined glimpses of a narrative emerge in the details of each work; this narrative expands across the exhibition, but never fully coalesces. It is this lack of resolution by which we are propelled through the show’s arc of obsession, power struggle, and heartbreak to forge an intimate connection to the implied body within Nashat’s sculptures.

In the first gallery, a pink light radiates through the water-speckled windows (which were film-tinted for the show), illuminating a sculpture called Start To Beg (all works 2019). The sculpture, made from pink synthetic polymer, fiberglass, and atomized acrylic, takes on the form of a bench, but one with bulbous deformities and missing sections that resemble large bite marks or scratches. This first implication of the body in the exhibition—by way of an object with which we regularly interact—sets a tone: the artist implies a certain brand of intimacy that is laced with hazard. The bench sculpture looks both sleek and somehow defiled.

Nearby in this rose- tinted room is a video work on one of Nashat’s signature LED walls—a freestanding screen made up of multiple LED monitors—called Keep Begging. The work focuses first on the crook of an arm—a zoomed in shot depicts its every slight twitch, hair, pore, freckle, and vein. While it is at first discomfort- ing to gaze on a body zoomed in to such close proximity, it quickly becomes normalized. Next, an oddly soothing voice proclaims, “Holidays are over.” And then in a different tone, “Holidays are over. Oops.” With this admission of fault, the arm begins to bend at the elbow, the angle of the camera changes, the light flickers, the music quickens, and the veins pump. The movement is jarring, eradicating much of the comfortable connection that has been built with the subject, forcing the viewer to begin forging a different type of connection with the film. In the narrative that is built between viewer and the implied figures in Nashat’s exhibition, this is the first lover’s quarrel—the first time one is forced to reconsider their idea of the body that they have come to know.

Shahryar Nashat at Swiss Institute, Bone In (2019) (detail). Synthetic polymer, PVC, pigment, and paper, 18 x 8 x 7 inches. Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.

Eventually the camera settles again on an armpit, slowing back down to a familiar pace. Words once again emanate from the speaker by the screen, “Do we go to war?” And then again, more sweetly, “My dear, do we go to war?” Through these words, Nashat introduces the possibility for interpersonal strife. I almost felt compelled to shout, “No, we should not go to war!” in the middle of the gallery, as if the voice in the film and I were having a direct dialogue. With the simple introduction of the word “we,” the viewer and the figure/voice in the film enter into a power dynamic, warring in conflicting desires for familiarity and distance.

In the next gallery, Rib is a set of four papier-mâché sculptures, loosely shaped like wish bones or walkers and standing abjectly in the corner. After being immersed in the high production value of Keep Begging, it’s startling to come across this lowly set of papier-mâché forms. One of the sculptures is literally bandaged (with gauze wrapped around its ankle) and it evokes a sense of guilt—after being an active participant while watching the nearby film, we ponder our involvement in the defiling of this anthropomorphized sculpture.

With the three final works in the show, all called Bone In, Nashat uses synthetic polymer, PVC, pigment, and paper to construct highly realistic pieces of meat on a slab, bandaged in cellophane, with snippets of paper beneath their clear casing. The paper contains phrases such as “Since I met you I’ve been trippin” and “This could be us but you’re playin.” Here, the “we” has been revoked and instead the relationship is severed into an icy “you” and “I.” The sculptures act as a break-up—this relationship was only meant for the duration of the show.

The greatest success of Nashat’s exhibition is to depict something truly human though objects that are deeply engaged with technology and synthetics. Evoking emotions such as yearning, intimacy, and desire with a subject that never fully materializes, but is alluded to by multiple new media, suggests where culture is headed and tests the boundaries of our own humanity. As our communications become more truncated and digitized, Nashat is astute in his observations of a human need to bond. As with some interpersonal relation- ships, specifically the variety played out across dating apps or Instagram, this one builds on fragments, some fraught and flawed, leaving a feeling both distancing and deeply intimate.

Christie Hayden is a writer and editor living in Los Angeles. She received her BA from University of San Francisco and her MA from the Maryland Institute College of Art. She is the owner of OOF Books, an art bookstore and conceptual exhibition space. Her writing has appeared in the San Francisco Chronicle, the Baltimore City Paper, and others.

Shahryar Nashat at Swiss Institute (installation view) (2019). Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.

Shahryar Nashat at Swiss Institute (installation view) (2019). Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.

Shahryar Nashat at Swiss Institute, Sex Position for Broken Ribs (2019). Papier mâché, urethane, latex, silicone, steel, and caster wheels, 28 x 26 x 32 inches. Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.

Shahryar Nashat at Swiss Institute, Start To Beg (2019). Synthetic polymer, fiberglass, and atomized acrylic, 18 x 72 x 24 inches. Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.

Shahryar Nashat at Swiss Institute (installation view) (2019). Image courtesy of the artist and Swiss Institute. Photo: Daniel Pérez.


This review was originally published in Carla issue 16.