Read More  |  2.03.21  |  Article by Tom Burr  |  Art, culture, Magazine  |  MM18

Tom Burr is here in conversation with himself; for a project due to show in Milan in March, before its perpetual postponement, the artist set to questioning himself, producing an interview in which he plays both parts. As memory work, the piece is reflective of Burr’s interest in temporality and subjectivity. The transcript marks a moment that never happened, irrevocably intertwined with Pasolini’s screenplay for a film that was never made. 

Now rendered in print, the piece has become a work in its own right, both preceding and replacing the show. For Burr, Modern Matter has become a curatorial platform: an unofficial catalogue, exhibition space, and site for art production.

From the newest edition of Modern Matter Magazine
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Architecture and Politics

Read More  |  2.03.21  |  Article by Dal Chodha  |  Art, culture, Magazine  |  MM18

Wrapped together, stone, steel, chrome and glass become symbolic gestures of dominance, all-seeing totems to capitalism, class and charisma.
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Read More  |  2.03.21  |  Article by Dal Chodha  |  Art, culture, interview, Magazine  |  MM18

The designers Andrea Trimarchi and Simone Farresin – who operate under the name Formafantasma – have seized every opportunity to confront the ecological and political responsibilities of their discipline. In the last decade, their research-based practice has often called on materials that remind us of our precarious place in the world: lava and volcanic ash, animal bladders. Charcoal. Wood. A fortnight before the UK lockdown was announced, the pair opened Cambio at the Serpentine Sackler Gallery – a tender show that laid their ongoing investigations into the governance of the timber industry bare. Behind bolted doors, an archive of rare hardwoods first exhibited in the Great Exhibition of 1851 sat gathering dust; the devices spewing an aroma of wet forest earth switched off for months. The show lives on as an orgy of pixels online. A post-pandemic world is a world full of questions. What do Formafantasma do now?

In conversation: Design has to have something to say.
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Read More  |  1.03.21  |  Article by Dal Chodha  |  Art, culture, Magazine  |  MM18

Flowers are helplessly symbolic. Cut fresh stems, slotted into cool water-filled crystal vases, endure as perilous effigies of our existence. Beside hospital beds they give solace; on vacant family dining tables they scatter joy. Passed from one hand to another they commit to kinship; loosely tied to metal railings, they ask for remembrance. In their loveliness is tenderness, in their tenderness brutality.

Photography by Blommers and Schumm; text by Dal Chodha
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Immanuel Kant: The Sublime Could Be Found ‘in a Formless Object’

Read More  |  26.02.21  |  Article by Philippa Snow & Olu Odukoya  |  Art, culture, Magazine  |  MM18

Immanuel Kant in MM18
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Kunst Talk: Rebecca Ackroyd in Conversation with Alexandra da Cunha

Read More  |  26.02.21  |  Article by Mazzy-Mae Green  |  Art, culture, interview, Issues, Magazine  |  MM18

The materials an artist chooses affect not only the look and feel of their work, but also the way in which they make it. Rebecca Ackroyd and Alexandre da Cunha both make selections that shape their processes. In Ackroyd’s work, she creates ghostly and unsettling atmospheres through a quick, urgent process of loosely applied materials, from chicken wire, fiberglass, and plaster bandages. For Da Cunha, his methods of displacing and re-contextualising everyday objects have a more conceptual understanding – naturally slower. Often, they involve repurposing mass-produced objects to fit a minimalist aesthetic, heavy with symbolism.

Over a conversation for Modern Matter, the two sculptors sit down together to discuss material processes, mediums and influences.
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Some People Are Like Comets

Read More  |  25.02.21  |  Article by Philippa Snow & Olu Odukoya  |  Art, culture, interview, Issues, Magazine  |  MM18

My performance consisted of three elements: myself, an institutional wall clock, and a 5’x8’ sheet of plate glass. The sheet of glass was placed horizontally and leaned against the wall at a 45 degree angle; the clock was placed to the left of the glass at eye level. When the performance began, the clock was running at the correct time. I entered the room and reset the clock to twelve midnight. I crawled into the space between the glass and the wall, and lay on my back. I was prepared to lie in this position indefinitely, until one of the three elements was disturbed or altered. The responsibility for ending the piece rested with the museum staff, but they were unaware of this crucial aspect. The piece ended when Dennis O’Shea placed a container of water inside the space between the wall and the glass, 45 hours and 10 minutes after the start of the piece. I immediately got up and smashed the face of the clock with a hammer, recording the exact amount of time which had elapsed from beginning to end.

Chris Burden in MM18
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Deadman by Chris Burden

Read More  |  25.02.21  |  Article by Chris Burden  |  Art, culture, interview, Magazine  |  MM18

Transcript of Chris Burden’s Words (Around September 2012) About Deadman
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