Disrupting Conventional Spaces

Read More  |  30.10.18  |  Article by Mazzy-Mae Green  |  Art, culture, interview

If the wall stands as an emblem of simplicity, it follows that something must exist at the opposite end of the spectrum. German artist Felix Schramm thinks so; he sees perception as a straight line that is capable of being manipulated, and achieves this end by reinterpreting traditional architectural forms, disrupting white gallery walls with jagged, technicolour structures.

Felix Schramm on messing with people’s preconceptions of space and sculpture.

When I Get Hold of an Idea, It Becomes My Reason to Live

Read More  |  28.06.18  |  Article by Olu Odukoya  |  Art, culture, interview  |  MM14

“I would say that I use the names as a tool, or as a shield. So I don’t take on that persona: it isn’t really about my reinventing myself, like The Great Gatsby or something, so that I become Spartacus Chetwynd. It might be like that for some people who use a pseudonym, or it might look like that from the outside; but to me, from the inside, it’s more like an incantation, or a spell. Or it’s like a weapon, or a coping mechanism.”

Born Alalia Chetwynd, the artist formerly known as Spartacus — and then latterly as Marvin Gaye — has chosen a new name: MONSTER CHETWYND.

Image by Olu Odukoya.
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I Want to Do as I like; Invent My Own Interests

Read More  |  28.06.18  |  Article by Bruce Hooton  |  Art, culture, interview  |  MM14

“I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It’s all right, but it’s already done and I want to do something new.”

This interview with DONALD JUDD is extracted from a longer oral history, first conducted for the Archives of American Art at the Smithsonian in 1965, by the late Bruce Hooton.

Image: Donald Judd, untitled, 1963.

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The Camera Itself Has This Beautiful, Realistic Structure

Read More  |  28.06.18  |  Article by Michele Robecchi  |  Art, culture, interview  |  MM13

“The idea then evolved into something else – to make a sequence of images that would simultaneously include both the front and the back. It all happened by chance. And then I started to work out the concept more precisely, and to apply it to other subjects — photographs of aeroplanes, portraits, and the kind of images that normally show up in vintage newspapers.”

Marking his major 2017 show at The Whitechapel Gallery, the German titan-icon of photography THOMAS RUFF talks eBay, photographing space, and the Bechers.

Image: Porträt (P. Lappat), 1987.

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The Werewolf, in My Mind, Is the Most Humanlike Monster

Read More  |  28.06.18  |  Article by Philippa Snow  |  Art, culture, interview  |  MM13

“Then I started thinking, what would be the one object that would contrast with them the most? So I thought about a body part. Actually, I thought about a head, which I thought would be powerful enough, and would contrast with the coldness of the structure.”

The Canadian sculptor DAVID ALTMEJD on his mythical creations.

Image: Spacing Out, 2017.
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Throwback: John Baldessari

Read More  |  27.06.18  |  Article by Todd Coles  |  Art, behind the scenes, interview, video  |  MM6

In a 2012 film for Modern Matter magazine by Todd Coles, John Baldessari talks about technology in his Santa Monica studio.
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The Kind of Joy That’s Erupting out of Ruined Buildings

Read More  |  28.05.18  |  Article by Michele Robecchi  |  Art, culture, interview  |  MM12

“In a way, I was hoping it would be more painful and that it would extract more from me. Weirdly, in the end, it was kind of numbing. I didn’t make it to be cathartic –I didn’t expect to resolve anything.”

From Issue 12, Colour Model, Mark Leckey teaches Modern Matter how to spell 'ardcore.

Image: Hole-punched copy of Modern Matter, issue 12.
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