Winter 2015 – Magenta Magazine

Magenta Magazine

Magenta Magazine

Winter 2015 Contents

Editor’s Letter

For Beirut. For Paris. by Bill Clarke

On the Cover

Sarah Anne Johnson: Kissing Gold (2013), from the series Wonderlust. Image courtesy the artist, Stephen Bulger Gallery, Toronto, and Julie Saul Gallery, New York.

Features

Histories of Trauma Sarah Anne Johnson joins internal and external worlds
by Dagmara Genda

Possibilities and Petals Zachari Logan’s lush drawings invite carnal consideration
by Bart Gazzola

Time Twister Los Angeles-based Owen Kydd pushes the limits of cameras and screens
by Alison Cooley

Pod People Three days encamped at Andrea Zittel’s A-Z West
by Morgan Mavis and Christopher Bennell

Portfolios

Marco Buonocore

Exhibition Reviews

Anna Szaflarski by Bart Gazzola

Anne Collier by Marissa Neave

Raphaëlle de Groot by Heather Saunders

Anne Teresa De Keersmaeker by Grace Hwang and D.S. Chun

Tom Ngo by Trish Boon

Julie Sando by Bart Gazzola

Maria Eichhorn / Lili Reynaud-Dewar by Lee Plested

Martin Golland by James D. Campbell

Rocks, Stones, and Dust by Ellyn Walker

Jason McLean by Jamie Faye Ryan

Studio View

Jason Deary by Bill Clarke

Books & Film

Elisabetta Benassi: King Leopold’s Soliloquy by Dave Dyment

Parting Shot

Scoring the Screen Tests by Bill Clarke

Editor’s Letter

Film still of Faith, a film by Isabel Rocamora. 22 mins, UK, 2 K to HD, 2015. Courtesy of the artist and Galeria Senda, Barcelona.

For Beirut. For Paris.

Features

Explosions, 2011. All images © Sarah Anne Johnson. Courtesy of Stephen Bulger Gallery, Toronto and Julie Saul Gallery, New York.

Histories of Trauma

Zachari Logan: Wild Man 5 (2015). Blue pencil on Mylar, 23 x 31 3/4 inches.

Possibilities and Petals

Owen Kydd: Moth (2015). Video (silent, colour, looped) on square digital monitor with media player, adhesive digital print.

Andrea Zittel’s A-Z West, location photographs by Christopher Bennell. Courtesy the artists.

Portfolios

Liz Nielsen, Wolf Moon, 2014, Unique c-print, 40 x 40 in. All images courtesy the artist and Denny Gallery, New York.

Danes Picta Lens Focus Chart, 36mm x 24mm. All images courtesy the artist.

Marco Buonocore

Caribou. All images from the series The Snow is Salt (2015). Courtesy the artist.

Exhibition Reviews

Anna Szaflarski: A Man's Job (2011). Installation view, Dresden Motorenhalle.

Anna Szaflarski

Anne Collier: Cut (Color) (2009). Chromogenic print. Private collection. Courtesy of the artist; Anton Kern Gallery, New York; Corvi-Mora, London; Marc Foxx Gallery, Los Angeles

Raphaëlle de Groot: The Summit Meetings (2015). Installation view. Photograph by Frank Piccolo. Courtesy of the Art Gallery of Windsor.

Raphaëlle de Groot

Anne Teresa De Keersmaeker: Vortex Temporum (1996). Performed by Rosas & Ictus at Royce Hall for UCLA CAP Score by Gérard Grisey

Anne Teresa De Keersmaeker

Tom Ngo: Little Temple 1 (2015). Gouache and graphite on paper.

Julie Sando: 100% Bone White: Born Blonde, 1971 (2015). Vintage print ephemera mounted under routered white acrylic sheeting. Image courtesy of the artist.

Maria Eichhorn: Film Lexicon of Sexual Practices, (1999/2005/2008/2014) 17 films (16 mm, colour, silent), film screening, wall text. Exhibition view, Maria Eichhorn, Filmlexikon sexueller Praktiken, Galerie Eva Presenhuber, Zurich, 2009. Photo: Stefan Altenburger, Zurich

Maria Eichhorn / Lili Reynaud-Dewar

Martin Golland: Platform (2015). Oil and acrylic on canvas.

Michael Belmore: Smoulder (2010-11). Carved stone, gilded copper.

Rocks, Stones, and Dust

Jason McLean: Defender (2015). Ink on Paper, 38-½ x 50 in.

Studio View

Jason Deary in his West End studio, Toronto, November 2015. Photos by Bill Clarke.

Books & Film

Elisabetta Benassi: King Leopold’s Soliloquy (cover and details of page spreads), 2015. Images courtesy NERO, Rome.

Elisabetta Benassi: King Leopold’s Soliloquy

Parting Shot

Andy Warhol: Screen Test (Dennis Hopper), 1964. 16 mm film, black and white, silent, 4 mins at 16 frames per second. All images © The Andy Warhol Museum, Pittsburgh.

Scoring the Screen Tests