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Rahim Redcar.
Artforum staffers weigh in on the year’s highlights
Performance view of Clotilde Jiménez's, The Grotto. An Opera In Two Acts.
On his fantastical tragedy The Grotto. An Opera in Two Acts
NewJeans.
Artforum staffers weigh in on the year’s highlights
Firelei Báez sitting down in Artforum's studio.
On Simone Leigh, Olafur Eliasson, and hard work
Landscape painting titled See You On the Other Side by Matthew Wong.
Critics’ Picks
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Select December Advertisers
DECEMBER HOMEPAGE
DECEMBER HOMEPAGE
DECEMBER HOMEPAGE
DECEMBER HOMEPAGE
Current Issue
On a Copernican Revolution in the Art World
On the art of Mohammed Al-Hawajri
Museu de Arte de São Paulo
Sofía Córdova, Green is A Solace, 
A Promise of Peace (where small birds hide and dodge and lift their plaintive rallying cries) (detail), 2022, taxidermied doves, parakeets, and canaries, hair dye, brass, birch wood, 
dimensions variable.
Sofía Córdova, Green is A Solace, A Promise of Peace (where small birds hide and dodge and lift their plaintive rallying cries) (detail), 2022, taxidermied doves, parakeets, and canaries, hair dye, brass, birch wood. Installation view, JOAN, Los Angeles, 2024. Photo: Evan Walsh.
Columns
Flyer for Patti Smith’s first poetry reading, opening for Gerard Malanga at the Poetry Project, New York, 1971.
On cats, Proust, and the art of poetry
Choi Jeong Hwa.
On the 4th Bangkok Art Biennale
"BENTEN 2024 Art Night Kabukicho"
On Art Week Tokyo 2024
From the archive
DECEMBER HOMEPAGE
September 2006
On the occasion of “Philippe Parreno: Voices,” the artist’s expansive solo exhibition that opened this month at Munich’s Haus der Kunst, Artforum revisits the magazine’s September 2006 issue.

In the pages of that issue, critic Michael Fried beholds Zidane, a 21st Century Portrait, a cinematic collaboration between Philippe Parreno and Douglas Gordon that had debuted at the Cannes Film Festival just a few months prior. The project—a film comprising footage shot on seventeen synchronized cameras all trained on Real Madrid star Zinédine Zidane for the duration of an April 2005 soccer match—“intrigued me,” Fried writes. “I was curious to discover whether or not the designation of the film as a ‘portrait’ could be taken seriously—whether it meant simply that the film was a biopic or whether it had some deeper resonance. I hoped the latter was the case, and when I saw the film my hopes were fulfilled.”

“Philippe Parreno: Voices,” co-organized with the Leeum Museum of Art in Seoul, is on view at Haus der Kunst in Munich through May 25, 2025.
—The editors
Dossier
DECEMBER HOMEPAGE
“In this Artforum Dossier, we have gathered texts that focus on artistic practices that reflexively engage with the specific materiality of celluloid—the transparent plastic that served as the most common substrate for moving images before the advent of analog and digital video. These practices typically focus less on storytelling than on the aesthetic possibilities of directly manipulating celluloid film stock, creating sequences of celluloid film frames, or running celluloid film strips through projectors. The results usually emphasize our perceptual experience of light, color, sound, pattern, movement, and space—that is, those elements that provide the language of all moving-image experiences.”
Tina Rivers Ryan