Magazine article Artforum International

Magali Reus

Magazine article Artforum International

Magali Reus

Article excerpt

London-based artist Magali Reus is the recipient of the 2015 Prix de Rome for the visual arts. Her work has recently been the subject of solo exhibitions at SculptureCenter in New York, the Hepworth Wakefield in West Yorkshire, UK, and the Westfalischer Kunstverein in Munster, Germany, (SEE CONTRIBUTORS.)


T. A. C. COLENBRANDER'S CERAMICS Trained as an architect, Colenbrander (1841-1930) began to produce ceramics in the late 1880s when he joined Haagsche Plateelbakkerij Rozenburg, a factory in The Hague, as a designer. His decorative plates, specifically those made between 1884 and 1889, are gloriously patterned with graphic and organic marks that read as though rendered by a draftsman expressionistically riffing on nature. Thick layers of glossy color remain intensely magical despite their age and, miraculously, brushstrokes are visible beneath the hermetic, baked-on seal of glaze. Colenbrander's unorthodox palette--chalky pastels, mustard, and black--makes his objects seem touched by a spooky kinetic force. These deeply covetable artifacts are completely contemporary.


TAKENOBU IGARASHI, "ALUMINUM ALPHABET," 1983 The Japanese graphic designer is a contemporary proponent of the axonometric alphabet, used in the early twentieth century by members of De Stijl and the Suprematists alike. In the 1980s, he translated hand-drawn typographic forms into brushed-aluminum objects studded with hardware that, while rigorously precise, feature mysterious interplays of shadow and form. A wonderful example of this was the sculpture he produced in 1990 for Nike's Air Max 180 shoe campaign, though it was only ever shown as a photograph. Igarashi's works from the '80s are fetishistic and tender, but they harbor at their core the futurist aspirations of a culture obsessed with the possibilities of robotics.


HILARY LLOYD, CRANE, 2010 I first experienced Lloyd's sculptural video work in 2011 at her show at Raven Row in London, and it left me in awe. Crane, an LCD monitor mounted on vertical steel poles, had an anthropomorphic presence. It blocked one of the gallery's doorways with a gatekeeper's defiance, forcing the viewer into an almost sexual, full-frontal encounter. The video depicts a vast construction site set to a pumping industrial sound track; you can watch it with your eyes closed. The obstructive work jarringly exploded the architecture of the exhibition space.


DOUBLEBASE GEL This aqueous cream is not only a miracle worker for dry skin, it possesses deeply mysterious physical properties. Doublebase is packaged simply, in satisfyingly transparent plastic tubes or pump bottles that bear a bold purple label; the cream is the star ingredient here. The molecules that make up this white substance cling together, traveling defensively en masse, as if afraid to leave one of their number behind. This is ectoplasmic goo at its best.


J. W. ANDERSON, "MATHEMATICS OF LOVE," FALL/WINTER 2013-14 I often look at Anderson's clothes with envy because of the indulgent humor and intelligence invested in their making. This beautifully designed menswear collection was highly praised for turning gender cliches and codes on their heads. …

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