During the late 1990’s the Museum of Contemporary Art in Lyon extended an invitation to Morris to create a trilogy, which was subsequently exhibited over three successive summers between 1998 and 2000. White Nights was a reworking of a installation made the year previous, in 1999. It then consisted of a wooden maze whose corridors led to impasses showing videos from his choreographic performances of the 1960’s. In White Nights this structure and format was repeated, replacing

Curating in the age of globalization. Global Conceptualism was co-curated by Jane Farver, Luis Camnitzer, and Rachel Weiss with the primary intention of challenging the widely accepted perception that Conceptualism was a single movement that spread internationally from a singular point. It’s intention was to negate the argument that non-Western forms of conceptualism are merely borrowed from Western prototypes. The rejection of how Conceptual art was usually mapped was a reje

Isabelle Cornaro at the South London Gallery It seems peculiar to want to walk through a graveyard. To read the names on gravestones that mark the lives of unknown people. Died 1772. Died 1843. Died 1912. Died 1723; buried with his wife. The gravestone whispers to us something about the shortness of our days, a mute and unblinking witness to the tide of life. Such gravestones are present, standing to attention, in the South London Gallery. The dark, satanic monoliths that c