Essay by Thomas Kellein.

Artwork by Vanessa Beecroft.

This exhibition, curated by Marcella Beccaria, presents an original interpretation of Vanessa Beecroft's work, featuring a new large-scale performance along with photographic and video works.

"VB 53" provides documentation of Vanessa Beecroft's most recent performance at Pitti Immagine Uomo 66 in Florence's Horticultural Garden. 21 models of varying appearance and race were planted in a mass of earth in the tepidarium. All were nude except for a single accessory: Helmut Lang shoes that wrapped around their ankles, separating their bare legs from the bare, rough earth. According to Beecroft, "The sole is reference to land art. Very dark and humid, like the rich foam of cultivated fields... The performance juxtaposes the purity of the female body, their nudity, with the dirty color of the soil and its material. Some models look like lillies, others like potatoes. Lilies and potatoes can also grow in filth." The 50 images in this book illuminate Beecroft's signature issues: the body, beauty and identity.

This book examines feminist art of the 1970s through contemporary art made by women. In a series of readings of artworks by, amongst others, Tracey Emin, Vanessa Beecroft, Hannah Wilke and Carolee Schneemann the reader is taken on a journey through maternal desire, fantasies of escape and failed femininity.

This book focuses attention on groups of performing people that are unique aesthetic objects, the focus of an artist’s vision, but at the same time a collective being; a singular, whole mass that exists and behaves like an individual entity. This text explores this unique experience, which is far from rare or special. Indeed, it is pervasive, ubiquitous and has, since the dawn of performance, been with us. Surveying installation art from Vanessa Beecroft & Kanye West, Greek tragedy, back-up dancing groups and even the mass dance of clubbing crowds, this text examines and names this phenomenon: Aesthetic Collectives. Drawing on a range of methods of investigation spanning performance studies, acting theory, studies of atmosphere and affect and sociology it presents an intervention in the literature for something that has long deserved its own attention. This book will be of great interest to scholars, students and practitioners in performance studies, theatre, live art, sociology (particularly of groups and subcultures), cultural studies and cultural geography.

The declaration that a work of art is “about sex” is often announced to the public as a scandal after which there is nothing else to say about the work or the artist-controversy concludes a conversation when instead it should begin a new one. Moving beyond debates about pornography and censorship, Jennifer Doyle shows us that sex in art is as diverse as sex in everyday life: exciting, ordinary, emotional, traumatic, embarrassing, funny, even profoundly boring. Sex Objects examines the reception and frequent misunderstanding of highly sexualized images, words, and performances. In chapters on the “boring parts” of Moby-Dick, the scandals that dogged the painter Thomas Eakins, the role of women in Andy Warhol's Factory films, “bad sex” and Tracey Emin's crudely evocative line drawings, and L.A. artist Vaginal Davis's pornographic parodies of Vanessa Beecroft's performances, Sex Objects challenges simplistic readings of sexualized art and instead investigates what such works can tell us about the nature of desire. In Sex Objects, Doyle offers a creative and original exploration of how and where art and sex connect, arguing that to proclaim a piece of art “about sex” reveals surprisingly little about the work, the artist, or the spectator. Deftly interweaving anecdotal and personal writing with critical, feminist, and queer theory, she reimagines the relationship between sex and art in order to better understand how the two meet-and why it matters. Jennifer Doyle is associate professor of English at the University of California, Riverside. She is coeditor, with Jonathan Flatley and Jos Esteban Muoz, of Pop Out: Queer Warhol.

Une vraie fausse biennale imaginée par Maurizio Cattelan sur le site de l'île antillaise de St. Kitts. Des artistes dans un hôtel, partagent les repas, la plage, les bains, effaçant toute trace d'art...

Graduating from Antwerp’s Royal Academy of Fine Arts in the 1980s, Martin Margiela (and his contemporaries in the Antwerp Six) transformed global fashion with his aggressive restatement of traditional fashion design and a polemical approach to luxury trends. Working first with the house of Gaultier, Margiela absorbed the radical design of Japanese deconstruction, making it wholly his own with the founding of his own label in 1988. Margiela propounds a singular, enigmatic look, moving beyond the recognizable tropes of deconstruction—a monochromatic palette, outsized garments, non-traditional fabrics, exposed seams, or roughly appliquéd details—to develop a fully considered worldview, one with elegance, mystery, and menace in equal measure. This book provides an inside look at the design process from a craftsman who creates pieces prized for their originality, delicacy, and daring. In the spirit of Margiela’s garments, the book is a work of art in itself, designed exclusively by Margiela and complete with silver inks, ribbon markers, a variety of lush paper types, twelve booklets, and an embroidered white-linen cover. This book provides a window onto the intimate, handmade world of a unique designer.

Form Follows Fiction focuses on a generation of artists who can no longer follow the modemist dictum "form follows function." Some of these artists create structures that intersect with everyday life, while others construct elaborate fictional systems that fuse elements of reality and fantasy. All have developed new models of contemporary reality that are as fictional as they are real. Conceived as a sequel to the 1992 exhibition Post Human, also curated by Jeffrey Deutch.