PIOTR UKLANSKI

Real Nazis

New York–based Polish conceptual artist Piotr Uklanski’s (b. 1968) book The Nazis (EPF,1999) has long been out of print and is highly coveted to this day. While The Nazis showed movie stills of actors playing Nazis in various Hollywood films, Uklanski’s current publication, Real Nazis, juxtaposes film images with the real thing—Nazi party bigwigs, decorated “war heroes” and war criminals. Painstakingly culled from a variety of archives and featuring over 200 images, Uklanski superimposes fact on fiction to reveal the uncanny resemblance between the play-acted and real-life exponents of evil. Who are the “real” Nazis in this picture puzzle? This play of mirrors is a radical commentary on our alarming present condition, in which the lines between populist and fascistic politics are increasingly blurring. Uklanski’s Real Nazis is premiering at dOCUMENT (14), Kassel (2017). He has exhibited at the Metropolitan Museum of Art, NY; Guggenheim Museum, NY; P.S.1 MoMA, NY; Walker Art Center, MN; Whitney Biennial (2010) among others.

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CATHERINE WAGNER

In Situ, Traces of Morandi

Giusi Vecchi (Ed.)

In In Situ, Traces of Morandi, American contemporary photographer Catherine Wagner (b. 1953) considers the poetry and austere structural logic of Giorgio Morandi’s still-life paintings in a new body of work. Following a two-year residency at Casa Morandi, Wagner’s reflections inspired by the assorted objects, drawings and ephemera in Morandi’s studio were presented at Museum of Modern Art, Bologna / Museo Morandi (2017), accompanied by this elegant and fully illustrated catalog. In her work, Wagner constructs new still lives from Morandi’s objects, shifting notions of light, space and form in her vaporous images in which solid objects appear elusive or caught in the aura at the edge of a shadow. Sampling the color palette in Morandi’s exquisite and subtle paintings, Wagner creates intimate color fields. A conversation between the artist and curator Giusi Vecchi provides insight into Wagner’s long career. An essay by Peter Benson Miller, director of the American Academy in Rome, reflects on the work of both artists.

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