Ryan Trecartin

Features Ryan Trecartin and Josephine Meckseper

The 2006 Whitney Biennial catalogue, with 800 pages and more than 200 images, uses an innovative book format in order to present a remarkable artists’ section, "Draw Me a Sheep." Borrowing its title from Antoine de Saint-Exupéry's The Little Prince, the section is a collection of individual artist pages done as a series of four-panel “poster” foldouts. By inviting each artist to create a page for the book, "Draw Me a Sheep" presents an image from the artist's world and explores how each artist deals with representation in his or her own time.

Introduction and a conversation between the curators, Chrissie Iles and Philippe Vergne and the art historian Toni Burlap; foreword by Whitney director Adam D. Weinberg; and contributions by critic and teacher Johanna Burton; Bradley Eros, an artist, experimental filmmaker, curator, writer, performer, and researcher, whose work was shown in the 2004 Whitney Biennial; Lia Gangitano, founder and director of Participant Inc. and former curator of The Institute of Contemporary Art, Boston and Thread Waxing Space, New York; Bruce Hainley, a contributing editor of Artforum and Associate Director of Graduate Studies in Criticism & Theory at Art Center College of Design; Molly Nesbit, a professor of Art at Vassar College and a contributing editor of Artforum; cultural historian and media scholar Siva Vaidhyanathan; and writer and cultural commentator Neville Wakefield. In addition the book includes excerpts from a series of articles by the writer and noted French philosopher Bernard-Henri Lévy

The Triennale di Milano organisied and produced the TIMER contemporary art project

Features Ryan Trecartin

Timer investigates the inner self in the new social context that has arisen in the wake of the 9/11 terrorist attacks on the Twin Towers. Consequently, it also looks at the relationship with transcendence, considered on both the individual and social level. The first edition, comprising more than eighty artists from around the world, highlights the emotional trauma in the West following 9/11 and the critical factors that have radically changed the individual’s relationship to society. This transformation in social relations manifests itself in subtle ways in artistic language and themes, which have nonetheless been deeply affected by this watershed event for the World Order.