Susan Finlay’s ‘The Lives of the Artists’ is not explicitly about money (the word “money” doesn’t even make an appearance) but it is there in many guises…[read on]
The radical premise behind ‘Eigenface’—Ulrich Gebert’s latest show at Klemm’s Berlin—is that computer vision sees the face as an artist does, that is, aesthetically…[read on]
Entering the gallery at WIELS, we find something like an IKEA display designed by Alejandro Jodorowsky. A deep red carpet covers the entire floor of the main space…[read on]
In Darren Bader’s current show ‘fünfdreier’ at Société Berlin, the realisation of the five instruction-based works in the exhibition are in large part dependent on…[read on]
“A simultaneously sensual, resistant and vulnerable organ” is how curators Julie August and Katharina Koch view skin, and it’s also the starting point of ‘Skin – Membrane, Organ, Archive’…[read on]
The exhibition ‘Just Above Midtown: Changing Spaces’ at MoMA in New York took into account this formidable history and told the story of the space and its artists, using a wealth…[read on]
In ‘Chapel of Care and Rage,’ we are invited to imbibe rich visual imagery of mythical goddesses, animal figures and medicinal plants as they peer down on us from on high…[read on]
The strength of the exhibition at Julia Stoschek Foundation is that it carefully orchestrates Jenkins’ multifaceted, non-aligned practice rather than describing it…[read on]
There is something very calming about Nan Goldin’s photographs, a sort of comfortable intimacy that’s easy to witness and stand in front of. The subjects photographed don’t…[read on]
Ensembles Contrechamps and Zwischentöne brought the performance to life under the direction of Bill Dietz, who had collaborated with Amacher for many years and is dedicated to…[read on]
The Bad Ideas Collective (BIC) is less of a working collective than a collection of artists sharing their “bad ideas,” though one of its three founders, artist and Central Saint Martins…[read on]
