Lizzie Fitch | Ryan Trecartin “Whether Line” Production still from Whether Line Photo Fitch | Trecartin Studio

Lizzie Fitch | Ryan Trecartin, Production still from ”Whether Line”, 2019
Photo: Fitch | Trecartin Studio

Jeppe Ugelvig on the duo’s latest work after relocating their studio to rural Ohio to explore post-Trump American folklore through their neurotic and bewildering lens.

 Stella McCartney's 2017 Ad Campaign

Stella McCartney's 2017 Ad Campaign

A summer chronicle, part 1: NATASHA STAGG is back with her summer column and writes about the problem all this sustainability talk often misses

 

 Bonfire, Olsok St Olav's Day, Skjolden

Bonfire, Olsok St Olav's Day, Skjolden

This month Dean goes to the Norwegian countryside, contemplates Wittgenstein’s retreat from society and sees art’s return to its pagan origins in Marianne Heske’s latest project

 The Good Life was a popular British sitcom about a suburban couple who tried to escape modern life and go “back to the land” of Surbiton, South West London in which the “radical thinking” of the counter culture finds synergy with middle class (yuppie) Britain.

The Good Life was a popular British sitcom about a suburban couple who tried to escape modern life and go “back to the land” of Surbiton, South West London in which the “radical thinking” of the counter culture finds synergy with middle class (yuppie) Britain.

This month Ella Plevin lets matters ferment. The italicized passages are from the Brooks Haxton translation of Heraclitus’ Fragments.

 

 Carroll Dunham,  Clouds (1) , (2018) Mixed media on linen 126 x 151.5 x 5.5 cm © Carroll Dunham Courtesy the artist, Gladstone Gallery, New York and Brussels, and Galerie Eva Presenhuber, Zurich / New York Photo: David N. Regen

Carroll Dunham, Clouds (1), 2018
Mixed media on linen 126 x 151.5 x 5.5 cm
© Carroll Dunham Courtesy the artist, Gladstone Gallery, New York and Brussels, and Galerie Eva Presenhuber, Zurich / New York; Photo: David N. Regen

Spike went to Zurich Art Weekend to look at art and talk to people. Alex Scrimgeour on a handful of standout shows currently on view in Switzerland’s largest city.

 Jana Euler,  Under this perspective, 1 , 2015 Oil on canvas, 190 x 150 cm Photo: Stefan Korte. Courtesy the artist and Galerie Neu, Berlin

Jana Euler, Under this perspective, 1, 2015
Oil on canvas, 190 x 150 cm
Photo: Stefan Korte. Courtesy the artist and Galerie Neu, Berlin

For the past ten years, the German artist Jana Euler has worked an eclectic lexicon of styles to dissect the mechanisms by which value is assigned to art. For her recent exhibition at Galerie Neu in Berlin, she presented eight tall paintings of sharks. Swiss curators Tenzing Barshee and Fabrice Stroun met to talk about the ideological implications of her work and the unique place it occupies within the field of figurative painting.