DIS

Torbjørn Rødland
Installation view Enamel Support at the dental clinic of Danielle Heller Fontana

Photo:
Manifesta 11 / Wolfgang Träger

Jon Kessler
Installation view The World Is Cuckoo at Les Ambassadeurs watch shop

Photo:
Manifesta 11 / Wolfgang Träger

Marguerite Humeau
Installation view When Skies are not named yet (I) at ETH Zurich

Photo:
Manifesta 11 / Eduard Meltzer
 

Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat

Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat

Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat

Roe Ethridge, Untitled (Not in the Berlin Biennale), 2016
 

(mood) 
 

Torbjørn Rødland, Hat on Fire, 2016

 Photo by Amalia Ulman

Photo by Amalia Ulman

What does it mean today to have a life with kids, to have a life in art, and to live a life? Why are children and the artist's life so hard to unite? Or is this a false assumption? Spike Art Daily dedicates a series of interviews to the problematic relationship that the art industry has with its offspring. In this interview Lauren Boyle and Marco Roso, two of the four members of DIS, talk about why the concept of family is just "too much for the art world" and the differences between raising kids in Berlin and New York.

 Marina Abramović, Crystal Cinema

Marina Abramović, Crystal Cinema

 Martin Wong Attorney Street (Handball Court with Autobiographical Poem by Piñero), 1982–84 Oil on canvas

Martin Wong
Attorney Street (Handball Court with Autobiographical Poem by Piñero),
1982–84
Oil on canvas

Jennifer Krasinski gives us her highlights from New York.

 SPIKE BERLIN, 6 pm Marcus Geiger, Untitled, Table , 2006–2014 Tabletop, 2 wooden trestles, 4 chairs, felt carpet

SPIKE BERLIN, 6 pm
Marcus Geiger, Untitled, Table, 2006–2014
Tabletop, 2 wooden trestles, 4 chairs, felt carpet

Why does the art of today often seem to exist in a historical vacuum? What is the significance of art history for post-Internet art? Is our sense of history changing because of the accelerated circulation of images, money and data? Where does this leave the art object? At Spike’s new space in Berlin, Kolja Reichert moderated a discussion between artist and essayist Hito Steyerl, art historian Susanne von Falkenhausen, and two of the four curators of the 2016 Berlin Biennial: Lauren Boyle and Marco Roso from the collective DIS.

A roundtable with DIS, Hito Steyerl & Susanne von Falkenhausen, and Kolja Reichert at Spike Berlin, December 2014