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Jeppe Ugelvig reviews the duo’s latest multimedia-installation ”Whether Line”. Produced in rural Ohio, the ambitious project explores post-Trump American folklore through their neurotic and bewildering lens.
A Summer Chronicle, part 1: NATASHA STAGG is back with her summer column and draws the connections between consumerism, waste, sustainability, and the intangibility of identity
This month Dean Kissick goes to the Norwegian countryside, contemplates Ludwig Wittgenstein’s retreat from society and sees art’s return to its pagan origins in artist 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.
This month Ella Plevin lets matters ferment with a little help from her SCOBY. She brews bittersweet tea and finds narcissism and historical myopia at the bottom of the cup.
The second edition of Zurich Art Weekend provided some foreplay ahead of Art Basel. Alex Scrimgeour runs us through Zurich's standout shows, where he spotted painted angels, art games, vagina dentatas, and Don Quixote's horse.
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.
