Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019 Photo Andrea Rossetti. Courtesy Fondazione Prada Lizzie Fitch | Ryan Trecartin, Neighbor Dub, 2019 15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019
Photo Andrea Rossetti. Courtesy Fondazione Prada

Neighbor Dub, 2019
15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

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.

 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 draws the connections between consumerism, waste, sustainability, and the intangibility of identity

 

 Bonfire, Olsok St Olav's Day, Skjolden

Bonfire, Olsok St Olav's Day, Skjolden

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.

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. 

 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

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. 

 Mónica Calles Ensaio para uma Cartografia Photo: Bruno Simao

Mónica Calles Ensaio para uma Cartografia
Photo: Bruno Simao

Klaus Speidel über die beiden Stücke Ensaio para uma Cartografia von Mónica Calle und Orest in Mossul von Milo Rau / NTGent

 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.

 Really Useful Knowledge (Brook Andrew), Museo Reina Sofia, Madrid, 2014 Photo: Joaquín Cortés & Román Lores / M.N.C.A.R.S

Really Useful Knowledge (Brook Andrew), Museo Reina Sofia, Madrid, 2014

Photo: Joaquín Cortés & Román Lores / M.N.C.A.R.S

 Montez Press Radio photographed by Taylor Ervin

Montez Press Radio photographed by Taylor Ervin

A love letter to Montez Press Radio from Dean Kissick