Sergei Parajanov, The Color of Pomegranates, 1969

Sergei Parajanov, The Color of Pomegranates, 1969

Flamboyance, mysticism, grungy bohemia, offbeat artistic projects: Tbilisi’s art and nightlife scene, with a listing of spots to watch.

 Carolee Schneemann, Meat Joy,16–18 November 1964, Judson Dance Theater, Judson Memorial Church, New York; Photo © 2022 Estate of Robert R. McElroy / Licensed by VAGA at Artists Rights Society (ARS)  

Carolee Schneemann, Meat Joy, November 16–18, 1964, Judson Dance Theater, Judson Memorial Church, New York. Photo © 2022 Estate of Robert R. McElroy / Licensed by VAGA at Artists Rights Society (ARS)

Carolee Schneemann wrested pleasure from taboos, showing how more the body is than a sex-negative society can admit. Read our review of her latest retrospective at Barbican in London

Spike x Liste Expedition Monthly Picks in November: Brit Barton on the allure of Inga Danysz’s stoic Sarcophagus 03

 Vunkwan Tam,  78i78 , 2022, blanket, water, synthetic doe urine, 145 x 140 x 18 cm. Courtesy: the artist and Empty Gallery, Hong Kong. Photo: Michael Yu

Vunkwan Tam, 78i78, 2022, blanket, water, synthetic doe urine, 145 x 140 x 18 cm. Courtesy: the artist and Empty Gallery, Hong Kong. Photo: Michael Yu

In his debut show at Empty Gallery in Hong Kong, Vunkwan Tam turns doe urine into a metaphor for dramatized emotional wallowing

 View of “Ian Cheng: Life After BOB,” LAS (Light Art Space), Berlin. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Photo: Andrea Rossetti

View of “Ian Cheng: Life After BOB,” LAS (Light Art Space), Berlin. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Photo: Andrea Rossetti

Ian Cheng speaks about his latest film shown at LAS in Berlin and about what is left for human selves to do

For his November column, Dean Kissick makes clear what Dimes Square, really, is

 Paris Internationale 2022 

Paris Internationale 2022 

The 2022 Paris art fairs are all about glocal simulations and works full of text. Read Ingrid Luquet-Gad’s round-up.

 Steven Warwick, Scarecrow , 2021. Photo: Angele Balducci

Steven Warwick, Scarecrow, 2021. Photo: Angele Balducci

Being bad feels good. This month, Adina Glickstein chats with the artist Steven Warwick about scapegoats, salvation, and Stanley Kubrick.

 View of “Water Being Washed Away”curated by Alessandro Rabottini, Galerie Hubert Winter, Vienna, 2022

View of “Water Being Washed Away”curated by Alessandro Rabottini, Galerie Hubert Winter, 2022

The Viennese gallery festival curated by looks east for its 2022 edition. Read our round-up.

 Roe Ethridge,  Prick Washer with Ador-gnome , 2022

Roe Ethridge, Prick Washer with Ador-gnome, 2022

Why does Adorno dream of sodomy and dishwashers? Jamieson Webster’s new book Disorganisation & Sex tells us. 

For the October edition of Spike x Liste Expedition Monthly Picks, Arnon Ben-Dror traces the de-solidification of contemporary sculpture in Hannah Sophie Dunkelberg’s works.