This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies.
Sobbing dolls, Tarkovsky remakes, and in-flight sushi served in air ambulances: Jordan Strafer’s films are equal parts haunted, heartbreaking, and hilarious. The artist talks truth with Jeppe Ugelvig on the occasion of her first major solo show.
Whether you’re totally pilled or an adamant no-coiner, you’ve probably noticed that Web3 has a lexicon all its own. We’ve put together a guide to some of the insider jargon to help you navigate this wild world. Fear, uncertainty, and doubt no more.
With Spike #70, we take on the blockchain – all its problems and possibilities, from NFTs to cooperative art-collecting to the encroaching spectre of flat-out finance.
Not another article about Kyiv as the new Berlin! On the occasion of the Future Generation Art Prize, Alexander Scrimgeour wonders about how the twentieth-century phenomenon of international contemporary art changes under the pressure of good old-fashioned geopolitics.
Nadiah Bamadhaj, Casting Spells for the Movement (Merapal Mantra untuk Gerakhan), (2021). Installation view from the 2021 Jakarta Biennale. Courtesy: Jakarta Biennale
At the Jakarta Biennale, critical engagement should be evaluated not only through the art on display, but through the invisible forces that permeate below the threshold of vision. How does air – and the control of its circulation – index the political condition of being alive?
For the next year, Spike is inviting authors from around the world to write a freeform exploration centred on an artist of their choice from the Liste universe. We’re kicking things off this December with an essay by Leila Peacock on the painter Anne Fellner.
With nostalgia taking hold at The New Museum Triennial and MoMA PS1’s survey of Greater New York, Dean Kissick wonders: what’s so great about it? When art gets sucked back into tradition, where is the future to be found?
