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Whitney Claflin, Writer’s Block, 2023, vinyl on plexiglass and stretchfoil. Installation view, Galerie Layr, Vienna, 2023. Courtesy: the artist and Drei, Cologne
Ringing out the summer, the Viennese art world’s own Philip Marlowe, Max Henry, sleuthed across the hardboiled city, looking for the traces of the evasive Neutral.
What is it like to “like” in the era of influencer fashion? Does desiring to emulate mean accepting one’s artificial self? In her September column, Joanna Walsh considers the difference between looking and being “like.”
Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.
Spoilt for choice by Berlin Art Week and Gallery Weekend Festival? Spike tabbed through the capital’s stacked exhibition schedule for what to see with fresh eyes in the coming days.
In the mistake culture produced by an era of surveillance, our idea of the good isn’t defined by action, but its appearance, and the power to make truth boils down to who keeps the receipts. By Matilda Lin Berke
Anna-Sophie Berger, Untitled, Alexander Berger 1979, 2023, c-print, 162.5 x 106.5 cm. All images courtesy: the artist and Emanuel Layr, Vienna. Photos: Kunstdokumentation
Is legibility in art a violent demand? During her latest solo show at Emanuel Layr, Vienna, Anna-Sophie Berger spoke about bad faith, harmful language, and fashion’s rapport with death.
Phones from a dog’s eyes, knock-off poetry, and archives archives archives: Spike’s editors recommend four shows and one walking tour during Munich’s marquee art event “VARIOUS OTHERS.”
In times of it-girl inflation, everyone wants to live in a celebrity’s skin. Who better than Joan Didion to burst that bubble? Her spirit explains why style survives death and serious (prose-) stylists only buy Kim Kardashian’s shapewear.
Warming over Hannah Gadsby’s stand-up Picasso takedown from 2018, “It’s Pablo-matic” undermines the Brooklyn Museum’s own staff and even gatekeeps the privileges of non-expertise.
Joanna Fiduccia’s portrait in Spike #33 of Nicole Eisenman, now the subject of a retrospective at Museum Brandhorst, Munich, snapshots her first forays into printmaking and her opening of the body unto intimacy.
