Bored Ape Yacht Club #8817, 2021

Bored Ape Yacht Club #8817, 2021

Do bad artists know that they’re bad? Is bad taste, like Ed Hardy, back? In his June column, Dean Kissick explores value and taste by looking at “ultra-modernity,” manufacturing demand, and images that weren’t made by humans.

 Katonah Yoga "Wraps for Rapture"

Katonah Yoga "Wraps for Rapture" diagram. © Katonah Yoga Center

In her new column "User Error," Spike Editor-at-Large Adina Glickstein charts the volatility of love and the crypto market, and finds solace in nightcore and Avril Lavigne conspiracy theories.

 Anna Witt Soft Destructions, 2022 Mixed media HD video installation Dimensions variable   Courtesy of the artist and Galerie Tanja Wagner, Berlin

Anna Witt, Soft Destructions, 2022. Mixed media HD video installation, dimensions variable. Courtesy: the artist and Galerie Tanja Wagner, Berlin

Anna Witt's solo exhibition at Galerie Tanja Wagner is a site-specific installation that served as the stage for a series of live performances by professional ASMR artists during Gallery Weekend 2022.

 Exterior of Museumhead. Courtesy of Museumhead

View of “Bony”, Museumhead, Seoul, 2021. Courtesy: Museumhead

In the final installment of Art Scene: Seoul, Andrew Russeth gives an extensive report on the glorious offerings of the city’s museums, exhibition halls, and “scrappy” artist-run spaces.

 Soo Choi on rooftop of König Gallery, Seoul

Soo Choi on the rooftop of König Gallery, Seoul

“Sometimes I get scared with all this competition.” The gallerist Soo Choi speaks about the growing art market of South Korea's capital.

Scent, memory, and language all imperfectly conjure the moments we keep coming back to. Adina Glickstein writes about Rimbaud, a new fragrance from Celine.

 View of Ser Serpas, ”HEAS BANGER BOOGIE”, Galerie Barbara Weiss, Berlin, 2022. Courtesy: the artist and Schiefe Zähne, Berlin. Photo: Cedric Mussano

View of Ser Serpas, ”HEAS BANGER BOOGIE”, Galerie Barbara Weiss, Berlin, 2022. Courtesy: the artist and Galerie Barbara Weiss, Berlin

The solo show on view at Barbara Weiss is composed of items found discarded on the streets of Berlin

 Matthias Groebel, L1095 , 1995. Acrylic on canvas, 95 x 95 cm

Matthias Groebel, L1095, 1995. Acrylic on canvas, 95 x 95 cm

The solo show of computer-robotic-assisted paintings by Cologne artist Matthias Groebel at Schiefe Zähne, Berlin 

 Leila Hekmat, Glory Ad Undulating Undies, 2021, Digital collage printed on silk/ viscose velvet, 405 x 132 cm

Leila Hekmat, Glory Ad Undulating Undies, 2021. Digital collage printed on silk/viscose velvet, 405 x 132 cm

A group show at Eden Eden in Berlin, with Renate Bertlmann, Ellen Cantor, Vaginal Davis, Meret Oppenheim, Gina Pane, Carol Rama, among others. 

 Sanya Kantarovsky,  Spirits , 2022. Oil on canvas, 200.4 x 260.3 cm

Sanya Kantarovsky, Spirits, 2022. Oil on canvas, 200.4 x 260.3 cm

The solo show by Sanya Kantarovsky at Capitain Petzel, Berlin

 Shaung Li,  ÆTHER (Poor Objects) , 2021. Video, 18:28 min. Photo: Dean Kissick. Courtesy: La Biennale di Venezia

Shuang Li, ÆTHER (Poor Objects), 2021. Video, 18:28 min. Photo: Dean Kissick. Courtesy: La Biennale di Venezia

Is the 59th Venice Biennale the final chapter of an exhausted story? In his May column, Dean Kissick ponders how identity became the biggest elephant in the rooms of mega exhibitions, and how to abandon our screens for the real world and the real world for dreams.