CURATOR'S KEY

On Felix Gonzalez-Torres’s “Untitled” (Portrait of Ross in L.A.) (1991)
by Lucia Pietroiusti

“This is a portrait of a lover and that of a loss. The dissolution of the lost other, following entropy, takes place in their dispersal throughout other bodies, places, organisms. In this way, the work is also a portrait of death itself, and maybe, from an ecological perspective, it is a portrait of the promise of renewal, too. When a body dies, it goes everywhere. Eventually, it is eaten by a plant. Light and death become sugar: mushrooms and trees make forests out of mourning.”

 

– This text appears in Spike #60. You can buy it in our online shop –

Lucia Pietroiusti
Felix Gonzalez-Torres

Discourse
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Louise Lawler, (Stevie Wonder) Living Room Corner Arranged by Mr. & Mrs. Burton Tremaine, Sr., New York City , 1984/1985, silver dye bleach print with printed text on mat, 46.5 x 60.5 cm. All images courtesy: the artist and Sprüth Magers

Louise Lawler, (Stevie Wonder) Living Room Corner Arranged by Mr. & Mrs. Burton Tremaine, Sr., New York City, 1984/1985, silver dye bleach print with printed text on mat, 46.5 x 60.5 cm

And Other Pictures

Espying 20th-century art icons in all their public guises and moments of uncanny repose, Louise Lawler’s photographs convey that how we look is as formative as what we’re meant to see.

Views

View of Ma Qiusha, “No.52 Liulichang East Street,” Beijing Commune, Beijing, 2023. Courtesy: the artist and Beijing Commune

Roundup: Gallery Weekend Beijing 2023

From wood-grain negatives and make-believe tchotchkes to Wuhan punks and haunted islands, Ophelia Lai highlights the 7 best exhibitions in the Chinese capital.

People
Portrait of Vincenzo de Bellis. Courtesy: Art Basel

Portrait of Vincenzo de Bellis. Courtesy: Art Basel

Art Basel’s Fairs Director On the Market for Inner Worlds

Ahead of the Alpine extravaganza, Vincenzo De Bellis talks his Peep-Hole origins, sickness as an artistic thematic, and viewing the fairs as curatorial snapshots of the right now.

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View of “Intertwined,” New Museum, New York, 2023. Courtesy: the artist and New Museum. Photo: Dario Lasagni

View of “Intertwined,” New Museum, New York, 2023. Courtesy: the artist and New Museum. Photo: Dario Lasagni

At the Cost of Ambiguity

The largest-ever retrospective of a living artist at New Museum, New York charts Wangechi Mutu’s turn from the material resonance of found-object collages to the easy symbolic iterations of bronze sculpture.

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Still from Jeamin Cha, Nameless Syndrome , South Korea, 2022. © Jeamin Cha

Still from Jeamin Cha, Nameless Syndrome, South Korea, 2022. © Jeamin Cha

The machine doesn’t always love you back

The melancholy muse, glitchy machinimas, and plenty of Super 8: The 69th Oberhausen Short Film Festival mined the space between arthouse and art world for new and archival gems.

People
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Kenneth Anger (left) and Tav Falco (right) in conversation at the 2006 Viennale. Photo: Wolfgang Thaler

Kenneth Anger (left) and Tav Falco (right) in conversation at the 2006 Viennale. Photo: Wolfgang Thaler

The Dark Side of the Moon: Kenneth Anger

In memory of Kenneth Anger (1927–2023), we’re republishing our 2006 interview with the iconoclastic filmmaker on silk flowers, vindictive scientologists, and his refusal to hustle for production money.

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Mak2, Home Sweet Home: Love Pool 6 , 2022, oil and acrylic on canvas in three parts, each: 205 x 122 cm; overall: 205 x 366 cm. All images courtesy: the artist and Peres Projects

Mak2, Home Sweet Home: Love Pool 6, 2022, oil and acrylic on canvas in three parts, each: 205 x 122 cm; overall: 205 x 366 cm. All images courtesy: the artist and Peres Projects

8-Bit Intimacies

In triptychs of hot-and-heavy bodies at Peres Projects, Berlin, Hong-Kong-based artist Mak2 materializes the tensions of synthetic desire and our urges to gawk and look away.

Discourse
North Face x Gucci linen puffer from a campaign shot in Iceland, 2021. Courtesy: Gucci. Photo: Jalan and Jibril Durimel

North Face x Gucci linen puffer from a campaign shot in Iceland, 2021. Courtesy: Gucci. Photo: Jalan and Jibril Durimel

Theory of Style: On Seasonality

“Fashion is the future, clothes are what we already wear.” In her May column, Joanna Walsh ponders how fast fashion’s accelerationism plays with seasons, desire, and the virtual, projecting us into an elsewhere we’ll never venture into.

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Xiyadie, Sorting sweet potatoes (Dad, don't yell, we're in the cellar sorting sweet potatoes), 2019, papercut with water-based dye and Chinese pigments on Xuan paper, 140 x 140 cm. All images courtesy: the artist

Sorrows and Delights

An exhibition of Xiyadie’s steamy papercuts at The Drawing Center, New York narrates his four-decade usurpation of a traditionalist folk form and a coming-out transition from shame to bliss.

People

The Many Fathers of Success: Ei Arakawa

Ahead of his first-ever pool performance at Kunsthalle Friart Fribourg, Ei Arakawa walks through the changing infrastructure for artist-parents, the integrality of surprise to humor, and modelling queer fatherhood.

Views
View of “My eyes like shovels.” Courtesy: the artists and Hua International, Berlin

View of “My eyes like shovels.” Courtesy: the artists and Hua International, Berlin

GALLERY WEEKEND BERLIN 2023

Spike editor Isabella Zamboni picks the six most vibrant shows from Gallery Weekend Berlin 2023. Home ghosts, Kurdish ropes, watery half animals, too-blue eyes, Neapolitan satyrs, hysterical bureaucrats: Indulge in the capital’s most spirited visions.

"Our identity could become an idol that we sculpt anew each morning from the digital clay"

The Downward Spiral: The Figure Cannot Hold