At how many BPM does the soul vibrate? The X-TRA.SERVICES founder’s first EP, self-released in collaboration with Tomás Urquieta, emblematizes techno without climax and the changing tempo of New York’s underground.
What does Malevich have to do with McDonald’s? Closing out a retrospective of his paintings at Mudam Luxembourg, Halley flashes back to the heritage of the square, his recognition of ideal forms as prisons, and taking a shortcut to satirizing surface.
Why do we dream of a fashion that suits everyone on every occasion? In her October column, Joanna Walsh muses over the concept of “classic” and the hard work of buckling social structures larger than your wardrobe.
With slap-in-the-face monuments, dances with buildings, and a water-gunning boy’s choir, steirischer herbst ’23 unearths Graz’s anti-fascist micro-histories while troubling the distinctions of oppressor and oppressed.
At Wonnerth Dejaco, Vienna, a presentation of erectile drawings and out-of-scale collages revitalizes Anita Steckel’s questioning of embodied gender and benchmarks the transformation of sexual politics between her heyday and the present.