With the country still in lockdown, three Vienna galleries – Emanuel Layr, Croy Nielsen, and Sophie Tappeiner – came up with a new format for an art fair set in the conference halls of a popular hotel in the Austrian capital.
Tolia Astakhishvili, Our garden is in Bonn (detail), 2023. Installation view, Bonner Kunstverein, Bonn, 2023. Unless otherwise noted, all images courtesy: the artist and LC Queisser, Tbilisi. Photos: Mareike Tocha
How do you get rid of something you feel you need? Tolia Astakhishvili builds densely layered environments, populated by both sick and vital spirits, to prove how lack is necessary to inhabit our psychic “house.”
Terre Thaemlitz, Happiness is… Choice, 1989; Happiness is… Women Loving Women, 1989. Ink and white-out on paper, 28 × 25 cm drawing for T-shirt design for March For Women`s Lives demonstration in Washington D.C. Courtesy: the artist and Halle für Kunst Lüneburg, Photo: Fred Dott
A blockbuster survey at MoMA, New York, lauds video art as a democratic counter to hegemonic power. But with AI usurping its witness function with endless content invention, is “Signals” actually the medium’s post-mortem?
Jeremy Deller, Warning Graphic Content, 1993–2021, and Rejected Tube Map Cover Illustration, 2007. Installation view, Kunsthal Charlottenborg, Copenhagen, 2023. All images courtesy: the artist; Art:Concept, Paris; and The Modern Institute / Toby Webster Ltd., Glasgow. Photo: David Stjernholm
At Kunsthal Charlottenborg, Copenhagen, three decades of Jeremy Deller’s films and prints catalogue the iconographic underpinnings of Britain’s mass-movement politics and the malleable ambiguity of pop fandom.
While his latest debut at Cannes, Asteroid City (2023) unspools a predictable plot with a familiar cast, the film’s stylistic precision reminds Nolan Kelly not to take a one-of-kind auteur for granted.
The largest-ever retrospective of a living artist at the 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.
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
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.
From right to left: Brittany Engel-Adams, Vincent McCloskey, Brittany Bailey, and David Thomson in Yvonne Rainer’s Hellzapoppin’: What About the Bees?, 2022. Courtesy: Performa and New York Live Arts. Photo: Maria Baranova
Tom Burr, Atlas II, 2022 (detail). Plywood and aluminium panel, black and white photographs, safety orange fabric, plastic sleeves, steel push pins, tacks. Installation view, Galerie Neu, 2022, Berlin. Courtesy: Tom Burr; Galerie Neu, Berlin. Photo: Stefan Korte
Thuy-Han Nguyen-Chi, This undreamt of sail is watered by the white wind of the abyss, 2022, video installation, mixed media. Installation view, “12th Berlin Biennale,” Hamburger Bahnhof, 2022, Berlin. Photo: Laura Fiorio
Stephanie Bailey visits Saudi Arabia’s first contemporary art biennial – helmed by a curator borrowed from Beijing – as connections between the Chinese and Saudi scenes, and intriguing geopolitical questions, come into view.
For the February installment of Spike’s ongoing collaboration with Liste Expedition, Hong Kong-based writer and curator Chang Qu swims through the data flow of Phung-Tien Phan’s hauntologically-tinged videos.
For January’s edition of Spike Monthly Picks for Liste Expedition, São Paulo-based writer, editor, and curator Guilherme Teixeria explores the Brazilian artist C.L. Salvaro’s world of gravity-defying installations.
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.
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.
Getting his due in Germany at long last, painter Frank Bowling was recently awarded the 2022 Wolfgang Hahn Prize. In his honour, we’re sharing Barry Schwabsky's words on Bowling from the latest print issue of Spike.
Cajsa Von Zeipel, Catch and Kill, 2020. Pigmented silicon, mixed media,127 x 195.6 x 182.9 cm. Courtesy of Faurschou Foundation. Photo: Emilios Haralambous
Hypercomf, Polyceliumoffice, 2021. Multidisciplinary installation. Various media and dimensions. Metal, agricultural tools, acrylic, desk chairs, wool fabrics, original cotton fabrics, plants, monitors, mugs, stainless steel sink, resin mosaic, metallised frame, bike ramp, dog leash, watertanks and pumps. Courtesy: the artists. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos
KAYA, _ OraKle Painting 01, 02, 03 (Catacomb Mirrors), 2018. Plexiglas sheets, wishes by children, paint, transducers, speaker cable, Mp4 players. Sound by Nicholas An Xedro. Courtesy: the artists and Deborah Schamoni. Photo: Nysos Vasilopoulos
Tragedy + Time = Comedy, they say. But who has time for anything these days? We’re still in the middle of it – whatever it is – but this year’s edition of “Curated by” takes humour as its starting point, exploring a multitude of ways to laugh amidst the madness.
"Tailwhip" shows off (occasinally bloody) ephemera from Xper.Xr’s three decades of activity in the industrial noise music and anti-art realms, offering a rare window into Hong Kong's poorly-documented underground scene.
A group show at Capitain Petzel is full of subtle interventions that throw our perspective off-kilter, marrying modernist design – rigorous, linear, and in control; not unlike the white cube itself – with playful nods to incongruity.
Fifty years after they broke onto the scene with their bold representations of female pleasure, two American feminist pioneers, Betty Tompkins and Marilyn Minter, are finally honoured with their first solo shows in France.
Killing time – it's not just a turn of phrase. The connection between state power, military force, and the measurement of time and space is more literal than we'd like to believe, observes Irish artist Yuri Pattison in his most recent show.
Are photos political, or simply passive containers for the ideologies that produced them? Colin Lang ponders on a tour of the photography triennial RAY 21, now in its fourth iteration around Frankfurt am Main.
The neoliberal myth of total free-flow – of bodies, art, and capital – is dead, even as the press trip lives on. After a year spent tethered in place, Ingrid Luquet-Gad visits the 14th Baltic Triennial, searching for the balance between connectivity and context.
The Daata fair is here again, but pay attention, the offerings are not for the easily distracted. From formalist experiments to fictional journeys through a painted forest to pranks with a potent political message, the works on offer this year are only up for a few more days.
Exhibitions are frequently deemed “overdue”, but perhaps nowhere is it as true as with the first retrospective of Lorraine O’Grady, the 81-year old trailblaizer of feminst performance art, which opened at the Brooklyn Museum last month. Isaac Jean-François on her expansive, celebratory work.
It was quite a week and weekends in the German-speaking lands, where Munich’s Various Others, Zurich Art Weekend, and Berlin Gallery Weekend all managed to coincide and jointly usher in the start of the season.
Japanese-born, Vienna-based artist, Soshiro Matsubara is digging deep into the sordid past and affairs of Viennese love, loss, and revenge, at a recent show in the City of Music where heads were taken off, and Freud was keeping close watch.
What did you get for Valentine’s Day? Some New Yorkers were treated to a unique blend of sexual energy and frustration in Irena Haiduk’s “Cabaret Économique”, performed at the Swiss Institute, New York.
Kristian Vistrup Madsen reviews “Desertado. Algo que aconteceu pode acontecer novamente” (Deserted. Something that happened may happen again) and braves the desert landscape of fiction and memory, finding it remarkably fertile
Jeppe Ugelvig reviews the duo’s latest multimedia-installation ”Whether Line”. Produced in rural Ohio, the ambitious project explores post-Trump American folklore through their neurotic and bewildering lens.
The second edition of Zurich Art Weekend provided some foreplay ahead of Art Basel. Alex Scrimgeour runs us through Zurich's standout shows, where he spotted painted angels, art games, vagina dentatas, and Don Quixote's horse.
Julien Bismuth everything has a face and every face has its thing (2019)
Makeup, installation gesture*, inkjet print
29.7 x 27.9 cm
*Four fingers of the same hand, held to match the placement of the artist’s eyes, nose, and mouth, colored with blue makeup, and pressed against a surface in the room. The work can be installed by the artist or someone else. The fingerprints can vary, but the proportions must stay the same.
Courtesy the artist and Galerie Emanuel Layr Vienna/Rome; Photo: Maximilian Anelli-Monti
A pioneer in uniting the avant garde of art with fashion, Elsa Schiaparelli created The Tears Dress with Salvador Dalí in 1938. The celebrated dress offered a violent, inventive glamour that foretold the horrors to come. By Ella Plevin
Camille Henrot, Buffalo Head: A Democratic Storytelling Experience performed by Amira Ghazalla with the participation of Jacob Bromberg, David Horvitz, Maria Loboda and Milovan Farronato. Adapted from Italo Calvino’s folktale of the same name Photo: Giovanna Silva Courtesy Fiorucci Art Trust, London
Mural by Camille Henrot Installation view "I Will Go Where I Don’t Belong" Photo: Giovanna Silva Courtesy Fiorucci Art Trust, London
Walter Sutin, Augury, 2015 Pen and Ink, 37 x 28 cm Installation view "I Will Go Where I Don’t Belong" Photo: Giovanna Silva Courtesy Fiorucci Art Trust, London
Laura Poitras, ANARCHIST: Power Spectrum Display of Doppler Tracks from a Satellite(Intercepted May 27, 2009), 2016. Pigmented inkjet print on aluminum, 45" x 64-3/4" (114.3 x 164.5 cm). Courtesy of the artist.
Laura Poitras, ANARCHIST: Israeli Drone Feed (Intercepted February 24, 2009), 2016. Pigmented inkjet print on aluminum, 45" x 64-3/4" (114.3 x 164.5 cm). Courtesy of the artist.
Still. Laura Poitras, O’Say Can You See, 2001/2016. Two-channel digital video, color, sound. Courtesy of the artist.
Installation View: Adriana Lara, "The Interesting Theory Club", Kraupa-Tuskany Zeidler, Berlin, 2016 Courtesy the Artist and Kraupa-Tuskany Zeidler, Berlin Photo: Gunter Lepkowski
Adriana Lara Interesting Theory #35, 2016 crayon on paper, inkjet print on acetate sheet, acrylic glass 29 x 21.7 cm | 11 1/2 x 8 1/2 in unique Courtesy the Artist and Kraupa-Tuskany Zeidler, Berlin Photo: Gunter Lepkowski
Adriana Lara Interesting Theory #17, 2014 wool hand woven Berber carpets 210 x 135 cm | 82 2/3 x 53 1/4 in unique Courtesy the Artist and Kraupa-Tuskany Zeidler, Berlin Photo: Gunter Lepkowski
WADE GUYTON & STEPHEN PRINA "Wade Guyton“, Untitled 2011; Epson UltraChrome inkjet on linen / Stephen Prina, PUSH COMES TO LOVE, "Untitled, 1999 - 2011, 2011“; Epson UltraChrome inkjet on linen and acrylic enamel on linen;
Foto: Stephan Wyckoff: Kunsthalle Wien Museumsquartier, Obere Halle, Ausstellungsarchitektur: Johannes Porsch
Foto: Stephan Wyckoff: Kunsthalle Wien Museumsquartier, Obere Halle, Ausstellungsarchitektur: Johannes Porsch
Foto: Stephan Wyckoff: Tina Lechner, Ohne Titel, 2015, Courtesy die Künstlerin und Galerie Hubert Winter, Wien; Paul Leitner, the traveler #3, 2015, Courtesy der Künstler und unttld contemporary, Wien; Maruša Sagadin, Hand (die B.I.G.), 2014, Courtesy die Künstlerin
Josef Strau at Vilma Gold in London; Miriam Cahn at Meyer Riegger in Karlsruhe; Ed Atkins at the Kunsthalle Zürich; Tatiana Trouvé at the Schinkelpavillon in Berlin; »LOVE AIDS RIOT SEX 2« at nGbK in Berlin; Francesca Woodman at the Sammlung Verbund in Wien; and much more