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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.
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.
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.
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.
What parts of online life can’t we see, and why? Eva & Franco Mattes’s largest solo show to date sheds light on the internet’s dark corners – and posits peer-to-peer ways out.
At Lenbachhaus, Munich, Charlotte Salomon’s monumental proto-graphic novel Leben? Oder Theater? chronicles the comic minutiae and sweeping tragedies of its author’s too-short life.
Andrea Bowers and Mary Weatherford’s duo show at Capitain Petzel, Berlin harmonizes their requiems of eco-grief while insisting on the power of simply taking note.
An exhibition at WIELS, Brussels, discloses that Marc Camille Chaimowicz’s perpetual-sunset sentimentality is no longer a provocation, but a favorite hue in the mood ring of pop.
Who’s having a moment? Which XXL install flopped? Was climate always a window dressing? And is Art Basel really still the main draw? Kito Nedo shares the cracker jacks at Art World’s biggest circus.
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.”
From fake eyelashes to slasher movies, Spike’s editor Isabella Zamboni highlights the most spirited shows opened during Zurich Art Weekend, and still on view
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
The first European retrospective dedicated to Terre Thaemlitz (DJ Sprinkles) homages her lifelong mission to withdraw, de-produce, and debunk “underground” or “queer” redemption.
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 its staging of 300+ works by Rosemarie Trockel is unparalleled in its comprehensiveness, a retrospective at MMK, Frankfurt fails to contextualize Germany’s best-known woman artist.
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.
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.
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.
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.
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
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.
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
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.
Book-ended by Art Week and the Salon del Mobile, an exhibition by the label-cum-artist collective CFGNY at Marsèll, Milan strips down and reengineers the Western industrialization of Asian-ness.
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.
A group show at gta Exhibitions, Zurich calls into question local worlds left unbuilt, the worthiness of certain gifts, and museums’ credibility as storytellers of the cultures they serve.
Berlin Gallery Weekend is back! Here’s our guide to 5 shows among the 55 participating venues that we are especially curious to visit in the days ahead.
A video-first retrospective at Haus am Waldsee, Berlin, is charged with ninety-year-old Margaret Raspé’s untiring anger at the separation between art-making and domestic femininity.
In Jes Fan’s glass-and-resin sculptures at Empty Gallery, Hong Kong, a local pearl oyster embodies the island’s long-running struggle against the conspiracies of empire.
View of “dellbrück,” Galerie nächst St. Stephan, Vienna, 2023. All images courtesy of Manfred Pernice and Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna. Photos: Markus Wörgötter
At Galerie nächst St. Stephan, Vienna, Manfred Pernice is sculpting with a new name but a familiar hardware reptoire, heaping up double entendres from scraps during a new war in Europe.
A group exhibtition at mumok, Vienna invited artists to pair their work with objects from the museum collection, briefly reversing the flows of power at the heart of modernism.
Views of Sanja Iveković, “Works of Heart (1974–2022),” Kunsthalle Wien, Vienna, 2022. All images courtesy: the artist and Kunsthalle Wien. Photos: Boris Cvjetanović
Tea Hacic-Vlahovic takes in 50 years of Sanja Iveković’s irreverent polymathy at Kunsthalle Wien, from fake-masturbating above Tito’s motorcade to publishing her mother’s poems.
The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.
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
Premiered in Europe last month at Kunsthalle Baden-Baden, Yvonne Rainer’s final performance aspires to complicate her legacy on questions of exclusion.
At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.
Is the tragic hero even possible in 2023? Not really. But Matthew Gasda’s latest play does confront us with the moral quandaries that come with drama, conflict, and power games.
New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.
At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.
All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha
At Kestner Gesellschaft’s retrospective of Paula Rego, Kristian Vistrup Madsen eulogizes her unmasking of how women suffer and prevail through suffering.
Rounding out Spike x Liste Expedition Monthly Picks for 2022, Geoffrey Mak finds in painter-hacker Rachel Rossin’s works a melancholy embrace of our fractured lives.
Carolee Schneemann wrested pleasure from taboos, showing how more the body is than a sex-negative society can admit. Read our review of her latest retrospective at Barbican in London.
For the October edition of Spike x Liste Expedition Monthly Picks, Arnon Ben-Dror traces the de-solidification of contemporary sculpture in Hannah Sophie Dunkelberg’s works.
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
Dry, quantifiable data can evince emotions. And artist Vijay Masharani’s technical images are full of paranoia. Spike x Liste Expedition Monthly Picks, by Coco Klockner.
In the June edition of Spike x Liste Expedition Monthly Picks, the Berlin-based writer Olamiju Fajemisin pinches and zooms in on selected works by Srijon Chowdhury and discovers ambiguous feelings.
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
Precious Okoyomon, To See The Earth Before the End of the World, 2022, installation view, 59th International Art Exhibition – La Biennale di Venezia, 2022
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.
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.
Ingrid Luquet-Gad traces the spirit of politicised laughter in !Mediengruppe Bitnik’s ongoing series “Flagged for” for the May edition of Spike x Liste Expedition Monthly Picks.
The first installment of Spike’s new criticitism format Five-Star Review is a roundup of Gallery Weekend Berlin 2022. Here we judge Trisha Donnelly at Galerie Buchholz.
Spike inaugurates a new format, where galleries, curators, and art are judged by glyphs, through 18 categories that would be equally at home in gourmet guides, aesthetic treatises, or poetry.
The first installment of Spike’s new criticitism format Five-Star Review is a roundup of Gallery Weekend Berlin 2022. Here we judge Joan Joans at Heidi Gallery.
Robert Lettner, Untitled (from the series “Kalte Strahlung”), 1972, acrylic on canvas, 160 × 188 cm; Courtesy Wonnerth Dejaco and Archiv Robert Lettner; Photo: Peter Mochi
Scientist-turned-artist Libby Heaney speaks about what quantum means, how it can be made more accessible, and the feminist possibilities that its essential plurality unleashes.
Jaime Chu examines citizenship, empire, and belonging through the lens of Jenna Bliss’s video art for the April edition of Spike x Liste Expedition Monthly Picks.
For the March installment of Spike’s monthly collaboration with Liste Expedition, Juan José Santos explores the abyss of language in Anna Dot’s multimedia practice.
Assemblage art, post-punk, parties, laundries, and literal trash curated with love. Artist George Egerton-Warburton pens a guide to the Melbourne art scene.
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.
The private is public; the personal, political: the stuff that fills our “home sweet home”, asserts a group show in Graz, is loaded with baggage from the world outside.
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.
Nadiah Bamadhaj, Casting Spells for the Movement (Merapal Mantra untuk Gerakhan), (2021). Installation view from the 2021 Jakarta Biennale. Courtesy: Jakarta Biennale
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.
In the picturesque town of Bergen, a group show dedicated to the ocean at the Kunsthall promised to pay tribute to the water’s siren call – and the oil tanker’s – in a port city filled with both.
The Performance Agency’s ode to Fluxus, Another Map to Nevada, falls somewhere between a performance art parcours and a boat party, embracing the unknown – even if it means getting a little wet.
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
This year’s Athens Biennale is filled with art that foregrounds care – but are these heartfelt works at odds with their crammed (and heavy-handedly critical) surroundings?
Is acceleration all it’s cracked up to be? Spike editor Adina Glickstein motors to Munich for a survey of art that critically reflects on the need for speed.
Giving new meaning to “fetish objects”, the Romanian-born sculptor salvages the by-products of late capitalism, fashioning trash into marbled pastel mementos mori of consumption.
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.
Collecting a decade’s worth of digital fragments for their ongoing net art project, two Palestinian artists splice, sample, and superimpose new modes of memory from the ephemera of online life.
"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.
Berlin, we’ve got your weekend plans sorted! Celebrate the Neue Nationalgalerie’s reopening with a Mies-van-der-Rohe-flavoured programme at venues across the city.
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.
Listen up! That's the sound of resistance. Eva Scharrer visits Sonsbeek, where the weight of history echoes and resonates across Arnhem and beyond in an expansive exhibition.
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.
Eva Scharrer visits Baltic Triennial 14, searching for a stable sense of place amidst the (art)world’s dizzying reopening. But has geography ever really been immutable, or is change the only constant?
Colin Lang went to a concert, outside, featuring three artists playing music next to the work of another artist, Simone Fattal. Angels, sirens, and guitars, all inside of a bombed-out cloister.
Liquid silk, pearl jam, primordial soup ... whatever your euphemism of choice, it's undeniable that we all come from it – so might as well make light of it, like Marlie Mul.
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.
Installation View “what fruit it bears”, Peres Projects, Berlin; front: Vojtech Kovarik, Laocoon, 2020, Acrylic, spray paint and sand on canvas, 220 x 200 cm
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.
A Tale of Romance, 2020 (detail), carpet, glazed ceramics, artificial hair, fabric, wood, light sphere, Carpet: 350 × 200 cm, Sculpture ca. 20 × 130 × 90 cm, Lamp ø 28 cm
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.
A cartography of the Thailand's capital's art scene, five years after its last military coup, and just before the country's first elections in eight years. By Abhijan Toto
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
An interview with the artist as he puts the finishing touches to his solo exhibition ”Stücke”, opening at Galerie Emanuel Layr in Vienna on 25 January, 2019
Maurizio Cattelan talks to Rita Vitorelli about "The Artist is Present", an exhibition he curated in collaboration with Gucci's Alessandro Michele at Yuz Museum, Shanghai
Federica Bueti on how this year's Berlin Biennale sidesteps the normative force of refusal to open up different sets of questions and engagements with art.
An interview with Asad Raza, D. Graham Burnett and Jeff Dolven about their experimental project Schema for a school which was part of the show A Prelude to the Shed in New York.
An interview with the artist as she puts the finishing touches to her solo exhibition "THEMOVE", opening at Galerie Emanuel Layr in Vienna on 14 May, 2018
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
Copenhagen is more then just streamlined design, noma and beautiful people. The city's art scene deserves some close-up attention. A roundup by Janus Høm
Leila Peacock, The Fourth Wall in a Fugue State, 2016, with Levan Chogoshvili and Tobias Spichtig, and Marc Hunziker & Chantal Kaufmann & Rafal Skoczek (UP STATE), No trees in the forest, 2016
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
Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat
Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat
Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat
Jon Rafman, Bitsa Park (Bitsevski Park) Moscow, Russia, 2010 Archival pigment print on alu dibond, framed Courtesy of the artist and Future Gallery, Berlin
Emma Charles, Fragments on Machines, Production still, 2013
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.
ROCHELLE FEINSTEIN Exhibition view of In Anticipation of Women’s History Month at Centre d’Art Contemporain Genève, 2016 Photo credit: Gunnar Meier Photography
ROCHELLE FEINSTEIN Exhibition view of In Anticipation of Women’s History Month at Centre d’Art Contemporain Genève, 2016 Photo credit: Gunnar Meier Photography
ROCHELLE FEINSTEIN Exhibition view of In Anticipation of Women’s History Month at Centre d’Art Contemporain Genève, 2016 Photo credit: Gunnar Meier Photography
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
Venice Biennale; Susan Philipz, Theseustempel, Vienna; “The Symptom of Art”, Cabinet, London; Cory Arcangel, Espace Louis Vuitton, Munich; Cyprien Gaillard, Sprueth Magers, Berlin; and much more
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;
"Jardin d'Hiver", 1974; Detail of Jardin d’Hiver, six photographic enlargements of 19th century, English engravings of 81 x 124.5 cm (each); Copyright Estate Marcel Broodthaers
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
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