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 Emanuel Layr, Henrikke Nielsen, Sophie Tappeiner; Photo by Katharina Gossow

Emanuel Layr, Henrikke Nielsen, Sophie Tappeiner; Photo by Katharina Gossow

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, stretchfoil; four panels, each 119 x 119 cm. Courtesy: the artist and DREI, Cologne

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.

 Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

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.

 Left: Pablo Picasso, The Sculptor , 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman , 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Left: Pablo Picasso, The Sculptor, 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman, 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

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.

 Eva & Franco Mattes, Half Cat (2021) and Untitled (Yellow Cable Tray) (2021), installation view, Frankfurter Kunstverein, 2023. © Frankfurter Kunstverein. All images courtesy: the artists and Apalazzo Gallery, Brescia. Photos: Melania Dalle Grave, DSL Studio

Eva & Franco Mattes, Half Cat and Untitled (Yellow Cable Tray), both 2021. Installation view, Frankfurter Kunstverein, 2023. © Frankfurter Kunstverein. All images: © Frankfurter Kunstverein. Courtesy: the artists and Apalazzo Gallery, Brescia. Photos: Melania Dalle Grave, DSL Studio

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.

 Charlotte Salomon, Self-portrait , 1940, gouache. © Charlotte Salomon Foundation. Courtesy: Collection of the Jewish Museum, Amsterdam

Charlotte Salomon, Self-portrait, 1940, gouache. © Charlotte Salomon Foundation. Courtesy: Collection of the Jewish Museum, Amsterdam

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, Grief Hope , 2020, neon, 124 x 304 x 10 cm. Courtesy: the artist and Capitain Petzel, Berlin

Andrea Bowers, Grief Hope, 2020, neon, 124 x 304 x 10 cm. Courtesy: the artist and Capitain Petzel, Berlin

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.

 View of “Project for a New American Century,” Whitney Museum of American Art, 2023. Photo: Ron Amstutz

View of “Project for a New American Century,” Whitney Museum of American Art, 2023. Photo: Ron Amstutz

In New York, a mid-career retrospective at the Whitney recaps Josh Kline’s horrorcore journalization of the 21st-century precariat.

 View of “Nuit américaine,” WIELS, Brussels, 2023. Courtesy: the artist and WIELS, Brussels. Photo: We Document Art

View of “Nuit américaine,” WIELS, Brussels, 2023. Courtesy: the artist and WIELS, Brussels. Photo: We Document Art

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.

 Bikers in the steel ball at Circus Knie, Basel, 2023

Bikers in the steel ball at Circus Knie, Basel, 2023

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 , 2023, mixed media, dimensions variable. Detail, installation view, Bonner Kunstverein, 2023. Courtesy: the artist and LC Queisser, Tbilisi. Photo: Mareike Tocha

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.”

 Sylvie Fleury, Cuddly painting (light green) , 2023, faux fur, wooden stretcher, 50 x 50 cm. Photo: Nicolas Duc

Sylvie Fleury, Cuddly painting (light green), 2023, faux fur, wooden stretcher, 50 x 50 cm. Photo: Nicolas Duc

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

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. 

 Amar Kanwar, The Torn First Pages , 2004–08

Amar Kanwar, The Torn First Pages, 2004–08, 19-channel b/w and color video, sound, silent, varying duration

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.

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.

 Rosemarie Trockel, Always Leave Them Wanting More , 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

Rosemarie Trockel, Always Leave Them Wanting More, 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

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.

Wes Anderson on the set of Asteroid City, 2023. Courtesy: Focus Features. Photo: Roger Do Minh / Pop. 87 Productions

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.

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

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.

 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

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.

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

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

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

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.

 Portrait of CFGNY in “Emporium,” Marsèll, Milan, 2023. Left to right: Izu, Daniel Chew, Tin Nguyen (seated), and Kirsten Kilponen. Photo: Elle Pérez

Portrait of CFGNY in “Emporium,” Marsèll, Milan, 2023. Left to right: Izu, Daniel Chew, Tin Nguyen (seated), and Kirsten Kilponen. Photo: Elle Pérez

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.

 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

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.

 OMA, Hermitage Guggenheim, Las Vegas, The Venetian Resort Hotel, Solomon. R. Guggenheim Foundation, archival materials, 2000–01, and Flick House, Zurich, commissioned study, archival materials, 2001. All photos: Nelly Rodriguez

OMA, Hermitage Guggenheim, Las Vegas, The Venetian Resort Hotel, Solomon. R. Guggenheim Foundation, archival materials, 2000–01, and Flick House, Zurich, commissioned study, archival materials, 2001. All photos: Nelly Rodriguez

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.

 Margaret Raspé with camera helmet, 1971. Courtesy: the artist und Deutsche Kinemathek, Berlin. Photo: Heiner Ranke

Margaret Raspé with camera helmet, 1971. Courtesy: the artist und Deutsche Kinemathek, Berlin. Photo: Heiner Ranke

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.

 Still from Jes Fan, Palimpsest , 2023. All images courtesy: the artist and Empty Gallery

Still from Jes Fan, Palimpsest, 2023. All images courtesy: the artist and Empty Gallery, Hong Kong

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

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.

 Nilbar Güreş, Mayzu , 2022. Courtesy: the artist and mumok, Vienna. Photo: Oliver Ottenschläger

Nilbar Güreş, Mayzu, 2022. Courtesy: the artist and mumok, Vienna. Photo: Oliver Ottenschläger

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.

 View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

5☆ is back! Maximilian Geymüller drops by Croy Nielsen, Vienna to see Sandra Mujinga’s follow-up to her Preis-der-Nationalgalerie exhibition.

 Lion Attacking a Horse , 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Lion Attacking a Horse, 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

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

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.

 Joan Mitchell, No Room at the End , 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Joan Mitchell, No Room at the End, 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

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.

 Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

 View of Matthew Gasda, Dover , Beckett’s, New York, 22 Januar 2023. Photo: Matthew Weinberger

View of Matthew Gasda, Dover, Beckett’s, New York, 22 January 2023. Photo: Matthew Weinberger

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.

 Still from LuYang, DOKU the Self , 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

Still from LuYang, DOKU the Self, 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

 Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm

Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm. All images © VG Bild-Kunst, Bonn 2022. Courtesy: Galli and Kraupa-Tuskany Zeidler, Berlin. Photos: def image

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

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 the Ludwig Forum Aachen, Kerstin Brätsch’s colored-pencil drawings call on the goddess Inanna to complicate our hierarchies of interpretation.

 Paula Rego, The Dance , 1988, acrylic on paper on canvas, 213.5 x 274.5 cm.  © Ostrich Arts Ltd. Courtesy: Ostrich Arts Ltd and Victoria Miro, London

Paula Rego, The Dance, 1988, acrylic on paper on canvas, 213.5 x 274.5 cm. © Ostrich Arts Ltd. Courtesy: Ostrich Arts Ltd and Victoria Miro, London

At Kestner Gesellschaft’s retrospective of Paula Rego, Kristian Vistrup Madsen eulogizes her unmasking of how women suffer and prevail through suffering.

 Wait till the sun shines , 2022, oil on linen, 100 x 205 cm. Installation view, Belvedere 21, Vienna, 2022. All photos: Johannes Stoll

Wait till the sun shines, 2022, oil on linen, 100 x 205 cm. Installation view, Belvedere 21, Vienna, 2022. All photos: Johannes Stoll

At Belvedere, Vienna, androgynous nudes lay around Stanislava Kovalcikova’s art-history-rich paintings as though in erotic limbo.

 View of “Sam Falls”, Galerie Eva Presenhuber, Vienna, 2022

View of “Sam Falls”, Galerie Eva Presenhuber, Vienna, 2022. All photos: Jorit Aust

At Galerie Eva Presenhuber in Vienna, Sam Falls sows photographic exposures with plant and soil matter in lurid depictions of growth and decay.

 View of Michel Majerus,“gemälde”, neugerriemschneider, Berlin, 19.11.–23.12.1994; © Michel Majerus Estate. Courtesy neugerriemschneider, Berlin. Photo: Jens Ziehe

View of Michel Majerus,“gemälde,” neugerriemschneider, Berlin, 19.11–23.12.1994 © Michel Majerus Estate. Courtesy: neugerriemschneider, Berlin. Photo: Jens Ziehe

Was Michel Majerus the 20th century’s last conceptualist, or our own millennium’s first art-world troll? By Colin Lang

 Rachel Rossin,  Moulting keyholes ad you tell me now  (2022) (detail)

Rachel Rossin, Moulting keyholes ad you tell me now (2022) (detail)

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.

 Sergei Parajanov, The Color of Pomegranates, 1969

Sergei Parajanov, The Color of Pomegranates, 1969

Flamboyance, mysticism, grungy bohemia, offbeat artistic projects: Tbilisi’s art and nightlife scene, with a listing of spots to watch.

 Carolee Schneemann, Meat Joy,16–18 November 1964, Judson Dance Theater, Judson Memorial Church, New York; Photo © 2022 Estate of Robert R. McElroy / Licensed by VAGA at Artists Rights Society (ARS)  

Carolee Schneemann, Meat Joy, November 16–18, 1964, Judson Dance Theater, Judson Memorial Church, New York. Photo © 2022 Estate of Robert R. McElroy / Licensed by VAGA at Artists Rights Society (ARS)

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.

Spike x Liste Expedition Monthly Picks in November: Brit Barton on the allure of Inga Danysz’s stoic Sarcophagus 03.

 Vunkwan Tam,  78i78 , 2022, blanket, water, synthetic doe urine, 145 x 140 x 18 cm. Courtesy: the artist and Empty Gallery, Hong Kong. Photo: Michael Yu

Vunkwan Tam, 78i78, 2022, blanket, water, synthetic doe urine, 145 x 140 x 18 cm. Courtesy: the artist and Empty Gallery, Hong Kong. Photo: Michael Yu

In his debut show at Empty Gallery in Hong Kong, Vunkwan Tam turns doe urine into a metaphor for dramatized emotional wallowing.

 View of “Ian Cheng: Life After BOB,” LAS (Light Art Space), Berlin. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Photo: Andrea Rossetti

View of “Ian Cheng: Life After BOB,” LAS (Light Art Space), Berlin. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Photo: Andrea Rossetti

Ian Cheng speaks about his latest film shown at LAS in Berlin and about what is left for human selves to do.

 Paris Internationale 2022 

Paris Internationale 2022 

The 2022 Paris art fairs are all about glocal simulations and works full of text. Read Ingrid Luquet-Gad’s round-up.

 View of “Water Being Washed Away”curated by Alessandro Rabottini, Galerie Hubert Winter, Vienna, 2022

View of “Water Being Washed Away”curated by Alessandro Rabottini, Galerie Hubert Winter, 2022

The Viennese gallery festival curated by looks east for its 2022 edition. Read our round-up.

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

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

Tom Burr’s new solo exhibition at Galerie Neu is more discourse-friendly and hopeful than well lit. 

 Vijay Masharani, Mourning In Advance, 2021-22

Vijay Masharani, Mourning In Advance, 2021-22

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.

How do you translate a rice field into fabric? Artist Margherita Raso shows the way.

 Maria Eichhorn, “Relocating a Structure,” German Pavilion 2022, 59th International Art Exhibition – La Biennaledi Venezia, 2022

Maria Eichhorn, “Relocating a Structure,” German Pavilion 2022, 59th International Art Exhibition – La Biennaledi Venezia, 2022

What dark secrets are hidden behind the walls of the German Pavilion? Maria Eichhorn makes them visible.

 Nikima Jagudajev, Basically , 2022. Installation view, Shedhalle’s Protozone 6: Are you coming? , 2022, Zurich. Photo: Laila Kaletta

Nikima Jagudajev, Basically, 2022. Installation view, Shedhalle’s “Protozone 6: Are you coming?,” 2022, Zurich. Photo: Laila Kaletta

Reflections on The Sims and Nikima Jagudajev's performance “Basically.” 

 View of Rirkrit Tiravanija and Thomas Bayrle, “Tomorrow is the Question,” Gladstone Gallery, 2022, Beijing. Photo: Sixing Xu

View of Rirkrit Tiravanija and Thomas Bayrle, “Tomorrow is the Question,” Gladstone Gallery, 2022, Beijing. Photo: Sixing Xu

Art critic Sixing Xu found reprieve from the hellscape of “twenty-twenty too” at this year’s Gallery Weekend Beijing.

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. 

 Thùy-Hân Nguyễn-Chí,  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

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

How do you generate empathy and the urgency of a struggle? The 12th Berlin Biennale doesn’t have the right answers.

 Precious Okoyomon, To See The Earth Before the End of the World , 2022, installation view, 59th International Art Exhibition – La Biennale di Venezia, 2022

Precious Okoyomon, To See The Earth Before the End of the World, 2022, installation view, 59th International Art Exhibition – La Biennale di Venezia, 2022

Curator Nicolas Bourriaud argues that the current Venice Biennale is not as post-human as you might think.

 Photo: Jeff Busby

Photo: Jeff Busby

How will our lives be when AI rules the world? Back to Back Theatre’s new play at the Wiener Festwochen provides a theory.

 Performance of Cecilia Bengolea,  La Danse des É l éments , 2022, Esch-Belval. Photo: Elke Walkenhorst © Mudam Luxembourg 

Performance of Cecilia Bengolea, La Danse des Éléments, 2022, Esch-Belval. Photo: Eike Walkenhorst © Mudam Luxembourg 

In Cecilia Bengolea’s work, dancers blend ballet and street culture at a blast furnace. The result is as hot as liquid steel.

 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.

 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

 !Mediengruppe Bitnik, "Flagged for Political Speech", 2021

!Mediengruppe Bitnik, ”Flagged for Political Speech”, 2021

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. 

 Exhibition view

Exhibition view, Galerie Buchholz, Berlin, 2022

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. 

 Exhibition view; Photo by Mizuki Tachibana

View of Joan Jonas, ”Past Thought Revised”, Heidi Gallery, Berlin, 2022.
Photo: Mizuki Tachibana

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

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

The recent Spark Art Fair and several new exhibition spaces in Vienna are generating buzz as the winds of change blow in the city.

 Libby Heaney, Ent-, Installation view: Schering Stiftung, Berlin, 2022. Photo: Andrea Rossetti

Libby Heaney, Ent-, Installation view: Schering Stiftung, Berlin, 2022. Photo: Andrea Rossetti

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.  

 Jenna Bliss,  Professional Witnesses (2021)

Jenna Bliss, Professional Witnesses (2021)

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.

 Cassidy Grady in  Dimes Square  (2022)

Cassidy Grady in Dimes Square (2022)

A new play by Matthew Gasda takes on the politics and power-plays of a notorious Lower East Side locale. 

 Opening of “Full of Love and Contradiction” at Asbestos. Photo: Josh Krum and Aden Miller

Opening of “Full of Love and Contradiction” at Asbestos. Photo: Josh Krum and Aden Miller

Assemblage art, post-punk, parties, laundries, and literal trash curated with love. Artist George Egerton-Warburton pens a guide to the Melbourne art scene.

Han Mengyun, The Pavilion of Three Mirrors (2021). Oil on canvas, 3 polished-steel pavilions, 17 × 11 m; steel pavilions

Marwah AlMugait, This Sea Is Mine (2021). Live performance, 3-channel video installation, 13'42"

Abdullah Al Othman, Manifesto: The Language & City (2021). Neon, LED, found wooden signage, 8 × 5 m. Commissioned by Diriyah Biennale Foundation

11 December 2021 – 11 March 2022
 At-Tuarif. © Diriyah Gate Development Authority

At-Tuarif. © Diriyah Gate Development Authority

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.

Hermann Nitsch, Schüttbild (2021). All photos courtesy Peres Projects

Legendary Viennese avante-gardist Hermann Nitsch flies solo in a recent exhibition of paintings and drawings at Peres Projects, Berlin.

 Still from Phung-Tien Phan, Girl at Heart (2020). Single-channel-HD-video, color, sound, 00:05:09. Courtesy Liste Expedition

Still from Phung-Tien Phan, Girl at Heart (2020). Single-channel-HD-video, color, sound, 00:05:09. Courtesy Liste Expedition

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.

 “Domestic Drama”(2021/22), installation view from Halle für Kunst Steiermark

“Domestic Drama” (2021/22), installation view from Halle für Kunst Steiermark

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.

 C.L. Salvaro,  Before Sinking, it Floats  (2021). Photo: Ana Pigosso. Courtesy Liste Expedition

C.L. Salvaro, Before Sinking, it Floats (2021). Photo: Ana Pigosso. Courtesy Liste Expedition

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.

 Mark Leckey,  O' Magic Power of Bleakness  (2021). Silkscreen on cardstock, 68.5 x 70 cm

Mark Leckey, O' Magic Power of Bleakness (2021). Silkscreen on cardstock, 68.5 x 70 cm

Fantasy lore from Liverpool, mediated through spray cans, sportswear, and the fog of memory: Mark Leckey revisits a mystical moment from adolescence.

 Calla Henkel & Max Pitegoff,  Paradise  (2020–)

Calla Henkel & Max Pitegoff, Paradise (2020–). All photos: Maksym Biilousov, PinchukArtCentre 2021

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

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?

 Anne Fellner,  Point No Point (Sage)  (2020). Oil, acrylic, and enamel on synthetic fabric, 137 x 195 cm. Courtesy Liste Expeditions

Anne Fellner, Point No Point (Sage) (2020). Oil, acrylic, and enamel on synthetic fabric, 137 x 195 cm. Courtesy Liste Expeditions

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.

 Robert Irwin, Light and Space (Kraftwerk Berlin) , 2021. Commissioned by LAS (Light Art Space). (c) Photo: Timo Ohler. VG Bild-Kunst, 2021

Robert Irwin, Light and Space (Kraftwerk Berlin), 2021. Commissioned by LAS (Light Art Space). (c) Photo: Timo Ohler. VG Bild-Kunst, 2021

Illuminating, in more ways than one. Robert Irwin’s Light and Space (Kraftwerk Berlin) installation is on view from 5 Dec 2021 — 30 Jan 2022.

Jeremy Deller, Rejected Tube Map Cover Illustration, 2007 Offset print, 59 x 84 cm, Edition of 3 + 2 ap; Photo: Patrick Jameson

Installation view, Jeremy Deller, “Warning Graphic Content”, The Modern Institute, Aird’s Lane, Glasgow, 2021; all photos: Patrick Jameson

Installation view, Jeremy Deller, “Warning Graphic Content”, The Modern Institute, Aird’s Lane, Glasgow, 2021

 Frank Bowling in his studio at 535 Broadway Studio, c. 1971

Frank Bowling in his studio at 535 Broadway Studio, c. 1971

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.  

 Still from Tabita Rezaire, Deep Down Tidal  (2017). HD video, 18 mins.

Still from Tabita Rezaire, Deep Down Tidal (2017). HD video, 18 mins.

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.

 Annalise van Even in  Echoic Choir  (2021). Photo: Paris Tsitsos

Annalise van Even in Echoic Choir (2021). Photo: Paris Tsitsos

This year's Wiener Festwochen gets all up in your business. Read Klaus Speidel's review, originally published in Spike #69 – STORYTELLING. 

 Astrit Ismaili,  Miss Kosovo , during  Another Map to Nevada , Copenhagen (2021). Photo: Luis Artemio de los Santos. © The Performance Agency

Astrit Ismaili, Miss Kosovo, during Another Map to Nevada, Copenhagen, 2021. Photo: Luis Artemio de los Santos. © The Performance Agency

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

“ECLIPSE” responds to the chaotic present – a world politically divided and spiritually devoid. Here are Spike’s top picks, in pictures. 

 Jakob Kudsk Steensen, Aquaphobia (2017). Courtesy of the artist. Installation view from Athens Biennale 7: "ECLIPSE". Photo: Nysos Vasilopoulos

Jakob Kudsk Steensen, Aquaphobia (2017). Courtesy of the artist. 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?

 Sara Sadik, Khtobtogone  (2021). Courtesy of the artist and Crévecoeur, Paris

Sara Sadik, Khtobtogone, 2021. Courtesy: the artist and Crévecœur, Paris

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.

Andra Ursuta, Predators 'R Us (2020). Photo: Dario Lasagni. © Andra Ursuta. Courtesy the artist and David Zwirner

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. 

 Esben Weile Kjær,  HARDCORE FREEDOM , 2021

Esben Weile Kjær, HARDCORE FREEDOM, 2021

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.

Screenshot from Basel Abbas and Ruanne Abou-Rahme, Postscript: After everything is extracted, May amnesia never kiss us on the mouth (2020–)

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.

Album cover of Xper.Xr, … … …. .. (2002)

"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.

 Jonathan Monk,  Pierre Bismuth, Postcard–Berlin, Diego Perrone outside of the Neue Nationalgalerie, 2003 ( 2021). Courtesy of Mehdi Chouakri

Pierre Bismuth, Postcard–Berlin, Diego Perrone outside of the Neue Nationalgalerie (2003). Photo by Jonathan Monk. Courtesy of Mehdi Chouakri

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.

 Tolia Astakhishvli and James Richards,  Tenant (Dream Catcher ) , 2021

Tolia Astakhishvli and James Richards, Tenant (Dream Catcher), 2021

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.

 Keti Koti parade at Sonsbeek 2021.  ©  Django van Ardenne

Keti Koti parade at Sonsbeek 2021. © Django van Ardenne

 

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.

 Betty Tomkins,  She is… , 2018,  Just a Pretty Face,  2019,  Women Don't Have Killer Instinct , 2019. Courtesy of the artist, P·P·O·W, New York and rodolphe janssen, Brussels. © Betty Tompkins

Betty Tomkins, She is…, 2018, Just a Pretty Face, 2019, Women Don't Have Killer Instinct, 2019. Courtesy of the artist, P·P·O·W, New York and rodolphe janssen, Brussels. © Betty Tompkins

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. 

 Yuri Pattison, "the engine", The Douglas Hyde Gallery. Photo by Louis Haugh.  

Yuri Pattison, "the engine", The Douglas Hyde Gallery. Photo by Louis Haugh.

 

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.

 Aleksandra Domanović, Things to Come (2014) (detail). Photo: Ugnius Gelguda

Aleksandra Domanović, Things to Come (2014) (detail). Photo: Ugnius Gelguda

 

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?

   All photos: Juan Saez

Simone Fattal, The 99 Names (detail), 2020; all photos: Juan Saez

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.

 Marlie Mul,  You Look So Tired , 2021

Marlie Mul, You Look So Tired, 2021.

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.

 Ja'Tovia Gary, The Giverny Suite  (2019). 

Ja'Tovia Gary, The Giverny Suite (2019). 

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.

 Left to Right: Marija TeresėRožanskaitė, Flaka Haliti, AnnaDaučíková, Mladen Stilinović.

Left to Right: Marija Teresė Rožanskaitė, Flaka Haliti, Anna Daučíková, Mladen Stilinović.
Photo: Ugnius Gelguda

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.

 Minsk Protets, 2020

Minsk Protests, 2020

A postcard from Minsk by artist and publisher of pARTisan magazine Artur Klinau

 Pencil/Line/Eraser,  John Wood and Paul Harrison, 2008, Courtesy Cristin Tierney Gallery

Pencil/Line/Eraser, John Wood and Paul Harrison, 2008, Courtesy Cristin Tierney Gallery

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.

 Lorraine O’Grady (American, born 1934). Rivers, First Draft: The Woman in Red starts painting the stove her own color , 1982/2015, digital chromogenic print from Kodachrome 35mm slides in 48 parts, 40 × 50 cm. Edition of 8 + 2 AP. Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York

Lorraine O’Grady. Rivers, First Draft: The Woman in Red starts painting the stove her own color, 1982/2015, digital print, 40 × 50 cm. Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York

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.  

 Fire , 2021, Oil on canvas, 177 x 213 cm All images courtesy White Cube

Fire, 2021, Oil on canvas, 177 x 213 cm

All images courtesy White Cube

Margaux Williamson at White Cube, London

 Left: Vue du torrent du Valentin dans le parc des Buttes Chaumont au sud , 2020 Acrylic on canvas, 197 x 138 cm Right: Capriccio à Paris , 2020, Acrylic on canvas, 160 x 250 cm

Left: Vue du torrent du Valentin dans le parc des Buttes Chaumont au sud, 2020 Acrylic on canvas, 197 x 138 cm

Right: Capriccio à Paris, 2020, Acrylic on canvas, 160 x 250 cm

Matthew Lutz-Kinoy at Museum Frieder Burda – Salon Berlin

 Installation View “what fruit it bears” December 4 – January 15, 2021 Peres Projects, Berlin

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 

“what fruit it bears” at Peres Projects, Berlin

 Patrick Panetta, Café Durban , 2020 HD Video and sound 00:04:05 Edition of 3

Patrick Panetta, Café Durban, 2020, HD Video and sound, 00:04:05 min.

COLIN LANG spent a few hours at the Daata Art Fair and thinks you should too!

 Lorna Simpson, Woman on a Snowball , 2018. © Lorna Simpson. Courtesy of the artist and Houser & Wirth; © Palazzo Grassi, photography Marco Cappelletti

Lorna Simpson, Woman on a Snowball, 2018. © Lorna Simpson. Courtesy of the artist and Houser & Wirth; all images © Palazzo Grassi, photography Marco Cappelletti

 Untitled , Hair, glue, 75 x 70 x 11 cm 

Untitled, Hair, glue, 75 x 70 x 11 cm 

Michael E. Smith at the Vienna Secession

Galerie Crone, curated by Jakob Lena Knebl
Exhibition view, “Diskrete Simulation”, 2020 

Charim Galerie Wien, curated by Brigitte Huck
Exhibition view, “Murderkino” by Scott Cliford Evans, 2020

Charim Galerie Wien, curated by Brigitte Huck
Anna Jermolaewa, Filmset, Murderkino by Scott Cliford Evans, 2019

Installation view, Ambera Wellmann, “Logic of Ghosts”, Kraupa-Tuskany Zeidler, Berlin, 2020; Photo: def-image

Installation view, Austin Lee, “Aah”, Peres Projects, Berlin, 2020, Photo: Matthias Kolb

Installation view, Austin Lee, “Aah”, Peres Projects, Berlin, 2020, Photo: Matthias Kolb

 Megan Francis Sullivan,  Marie 148 , 2014, c-print, 50 x 62.5 cm; Photo: Renke Klaproth

Megan Francis Sullivan, Marie 148, 2014., C-print, 50 x 62.5 cm; Photo: Renke Klaproth

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.

 Installation view "Josef Bauer. Demonstration" LENTOS Kunstmuseum Linz, 2020 Foto: maschekS.

Installation view “Josef Bauer. Demonstration”, Photo: maschekS

By Klaus Speidel

 Screenshot of Cassie Shao, Synched , 2018

Screenshot of Cassie Shao, Synched, 2018

“Friendly Ghost” at Miriam Gallery, Online 

By Adina Glickstein

 ò^~^ó Island,  Screenshot from Animal Crossing; New Horizons

ò^~^ó Island, Screenshot from Animal Crossing; New Horizons

By Yiou Penelope Peng

 View of “... of bread, wine, cars, security and peace”

View of “... of bread, wine, cars, security and peace”

By Max Henry

Sanya Kantarovsky, As ye sow, so shall ye reap, 2020, oil and watercolor on linen, 127 × 101.6 cm

Gertrude Abercrombie,White Cat and Red Carnations, 1941, oil on canvas, 40.6 cm × 50.8 cm, 61.6 × 71.75 cm (framed)

Nell Blaine, Untitled, 1957, oil on canvas laid to Masonite, 76.2 × 55.88 cm

 Soshiro Matsubara,  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

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.    

 Senga Nengudi, Ceremony for Freeway Fets , 1978 11 C-Prints. Photos: Roderick ‚Quaku‘ Young. Performance in Los Angeles. With: Senga Nengudi, David Hammons, Maren Hassinger, RoHo, Franklin Parker, Joe Ray Courtesy the artist and galleries Thomas Erben and Sprüth Magers

Senga Nengudi, Ceremony for Freeway Fets, 1978, 11 C-Prints (detail)
Original photo: Roderick 'Quaku' Young
Lenbachhaus Munich, KiCo Collection
© Senga Nengudi 2019

Courtesy the artist and galleries Thomas Erben and Sprüth Magers

 

Installation view first floor, Kunsthaus Bregenz, 2019
Photo: Markus Tretter, Courtesy of the artist, © Raphaela Vogel, Kunsthaus Bregenz

Installation view first floor, Kunsthaus Bregenz, 2019
Photo: Markus Tretter, Courtesy of the artist, © Raphaela Vogel, Kunsthaus Bregenz

Raphaela Vogel, "Tränenmeer", 2019
Video: 19:21 min.

All images courtesy of The Artist and von ammon co, Washington D.C.

 Komunuma, site, Summer 2019 © Axelle Poisson; Courtesy Fondation FIMINCO

Komunuma, site, Summer 2019
© Axelle Poisson; Courtesy Fondation FIMINCO

Ingrid Luquet-Gad finds coexistence and dissonance when she visits Komunuma, the new Parisian art district

 Keti Chukhrov / Guram Matskhonashvili,  Global Congress of Post-Prostitution , 2019, performance, Orpheum Graz, photo: Mathias Völzke

Keti Chukhrov / Guram Matskhonashvili, Global Congress of Post-Prostitution, 2019, performance, Orpheum Graz, photo: Mathias Völzke

Eva Scharrer dives into this hedonistic iteration of Graz’s art and theatre festival and comes out wanting more of its provocative commentary

 Flatness , Mobile screengrab showing image by Nikhil Vettukattil

Flatness, mobile screengrab showing image by Nikhil Vettukattil

Interview with Shama Khanna, curator of the recently re-launched online moving image platform Flatness

 Dinis Santos / CM Porto

Exhibition view of “Desertado. Algo que aconteceu pode acontecer novamente” at Galeria Municipal do Porto, 2019

Photo: Dinis Santos / CM Porto

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 

 Adam Linder, She Clockwork , 2019 Performance, costume objects, and wallpaper

Adam Linder, She Clockwork, 2019 Performance, costume objects, and wallpaper

 Kathy Acker, Pussycat Fever , Edinburgh: AK Press, 1995

Kathy Acker, Pussycat Fever, Edinburgh: AK Press, 1995

 Cameron Rowland Passport and Social Security Card, 2018 Unregistered IDs 2 3/16 x 3 7/16 and 2 3/16 x 3 7/16 inches (5.55 × 8.73 cm and 5.55 × 8.73 cm)

Cameron Rowland

Passport and Social Security Card, 2018

Unregistered IDs

2 3/16 x 3 7/16 and 2 3/16 x 3 7/16 inches (5.55 × 8.73 cm and 5.55 × 8.73 cm)

 Pauline Boudry / Renate Lorenz, T o Valerie Solanas and Marilyn Monroe in Recognition of their Desperation , 2013

Pauline Boudry / Renate Lorenz, To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation, 2013

 Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019 Photo Andrea Rossetti. Courtesy Fondazione Prada Lizzie Fitch | Ryan Trecartin, Neighbor Dub, 2019 15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019
Photo Andrea Rossetti. Courtesy Fondazione Prada

Neighbor Dub, 2019
15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

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.

 Carroll Dunham,  Clouds (1) , (2018) Mixed media on linen 126 x 151.5 x 5.5 cm © Carroll Dunham Courtesy the artist, Gladstone Gallery, New York and Brussels, and Galerie Eva Presenhuber, Zurich / New York Photo: David N. Regen

Carroll Dunham, Clouds (1), 2018
Mixed media on linen 126 x 151.5 x 5.5 cm
© Carroll Dunham Courtesy the artist, Gladstone Gallery, New York and Brussels, and Galerie Eva Presenhuber, Zurich / New York; Photo: David N. Regen

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. 

 Louise Lawler CS #204  (1990) © Courtesy Louise Lawler and Metro Pictures, New York / SAMMLUNG VERBUND, Wien

Louise Lawler
CS #204 (1990)

© Courtesy Louise Lawler and Metro Pictures, New York / SAMMLUNG VERBUND, Wien

By Bob Nickas

 Courtesy the artist and Croy Nielsen, Vienna

“Nicolas Jasmin and Other Works”
Exhibition view at Belvedere 21

Courtesy the artist and Croy Nielsen, Vienna

An interview with the artist about his exhibition “Nicolas Jasmin and Other Works” at Belvedere 21 in Vienna

 Wang Jiang Accuse Guilt Like Numbering the Fur  (2018) Detail at CLC Gallery Weekend

Wang Jiang
Accuse Guilt Like Numbering the Fur (2018, detail)

CLC Gallery Venture

Reviewed by Simon Frank

 Photo: Ella Plevin

Photo: Ella Plevin

Reviewed by Ella Plevin

 Detail of  The Curatorman  (2004), by Nawin Rawanchaikul, with portraits of personalities of the Bangkok art scene Courtesy of MAIIAM

Detail of The Curatorman (2004), by Nawin Rawanchaikul, with portraits of personalities of the Bangkok art scene

Courtesy of MAIIAM

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

 Cady Noland Publyck Sculpture  (1994) Courtesy Glenstone Museum, Potomac, Maryland (US), Installation view MUSEUM MMK FÜR MODERNE KUNST, Photo: Axel Schneider

Cady Noland
Publyck Sculpture (1994)

Courtesy Glenstone Museum, Potomac, Maryland (US),

Installation view MUSEUM MMK FÜR MODERNE KUNST, Photo: Axel Schneider

By Bob Nickas

 Zoe Leonard Chastity Belt (1990/1993)

Zoe Leonard
Chastity Belt (1990/1993)

By Keith J. Varardi

 Alia Farid At The Time of Ebb , 2019

Alia Farid
At The Time of the Ebb, 2019

DEAN KISSICK went to the United Arab Emirates to visit Sharjah Biennial 14

 Mary Beth Edelson Bride of the Fire  (1973) Courtesy of the artist and David Lewis, New York

Mary Beth Edelson
Bride of the Fire (1973)

Courtesy of the artist and David Lewis, New York

By Alexander Scrimgeour

 Kevin Beasley A View of a Landscape: A cotton gin motor ​​​(2012-18) Photo: Ron Amstutz

Kevin Beasley
A View of a Landscape: A cotton gin motor (2012-18)

Photo: Ron Amstutz

By Aria Dean

 Candice LIN La Charada China  (2018)

Candice LIN
La Charada China (2018)

An interview with co-curator Mali Wu by Harry Burke

 Yangjiang Group Last Day (2015) Courtesy the artists and Vitamin Creative Space

Yangjiang Group
Last Day (2015)

Courtesy the artists and Vitamin Creative Space

By Shanzhai Lyric

The photographer selected a couple of shots from his recently published picture book for Spike

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

The Wes Anderson and Juman Malouf curated show at Kunsthistorisches Museum Wien through the Austrian artist's lens
 Distributed Gallery Chaos Machine (2018) Installation view, "Proof of Work", Schinkel Pavillon, 2018. Photo: Hans-Georg Gaul

Distributed Gallery
Chaos Machine (2018)
Installation view, "Proof of Work", Schinkel Pavillon, 2018.

Photo: Hans-Georg Gaul

Artist Simon Denny talks to Sarah Friend about the exhibition "Proof of Work" at Schinkel Pavillon and distributed curating

 “The Conditions of Being Art: Pat Hearn Gallery and American Fine Arts, Co. (1983–2004)”, Hessel Museum of Art , 2018, Exhibition view

“The Conditions of Being Art: Pat Hearn Gallery and American Fine Arts, Co. (1983–2004)”, Hessel Museum of Art , 2018, Exhibition view

By Harry Burke

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

 Laurie Parsons,"A Body of Work 1987", Museum Abteiberg, 2018-19, exhibition view_______INSERT_______

Laurie Parsons
Installation view at Museum Abteiberg

By Adam Stamp

 ZEN (Zona Espansione Nord) via Primo Carnera    

Coloco & Gilles Clement
Becoming Garden (2018)

By Kolja Reichert

 Arthur Jafa, Apex, 2013, Video, 8’22’’, colour, sound

Arthur Jafa
Apex (2013)
Installation view

By Alexander Scrimgeour

 Curator Yann Chevallier in front of a mural by Vava Dudu

Curator Yann Chevallier in front of a mural by Vava Dudu

Paris Internationale 2018: Ingrid Luquet-Gad on the fair's fourth and "best" edition, and what else was going on in Paris last week

 Neïl Beloufa Exhibition view of "Global Agreement" (2018) Photo: Marc Krause

Neïl Beloufa
Exhibition view of "Neïl Beloufa. Global Agreement" (2018)
Photo: Marc Krause

By Alex Scrimgeour

 Noah Barker Could you visit me in dreams? ( 2018) © the crtist, Courtesy Galerie Nathalie Halgand and Green Naftali Gallery

Tony Cokes
Could you visit me in dreams? (2018)

"Could you visit me in dreams" curated by Attilia Fattori Franchini; © the artist, Courtesy the artist and Greene Naftali Gallery, New York

A review by Max L. Feldman

 Franz West Tragbild Franz  (1970)

Franz West
Tragbild Franz (1970)

Julie Ryan reports from the opening

 Installation view of "Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-1985" at Museo Jumex, 2018 Photo: Abigail Enzaldo and Emilio García

Installation view of "Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-1985" at Museo Jumex, 2018

Photo: Abigail Enzaldo and Emilio García

By Dorothée Dupuis

 Julia Phillips Extruder (#1)  (2017) Courtesy the artist

Julia Phillips
Extruder (#1) (2017)

Courtesy the artist

By Dean Kissick

 Edvard Munch Ashes  (1925)

Edvard Munch
Ashes (1925)

DEAN KISSICK reads Karl Ove Knausgård’s 1,153-page literary suicide note My Struggle Book 6: The End

 Joan Jonas    Installation view of  Reanimation

Joan Jonas   
Installation view of Reanimation

Courtesy the Artist and Gavin Brown's enterprise, New York: Rome. © 2018 Joan Jonas : Artists Rights Society (ARS), New York : DACS, London; Photo: Thomas Müller

By Oliver Basciano

 Rose Salane The Failure to Address  (detail, found postcard, 2018) Courtesy the artist and Carlos/Ishikawa Company hosting Carlos/Ishikawa, London

Rose Salane
The Failure to Address (detail, found postcard, 2018)

Courtesy the artist and Carlos/Ishikawa

Company hosting Carlos/Ishikawa, London

This month DEAN KISSICK visits 19 galleries on a summer’s day

 Left:  Charles Atlas Hail the New Puritan (1985/86) Right: Wolfgang Tillmans Heartbeat / Armpit  (2003) Photo: Simon Vogel

Left: 
Charles Atlas
Hail the New Puritan (1985/86)

Right:
Wolfgang Tillmans
Heartbeat / Armpit (2003)

Photo: Simon Vogel

Q/A with curator Ed Atkins

 Las Nietas de Nonó Ilustraciones de la Mecánica  (2016–18, documentation of the performance on 8 June 2018)  Courtesy Las Nietas de Nonó; Photo: Timo Ohler

Las Nietas de Nonó, Ilustraciones de la Mecánica; (2016–18, performance 8 June 2018), Courtesy Las Nietas de Nonó; Photo: Timo Ohler

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.

In this month's column Dean Kissick goes to a three-quarter-scale replica of an art bar in a gallery

An interview with Philippe Parreno on giving away control over his first extensive solo show in Germany at Gropius Bau to a bioreactor. By Joanna Kamm

 Installation view from left: Noele Ody, Eoghan Ryan, Aura Rosenberg

Installation view, from left: Noele Ody, Eoghan Ryan, Aura Rosenberg

An exhibition at Spike Berlin

 Duvet coats, AW 1999-2000, Photo: © Marina Faust

Duvet coats, AW 1999-2000, Photo: © Marina Faust

A conversation between curator Alexandre Samson and Marina Faust on the Martin Margiela retrospective currently showing in Paris

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.

 Jean-Michel Basquiat at Area, New York (1994)

Jean-Michel Basquiat at Area, New York (1994)

Von Klaus Speidel

Lena Henke
The other object (self-portrait yellow) (2018)

Silkscreen on aluminium
180 x 120 cm

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

By Lorena Muñoz-Alonso

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

Ari Benjamin Meyers talks to Robert Schulte about Kunsthalle for Music, his idea for a contemporary space for the exhibition of music

 Installation view, © MAK/Georg Mayer

Installation view, © MAK/Georg Mayer

By Mohammad Salemy

 Photo: Robert Hamacher

Photo: Robert Hamacher

Meeting Jordan Wolfson at Schinkel Pavillon

 Gelitin Fumami (2017)

Gelitin
Fumami (2017)

By Barbara Casavecchia

An interview with Andrew Berardini and Chris Sharp, the curators of “The Lulennial II: A Low Hanging Fruit”, which opened in Mexico City this week.

 New Noveta,  It's her (2017), Performance at YEARS

New Noveta, It's her (2017), Performance at YEARS

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

 Kris Lemsalu,  Mysteriously conceived and deeply felt (detail, 2018) 

Kris Lemsalu, Mysteriously conceived and deeply felt (2018)
Courtesy the artist and Koppe Astner, Glasgow 

Chloe Stead visited the preview weekend of the third London edition of the now famous collaborative exhibition and spoke to the gallerists

 View of “DOGGO” Background: Midnight Ecstasy  (2014) Digital print on vinyl, 250 × 1105 cm Photo: Annik Wetter

View of “DOGGO”
Background: Midnight Ecstasy (2014)
Digital print on vinyl, 250 × 1105 cm
Photo: Annik Wetter

By Tobias Madison

Picked by Daniel Baumann, Joanna Fiduccia, Dean Kissick, Ella Plevin, Robert Schulte, Klaus Speidel

An overview of the Texas city's recent past and present

An interview with the artist as he puts the finishing touches to his solo exhibition "Altbau", opening in Berlin on 24 November, 2017

 Photo: Masimba Sasa

Photo: Masimba Sasa

Gabi Ngcobo, curator of the next Berlin Biennale, on Mmakgabo Helen Sebidi’s Tears of Africa (1987–88)

A short interview with the artist as she puts the finishing touches to her solo exhibition "Lithosomes", opening 21 October, 2017

Installation von Gerasimos Floratos für die "Cabin Series"

Kuratiert von Schloss (Ausstellungsraum)

Daisuke Kosugi
„Good Name (Bad Phrase)“ (2017)
Lofoten Biennale 2017

Adam Linder
„To Gear A Joan(2017)
Lofoten Biennale 2017

Logbuch einer Kreuzfahrt entlang der norwegischen Küste

 Uralkali, Solikamsk (2017); photo provided by the 4th Ural Industrial Biennial

Uralkali, Solikamsk (2017); photo provided by the 4th Ural Industrial Biennial

An interview with curator João Ribas about programming a biennial in a very special setting

"Schreibtischuhr" (installation view, 2017)
Photo: Marcel Koehler; Courtesy Meyer Kainer, Wien
curated by John Rajchman, artists selected by Liam Gillick, Galerie Meyer Kainer

Ahmet Öğüt
The Swinging Doors, Turkey Edition (2009)

"Schreibtischuhr" curated by John Rajchman, artists selected by Liam Gillick, Galerie Meyer Kainer

Left to right:

Pilar Quinteros
Janus ́Fortress (2017)
James Webb
31 Visions of the Afterlife (2015) 
James Webb
Entitled (Vienna) (2017)

"Home is so fucking complicated" curated by Samuel Leuenberger, Galerie Nathalie Halgand

A review by Max L. Feldman

 Photo: Elmar Vestner

Photo: Elmar Vestner

An interview with Elmgreen & Dragset, the curators of the 15th Istanbul Biennale, by Eva Scharrer

 George Kuchar Bocko  (1970)

George Kuchar
Bocko (1970)

by Charlie Fox

An interview with the artist as he puts the finishing touches to his solo exhibition "Collider Body", opening 8 September, 2017

 Detail aus  Flowers (set 1)  (2015)

Detail aus Flowers (set 1) (2015)

 Michael Portnoy,  Progressive Touch - Total Body Language Reprogramming (2017), Photos: Suzie & Léo

Michael Portnoy, Progressive Touch - Total Body Language Reprogramming (2017), Photos: Suzie & Léo

 Mark Manders Dry Clay Head (2015–16) 

Mark Manders, Dry Clay Head (2015–16) 

 Carol Rama Appassionata (1940)

Carol Rama
Appassionata (1940)

By Iona Whittaker

 Candice Breitz Love Story  (2016, film still)

Candice Breitz
Love Story (2016, film still)

Photo: Philippe Gerlach

Photo: Philippe Gerlach

Photo: Philippe Gerlach

See Marcelo Cipis' exhibition at Spike Berlin

 Ibrahim Mahama Check Point Prosfygika. 1934-2034. 2016-2017  (2017) Photo: Mathias Völzke

Ibrahim Mahama
Check Point Prosfygika. 1934-2034. 2016-2017 (2017)
Photo: Mathias Voelzke

Alexander Scrimgeour gets to the bottom of the problem that is the Athens instalment of Documenta

 Lara Favaretto Momentary Monument  (2017) Photo: Henning Rogge

Lara Favaretto
Momentary Monument (2017)
Photo: Henning Rogge

Curator Valentinas Klimasauskas picks out five exemplary projects from this year's Skulptur Projekte Münster

Phil Collins
how to make a refugee (1999); video still
Courtesy Shady Lane Productions and Tanya Bonakdar Gallery

"The Restless Earth"; installation view
Photo: Gianluca di Ioia

Francis Alÿs
Don't Cross the Bridge Before You Get to the River Strait of Gibraltar (2008); video still

Curated by Massimiliano Gioni

Laura Hinrichsmeyer
"Kennen Sie diese Frau" (2017); Opening and performance at Gärtnergasse

"PROVENCE – Criticism Now" at Gärtnergasse

"The Critical Ass – Hierarchie der Sorgen" (2016); installation view at Autocorrect

Curator Franziska Sophie Wildförster on the new Viennese art scene

Mladen Stilinovic
Artist at Work (1978)
 

Franz West
Various works (1973-1978, installation view)
Photo: Francesco Galli

Olafur Eliasson
Green Light – An artistic workshop
Photo: Francesco Gallo

Federica Bueti on "Viva Arte Viva", this year's main exhibition at the Venice Biennale

Michel Majerus
aluminium paintings
installation view at neugerriemschneider

Paolo Chiasera
Frankenstein
installation view at PSM

Symonds, Permain, Lebon
Iron Lady
installation view at Isabella Bortolozzi Galerie

A sitcom about the tragedy of rating, by Britta Thie

Andrew Berardini on Jimmie Durham's retrospective at the Hammer Museum in Los Angeles

William Kherbek on Laurie Anderson’s performance at Transmediale 2017 in Berlin

 Philipp Gufler Eingebildete Männlichkeit , 2012/13 Courtesy the artist

Philipp Gufler
Eingebildete Männlichkeit, 2012/13
Courtesy the artist

Daniela Stöppel on "Favoriten III. New Art from Munich" at Städtische Galerie im Lenbachhaus in Munich

The studio of artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian

Artists Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian & Nargess Hashemi (from left)

Top, left: Memorial Cross for Pope Urban VI by Shahpour Pouyan
Top, right: Painting by Abel Auer
Middle: Painting by Nicole Eisenman
 

Alserkal Avenue

Umer Butt, founder and director of Grey Noise gallery

No Love Lost by Hossein Valamanesh in the background

 Edward & Nancy Reddin Kienholz Jody, Jody, Jody , 1993–94   Installation view Fondazione Prada, Milan  Photo: Delfino Sisto Legnani Studio Courtesy Fondazione Prada

Edward & Nancy Reddin Kienholz
Jody, Jody, Jody, 1993–94
 

Installation view Fondazione Prada, Milan 

Photo: Delfino Sisto Legnani Studio
Courtesy Fondazione Prada

Joanna Fiduccia on "Kienholz: Five Car Stud" at Fondazione Prada in Milan

Haegue Yang at Barbara Wien

Haegue Yang at Tina Kim Gallery

Hans Op de Beeck at Marianne Boesky Gallery

Adriano Costa at Mendes Wood DM

Ai Weiwei at Lisson Gallery

Al Loving at Garth Greenan Gallery

Tarek Atoui / Sonic Therapy Sessions
Deep Listening with Pauline Oliveros and Ione
Documentation shot, Bergen Assembly 2016
Sentralbadet, Bergen

Photo: Thor Brødreskift

Tarek Atoui
Sound Massage Workshop with Thierry Madiot at Grieg Academy, University of Bergen

Photo: Thor Brødreskift

Lynda Benglis
Primary Structures (Paula’s Props), 1975
Installation view (KODE 4), Bergen Assembly 2016

Photo: Thor Brødreskift. Courtesy Cheim & Read, New York

Marie Angeletti and Emanuel Rossetti, Tilde, 2016

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

Audience

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

Torbjørn Rødland
Installation view Enamel Support at the dental clinic of Danielle Heller Fontana

Photo:
Manifesta 11 / Wolfgang Träger

Jon Kessler
Installation view The World Is Cuckoo at Les Ambassadeurs watch shop

Photo:
Manifesta 11 / Wolfgang Träger

Marguerite Humeau
Installation view When Skies are not named yet (I) at ETH Zurich

Photo:
Manifesta 11 / Eduard Meltzer
 

Photo: Marina Faust

Photo: Marina Faust

Photo: Marina Faust

Tobias Madison, Moon Unit, 2016, Freedman Fitzpatrick

Julian Nguyen, New World Order, 2016, Freedman Fitzpatrick

Mathis Altmann, Exitprise, 2016, Freedman Fitzpatrick
 

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

Roe Ethridge, Untitled (Not in the Berlin Biennale), 2016
 

(mood) 
 

Torbjørn Rødland, Hat on Fire, 2016

Walanka at Port Hercule

Walanka

Upper deck with works by Rob Pruitt and Pentti Monkkonen

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

 

“Nervous Systems – Quantified Life and the Social Question”
Installation view, The White Room
© Laura Fiorio / Haus der Kulturen der Welt

Wandjina, After 1,800 B.C., Australia, Kimberley, Mount Hann, Watercolour by Douglas C.Fox, 1938, 73 x 109 cm

Hand silhouettes, fish and moon, 500-1.500 A.C., Indonesia, Westpapua, Tabulinetin, Watercolour by Albert Hahn, 1937, 65 x 95 cm

 Christopher Williams, "Model-Nr.: 1740, Rotznasen - Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016", 2016 © Christopher Williams, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

Christopher Williams, Model-Nr.: 1740, Rotznasen - Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016, 2016 © Christopher Williams, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

A walk around Berlin galleries by Alexander Scrimgeour

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.

Rachel Harrison at Kraupa-Tuskany Zeidler 

Rachel Harrison at Kraupa-Tuskany Zeidler 

Rachel Harrison at Kraupa-Tuskany Zeidler

Wolfgang Tillmans at Galerie Buchholz

 

Wolfgang Tillmans at Galerie Buchholz

 

Wolfgang Tillmans at Galerie Buchholz

 

Installation view "Porous Feedback"

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

 Martin Wong Attorney Street (Handball Court with Autobiographical Poem by Piñero), 1982–84 Oil on canvas

Martin Wong
Attorney Street (Handball Court with Autobiographical Poem by Piñero),
1982–84
Oil on canvas

Jennifer Krasinski gives us her highlights from New York.

All images: installation view "Marie Angeletti", Künstlerhaus Bremen 2015/16 
Courtesy Marie Angeletti

Stephen G. Rhodes, Unknown Dance #3 (estrangement ritual), 2012
Mixed media
Courtesy the artist, Galerie Isabella Bortolozzi, Berlin

Installation view “Rum, Sodomy, and the lash” Eden Eden, Berlin 2015/16

Ed Atkins & Simon Thompson
News
24h news
Courtesy the artists, Galerie Isabella Bortolozzi, Berlin and Cabinet, London

Tetsumi Kudo, Graft '72 (Greffe '72) (detail) 1972,
Plastic, metal, soil, thermometer, resin, adhesive, paint, hair and rope
Photo: Jessica Eckert
© Estate of Tetsumi Kudo, ADAGP, Paris, ARS, New York and DACS, London 2015, Hiroko Kudo.
Courtesy Hauser & Wirth and Andrea Rosen Gallery

Installation view, "Tetsumi Kudo", Hauser & Wirth London, 2015
© Estate of Tetsumi Kudo, ADAGP, Paris, ARS, New York and DACS, London 2015, Hiroko Kudo
Courtesy Hauser & Wirth and Andrea Rosen Gallery
Photo: Alex Delfanne 

Tetsumi Kudo, Graft '72 (Greffe '72) (detail) 1972,
Plastic, metal, soil, thermometer, resin, adhesive, paint, hair and rope
Photo: Jessica Eckert
© Estate of Tetsumi Kudo, ADAGP, Paris, ARS, New York and DACS, London 2015, Hiroko Kudo
Courtesy Hauser & Wirth and Andrea Rosen Gallery

Piotr Niepsuj, iPhone photograph, Paris Internationale 2015

Piotr Niepsuj, iPhone photograph, Paris Internationale 2015

Piotr Niepsuj, iPhone photograph, Anne Imhof at Deborah Schamoni, Munich, Paris Internationale 2015

Barbara Kruger, Untitled (Project for Dazed and Confused), 1996, print mounted on foamcore, Courtesy Sprüth Magers

Barbara Kruger, Untitled (Project for Dazed and Confused), 1996, print on foamcore, Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

MM, 2015 © Giasco Bertoli and Dominique Gonzalez-Foerster © ADAGP, Paris 2015

Euqinimod & costumes, 2014, installation view, © Grégoire Vieille © Adagp, Paris 2015

Espace 77, with participation of Philippe Parreno, installation view, © Philippe Migeat, Centre Pompidou, 2015 © Adagp, Paris 2015

A Procedural Texture, detail view, 2015, ©Uli Holz, Courtesy the artist & Société

Installation view, ©Uli Holz, Courtesy the artist & Société

Installation view, ©Uli Holz, Courtesy the artist & Société

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; 

© Wade Guyton & Stephen Prina. Courtesy of the artists and Petzel, New York. Image courtesy Gagosian Gallery. Photo: Rob McKeever.

DAN CHRISTENSEN
"Pavo“, 1968

© Estate of Dan Christensen. Courtesy Gagosian Gallery. Photo Mike Bruce

DAVID BATCHELOR
"Untitled“, 2013; Spray paint, gouache and ink on graph paper; 

© David Batchelor. Courtesy Gagosian Gallery. Photo: Mike Bruce

Copyright Maria Gilissen

"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 

 

"Monsieur Teste", 1975; Copyright Estate Marcel Broodthaers 

 

"Project for a surface"
Gouache and photocpy on paper, 71,5 x 51,5 cm (framed), 1982

"Project for a textile (1982)"
Digital print, 74,5 x 103 cm , 2006

"The Big Game"
Ink on paper, 70 x 100 cm, 2006

Exhibition view
My Body is the Event. Vienna Actionism and International Performance, mumok, Wien;
Photo: mumok/Laurent Ziegler

Exhibition view
My Body is the Event. Vienna Actionism and International Performance, mumok, Wien;
Photo: mumok/Laurent Ziegler

Exhibition view
My Body is the Event. Vienna Actionism and International Performance, mumok, Wien;
Photo: mumok/Laurent Ziegler

Math Bass 
"Newz!", 2015 
Gouache on canvas 
96.5 x 91.5 cm 
38 x 36 in

"No Joke", Installation view, Tanya Leighton, Berlin

George Grosz 
"My Shadow and I", 1956 
Signed and annotated 
Watercolor on paper 
50 x 39 cm 
19 3/4 x 15 1/4 in

Courtesy of House of Gaga and the artist.

Courtesy of House of Gaga and the artist.

Courtesy of House of Gaga and the artist.

Untitled, 2015
Oil on canvas
16 1/8 x 13 inches (41 x 33 cm)
Framed: 18 5/8 x 15 1/2 x 1 3/4 inches (47.3 x 39.4 x 4.4 cm) 

 

Untitled, 2014
Oil on canvas
10 1/2 x 13 3/4 inches (27 x 35 cm)
Framed: 13 3/16 x 16 1/2 x 1 3/4 inches (33.5 x 41.9 x 4.4 cm)

 

Untitled, c. 1970
Pastel on paper
9 1/2 x 11 13/16 inches (24 x 30 cm)
Framed: 13 1/4 x 15 1/2 x 1 5/8 inches (33.7 x 39.4 x 4.1 cm)

 

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

Documentation in pictures: Abu Dhabi’s IDEX, the largest arms fair of the world

Channa Horwitz
COUNTING IN EIGHT, MOVING BY COLOR © 2011 Photo by Ellen Davis 

Channa Horwitz
SONAKINATOGRAPHY COMPOSITION XXII
Chinese ink and Plaka color on Graphic Mylar 56 x 71 cm
Courtesy Sammlung Oehmen, Deutschland / Courtesy Oehmen Collection, Germany
© 2001, Channa Horwitz 

Channa Horwitz
LANGUAGE SERIES
Casein on rag board
162,5 x 209 cm
Courtesy Oehmen Collection, Germany 

© 1964-2004, Channa Horwitz 

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

 Bjarne Melgaard, »Ignorant Transparencies«, 2013 Installation view at Gavin Brown’s enterprise, New York

Bjarne Melgaard, »Ignorant Transparencies«, 2013
Installation view at Gavin Brown’s enterprise, New York