Ingrid Luquet-Gad

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. 

 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. 

 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.

Ingrid Luquet-Gad on Ines Doujak's Not Dressed for Conquering / HC 04 Transport (2014)

 Still from  Possibly in Michigan , 1983, video, 12 min., colour, sound

Still from Possibly in Michigan, 1983, video, 12 min., colour, sound

Cecilia Condit at Goswell Road

 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

 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