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When, if ever, is language natural? In her November column, Adina Glickstein contemplates writing unburdened by digital posterity and what freedom might lie beyond consent.
At how many BPM does the soul vibrate? The X-TRA.SERVICES founder’s first EP, self-released in collaboration with Tomás Urquieta, emblematizes techno without climax and the changing tempo of New York’s underground.
Can painting ever be made selflessly? At Galerie Lars Friederich, Berlin, WAGE co-founder Lise Soskolne locates the turning of private artistry toward public good in a politics of legibility.
What does Malevich have to do with McDonald’s? Closing out a retrospective of his paintings at Mudam Luxembourg, Halley flashes back to the heritage of the square, his recognition of ideal forms as prisons, and taking a shortcut to satirizing surface.
Turning a corporate office into a crime scene, the new sculptures and Polaroid throwbacks of Cady Noland’s installation at Gagosian, New York zero in her inquest into star-spangled paranoia.
Why do we dream of a fashion that suits everyone on every occasion? In her October column, Joanna Walsh muses over the concept of “classic” and the hard work of buckling social structures larger than your wardrobe.
Fragrant with sea musk, Anicka Yi’s debut exhibition with Esther Schipper, Berlin grafts generative AI and Cambrian zooplankton into one fruit-ripe family tree, one globulous tendril at a time.
Photography documents people, who mimic in turn what they see in photos. In the medial vernacular of our digital era, are we more likely to find life in humans, or their mechanical images?
With slap-in-the-face monuments, dances with buildings, and a water-gunning boy’s choir, steirischer herbst ’23 unearths Graz’s anti-fascist micro-histories while troubling the distinctions of oppressor and oppressed.
On Tuesday, 17 October at Soho House Berlin, Nikola Knežević will expound on multi-agent stage design through his many colaborations with choreographer Florentina Holzinger.
