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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

Better, Late, Then Never

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

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

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

Signs and wonders

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.

Discourse
Kylie Jenner’s campaign for her makeup line, 2021

Kylie Jenner’s campaign for her makeup line, 2021

The Downward Spiral: The Loveliest Trick of the Devil

For his closing column on Spike, Dean Kissick wonders why everyone is a satanist and if we should take a hold of the world in all its glory

Discourse
Vegas-Lady delivering announcements over the microphone, Haus der Berliner Festspiele, October 2022

Vegas-Lady delivering announcements over the microphone, Haus der Berliner Festspiele, October 2022

Into the Void, Again

Invited to expertise at a speed-date swap meet for discourse in twenty-seven languages, Daniel Moldoveanu looks askance at the doomed pageantry of trying to get one’s point across. 

Discourse
Courtroom sketch of Elizabeth Holmes being cross-examined by prosecutor Robert Leach, November 30, 2021. REUTERS/Vicki Behringer

Courtroom sketch of Elizabeth Holmes being cross-examined by prosecutor Robert Leach, November 30, 2021. REUTERS/Vicki Behringer

User Error: Fraud

This month, Adina Glickstein considers three girls’ grifts – and the startup-ification of subjectivity that might be the real crime after all.  

People
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Courtesy: the author, who writes: “I took this selfie in 2016 during an internet sex session, and also used it later with several other partners.”

Courtesy: the author, who writes: “I took this selfie in 2016 during an internet sex session, and also used it later with several other partners.”

Q/A JOANNA WALSH

Low-res, badly angled, pixilated, over-exposed: Joanna Walsh advocates images that reveal effort and failure.

Discourse
Self-portrait of author wearing Ambien-induced Depop purchase, 2022

Self-portrait of author wearing Ambien-induced Depop purchase, 2022

WORN OUT: Shrugging Towards Bethlehem

For her November column, Cara Schacter went to Joan Didion’s estate sale and felt nothing.

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Sergei Parajanov, The Color of Pomegranates, 1969

Sergei Parajanov, The Color of Pomegranates, 1969

A Weekend in Tbilisi

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

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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)

I AM BEING MY BODY

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.

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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

Vunkwan Tam: The Last Laugh

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

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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

Empathy Is an Open Circuit: An Interview with Ian Cheng

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

"Not even an early evening series on Austrian TV could have got away with that"

Exhibition Histories: "Please Love Austria!"