This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies.
Mid-way through Monica Bonvicini’s exhibition “I do You” at the Neue Nationalgalerie in Berlin, we’re resurfacing an interview with the artist from the very first issue of Spike.
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.
In her new column "User Error," Spike Editor-at-Large Adina Glickstein charts the volatility of love and the crypto market, and finds solace in nightcore and Avril Lavigne conspiracy theories.
One of the leading figures of 1990s conceptual dance reflects on how memory, conflict and attention have shaped his ongoing project “Retrospective”, recently presented in Berlin
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
What does it mean today to have a life with kids, to have a life in art, and to live a life? Why are children and the artist's life so hard to unite? Or is this a false assumption? Spike Art Daily dedicates a series of interviews to the problematic relationship that the art industry has with its offspring. In this interview Lauren Boyle and Marco Roso, two of the four members of DIS, talk about why the concept of family is just "too much for the art world" and the differences between raising kids in Berlin and New York.
Taking place at Haus der Kulturen der Welt in Berlin "Technosphere, Now" was the inaugural event of a four-year research project into global technology and its identity. Our writer visited the one-day conference, thought about Berghain and water on Mars, and was left with some answers and a lot of questions.
Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader
The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.
In the past decade we've seen art flow and exponentially overflow through information networks. Pallasvuo's years as a practicing artist have overlapped with the peak years of sharing culture. Now he just wants to shut the fuck up.
Last weekend, dancer and choreographer Boris Charmatz hypothetically transformed Tate Modern into Musée de la danse. Our editor-at-large was harbouring some reservations about this new democratic participatory art, but found it surprisingly moving.
Mai Ueda, Tea Ceremony with Ready Mades, 2014, photograph by Adrianna Glaviano Artwork: Anne Speier, Identity Entity, Broken Glass Pudding 1 and 2, 2013 Collage, 150 x 165cm each INSTALLED: 29.04 - 15.09.2014
Sam Pulitzer »Nine Scarlet Eclipses for ›Them‹«, 2013 Installationsansicht, Lars Friedrich, Berlin Courtesy der Künstler und Lars Friedrich, Berlin. Foto: Simon Vogel
Enough with end of the year best/worst rankings once again. There will always be more art than we can digest, shortening our attention spans, and causing our opinions to soften, broaden, become more compromising. The critic of exuberant homages and vitriolic damnings fades into the shadows, and who appears in their place? Not an apathetic voice, but a conflicted voice. Deconstructed and self-conscious yet loud and clear, and firmly present. Six curators and critics were invited to recall an exhibition that neither seduced nor repelled them but left them with an ambiguous verdict.
It’s undeniable that Chris Martin’s paintings resemble »outsider art«. Yet I like them not for being intuitive, or spiritual, or liberated from convention – although they are all these things – but because they are affectionate.
![Katonah Yoga "Wraps for Rapture"](https://spikeartmagazine.com/sites/default/files/styles/medium_square_400/public/users/shared/articles/images/katonah_yog_22wraps_for_rapture22_diagram_cropped.jpg?itok=Drdam04r "Katonah Yoga "Wraps for Rapture"")
![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](https://spikeartmagazine.com/sites/default/files/styles/medium/public/users/shared/articles/images/b-cwilliams-16-0005.jpg?itok=sdVkvMq0 "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")
![BMW Tate Live 2015 – "If Tate Modern was Musée de la danse?" Olivia Hemingway ©Tate Photography](https://spikeartmagazine.com/sites/default/files/styles/medium/public/users/shared/articles/images/bmw_tate_live_2015_-_if_tate_modern_was_musee_de_la_danse_olivia_hemingway_ctate_photography_-_3_copy.jpg?itok=zCA5NhRJ "BMW Tate Live 2015 – "If Tate Modern was Musée de la danse?" Olivia Hemingway ©Tate Photography")
