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
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.