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Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat
Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat
Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat
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.
Why does the art of today often seem to exist in a historical vacuum? What is the significance of art history for post-Internet art? Is our sense of history changing because of the accelerated circulation of images, money and data? Where does this leave the art object? At Spike’s new space in Berlin, Kolja Reichert moderated a discussion between artist and essayist Hito Steyerl, art historian Susanne von Falkenhausen, and two of the four curators of the 2016 Berlin Biennial: Lauren Boyle and Marco Roso from the collective DIS.
