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The author of Art Monsters (2023), which takes up women artists whose works reflect the experiences and insights of their own bodies, historicizes the stakes of the unruly feminine.
Wiener Festwochen’s new artistic director unpacks Vienna’s relationship with being provoked, making grotesque demands onstage, and the theater as a total democracy.
Between performances at Vienna’s ImPulsTanz, the Argentinian choreographer of several confrontational autofictions recounts bringing diaries into her dramaturgy and learning to work within the limits of her own body.
In a thousand guises on as many sets, the personae in Cindy Sherman’s pictures document an unfolding of the self, leaving a half-century’s oddities and fantasies exposed. Visiting the debut of her latest works, she and Kunsthalle Zürich’s Daniel Baumann unpack her interest in the grotesque, ways of abstracting ageing, and a conviction that what’s scary can also be very funny.
As pre-orders roll in for her new memoir, Scammer, the disgraced influencer spills the beans to Adina Glickstein about grifting, gendered fame-seeking, and the it-girl as a startup.
On 6 July, ImPulsTanz opens with a free, 10th-anniversary performance of Doris Uhlich’s more than naked. Ahead of the opening, the Austrian choreographer speaks about the aesthetics and politics of nudity and trying to be faster than the beat.
Marking the debut of Factory International, the Manchester performing arts complex’s designer talks raving with her daughters to “get” young people’s needs, refusing 3D rendering to protect imaginative space, and unlearning that beauty is not an architectural ideal.
Marking her debut solo exhibition at Deli Gallery, Mexico City, collage painter Aurel Haize Odogbo discusses Black womanhood in fantasy and having angels one can look like.
Ahead of the Alpine extravaganza, Vincenzo de Bellis talks his Peep-Hole origins, sickness as an artistic thematic, and viewing the fairs as curatorial snapshots of the right now.
In memory of Kenneth Anger (1927–2023), we’re republishing our 2006 interview with the iconoclastic filmmaker on silk flowers, vindictive scientologists, and his refusal to hustle for production money.
Ahead of his first-ever pool performance at Kunsthalle Friart Fribourg, Ei Arakawa walks through the changing infrastructure for artist-parents, the integrality of surprise to humor, and modelling queer fatherhood.
In memory of Michel Würthle (1943–2023), we’re resurfacing his Autumn 2006 conversation with Roberto Ohrt and Harald Fricke on unoccupied spaces and Würthle’s unquenchable desire to make books.
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.
Still from Will Benedict and Steffen Jørgensen, The Restaurant, Season 2(detail), 2022, HD video, 39:05 min. Courtesy: Will Benedict, Steffen Jørgensen, and Centre d’Art Contemporain Genève
Fresh off a retrospective at Centre d’Art Contemporain Genève, the artist speaks to Mitchell Anderson about trying to prove the hard materiality of time.
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.
