Paris

 Joan Mitchell, No Room at the End , 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Joan Mitchell, No Room at the End, 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.

 View from outside

View from outside

From the Archives: an interview with artist Kader Attia about La Colonie in Paris

 Komunuma, site, Summer 2019 © Axelle Poisson; Courtesy Fondation FIMINCO

Komunuma, site, Summer 2019
© Axelle Poisson; Courtesy Fondation FIMINCO

Ingrid Luquet-Gad finds coexistence and dissonance when she visits Komunuma, the new Parisian art district

 Rembrandt van Rijn’s 1631 Minerva at the Gemaldegalerie

Rembrandt van Rijn, Minerva, 1631, 60.5 x 49 cm, Gemäldegalerie, Staatliche Museen zu Berlin

This month, Ella Plevin drifts largely unnoticed through Baku, Paris, and Berlin.

Paris Internationale 2018: Recommendations for where to eat, drink and be merry from Eugenia Lai

 Franz West Tragbild Franz  (1970)

Franz West
Tragbild Franz (1970)

Julie Ryan reports from the opening

A nihilist’s guide to the unbelievable success of the young European fashion label

Piotr Niepsuj, iPhone photograph, Paris Internationale 2015

Piotr Niepsuj, iPhone photograph, Paris Internationale 2015

Piotr Niepsuj, iPhone photograph, Anne Imhof at Deborah Schamoni, Munich, Paris Internationale 2015

Seven recommendations by Paris Internationale

With Emily Segal, Alessandro Bava, Fulvia Carnevale, Rory Rowan, Constant Dullaart, and Toke Lykkeberg

Portrait by Marina Faust

One month ago the French Minister of Culture dismissed Nicolas Bourriaud from his post as director of the École Nationale Supérieure des Beaux-Arts, in an astonishing decision that caused a storm in French - and international - media, replete with rumors of high-level intrigue and allegations of nepotism.
Now Bourriaud tells his version of events. What did the renowned curator and theorist's dismissal have to do with Ralph Lauren? How come the students couldn't work in their studios for six days beforehand? And what are his hopes for the future of the institution?

A seduction by Lili Reynaud-Dewar

 Kathy Acker at 26th Studio, New York 1990

Kathy Acker at 26th Studio, New York 1990
Photo: Michel Delsol

Chris Kraus writes about the renewal of interest in this controversial punk icon.

A Pamphlet for Talking in front of Art