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Joanna Fiduccia’s portrait in Spike #33 of Nicole Eisenman, now the subject of a retrospective at Museum Brandhorst, Munich, snapshots her first forays into printmaking and her opening of the body unto intimacy.
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.
A painter of urban brick abandonment, Chinatown merchants, and kissing inmates, Martin Wong is having a moment, kindled by an interest in intersectional figuration twenty years after his death. Yet his images of society’s margins are as enigmatic as they are empathetic: Hot yet held back, they reflect his desire to be both one with and apart from the worlds he drifted into.
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.
Louise Lawler, (Stevie Wonder) Living Room Corner Arranged by Mr. & Mrs. Burton Tremaine, Sr., New York City, 1984/1985, silver dye bleach print with printed text on mat, 46.5 x 60.5 cm. All images courtesy: the artist and Sprüth Magers
Espying 20th-century icons in all their public guises and moments of uncanny repose, Louise Lawler’s photographs convey that how we look is as formative as what we’re meant to see.
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.
Occasioned by a retrospective at JSF Berlin, the polymathic video artist talks to Harry Gamboa Jr. about self-love and technological liberation, LA’s ethos of inclusion, and finding humor in the struggle for change.
“Nicolas Moufarrege, National Studio Artist,” at “Nicolas Moufarrege's Room,” an unofficial exhibition installed in the artist’s studio, 1982. Courtesy: The Museum of Modern Art Archives, New York
In a brief and internationally mythologized career, Nicolas Moufarrege, subject of a compact retrospective at CCA Berlin, threaded together feminized house craft, spray-can Pop, and an urge to find the all within.
