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Nilbar Güreş, Mayzu , 2022. Courtesy: the artist and mumok, Vienna. Photo: Oliver Ottenschläger

Nilbar Güreş, Mayzu, 2022. Courtesy: the artist and mumok, Vienna. Photo: Oliver Ottenschläger

Remix as Revitalization

A group exhibtition at mumok, Vienna invited artists to pair their work with objects from the museum collection, briefly reversing the flows of power at the heart of modernism.

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Views of Sanja Iveković, “Works of Heart (1974–2022),” Kunsthalle Wien, Vienna, 2022. All images courtesy: the artist and Kunsthalle Wien. Photos: Boris Cvjetanović

Zagreb Surrogate

Tea Hacic-Vlahovic takes in 50 years of Sanja Iveković’s irreverent polymathy at Kunsthalle Wien, from fake-masturbating above Tito’s motorcade to publishing her mother’s poems.

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View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

Five-Star Review: Sandra Mujinga

5☆ is back! Maximilian Geymüller drops by Croy Nielsen, Vienna to see Sandra Mujinga’s follow-up to her Preis-der-Nationalgalerie exhibition.

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Lion Attacking a Horse , 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Lion Attacking a Horse, 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Breaks Down into Many Times

The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.

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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

Fortunate Fall

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.

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Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Organization vs. Institution

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

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Still from LuYang, DOKU the Self , 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

Still from LuYang, DOKU the Self, 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

The Many Lives

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

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Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm

Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm. All images © VG Bild-Kunst, Bonn 2022. Courtesy: Galli and Kraupa-Tuskany Zeidler, Berlin. Photos: def image

Post-anthro Dust-ups

At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.

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All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

The Magic of Barely Noticeable Breaks

At the Ludwig Forum Aachen, Kerstin Brätsch’s colored-pencil drawings call on the goddess Inanna to complicate our hierarchies of interpretation.

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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

Early Access: Berlin Biennale shot by Neven Allgeier / Part 2

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Roe Ethridge, Untitled (Not in the Berlin Biennale), 2016

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Torbjørn Rødland, Hat on Fire, 2016

Early Access: Berlin Biennale shot by Neven Allgeier / Part 1

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Jon Rafman, Bitsa Park (Bitsevski Park) Moscow, Russia, 2010
Archival pigment print on alu dibond, framed
Courtesy of the artist and Future Gallery, Berlin

Emma Charles, Fragments on Machines, Production still, 2013

“Nervous Systems – Quantified Life and the Social Question”
Installation view, The White Room
© Laura Fiorio / Haus der Kulturen der Welt

“Nervous Systems – Quantified Life and the Social Question” at the HKW, Berlin

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Laura Poitras, ANARCHIST: Power Spectrum Display of Doppler Tracks from a Satellite (Intercepted May 27, 2009), 2016. Pigmented inkjet print on aluminum, 45" x 64-3/4" (114.3 x 164.5 cm). Courtesy of the artist.

Laura Poitras, ANARCHIST: Israeli Drone Feed (Intercepted February 24, 2009), 2016. Pigmented inkjet print on aluminum, 45" x 64-3/4" (114.3 x 164.5 cm). Courtesy of the artist.