This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies.
Whitney Claflin, Writer’s Block, 2023, vinyl on plexiglass and stretchfoil. Installation view, Galerie Layr, Vienna, 2023. Courtesy: the artist and Drei, Cologne
Ringing out the summer, the Viennese art world’s own Philip Marlowe, Max Henry, sleuthed across the hardboiled city, looking for the traces of the evasive Neutral.
Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.
Warming over Hannah Gadsby’s stand-up Picasso takedown from 2018, “It’s Pablo-matic” undermines the Brooklyn Museum’s own staff and even gatekeeps the privileges of non-expertise.
At Lenbachhaus, Munich, Charlotte Salomon’s monumental proto-graphic novel Leben? Oder Theater? chronicles the comic minutiae and sweeping tragedies of its author’s too-short life.
An exhibition at WIELS, Brussels, discloses that Marc Camille Chaimowicz’s perpetual-sunset sentimentality is no longer a provocation, but a favorite hue in the mood ring of pop.
Who’s having a moment? Which XXL install flopped? Was climate always a window dressing? And is Art Basel really still the main draw? Kito Nedo shares the cracker jacks at Art World’s biggest circus.
Tolia Astakhishvili, Our garden is in Bonn (detail), 2023. Installation view, Bonner Kunstverein, Bonn, 2023. Unless otherwise noted, all images courtesy: the artist and LC Queisser, Tbilisi. Photos: Mareike Tocha
How do you get rid of something you feel you need? Tolia Astakhishvili builds densely layered environments, populated by both sick and vital spirits, to prove how lack is necessary to inhabit our psychic “house.”
A blockbuster survey at MoMA, New York, lauds video art as a democratic counter to hegemonic power. But with AI usurping its witness function with endless content invention, is “Signals” actually the medium’s post-mortem?
Jeremy Deller, Warning Graphic Content, 1993–2021, and Rejected Tube Map Cover Illustration, 2007. Installation view, Kunsthal Charlottenborg, Copenhagen, 2023. All images courtesy: the artist; Art:Concept, Paris; and The Modern Institute / Toby Webster Ltd., Glasgow. Photo: David Stjernholm
At Kunsthal Charlottenborg, Copenhagen, three decades of Jeremy Deller’s films and prints catalogue the iconographic underpinnings of Britain’s mass-movement politics and the malleable ambiguity of pop fandom.
While its staging of 300+ works by Rosemarie Trockel is unparalleled in its comprehensiveness, a retrospective at MMK, Frankfurt fails to contextualize Germany’s best-known woman artist.
While his latest debut at Cannes, Asteroid City (2023) unspools a predictable plot with a familiar cast, the film’s stylistic precision reminds Nolan Kelly not to take a one-of-kind auteur for granted.
From wood-grain negatives and make-believe tchotchkes to Wuhan punks and haunted islands, Ophelia Lai highlights the 7 best exhibitions in the Chinese capital.
The largest-ever retrospective of a living artist at the New Museum, New York charts Wangechi Mutu’s turn from the material resonance of found-object collages to the easy symbolic iterations of bronze sculpture.
The melancholy muse, glitchy machinimas, and plenty of Super 8: The 69th Oberhausen Short Film Festival mined the space between arthouse and art world for new and archival gems.
Mak2, Home Sweet Home: Love Pool 6, 2022, oil and acrylic on canvas in three parts, each: 205 x 122 cm; overall: 205 x 366 cm. All images courtesy: the artist and Peres Projects
In triptychs of hot-and-heavy bodies at Peres Projects, Berlin, Hong-Kong-based artist Mak2 materializes the tensions of synthetic desire and our urges to gawk and look away.
Xiyadie, Sorting sweet potatoes (Dad, don't yell, we're in the cellar sorting sweet potatoes), 2019, papercut with water-based dye and Chinese pigments on Xuan paper, 140 x 140 cm. All images courtesy: the artist
An exhibition of Xiyadie’s steamy papercuts at The Drawing Center, New York narrates his four-decade usurpation of a traditionalist folk form and a coming-out transition from shame to bliss.
Book-ended by Art Week and the Salon del Mobile, an exhibition by the label-cum-artist collective CFGNY at Marsèll, Milan strips down and reengineers the Western industrialization of Asian-ness.
A group show at gta Exhibitions, Zurich calls into question local worlds left unbuilt, the worthiness of certain gifts, and museums’ credibility as storytellers of the cultures they serve.
A video-first retrospective at Haus am Waldsee, Berlin, is charged with ninety-year-old Margaret Raspé’s untiring anger at the separation between art-making and domestic femininity.
In Jes Fan’s glass-and-resin sculptures at Empty Gallery, Hong Kong, a local pearl oyster embodies the island’s long-running struggle against the conspiracies of empire.
View of “dellbrück,” Galerie nächst St. Stephan, Vienna, 2023. All images courtesy of Manfred Pernice and Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna. Photos: Markus Wörgötter
At Galerie nächst St. Stephan, Vienna, Manfred Pernice is sculpting with a new name but a familiar hardware reptoire, heaping up double entendres from scraps during a new war in Europe.
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.
Views of Sanja Iveković, “Works of Heart (1974–2022),” Kunsthalle Wien, Vienna, 2022. All images courtesy: the artist and Kunsthalle Wien. Photos: Boris Cvjetanović
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.
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.
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.
New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.
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.
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
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
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
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.
Still. Laura Poitras, O’Say Can You See, 2001/2016. Two-channel digital video, color, sound. Courtesy of the artist.
