Views

 Whitney Claflin, Writer’s Block , 2023, vinyl on plexiglass, stretchfoil; four panels, each 119 x 119 cm. Courtesy: the artist and DREI, Cologne

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.

 Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

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.

 Left: Pablo Picasso, The Sculptor , 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman , 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Left: Pablo Picasso, The Sculptor, 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman, 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

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.

 Charlotte Salomon, Self-portrait , 1940, gouache. © Charlotte Salomon Foundation. Courtesy: Collection of the Jewish Museum, Amsterdam

Charlotte Salomon, Self-portrait, 1940, gouache. © Charlotte Salomon Foundation. Courtesy: Collection of the Jewish Museum, Amsterdam

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.

 View of “Project for a New American Century,” Whitney Museum of American Art, 2023. Photo: Ron Amstutz

View of “Project for a New American Century,” Whitney Museum of American Art, 2023. Photo: Ron Amstutz

In New York, a mid-career retrospective at the Whitney recaps Josh Kline’s horrorcore journalization of the 21st-century precariat.

 View of “Nuit américaine,” WIELS, Brussels, 2023. Courtesy: the artist and WIELS, Brussels. Photo: We Document Art

View of “Nuit américaine,” WIELS, Brussels, 2023. Courtesy: the artist and WIELS, Brussels. Photo: We Document Art

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.

 Still from Barbenheimer , 2023, 294 min. © Universal / Warner Bros

Still from Barbenheimer, 2023, 294 min

Hidden within the meme-cyclone portmanteau and our gendered expectations is one fabulous film and another – spoiler – that totally bombs.

 Bikers in the steel ball at Circus Knie, Basel, 2023

Bikers in the steel ball at Circus Knie, Basel, 2023

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 , 2023, mixed media, dimensions variable. Detail, installation view, Bonner Kunstverein, 2023. Courtesy: the artist and LC Queisser, Tbilisi. Photo: Mareike Tocha

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.”

 Amar Kanwar, The Torn First Pages , 2004–08

Amar Kanwar, The Torn First Pages, 2004–08, 19-channel b/w and color video, sound, silent, varying duration

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.

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.

 Rosemarie Trockel, Always Leave Them Wanting More , 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

Rosemarie Trockel, Always Leave Them Wanting More, 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

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.

Wes Anderson on the set of Asteroid City, 2023. Courtesy: Focus Features. Photo: Roger Do Minh / Pop. 87 Productions

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.

View of Ma Qiusha, “No.52 Liulichang East Street,” Beijing Commune, Beijing, 2023. Courtesy: the artist and Beijing Commune

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.

 View of “Intertwined,” New Museum, New York, 2023. Courtesy: the artist and New Museum. Photo: Dario Lasagni

View of “Intertwined,” New Museum, New York, 2023. Courtesy: the artist and New Museum. Photo: Dario Lasagni

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.

 Still from Jeamin Cha, Nameless Syndrome , South Korea, 2022. © Jeamin Cha

Still from Jeamin Cha, Nameless Syndrome, South Korea, 2022. © Jeamin Cha

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

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.

 Portrait of CFGNY in “Emporium,” Marsèll, Milan, 2023. Left to right: Izu, Daniel Chew, Tin Nguyen (seated), and Kirsten Kilponen. Photo: Elle Pérez

Portrait of CFGNY in “Emporium,” Marsèll, Milan, 2023. Left to right: Izu, Daniel Chew, Tin Nguyen (seated), and Kirsten Kilponen. Photo: Elle Pérez

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.

 OMA, Hermitage Guggenheim, Las Vegas, The Venetian Resort Hotel, Solomon. R. Guggenheim Foundation, archival materials, 2000–01, and Flick House, Zurich, commissioned study, archival materials, 2001. All photos: Nelly Rodriguez

OMA, Hermitage Guggenheim, Las Vegas, The Venetian Resort Hotel, Solomon. R. Guggenheim Foundation, archival materials, 2000–01, and Flick House, Zurich, commissioned study, archival materials, 2001. All photos: Nelly Rodriguez

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.

 Margaret Raspé with camera helmet, 1971. Courtesy: the artist und Deutsche Kinemathek, Berlin. Photo: Heiner Ranke

Margaret Raspé with camera helmet, 1971. Courtesy: the artist und Deutsche Kinemathek, Berlin. Photo: Heiner Ranke

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.

 Still from Jes Fan, Palimpsest , 2023. All images courtesy: the artist and Empty Gallery

Still from Jes Fan, Palimpsest, 2023. All images courtesy: the artist and Empty Gallery, Hong Kong

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

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.

 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

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.

 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

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

 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

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.

 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.

 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

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.

 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

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

 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

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

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

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

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

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

(mood) 
 

Torbjørn Rødland, Hat on Fire, 2016

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

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.

Rachel Harrison at Kraupa-Tuskany Zeidler 

Rachel Harrison at Kraupa-Tuskany Zeidler 

Rachel Harrison at Kraupa-Tuskany Zeidler

Wolfgang Tillmans at Galerie Buchholz

 

Wolfgang Tillmans at Galerie Buchholz

 

Wolfgang Tillmans at Galerie Buchholz