Picture This: Athens Biennale 7, “ECLIPSE”

Cajsa Von Zeipel, /Catch and Kill/, 2020. Pigmented silicon, mixed media,127 x 195.6 x 182.9 cm. Courtesy of Faurschou Foundation. Photo: Emilios Haralambous

Cajsa Von Zeipel, Catch and Kill, 2020. Pigmented silicon, mixed media,127 x 195.6 x 182.9 cm. Courtesy of Faurschou Foundation. Photo: Emilios Haralambous

Hypercomf, /Polyceliumoffice/, 2021. Multidisciplinary installation. Various media and dimensions. Metal, agricultural tools, acrylic, desk chairs, wool fabrics, original cotton fabrics, plants, monitors, mugs, stainless steel sink, resin mosaic, metallised frame, bike ramp, dog leash, watertanks and pumps. Courtesy: the artists. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Hypercomf, Polyceliumoffice, 2021. Multidisciplinary installation. Various media and dimensions. Metal, agricultural tools, acrylic, desk chairs, wool fabrics, original cotton fabrics, plants, monitors, mugs, stainless steel sink, resin mosaic, metallised frame, bike ramp, dog leash, watertanks and pumps. Courtesy: the artists. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

KAYA, /_ OraKle Painting 01, 02, 03 (Catacomb Mirrors)/, 2018. Plexiglas sheets, wishes by children, paint, transducers, speaker cable, Mp4 players. Sound by Nicholas An Xedro. Courtesy: the artists and Deborah Schamoni. Photo: Nysos Vasilopoulos

KAYA, _ OraKle Painting 01, 02, 03 (Catacomb Mirrors), 2018. Plexiglas sheets, wishes by children, paint, transducers, speaker cable, Mp4 players. Sound by Nicholas An Xedro. Courtesy: the artists and Deborah Schamoni. Photo: Nysos Vasilopoulos

Ayesha Tan Jones,/ The New Elementals/ (detail), 2021. Video installation. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Ayesha Tan Jones, The New Elementals (detail), 2021. Video installation. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Suzanne Treister, /From SURVIVOR (F) to The Escapist BHST (Black Hole Spacetime) /(detail)/, /2016–19. Multimedia installation. Series printed works, video works and audio works. Dimensions variable. Courtesy: the artist; Annely Juda Fine Art, London; and P.P.O.W. Gallery, New York. Produced by the Athens Biennale. Photo: Nysos Vasilopoulos.

Suzanne Treister, From SURVIVOR (F) to The Escapist BHST (Black Hole Spacetime) (detail), 2016–19. Multimedia installation. Series printed works, video works and audio works. Dimensions variable. Courtesy: the artist; Annely Juda Fine Art, London; and P.P.O.W. Gallery, New York. Produced by the Athens Biennale. Photo: Nysos Vasilopoulos.

Doreen Garner, /Known But To God: The Dug Up, Dissected, and Disposed for the Sake of Medicine/,/ /2017. Glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, whiskey, 30.48 x 20.32 x 20.32 cm. Courtesy: the artist and JTT, New York. Photo: Nysos Vasilopoulos

Doreen Garner, Known But To God: The Dug Up, Dissected, and Disposed for the Sake of Medicine, 2017. Glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, whiskey, 30.48 x 20.32 x 20.32 cm. Courtesy: the artist and JTT, New York. Photo: Nysos Vasilopoulos

Billy Bultheel, /Athens, Song I-IV /(detail), 2020–21. Multidisciplinary Installation (performance, music, video, sculpture), 40'00''. Courtesy: the artist. Commissioned and produced by the Athens Biennale. Photo: Emilios Haralambous

Billy Bultheel, Athens, Song I-IV (detail), 2020–21. Multidisciplinary Installation (performance, music, video, sculpture), 40'00''. Courtesy: the artist. Commissioned and produced by the Athens Biennale. Photo: Emilios Haralambous

Ndayé Kouagou, /A key is a key and this one is the one/, 2021. Metal frames, resin and fabrics, 2 x 2 m. Courtesy: the artist and Nir Altman, Munich. Photo: Nysos Vasilopoulos

Ndayé Kouagou, A key is a key and this one is the one, 2021. Metal frames, resin and fabrics, 2 x 2 m. Courtesy: the artist and Nir Altman, Munich. Photo: Nysos Vasilopoulos

Victoria Santa Cruz, /Me gritaron negra (They Shouted Black at Me)/, 1978. Video, 3'58''. Excerpt from the film /Victoria. Black and Woman/, 1978, directed by Torgeir Wethal, produced by Odin Teatret Courtesy of Odin Teatret Archives. Photo: Nysos Vasilopoulos.

Victoria Santa Cruz, Me gritaron negra (They Shouted Black at Me), 1978. Video, 3'58''. Excerpt from the film Victoria. Black and Woman, 1978, directed by Torgeir Wethal, produced by Odin Teatret Courtesy of Odin Teatret Archives. Photo: Nysos Vasilopoulos.

Claude Eigan, /Inner Saboteur II/, 2019. Sculpture. Wood, tyrofoam, resin, plaster, spray paint, varnish, 140 x 50 x 100 cm. Courtesy: the artist. Photo: Nysos Vasilopoulos

Claude Eigan, Inner Saboteur II, 2019. Sculpture. Wood, tyrofoam, resin, plaster, spray paint, varnish, 140 x 50 x 100 cm. Courtesy: the artist. Photo: Nysos Vasilopoulos

Kris Lemsalu & Kyp Malone, /Airing Dirty Laundry, /2021. Installation. Ceramic, metal, fabric, video, sound, 6’. Courtesy: the artists and Temnikova and Kasela Gallery. Commissioned and produced for the Athens Biennale. Photo: Nysos Vasilopoulos

Kris Lemsalu & Kyp Malone, Airing Dirty Laundry, 2021. Installation. Ceramic, metal, fabric, video, sound, 6’. Courtesy: the artists and Temnikova and Kasela Gallery. Commissioned and produced for the Athens Biennale. Photo: Nysos Vasilopoulos

manuel arturo abreu, /Untitled (Herramienta, FamilySearch)/, 2018–ongoing. Archival genealogical records, asemic writing, printed matter, dimensions variable. Courtesy: the artist. Commissioned and produced by the Athens Biennale

manuel arturo abreu, Untitled (Herramienta, FamilySearch), 2018–ongoing. Archival genealogical records, asemic writing, printed matter, dimensions variable. Courtesy: the artist. Commissioned and produced by the Athens Biennale

Awol Erizku*, */Asiatic Lilies/, 2017. Digital photograph. Digital print on vinyl sticker. Dimensions variable. Courtesy: the artist. Produced by the Athens Biennale. Photo: Emilios Haralambous

Awol Erizku, Asiatic Lilies, 2017. Digital photograph. Digital print on vinyl sticker. Dimensions variable. Courtesy: the artist. Produced by the Athens Biennale. Photo: Emilios Haralambous

Navine G. Khan-Dossos, /Ta Nea Xysta/, 2021. Mural in acrylic gouache on plasterboard. Dimensions variable. Courtesy: the artist. With the support of Beowulf. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Navine G. Khan-Dossos, Ta Nea Xysta, 2021. Mural in acrylic gouache on plasterboard. Dimensions variable. Courtesy: the artist. With the support of Beowulf. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Jack Hogan & Trakal*, */Under the covers, the waves!/, 2021. Cinematic installation, 75'06''. Courtesy: the artists. Commissioned and produced by the Athens Biennale. With the support of the Institut fur Auslandsbeziehungen. Photo: Nysos Vasilopoulos

Jack Hogan & Trakal, Under the covers, the waves!, 2021. Cinematic installation, 75'06''. Courtesy: the artists. Commissioned and produced by the Athens Biennale. With the support of the Institut fur Auslandsbeziehungen. Photo: Nysos Vasilopoulos

Astrit Ismaili, /MISS/, 2021. Performance at the 7th Athens Biennale. Photo: Nysos Vasilopoulos

Astrit Ismaili, MISS, 2021. Performance at the 7th Athens Biennale. Photo: Nysos Vasilopoulos

Ebony G. Patterson, /Untitled (Lily, carnation and rose budz), /2015. Print. Courtesy: the artist and Monique Meloche Gallery, Chicago. Photo: Nysos Vasilopoulos

Ebony G. Patterson, Untitled (Lily, carnation and rose budz), 2015. Print. Courtesy: the artist and Monique Meloche Gallery, Chicago. Photo: Nysos Vasilopoulos

Cajsa Von Zeipel, Catch and Kill, 2020. Pigmented silicon, mixed media,127 x 195.6 x 182.9 cm. Courtesy of Faurschou Foundation. Photo: Emilios Haralambous

Hypercomf, Polyceliumoffice, 2021. Multidisciplinary installation. Various media and dimensions. Metal, agricultural tools, acrylic, desk chairs, wool fabrics, original cotton fabrics, plants, monitors, mugs, stainless steel sink, resin mosaic, metallised frame, bike ramp, dog leash, watertanks and pumps. Courtesy: the artists. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

KAYA, _ OraKle Painting 01, 02, 03 (Catacomb Mirrors), 2018. Plexiglas sheets, wishes by children, paint, transducers, speaker cable, Mp4 players. Sound by Nicholas An Xedro. Courtesy: the artists and Deborah Schamoni. Photo: Nysos Vasilopoulos

Ayesha Tan Jones, The New Elementals (detail), 2021. Video installation. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Suzanne Treister, From SURVIVOR (F) to The Escapist BHST (Black Hole Spacetime) (detail), 2016–19. Multimedia installation. Series printed works, video works and audio works. Dimensions variable. Courtesy: the artist; Annely Juda Fine Art, London; and P.P.O.W. Gallery, New York. Produced by the Athens Biennale. Photo: Nysos Vasilopoulos.

Doreen Garner, Known But To God: The Dug Up, Dissected, and Disposed for the Sake of Medicine, 2017. Glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, whiskey, 30.48 x 20.32 x 20.32 cm. Courtesy: the artist and JTT, New York. Photo: Nysos Vasilopoulos

Billy Bultheel, Athens, Song I-IV (detail), 2020–21. Multidisciplinary Installation (performance, music, video, sculpture), 40'00''. Courtesy: the artist. Commissioned and produced by the Athens Biennale. Photo: Emilios Haralambous

Ndayé Kouagou, A key is a key and this one is the one, 2021. Metal frames, resin and fabrics, 2 x 2 m. Courtesy: the artist and Nir Altman, Munich. Photo: Nysos Vasilopoulos

Victoria Santa Cruz, Me gritaron negra (They Shouted Black at Me), 1978. Video, 3'58''. Excerpt from the film Victoria. Black and Woman, 1978, directed by Torgeir Wethal, produced by Odin Teatret Courtesy of Odin Teatret Archives. Photo: Nysos Vasilopoulos.

Claude Eigan, Inner Saboteur II, 2019. Sculpture. Wood, tyrofoam, resin, plaster, spray paint, varnish, 140 x 50 x 100 cm. Courtesy: the artist. Photo: Nysos Vasilopoulos

Kris Lemsalu & Kyp Malone, Airing Dirty Laundry, 2021. Installation. Ceramic, metal, fabric, video, sound, 6’. Courtesy: the artists and Temnikova and Kasela Gallery. Commissioned and produced for the Athens Biennale. Photo: Nysos Vasilopoulos

manuel arturo abreu, Untitled (Herramienta, FamilySearch), 2018–ongoing. Archival genealogical records, asemic writing, printed matter, dimensions variable. Courtesy: the artist. Commissioned and produced by the Athens Biennale

Awol Erizku, Asiatic Lilies, 2017. Digital photograph. Digital print on vinyl sticker. Dimensions variable. Courtesy: the artist. Produced by the Athens Biennale. Photo: Emilios Haralambous

Navine G. Khan-Dossos, Ta Nea Xysta, 2021. Mural in acrylic gouache on plasterboard. Dimensions variable. Courtesy: the artist. With the support of Beowulf. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

Jack Hogan & Trakal, Under the covers, the waves!, 2021. Cinematic installation, 75'06''. Courtesy: the artists. Commissioned and produced by the Athens Biennale. With the support of the Institut fur Auslandsbeziehungen. Photo: Nysos Vasilopoulos

Astrit Ismaili, MISS, 2021. Performance at the 7th Athens Biennale. Photo: Nysos Vasilopoulos

Ebony G. Patterson, Untitled (Lily, carnation and rose budz), 2015. Print. Courtesy: the artist and Monique Meloche Gallery, Chicago. Photo: Nysos Vasilopoulos

This year’s Athens Biennale, “ECLIPSE”, curated by Omsk Social Club and Larry Ossei-Mensah, features work by artists from North and South America, the Caribbean, Africa, and Europe – many of whom are exhibiting their work in Greece for the first time – responding to the chaos and disarray that characterize the present. Are we on the precipice of social change, or will darkness overtake the daylight? 

Read Bianca Heuser’s review of the Biennale here.

Athens Biennale 7: ECLIPSE
24 Sep – 28 Nov 2021

People
Marne Lucas and Pippa Garner, Get Out, Get Under , 2015, chromogenic print. Courtesy: artists

Marne Lucas and Pippa Garner, Get Out, Get Under, 2015, chromogenic print. Courtesy: the artists

Yummy Slurp! The Pippa Garner Story

A brazen challenge to four-cornered, high-gloss, post-war consumerism jump-started by customizing muscle cars has morphed into a career-long demolition of gender.

People
#57
Pippa Garner modeling works from her series “Shirt Storm”, 2017

Pippa Garner modeling works from her series “Shirt Storm,” 2017

“I own my brain, I own my biceps, my knees, my toes”: Pippa Garner

Back when she was still called Phil, Garner worked as a combat artist in the Vietnam War, before returning home to design ironic products for an unreal future. Several decades and one transition later, she talked to Fiona Alison Duncan about living in willed alienation for Spike #57.

Views
View of Kyle Thurman, “Accumulator,” SOPHIE TAPPEINER, Vienna, 2023

View of Kyle Thurman, “Accumulator,” Sophie Tappeiner, Vienna, 2023

Five-Star Review: Kyle Thurman

Ramona Heinlein pokes her head into Sophie Tappeiner, Vienna to scope out Kyle Thurman’s neon pentimentos of Iron Man and Wilhelm Reich.

Spike Events
Skulpi Magazine, Issue V

Skulpi Magazine, Issue V

Spike Event: Release Party of Skulpi V

Join us at Spike Berlin at 7pm on Friday, 24 November for the release of the 5th installment of Roman Schramm’s occasional magazine Skulpi. With a live cello performance from Schloss Mirabell.

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#77
Jonathan Lyndon Chase, The Shape Up , 2023. Installation view, Artists Space, New York, 2023. All images courtesy: the artist and Artists Space, New York. Photo: Filip Wolak

Jonathan Lyndon Chase, The Shape Up, 2023. Installation view, Artists Space, New York, 2023. All images courtesy: the artist and Artists Space, New York. Photo: Filip Wolak

Every Day’s Joys

In New York, lavish acrylics, plush sculptures, and soft-skinned poems by Jonathan Lyndon Chase re-style Artists Space as a neighborhood barbershop and the barber as a consummate artist.

Discourse

Phoebe Philo Fall/Winter 2023

Theory of Style: On Texture

Can luxurious prose provoke a desire for expensive clothes, or is all luxury now “quiet”? In her November column, Joanna Walsh discusses Phoebe Philo’s debut, silent mythological girls, and Walter Benjamin’s take on TikTok.

People
#67
Ligia Lewis, Water Will (in Melody) , Performance Space New York, 2019. Courtesy: the artist. Pgoro: Maria Baranova

Ligia Lewis, Water Will (in Melody), Performance Space New York, 2019. Courtesy: the artist. Photo: Maria Baranova

Sharpening My Tools: Ligia Lewis

With evasive manoeuvres on darkened stages, Ligia Lewis and her dancers resist the arrest of the Black body in motion. Ahead of a retrospective at HAU, Berlin, a lookback on her 2021 conversation with critic Tavia Nyong’o about the stakes of her fugitive dramaturgy.

Spike Events
Leyla Yenirce, Spcegrlsonacid , 2022, oil and silkscreen on canvas, 180 x 165 cm. Courtesy: the artist and Capitain Petzel, Berlin

Leyla Yenirce, Spcegrlsonacid, 2022, oil and silkscreen on canvas, 180 x 165 cm.

Artist Talk: Leyla Yenirce

On Tuesday 21 NOVEMBER at Soho House Berlin, artist Leyla Yenirce speaks to Elisa R. Linn and Lennart Wolff about the arts of archiving and appropriation. 

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Sarah Friend, Lifeform Display Surface #3 (first generation) , 2021, silicone, iphone, custom webapp, and NFT, 15 x 15 x 10cm, from Lifeforms , Photo: Sarah Friend, Courtesy: Nagel Draxler

Sarah Friend, Lifeform Display Surface #3 (first generation), 2021, silicone, iphone, custom webapp, and NFT, 15 x 15 x 10cm, from Lifeforms, Photo: Sarah Friend, Courtesy: Nagel Draxler

Imperfecting Forms

An exhibition of NFT art at HEK, Basel pilots a variety of materializations of code-based work while benchmarking how quickly the blockchain genre is changing. 

Discourse
View of Hito Steyerl, “This is the Future,” Portland Art Museum, 2023. Courtesy: the artist; Andrew Kreps Gallery, New York; and Esther Schipper, Berlin. Photo: Mario Gallucci

View of Hito Steyerl, “This is the Future,” Portland Art Museum, 2023. Courtesy: the artist; Andrew Kreps Gallery, New York; and Esther Schipper, Berlin. Photo: Mario Gallucci

Absence of Mind: The Nature Documentary in the Age of AI

Is artificial intelligence natural, perhaps even inevitable? Drew Zeiba tabulates how K Allado-McDowell, Hito Steyerl, and ricky sallay zoker use predictive tech to pry open or close off our ecological futures.

Discourse
© No Agency

© No Agency

39 East Broadway Suite #604

When is a modeling agency more than a modeling agency? When “it’s a feeling.” Cara Schacter meta-texts a first-anniversary newsletter anthology from No Agency, NYC’s cloutiest new logo.

"Our identity could become an idol that we sculpt anew each morning from the digital clay"

The Downward Spiral: The Figure Cannot Hold