By Spike Editorial Team

22 June 2022

In Spike #72 we learn what James Bridle’s favorite queer podcast and sea animal are, why Marlene Dumas keeps haunting Övül Ö. Durmusoglu , and what it was like for Denys Zacharopoulos to curate Cady Noland’s psychotic exhibition at documenta 9. The issue continues with Francesco Tenaglia and Tommaso Pincio discussing Caravaggio the murderer, Tobias Timm investigating the places where artworks are only ever seen by the empty gaze of CCTV cameras, and Estelle Hoy making a case that some of the greatest world literature was written in the clink.

What’s crime got to do with seduction, freedom, and the past are questions answered by Brad Phillips, Steve Hall , Arlette-Louise Ndakoze . Mug shots of “criminal” artists like Darja Bajagić (by Ingrid Luquet-Gad ), Stéphane Mandelbaum (by Colin Lang ), and the art collective Asco (by Isabella Zamboni ) are taken, and Dan Mitchell ’s image contribution will get you humming the theme from Cops.

Artur Klinau depicts a time when art was a crime in Russia, Sam Kriss makes a case for the great grifters of our age, and Cara Schacter pontificates on the values of shoplifting. Biz Sherbert then gives advice on one of the most committed crimes: bad fashion. As ever, there are views from exhibitions, postcards, and things we like, and Tea Vlahovic Hacic closes the issue with Gesellschaft am Ende.