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The second edition of Zurich Art Weekend provided some foreplay ahead of Art Basel. Alex Scrimgeour runs us through Zurich's standout shows, where he spotted painted angels, art games, vagina dentatas, and Don Quixote's horse.
Beatriz González at KW Institute for Contemporary Art by Federica Bueti, Henrike Naumann at Galerie im Turm and Irina Rastorgueva & Thomas Martin BQ by Penny Rafferty in Berlin; Cady Noland at MMK by Bob Nickas in Frankfurt; Jörg Immendorf at Haus der Kunst by Daniela Stöppel in Munich; Mary Beth Edelson at Kunsthalle Münster by Alex Scrimgeour
The contemporary has ousted the timeless in art today. Fashion, by contrast, has always operated in a different, tighter bond with the timely, anticipating the next season, channeling the zeitgeist.
Arthur Jafa at Julia Stoschek Collection and "Left Performance Histories" at NGBK by Alexander Scrimgeour, Ellen Cantor at Galerie Isabella Bortolozzi by Barbara Piwowarska, Guy Bourdin at Museum für Fotografie by Robert Schulte
Spike editor Alexander Scrimgeour visits Kyiv, capital of a nation working through its recent past, and tries make sense of its complicated present – through contemporary art.
Isa Genzken at König Galerie by Dominikus Müller, Preis der Nationalgalerie by Chloe Stead, Parapolitics at HKW by Alexander Scrimgeour, Salvage Art Institute at BNKR in Munich by Daniela Stöppel, Alexander Kluge at Folkwang Museum in Essen by Moritz Scheper
Contemporary Art Writing Daily write anonymous exhibition reviews. Their writing is curlicued, abbreviated, crisp – criticism is reduced to its essentials. By Alexander Scrimgeour
The artist takes the sensory overload of contemporary culture head-on. Her works are melancholy excesses with echoes of British pub and rave culture. By Alexander Scrimgeour
The perfectly crafted, deeply unsettling films of Omer Fast revolve around the traumatic experiences of refugees, soldiers returning home from war and drone pilots. In a constant interplay of immersion and alienation, they turn filmic illusion against itself.
If techno had its origins in the industrial sounds of Motor City, what sort of music corresponds to the screen-mediated environment we live and work in today? Maybe the haunting, radically anti-escapist collages that have brought Holly Herndon to fame since her debut album Movement in 2012. Listening to Herndon’s new album Platform, Alexander Scrimgeour considers our changing relationship with machines.
Last weekend, dancer and choreographer Boris Charmatz hypothetically transformed Tate Modern into Musée de la danse. Our editor-at-large was harbouring some reservations about this new democratic participatory art, but found it surprisingly moving.