Andrew Berardini

Brands such as Y/Project, Telfar and Vetements have found new ways to pick up where the designers of the 90s left off. Aided by strategies borrowed from art, they are transforming the fashion system from within and widening its boundaries beyond recognition. Fashion is succeeding precisely where art is not, wresting autonomy out of...

Views L.A.

Charlemagne Palestine at 365 Mission and Nina Könnemann at House of Gaga by Keith J. Varadi, Hannah Hoffman Gallery by Andrew Berardini, Hayden Dunham by Arshy Azizi

Discourse

#47

Round Table: Eating the Future

Three of the food technology industry’s avant-garde – Todd Huffman, Ryan Bethencourt and Jayar La Fontaine – talk with Andrew Berardini about our lab-grown diet of the future

The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the...

Views Los Angeles

Kerry James Marshall at the Museum of Contemporary Art, and “Power: Work By African American Women From The Nineteenth Century To Now” at Sprüth Magers by Andrew Berardini

Views

#51

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Andrew Berardini on Jimmie Durham's retrospective at the Hammer Museum in Los Angeles

Mapping the shift from the hacker ethos of the 90s to the social-media art of today to the blockchain utopias of the coming nerd reich, this issue revisits the dreams of a different (art) world and charts the entanglements of art and technology since the Internet went public nearly thirty years ago.

Meditation

How did we get from cave-painting to a mouse-click? On bones, flames, and aurochs. By Andrew Berardini

Discourse

#44

I am an artwork and I am 3 years old ,  2004 Acrylic paint on wall and box Courtesy die Künstlerin und kaufmann repetto, Milan/New York

I am an artwork and I am 3 years old, 2004, acrylic paint on wall and box
Courtesy die Künstlerin und kaufmann repetto, Milan/New York

Lily van der Stokker's wall paintings and installations play on the decorative, the “nice” and the “girly”. Gossip, celebrity friends, and the always-dirty home find a place on the museum's walls, which become a diary full of colourful flowers and clouds. In this way, the artist has developed not only her own approach to image and text but also a feminist strategy: “Nonshouting Feminism” as she calls it.