This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies.
How can theory have an effect on the world? Armen Avanessian’s answer would be: only by making it go faster. With books and conferences on Accelerationism and Speculative Realism, as well as his participation in an art film earlier this year, he has attempted to free philosophical thought from the narrow bounds of the academy and bring the Left up to speed with financial capitalism. Why does he find the art world so appealing?
With the collective Memphis she defined in the 80s postmodernism in design. Then she started painting. Timo Feldhaus talked with the self-taught artist on her enormous oeuvre
What does it mean today to have a life with kids, to have a life in art, and to live a life? Why are children and the artist's life so hard to unite? Or is this a false assumption? Spike Art Daily dedicates a series of interviews to the problematic relationship that the art industry has with its offspring. In this interview Lauren Boyle and Marco Roso, two of the four members of DIS, talk about why the concept of family is just "too much for the art world" and the differences between raising kids in Berlin and New York.
In 2010, Werner Herzog was among the lucky few to be given permission to enter the recently rediscovered Chauvet Cave in the south of France. In just six days he made a stunning documentary film about its 32,000-year-old cave paintings. Timo Feldhaus looks back at the beginnings of art through a flat Retina Display and soon drifts back to the present – to the image archives of Corbis.
What does it mean today to have a life with kids, to have a life in art, and to live a life? Why are children and the artist's life so hard to unite? Or is this a false assumption? Spike Art Daily dedicates a series of interviews to the problematic relationship that the art industry has with its offspring. In this interview, curator and theorist Chus Martínez talks about shared realities, competitive situations and why children always open us up.
If the art world has the image of a non-transparent, nepotistic closed circle, what happens when hackers claim their place in it? And more importantly why go into art when you could hack the system?
Jacob Appelbaum, internet activist and journalist, played an important role in the publication of the Snowden documents and the revelation of the spied-on mobile phone of Chancellor Angela Merkel. The 33-years-old hacker talks with us about his first solo art exhibition in Berlin and why this city is a magnet for freedom fighters.
What does it mean today to lead a life with a child, a life in art and a life as such? Why are children and life as an artist so difficult to reconcile? Or is that perhaps not true at all? In a series of interviews, Spike Art Daily is dedicating itself to the problematic relationship that the art world has with its children. We start with Isabelle Graw. The critic, professor, and editor of Texte zur Kunst explains why children sometimes even make it easier to oppose the logic of an economy that has it in for our lives.
During the summer months Timo Feldhaus visited major art events in Cologne, Vienna and Basel, as well as Berghain in Berlin. Everywhere he found the same things: a need for immediate bodily experience and intensity; viewers looking to art for kicks; exhibitions that made no effort at subtlety but sought to hit everyone openly in the gut; and a refashioned performance art, adapted to suit our daily compulsion to perform.
For many visitors, Jordan Wolfson’s robot represents a first contact with the most technologically developed and also most disturbing robot they have ever seen. But can the gallery space do justice to the experience? After all, a robot is only as evil as the world into which it is placed.
