Fondazione Prada

 Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019 Photo Andrea Rossetti. Courtesy Fondazione Prada Lizzie Fitch | Ryan Trecartin, Neighbor Dub, 2019 15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019
Photo Andrea Rossetti. Courtesy Fondazione Prada

Neighbor Dub, 2019
15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

Jeppe Ugelvig reviews the duo’s latest multimedia-installation ”Whether Line”. Produced in rural Ohio, the ambitious project explores post-Trump American folklore through their neurotic and bewildering lens.

This month Ella Plevin slides her way in and out of “thin places” and finds that there’s plenty of nothing to think about (except the number sixty-four).  

 Gelitin Fumami (2017)

Gelitin
Fumami (2017)

By Barbara Casavecchia

 Edward & Nancy Reddin Kienholz Jody, Jody, Jody , 1993–94   Installation view Fondazione Prada, Milan  Photo: Delfino Sisto Legnani Studio Courtesy Fondazione Prada

Edward & Nancy Reddin Kienholz
Jody, Jody, Jody, 1993–94
 

Installation view Fondazione Prada, Milan 

Photo: Delfino Sisto Legnani Studio
Courtesy Fondazione Prada

Joanna Fiduccia on "Kienholz: Five Car Stud" at Fondazione Prada in Milan

 The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.