#56 Summer 2018

Next issue

The culture wars are raging. Neoliberalism and right-wing populism have co-opted the critique of the 1960s and turned it against art, science and the democratic public sphere, while the left is consumed by infighting. This issue is about the return to battle, strategies of (dis-)engagement, and the question of what art is capable of in the aftermath of the great weirding.

Subscribe
Views Hong Kong

Chiara Vigo bei Para Site und "Emerald City" in der K11 Art Foundation von Hera Chan, und Jes Fan bei Empty Gallery von Alvin Li

Views Mexico City

Hugo Montoya at Parque Galería and "Memories of Underdevelopment" at Museo Jumex by Dorothée Dupuis

Views New York

Cici Wu at 47 Canal and Kirsten Pieroth at Mathew Gallery by Harry Burke and Gauri Gill and Julia Phillips at MoMA PS1 by Dean Kissick

Views London

Joan Jonas at Tate Modern and Osías Yanov at Gasworks by Oliver Basciano and Julian Schnabel at Pace Gallery by Billie Muraben 

Views Austria

Mika Rottenberg at Kunsthaus Bregenz by Daniela Stöppel and Ashley Hans Scheirl at Künstlerhaus in Graz by Guilherme Pires Mata

Views Basel

Lynn Hershman-Leeson at HeK Basel, Martha Rosler at Kunstmuseum Basel, Raphaela Vogel at Kunsthalle Basel by Elise Lammer

Views New York

Cici Wu at 47 Canal and Kirsten Pieroth at Mathew Gallery by Harry Burke and Gauri Gill and Julia Phillips at MoMA PS1 by Dean Kissick

View Munich

An interview with the curator of Public Art Munich, Joanna Warsza, by Dorian Batycka

Views Vienna

Bouchra Khalili at Secession and Gabriele Senn Galerie by Max L. Feldman, Katharina Schilling at Nathalie Halgand by Gianna Prein and an interview with Liam Gillick on his project with New Order by Rita Vitorelli

Views Basel

Lynn Hershman-Leeson at HeK Basel and Martha Rosler at Kunstmuseum Basel by Elise Lammer

Views Berlin

Ana Mendieta at Gropius Bau and Gallery Weekend Berlin by Chloe Stead and Louise Burgeois at Schinkel Pavillon by Eva Scharrer

Focus View

"Jokes Seth Can't Tell" in Late Night with Seth Meyers by Jan Verwoert

Seduction

by Nicoletta Fiorucci, Susanne Gaensheimer, Philipp Timischl, Nora Turato, Axel Dibie

Images Contributed

by Alice Creischer, Boris Mikhailov, Jonas Lund, Marjetica Potrč, Botond Kersztesi

Postcard

from Cracow by Hanka Podraza

Curator's Key

Ekaterina Degot, director and chief curator Steirischer Herbst, on Władysław Strzeminski’s sketch for a mural for the Hotel Savoy in Łódz (1950)

Artists' Favourites

By Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian

Architecture

The architects Gins and Arakawa dedicated their lives to immortality. Their designs and buildings force people to develop new behaviours and to change their bodies until one day they no longer need to die. By Elvia Wilk

Q/A Asad Raza

What would Édouard Glissant fight for?

Music

The past few years have seen the rise of a generation of young rappers who are as surreal as the time from which they have emerged. These figures are like collective hallucinations: they might be amazing or they might be terrible, but all of them are weird. By Dean Kissick

Interview Marianna Simnett

Marianna Simnett pushes her body to the limit – hyperventilating until she faints or injecting Botox into her vocal cords. Her films are about the complexities of gender, contamination, robot cockroaches, cosmetic manipulation, sworn virgins, and Freudian experiments. By Ella Plevin

Q/A Yewande Omotoso

Why #MeToo?

Essay: Love Removal Machines

Neoliberalism turned a hard-won freedom into a duty and everybody became an artist. If, in 1968, breaking with the family was a prerequisite to living as one wished, fifty years later it is back with redoubled force. Through highways and byways, we have come full circle. By Rob Horning

Field Notes

What does it look like on the streets today when democratic elections take place in the centre of Europe, on the right edge of its Union? On politics in public space in Hungary. By Róza El-Hassan

Statements

Where do we stand in Europe today, as it drifts further and further to the right? We asked cultural figures from four countries about the influence of the political right on the arts. By Schorsch Kamerun, Karol Radziszewski, Eva Blimlinger and Gergely Nagy

Is indie dead?

Q/A by Aria Dean

Exhibition Histories: "Please Love Austria!"

A conversation between Matthias Lilienthal and Anselm Franke about Christoph Schlingensief's "Please Love Austria!" (2002)

Portrait Sandra Mujinga

Sandra Mujinga plays with economies of visibility and disappearance. The traditional identity politics of presence is reversed in order to operate out of hidden realms. If everything is surveilled, the biggest potential lies in not being seen. By Jeppe Ugelvig

Outrage Inactivism

The free market of ideas is particularly insidious in that it veils our own ability to choose whether or not to conchie the hell out of the information wars at all. By Ella Plevin

Portrait Otto Muehl

Can you separate an artist and their work? What if their life is itself an artwork? In the early 1970s Otto Muehl founded a commune that defied social norms and declared it a revolutionary artwork. About a failed experiment and what it can tell us about our own time. By Alison Gingeras & Jamieson Webster

More Issues

#12 Summer 2007

#12 Summer 2007

#54 Winter 2018

#54 Winter 2018

#33 Autumn 2012

#33 Autumn 2012