Mortal Machines: Mire Lee
Deep down, bodies are messy. Really messy. Filthy, sweaty, and grimy. All the soaps, creams, pastes, and perfumes can scrub…
Deep down, bodies are messy. Really messy. Filthy, sweaty, and grimy. All the soaps, creams, pastes, and perfumes can scrub…
Jack O’Brien is a master of the tease. Though culturally laden with sexual connotations, its potency is driven less by…
We are living in surreal times. A lot of unimaginable things have happened over the past eight months, and we…
“I alone (well, probably not) know the great secret of this existence, and I’ll have to live out the rest…
At a time of climate upheaval, when every action and gesture is examined in terms of its carbon footprint, it’s…
Sylvie Hayes-Wallace makes work by way of accumulation: out of the “ephemera” of living, out of emotional pain, selves and…
I unfolded the letter and read the contents. The letter is a xeroxed copy. The first line of the letter…
Marianna Simnett’s three-channel video installation WINNER (2024) occupies a vast space in Berlin’s Hamburger Bahnhof. Viewers enter through a dark…
Standing in front of Donald Rodney’s Visceral Canker (1990) — a seemingly living work, which this survey exhibition at Spike…