Desiring Machines: The Exhibition as Automaton in Philippe Parreno’s Work
Every night during the summer of 1993, artificial fireflies automatically lit up the garden at the Villa Arson, Nice. But…
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Olafur Eliasson: Planetary Metabolism and the Charismatic Landscapes of the Cryosphere
A series of thirty photographic prints are hung in an evenly spaced grid on a white wall in London. The…
Tomás Saraceno — How to Entangle the Universe in a Spider Web
Darkness hung in the trees, forming a thick mass together with the humid air, enveloping everything. The only features discernible…
Me. You. Us. Them.
Have you wondered why the inside of your head feels so strange these days? We think you’re morphing into something…
We Are All in This Together. Aren’t We?
It is late April in 2020, and already I have been in isolation for almost two months. Following the “unfortunate”…
Rest as Revolution: The Speculative Nature of Lynette Yiadom-Boakye’s Figurations
Race, resistance, rage, rebellion — words that are presently etched into the forefronts of everyone’s mind. As cities burn, glistening…
Post-Catastrophic Romance: On Neïl Beloufa’s www.screen-talk.com
For more than a decade, Neïl Beloufa has produced a vast array of films and installations that propel viewers into…
Genesis Breyer P-Orridge
Summing up the iconic life of dear friend and legendary provocateur Genesis Breyer P-Orridge would be a daunting task in…
Dana Schutz: Weathering the Storm
“How do you begin to depict a feeling?” wonders Dana Schutz, articulating a central problem that drives her artistic practice.1…
Keeping it Alive: Oscar Murillo
Who better to interrogate the inherited habits of modernism, in so far as they continue to shape painting, than Oscar…
COMPOSITIONAL MACHINES. Seeking an endgame or a new beginning, Avery Singer explores what it means to dream of painting without the hand
Transfixed by a trio of Avery Singer works under the diffused glow of the Frieze Los Angeles tent, I was…
Emily Mae Smith: A Broom of One’s Own
Fresh, febrile, shot through with humor and glamour, the paintings of Emily Mae Smith are reliquaries of art history and…
GO, DADDY!
Issy Wood, GO DADDY!, 2020. Visual project for Flash Art.
Jana Euler: Contextual Painting in Times of Global Groundlessness
As much as an apt consideration about painting today would have been a welcome opening, there is an elephant in…
Invulnerable Vulnerabilities: Life and Art in the Time of the Virus
Nathaniel Mellors: We should talk about some of your work and the exhibition you’re working on for the museum. Tala…
Love and the Paraliterary: On Barbara Kruger’s Picture/Readings
Barbara Kruger’s work has come to represent a host of negative affects for art historians and critics, and it is…