Your History is Not Our History
At the entrance of “Your History is Not Our History, New York in the 1980s,” I was pleasantly surprised by…
Magazine Articles
Josephine Meckseper
Monika Szewczyk: You’ve lived in New York for years, though I think many people still see you as a German…
Hestekur
Nicola Trezzi: In 1982, you wrote the text “From Performance to Painting,” the sequel of which Catherine Wood wrote for…
Gerwald Rockenschaub
Six animations of circles, squares and right angles in motion are projected onto separate screens. Three color fields create a…
Towards 2011
1. How was the 2009/10 season? 2. In your opinion do you believe that the worst has passed or… Paula…
Susan Hefuna
Who has the right to claim a place as home? How familiar is the foreigner, and where can he or…
Tableaux Vivants
The imagination is the first luxury of a body that receives sufficient nourishment, of a person who has just a…
Ai Weiwei
Brendan McGetrick: Your installation for The Unilever Series commission recently opened at the Tate Modern’s Turbine Hall in London. That…
Ryan McNamara
Miriam Katz: I’d like you to talk about your surge of productivity over the past year. It seems like something…
Live in your Head
To reflect upon an exhibition that took place over 40 years ago is a strange and salutary experience, and I…
Pablo Bronstein
Catherine Wood: I’m interested in your use of architectural forms as sculptural obstructions within the gallery space — thinking of…
PR Agencies
1) What kind of services do you offer to your clients? 2) Which clients do you most often work with?…
Jan Merta
Daniel Pitín: Mr. Merta, when we spoke together recently in my studio, I thrust upon you the idea that you…
Karin Hueber
Michele Robecchi: Mirroring surfaces seem to be a recurrent theme in your work. Karin Hueber: The different relations of views…
Volkan Aslan
Nancy Atakan: Much of your work seems to be a type of narrative. How would you describe your art practice?…
Nadim Vardag
Dominikus Müller: Your artistic practice often shifts towards cinema, more precisely towards the cinematic apparatus. Describe the relationship between art…