Elad Lassry
Maurizio Cattelan: Elad, I just ran into you in Milan, where you opened your first exhibition with Massimo De Carlo.…
Maurizio Cattelan: Elad, I just ran into you in Milan, where you opened your first exhibition with Massimo De Carlo.…
To gaze at a painting from Li Qing’s “Neighbor’s Window” series means to peer at an urban panorama from within…
Sarah McCrory: How did you prepare your show at Limoncello? Matthew Smith: I’ve hit a point where things need to…
Gabrielle Giattino: David, I want to start off by talking about some of your earlier work from 2004-2005; pieces we…
Shaheen Merali: How and what are the main drives behind your making and thinking? Sarah Rahbar: I have a fear…
Nicola Trezzi: Your work develops on two basic levels. Your pieces are individually striking and beckon questions. Once one begins…
Edith Jerabkova: Where does your blue performance jacket come from? Oskar Dawicki: The jacket is not mine. A friend of…
At the entrance of “Your History is Not Our History, New York in the 1980s,” I was pleasantly surprised by…
Monika Szewczyk: You’ve lived in New York for years, though I think many people still see you as a German…
Nicola Trezzi: In 1982, you wrote the text “From Performance to Painting,” the sequel of which Catherine Wood wrote for…
Six animations of circles, squares and right angles in motion are projected onto separate screens. Three color fields create a…
1. How was the 2009/10 season? 2. In your opinion do you believe that the worst has passed or… Paula…
Who has the right to claim a place as home? How familiar is the foreigner, and where can he or…
The imagination is the first luxury of a body that receives sufficient nourishment, of a person who has just a…
Brendan McGetrick: Your installation for The Unilever Series commission recently opened at the Tate Modern’s Turbine Hall in London. That…
Miriam Katz: I’d like you to talk about your surge of productivity over the past year. It seems like something…