Tang Dixin
In a recent performance that took place in New York, in the context of last November’s Asia Contemporary Art Week,…
Magazine Articles
Drago Persic
Christoph Doswald: Let’s begin with the simple things. Why do you paint without color? Drago Persic: Monochrome fascinates me. Blackness…
Neo-modern Shanghai and the Art of Abstraction
During the fall of 2015, Shanghai’s Power Station of Art hosted an exhibition titled “Calligraphic Time and Space: Abstract Art…
Sculpture as Slap
Carol Bove: Can we talk a little about this tree piece [from the series “Tree”] in your studio right now?…
Three hypotheses for a Text on Emilio Prini Published on Flash Art 306, January-February 2016, pp. 51–59
Since his earliest contributions to the Arte Povera movement in the 1960s, Emilio Prini (b. 1943 in Italy; lives in…
National Conditions
The turn of the new century has seen Shanghai shake off decades of cultural torpor. Yet the current, widespread image…
Editor's Letter
On March 16, the National Art Center in Tokyo opens what will be the most comprehensive survey to date of…
Liz Taylor Series
Started in 1982, Kathe Burkhart’s ongoing “Liz Taylor Series” (consisting of about three hundred paintings, drawings and prints) has opened…
Between Delight and Discomfort
How to jump on the information superhighway bandwagon? The past couple of years have seen dozens of exhibitions dealing with…
Katja Strunz
Gesine Borcherdt: Your sculptures evoke the vocabulary of classic modernism: Constructivism, Suprematism, Minimalism — Aleksander Rodchenko, Kazimir Malevich, Robert Smithson.…
Navid Nuur
Christine Macel: Navid, I feel your practice is strongly embodied and rooted in the body. Navid Nuur: Yes, I work…
Jorge Macchi
Alejandra Aguado: I would like to begin by asking you about the relationship of your work to literature. It is…
The Responsive Eye
I often say that if I was ever invited to curate an exhibition, I would choose the topic 1965, the…
Aki Sasamoto
Mary Rinebold: Tell me about your preoccupation with donuts. Aki Sasamoto: The way I gather material is like going…
Petrit Halilaj
For Petrit Halilaj family bonds are important, especially because he has two families: one natural and one he defines as…
Paloma Polo
Emma Brasó: In your photographs, videos and installations there is a psychological analysis of perceptions. As an artist, how do…