What Do Ruins Smell Like? A Conversation with Sissel Tolaas
Andrea Viliani: Process, in your artistic practice, both adopts and defines a protocol, a methodology, that has the same relevance…
Feature
An Inside Job Meets its Immanent Critique. On the Film Inside
Prompted by filmmaker Vasilis Katsoupis’s personal awakening about the “dark side of luxury” while staying at a friend’s Lower Manhattan…
Expanded Verticality: The Perception of Vulnerability in the Work of Margherita Raso
My first meeting with Margherita Raso was in 2016, over breakfast. It was before her solo show “Piercing” (2017) in…
Cinzia Ruggeri: Obstinate Boots
I encounter Cinzia Ruggeri’s Colombra (1997) in an exhibition curated by Melanie Ohnemus in Vienna and I am sent into…
On the Violent Absurdity of Borders: Lawrence Abu Hamdan’s 45th Parallel
In the year 2000, not long after the Good Friday peace agreement,1 the Irish artist John Byrne opened the Border…
Staging Evil: Beatrice Marchi
“Can an accident bring you to the evil side?” asks a character in Beatrice Marchi’s new film, When Katie Fox…
Fissures to Form: Berlin Atonal’s “Metabolic Rift”
Kraftwerk Berlin is an astounding structural site, made up of a cavernous interior enclosed by an intricate layout for the…
Foreclosing on the Future: The Effects of Brexit on Small Galleries
As the art world makes its way over the crest of summer, eagerly anticipating the deluge of fairs to come…
An Interrogation of Value: Instagram and its Fallout
To mention the words “digital” and “value” with regard to the art market now is to risk a particularly acerbic…
Narcissus and Echo: The Singular Multiverse of Ebecho Muslimova
She reinvents herself as furniture, flora, or fauna; examines herself in any reflection she can find and dances the macabre;…
Brands Never Die: Daft Punk and the Not-an-End Era
On February 22, 2021, the music duo Daft Punk publicly announced that they’d broken up. What was most surprising about…
The Big Chill: London’s Art Shutdown
Over the last number of days, with the bright midday sun eagerly cajoling London out of its winter freeze, I’ve…
Deborah Kass: Teenage Dream
“Regarding Glee I would say two things: 1. It’s not like my work. It is my work; and 2. I…
The Great Stink
I got COVID this autumn, not after taking fourteen flights over the course of the summer working on various projects…
Supple Involution: Justin Fitzpatrick
From the gnarled trachea, baroque ironwork turns capillaceous, inscribing a flat duo-headed torso in liquid iron Rorschach that curls over…
A Quiet Antagonism: Artists, Galleries, and the ’Gram
An alarm is sounding in the art world, and it’s become increasingly deafening. The wails of this siren are not…