Nora Aurrekoetxea “Larrosa” Madé van Krimpen / Amsterdam
Nora Aurrekoetxea’s exhibition “Larrosa” – meaning “rose” in Basque – at Gallery Madé van Krimpen opens with a question: Can…
Nora Aurrekoetxea’s exhibition “Larrosa” – meaning “rose” in Basque – at Gallery Madé van Krimpen opens with a question: Can…
The 8.75mm is an unusual film format was conceived in France and – according to rumors – later acquired and…
Adrián Villar Rojas’s Untitled (From the Series “The Language of the Enemy”) arrives at Le Brassus like a remembered apparition — something…
Nestled between the floors of “The Great Camouflage” exhibition, Peng Zuqiang’s solo show “Short-term Histories” feels intimate and unpretentious, offering a private glimpse into…
I had been five years since I last returned to Shanghai. The city now unfolds more quietly, with a composed aura…
Eight noses jut from the façade of the Kestner Gesellschaft in Ian Waelder’s exhibition “thereafter.” In Self-Portrait as My Father’s Nose (2025),…
The darkened windows appear like black holes. From the outside, nothing can be seen. The façade resembles a dodgy nightclub…
Saccharine Idyll. The words themselves promise a kind of sweetness, a softened image of comfort, the sort of scene that…
An archive within an archive: a plot inside a plot, and maybe the promise of another one still to come when thought as an archive…
Márcia Falcão’s solo show “Corpo de Cor” (Body of Color) at Contemporary Fine Arts in Berlin is unexpectedly somber. Though…
The current exhibition at Xavier Hufkens in Brussels presents a selection of Charline von Heyl’s latest paintings and prints. Her work enacts fractured gestures, and…
The five works in Zoe Leonard’s exhibition “Display,” at Maxwell Graham, showcase suits of armor installed at the Musée de…
The latest iteration of Seth Price’s video Redistribution (2007–ongoing) is currently buried in the deepest, darkest corner of 15 Orient…
In 2020, Marcus Rashford’s campaign to extend free school meals during lockdown didn’t just shame the Conservative government into a…
Koo Jeong A’s exhibition “Land of Ousss [Kangse]” feels oddly scattered. Contrary to what the title implies, it isn’t concerned…
In “Degenerates, Monsters, and Traitors (1573),” Kristian Kožul takes a baroque scalpel to history, ideology, and trauma, assembling a theatrical,…