Anne Imhof “YOUTH” Stedelijk Museum / Amsterdam

My generation confronts the anxiety of death in a new and peremptory way. I was reflecting on this as I…
My generation confronts the anxiety of death in a new and peremptory way. I was reflecting on this as I…
My first meeting with Margherita Raso was in 2016, over breakfast. It was before her solo show “Piercing” (2017) in…
I have often heard others make a distinction between “the artist” and “the person” when talking about their interactions with…
It seems I am still a long way from regaining a sense of normalcy regarding the passage of time. The…
When I think back on 2018 there is always something that feels misaligned — a disconnect between myself and the…
In the world there is a single yawn that continues by contagion to spread in search of another yawn to…
Amid the nonlinear room scarved out of an aseptic and at times invisible set design, I couldn’t help but wonder…
The manner of autoreduction that Dora Budor has applied to the processuality of her “solo” exhibition in the project space…
Over the past hundred years or so, artists and scientists have come to follow increasingly common paths, from exploration to…
It can be hard to organize one’s thoughts while trying to digest such a vast range of artworks across multiple…
Eleonora Milani: Let’s start from the beginning. How did you start dancing and become a choreographer? Has it been a…
As part of our ongoing investigation of contemporary practices, the following pages discuss on the new project “Lemaniana,” opening at…
Dance Office is a column dedicated to contemporary dance and performance art. Ligia Lewis, deader than dead, 2020. Performance at…
In a 1966 film directed by Lane Slate and Alan R. Solomon, Jim Dine, with a downward gaze and the…
“And yet there is a sense in which the painter also creates a bed? Yes, he said, but not a…