Ghosts drift through our screens, books and memes, from Netflix’s Addams Family reboot ‘Wednesday’ to ‘Nosferatu’ via ‘Caspar.’ While dominant in popular culture,…[read on]
Art Cologne filled the streets with gallerists and collectors at the beginning of November. As one gallery after another opened a new exhibition, the buzz faded just as quickly as…[read on]
Slipping into the attention abyss between two blockbuster art fairs in London and Paris, Artes Mundi 11 opened quietly last month at five venues across Wales…[read on]
During McKenzie Wark’s keynote address at the opening weekend of Oslo’s MUNCH Triennale, she commented on the impossibility of the realist novel as a contemporary form,…[read on]
There is something supernatural in the air as I traverse the echoing corridors of the Irish Museum of Modern Art, advancing toward a constellation of floating ephemera that are…[read on]
There is not much we can do to control processes of weathering. Landscapes and humans are subject to and defenseless against it. It cannot be mimicked, it can only happen…[read on]
The title of Ligia Lewis’ exhibition at Gropius Bau sounds like a drawn-out roar: ‘I’M NOT HERE FORRRRR…’ Equally defiant and weary, performative and paradoxical,…[read on]
Christelle Oyiri’s ‘Dead God Flow’ is hardly a temple for quiet contemplation. Rather, its visitors are plunged directly into the DJ-turned-artist’s natural habitat: the nightclub…[read on]
At the foot of the PalaisPopulaire’s spiral staircase, a projected pool of water shimmers across the floor. Beneath its surface, a fragment of text reads: “heavy is the root of light,…[read on]
Diane Arbus is known for her striking portraits that capture those on the fringes of society. Her retrospective, ‘Diane Arbus: Konstellationen’ at Gropius Bau offers the largest…[read on]
At Zurich’s Migros Museum, Haegue Yang’s sprawling survey exhibition is accessed through a floor-to-ceiling curtain of small, ornate bells, with visitors’ movements creating an…[read on]
Bruce McLean’s artistic career effectively began with a grand act of noncompliance. In 1972, at just 27, the Glaswegian artist was offered a solo exhibition at the Tate…[read on]
